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Vols. 2- include the Proceedings of the Madras Music Conference, 1930-
This book deals with the production of knowledge about music and the related institution-building process in south India. It also examines the role of identity, imagination, nationalism, and patronage in the development of musical tradition in south India.
Vols. 2- include the Proceedings of the Madras Music Conference, 1930-
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A NEW ERA IN CLASSICAL MUSIC UNVEILED BY DR L. SUBRAMANIAM. Dr L. Subramaniam, who’s been called ‘arguably the greatest violinist in the history of Indian music’, is also one of the most formally inventive musicians of our time. A polymorphous talent, he is not bound by genres or geographies nor fear of the untried and uncharted. It is in this spirit that, as a young student, Dr Subramaniam set about creating a system that would integrate the melodic nature of the Indian raga system with the harmonic structure of Western classical music. What those early years of study—tried and tested over the decades—led to was the possibility of orchestral compositions for Indian ragas, evoking their mood within the rich sound of symphony orchestras. Raga Harmony unveils Dr Subramaniam’s revolutionary thirty-six-scale concept that will allow compositions by Indian composers based on Indian ragas to be performed by some of the most prestigious orchestras across the globe. The use of this system enables the generation of lush harmonies that are not only uncommon and pleasing, but also intricate and intellectually intriguing.
The guide opens with a colour section introducing the region's highlights with some photography and essential information on the region's diverse attractions, from enjoying an Ayurvedic massage to exploring the ruins at Hampi. It offers comprehensive and practical advice on everything from finding the best places to stay and the most comfortable means of transport, to spotting elephants in the Cardamon Hills and negotiating Mumbai. It also provides an informative insight into South India's history, religions, architecture, music and dance. There are also maps and plans for every region and town.
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While Karnatic music, a form of Indian music based on the melodic principle of raga and time cycles called tala, is known today as South India’s classical music, its status as “classical” is an early-twentieth-century construct, one that emerged in the crucible of colonial modernity, nationalist ideology, and South Indian regional politics. As Amanda J. Weidman demonstrates, in order for Karnatic music to be considered classical music, it needed to be modeled on Western classical music, with its system of notation, composers, compositions, conservatories, and concerts. At the same time, it needed to remain distinctively Indian. Weidman argues that these contradictory imperatives led to...