| Contents |
Part 1. Indian musical theory. The history of Indian music. The four schools (mata-s) ; The Sanskrit writers on music ; First period (Puranic-Vedic-Epic) ; The second (Buddhist) period ; The third (Medieval) period ; The fourth (modern) period ; The chief writers of the fourth (modern) period -- Bases of melodic structures. The nature of sound ; The tonic or drone ; The three main octaves (saptaka-s) ; The seven notes (svara-s) ; The intercalary notes ; The intervals (shruti-s) ; The measurement of the shruti-s ; The notation of the shruti-s ; The expression of the shruti-s ; A suggested interpretation of the families of intervals (shruti-jati-s) ; Flats and sharps ; The scale ; The three basic scales (grama-s) ; Modal scales (murch'hana-s) ; Class (jati) ; Mode-types (thata-s) ; Group ; Graha, amsha, nyasa ; The predominant note or sonant (vadi) ; The consonant (samvadi) ; The assonant (anuvadi) ; The dissonant (vivadi) -- Rhythm. Tempo (laya) ; Rhythm (tala) ; The main rhythms (tala-s) ; Syncopation -- Melodic development. Melodic movement (varna) ; Melodic figures (tana-s) ; Ascent and descent (aroha, avaroha) ; Ornaments (alamkara) ; Grace (gamaka) ; The four phases in the development of a raga ; Styles of music ; Styles of singing or playing -- The Raga-s. The number of raga-s ; Moods, colors and notes ; The description of raga-s in verse and pictures ; Tuning of the instruments ; Theme (rupa) and outline ; Time of play -- Part II. Notation and analysis of the raga-s. Early morning raga-s. Lalita (at dawn) ; Vibhasa (at sunrise) ; Bhairava group (after sunrise). Yogiya. Yogiya I ; Yogiya II -- Prabhat ; Shiva Bhairava ; Ananda Bhairava ; Bangala Bhairava ; Bhairava ; Ramakali ; Gunakali -- Todi, group I (first quarter of the day). Gurjari ; Mukhari ; Lachari Todi ; Todi ; Vilasakhani Todi -- Todi, group II (Tavanapuri) (first quarter fo the day). Gandhari ; Deshi ; Pathamanjari ; Yavanapuri ; Asavari -- Late morning raga-s. Bhairavi group (second quarter of the day). Rewa ; Dhani ; Shat ; Bhairavi ; Bhupala ; Samanta -- Bilaval group (second quarter of the day). Bilaval ; Lach'ha Bilaval ; Kakubha Bilaval ; Alhaiya Bilaval -- Noon and afternoon raga-s. Saranga group (noon). Saranga ; Madhyamadi Saranga ; Brindabani Saranga ; Gauda Saranga -- Shri group (last quarter of the day). Dhanashri ; Malavashri ; Shri ; Bhimapalashri ; Multani -- Nata (in the afternoon) -- Evening raga-s. Pilu (at the end of the day) ; Puravi group. Marava ; Puravi ; Rat Puriya -- Dipaka (after sunset) -- Raga-s of the early night. Kalyana group (night, first watch). Yaman-Kalyana ; Tilaka Kamoda ; Gopi Kambhoji ; Yaman ; Kamoda ; Chhayanata ; Kedara ; Bhupali -- Khammaja group (night, first quarter). Durga ; Hambir ; Khammaja -- Raga-s of the deep of night. Kanada group (second quarter of the night). Suha ; Sindhura ; Sahana ; Kafi ; Sinddha Kafi ; Kanada ; Bageshri ; Jayajavanti ; Bahar -- Raga-s of midnight and late night. Malakosha (at night) ; Bihaga ; Paraj group (after midnight). Paraj ; Sohini -- Shankara (at the end of the night) ; Kalingada (before dawn) -- Seasonal raga-s. Spring raga-s. Hindola ; Vasanta ; Pancahma -- Raga-s of the rainy season. Miyan Mallar ; Desha Mallar ; Gauda Mallar ; Surat Mallar ; Suddha Mallar ; Megha Mallar. |
| Abstract |
The first part of the book traces the history of Indian music and the continuity of its theory and practice for more than two thousand years. It is based on many years' research into the vast ancient Sanskrit literature of music. These valuable technical treatises, which lie in the form of scarcely catalogued manuscripts throughout the public and private libraries of India, had hitherto remained unemplored. Part Two transcribes and studies in detail 50 typical Ragas. Each is preceded by a Sanskrit poem in translation which depicts the atmosphere; then follows an analysis of the scale, covering its intervals and expression, a study of the theme with its characteristic motives and finally a typical development. |
| General note | "A revised version with an abridged text and numerous additional notations of rāga-s." |
| General note | "The rāga-s of which [modern] notations appear in this book conform to the Benares musical tradition. They have been noted as played on the North Indian vīnā by the late Śhivendranāth Basu." |
| Bibliography note | Includes bibliographical references (pages 375-396) and discography (pages 397-403). |
| LCCN | 68026677 |
| Stock number | 10.00 |
