The Raga-ness of Ragas (Ragas Beyond the Grammar)
| | Price: | Rs.1,250.00 |
Detail Of The Raga-ness of Ragas (Ragas Beyond the Grammar)
| ISBN | 9788124608357 |
| Pages | 460 |
| Language: | English |
| Size(in cm): | 9.0 inch X 6.0 inch cm |
| Weight(in grams): | 766(approx) |
Description:
Contents
Foreword xi
Preface xxiii
Acknowledgement xxv
Guest Essay: The Indian Concept of Rasa and the Western System of Keys xxvii
Introduction xlv
Part I: Perspectives on Raga-ness
1.1 The Raga-ness of Ragas 3
1.2 Ragas: Right and Wrong 17
1.3 Raga Chemistry and Beyond 26
1.4 Kedar at Sunrise? 37
1.5 Raga, Rasa, Meaning 47
1.6 The Raga-ness of Compositions 67
1.7 The Raga-ness of Compositions II 80
1.8 The Raga-ness of Compositions III 107
1.9 The Raga-ness of Alap 126
1.10 The Raga-ness of Tans 143
1.11 The Raga-ness of Musicians 157
Part II: The World of Ragas
2.1 Adana Kanada: A Raga of Valour and Heroism 175
2.2 Adi Basant: Fading Colours of Spring 180
2.3 Ahiri: Not Ahiri Todi, not Ahir Bhairav, Simply Ahiri 186
2.4 Ahir Bhairav: Issues in Raga Grammar 189
2.5 Ahir Lalit: Ravi Shankar's Creation 194
2.6 Bahar: Spring in the Air 198
2.7 Basant Mukhari: Persian Origins, Carnatic Inspiration 200
2.8 Bhairavi: The Raga and the Eternal Feminine 205
2.9 Bhimpalas: Everyone Knows It; Only Maestros Perform It 214
2.10 Bihag: Straddling Two Worlds 217
2.11 Bihagda: A Popular Bihag Variant 219
2.12 Bilaskhani Todi: A Requiem for Miya Tansen 222
2.13 Chandni Kedar: Much Ado About Nothing 225
2.14 Darbari Kanada: Elephantine Gait and Tonal Geometry 229
2.15 Desa: Romanticism Rules 231
2.16 Durga: Raga of the Warrior Goddess 236
2.17 Enayet Khani Kanada: Ustad Vilayat Khan's Melodic Experiment 239
2.18 Gara: Tonal Geometry and Amorphous Grammar 243
2.19 Gorakh Kalyan: Evolving as a Bagesri Variant 250
2.20 Gunji-Kauns: A Raga Is Born 254
2.21 Hemant: An Old New Raga? 257
2.22 Jaitasri: An Independent Raga or a Compound? 262
2.23 Janasammohini: Carnatic, Hindustani or Pakistani? 264
2.24 Jog: A Versatile Raga 267
2.25 Kedar: Abandoning the Austere Form 270
2.26 Khambavati: A Boutique Raga 272
2.27 Ksem (Khem) Kalyan: The Precious Kalyan 275
2.26 Lalit: Tonal Geometry and Melodic Mischeif 280
2.29 Lalita-Sohani: Interesting Concept, Fragile Raga-ness 284
2.30 Madhuvanti: A Grammatical Orphan? 288
2.31 Malti Basant: A Rare Fragrance of Spring 292
2.32 Marwa, Puriya and Sohani: The Tricky Triplets 296
2.33 Megh Malhar: A Sombre Response to Nature's Bounty 303
2.34 Miya-ki Todi: A Case of Reluctant Differentiation 306
2.35 Multani: Debilitating and Oppressive 310
2.36 Nat Kamod: Solitary Bandisa, Limited Raga-ness 313
2.37 Patadipak: Can It Be Called a Raga? 317
2.38 Pilu: Easy Identification, Meaningless Codification 320
2.39 Puriya Kalyan: Or Is It Purva? What's the Difference? 323
2.40 Ragesri: Bagesri's Cousin 327
2.41 Sampurna Malkauns: The Concept Its Manifestations 329
2.42 Sanjh Saravali: Ustad Vilayat Khan's Magnum Opus 333
2.43 Sahana: The Most Popular Kanada Variant 337
2.44 Sankara: Mellowing of the Daunting Deity 341
2.45 Sri: Supplicant, Spooky or Belligerent? 344
2.46 Suddha Chhaya: Elusive Component of a Popular Compound 352
2.47 Suddha Kalyan: How and Why It Is Changing 355
2.48 Tilang: A Sibling of Jog or Parent? 361
2.49 Vacaspati: Rechristened for Acceptance 363
Glossary and Explanatory Notes 367
Appendix 1 : Landmark Dates of Personages 395
Appendix 2 399
Table 1: Hindustani Svaras: Pitch Ratios and Notation Symbols
Table 2: Hindustani Svaras and Corresponding Carnatic Svaras.
Bibliography 401
Index 1: Ragas and Parent Scales 404
Index 2: Musicians 409
Index 3: Gharanas/Stylistic Lineages 412
Index 4: Authors and Authorities 413
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