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Evolution Of Indian Classical Music (1200-1600 A.D.) |
Bhatnagar, Neerja |
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US$ 73.17
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Book Id: 24485 |
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ISBN: 81-8678-206-0 / 8186782060 |
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Place
of Publication: Jaipur |
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Year
of Publication: 1997 |
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Edition: First Edition |
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Langauage: English |
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xxiv+255p., Bib., App., Abb., Figs., Plts., Index, 29 cm. |
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| The book discusses the fundamental concepts of Indian music since Rigveda to Sarangadeva's time (1235 A.D.) in the introductory chapter, treating more elaborately Samagana, Bharata's Natyasastra and the views of Matanga and Sarangadeva by which time Indian music had attained its classical form. By 1200 AD., the Muslims (Turks, Persians, Arabs, Central Asians etc.) had overrun a major part of Northern India. The new rulers had brought their own developed music based on the maqam system, treatises on music, and musical instruments. The study of the interaction between the two systems is important though handicapped by extreme meagreness of sources.
In course of time Arab-Persian and Central Asian music lost its separate identity altogether and was merged in Indian music.
The period also witnessed significant contribution of a number of saints in the field of devotional music, evolution of the Dhrupada form, Raga-Raginis, and the development of Mela and Thata systems of classification in the second half of the sixteenth century. At Akbar's court, Dhrupada form was predominant and majority of the vocalists were from Gwalior. Also, a thorough knowledge of Sangita Ratnakara was considered essential for one claiming knowledge of Indian music at Akbar's Court, which was adorned by some of the greatest musicians ever born in India. The book contains a separate chapter on 'musical instruments during this period.
The end of the sixteenth century forms a convenient point to stop and survey the course of Indian music and study the various factors which to a greater or lesser extent helped in its evolution and subsequently led to the development of Khyal and Thumri etc., which came into their own in the 18th and 19th century. These have been discussed in brief only to show that some of their most important features resembled those of Sarangadeva's gitis. The book extensively cites from various Sanskrit treatises on music, specially those written during the 10th to the early part of the 17th century, and Persian works like Ghunyat-ul-Munya and Ain-i-Akbari, besides some excellent works by modem scholars, both Indian and foreign, which have appeared during the past few years dealing with particular aspects of Indian Music. The Chapter VI on the instruments and the illustrations and plates given at the end of the book might be found useful as well as interesting. |
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