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Hindustani Music Today / Raja, Deepak S.
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Hindustani Music Today
Raja, Deepak S.
 
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Price : US$ 34.36  
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  Book ID : 38300
  ISBN-10 : 81-246-0616-1 / 8124606161
  ISBN-13 : 978-81-246-0616-2 / 9788124606162
  Place of Publication : Delhi
  Year of Publication : 2012
  Edition : (First Edition)
  Langauage : English
  With a forword by Pt. Arvind Parikh; xii, 138p., B/W Illus., Index, 25 cm.
   
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 CONTENTS
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CONTENTS:-
1. It is "Art" Music; not "Classical".
2. Vehicles of the Raga Experience.
3. Raga Bhairav at Midnight: The Time Theory of Ragas.
4. The Gharanas of Hindustani Music.
5. Dhrupad: A Cultural Enigma.
6. Khayal Vocalism: Welcome to the Xerox Gharanas.
7. Thumree: Lost Without Kathak.
8. The Tappa: The Camel Driver's Song.
9. The Rudra Veena: Headed for the Museum.
10. The Sitar: From Nowhere to Everywhere in 300 years.
11. The Surbahar: In Search of an Indian Bach.
12. The Sarod: The Meteoric Rise.
13. The Hawaiian Guitar: Aloha Boys of Hindustani Music.
14. The Santoor: The Musical Signature of Kashmir.
15. The Tanpura and Swaramandal: Pillars and Laptops of Hindustani Vocalism.
16. The Sarangi: Awaiting a State Funeral.
17. The Violin: The Gift to the Carnatic Tradition to Hindustani Music.
18. The Bansuri: A Humble Bamboo Flute in a Highbrow Avatar.
19. The Shehnai: Gasping for Breath.
20. The Pakhawaj and Tabla: Everybody wants Zakir.
21. Harmonium: Controversial, Yet Firmly Entrenched.
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 DESCRIPTION
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Stating that Hindustani music should be rightly termed “Art music” and not “classical music”, the book begins by discussing the features of Art music and presents an approach to appreciating Hindustani music. It provides a detailed understanding of the components of the raga experience in Hindustani music, including their time theory and the role of Gharanas of the musical tradition.

It deals with genres of raga-based vocal music which have been performed over the last five centuries: Dhrupad, which has its moorings in devotional music; Khayal vocalism shaped by Sufi influences; the thumree, which originated as an accompaniment to the Kathak dance; and the tappa, adapted from the songs of camel drivers in the north-west frontier. It takes up the use of instruments in Hindustani music, especially the Rudra Veena, Sitar, Surbahar, Sarod, Santoor, the Shehnai, Pakhawaj, the Hawaiian Guitar and many others, giving an account of their origin, performing styles and lineages relating to them.

Throughout, the emphasis is on contemporary trends in Hindustani music and its prospects in the future. It mentions the significant practitioners of Hindustani music, both vocal and instrumental.

The volume will interest lovers of Indian music and also scholars who want to have a greater understanding of its traditions, its contemporary appeal and trends in practice.

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