The author explores a novel approach to facilitate an easy understanding of the Hindustani tradition of classical music following in the footsteps of Amarkosh (1000A.D.)-probably the first thesaurus in the world.
The strategy involves organizing the conceptual and the terminological material thematically. Three main themes and eight sections together identify and explain approximately two hundred and fifty terms and concepts fundamental to a deeper, intensive appreciation of Hindustani art music. The book contains 19 illustrations.
The first part of the work consists of thematic groupings and the explanations, while the second is devoted to a detailed index.
Principal meaning, derivation, historical background and the contemporary usage are kept in view in discussing the terms and concepts. The focus is on the contemporary performing tradition.
The book will appeal to a wide and varied readership- concert-goers, serious students of music and those who wish to understand music in a cultural setting.
Sangeetacharya Ashok Da. Ranade (1937- 2011) was an internationally renowned vocalist (Hindustani Classical), composer, musicologist, ethnomusicologist, voice- culturist and a teacher with degrees in literature, law and music. He was the author of a number of authoritative books on Hindustani music and ethnomusicology.
I learnt Hindustani vocal classical music in the well-known guru- shishya tradition. Hence I never asked questions but absorbed in- numerable insights which gradually fell into a well-knit pattern during a period of about twenty years. In a performance-oriented tradition this was but natural.
The training convinced me that theory and practice of music cohere better when performers themselves theorize. It soon became clear that the so-called 'illiterate' performers have been theorizing all through the centuries, both verbally and non-verbally! They theorized and per- formed almost simultaneously. In the final analysis, relationship of all performing arts to other life ensured that a majority of theorizations became verbalized to form a scholastic tradition.
Thus was created a majestic edifice of concepts and terms that echoes the life of music to a great extent. To understand these is to map the musical heavens!
To bring together themes, concepts and terms led inevitably to the Amarkosha-format. The original plan envisaged including sections on music education and scholarship, folk and primitive music, popular music and music and culture.
I hope to do so in the near future.
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