Acknowledgements. 1.

Fundamentals of South Indian Music. 2.

Ragas and their classification - Janaka and Janya. 3.

Janya ragas and their classification. 4.

Jati Lakshanas. 5.

Shrutis in South Indian Music. 6.

Evolution of the Tonal System. 7.

Role of Gamakas. 8.

Musical compositions. 9.

Talas. 10.

Manodharma Sangita and its form. Appendices.

"The 'Essentials of Musicology in South Indian Music' is a ten-chaptered comprehensive volume in English covering a very wide gamut of musicology dealing with the fundamentals of South Indian Music, Raga Systems, evolution of the Sruti and Tonal Systems, Gamakas, Musical compositions, Talas and the aspects of Manodharma and Kalpita Sangita. The topics are dealt with in a manner so as to emphasize their practical aspects and address some of the inconsistencies and misunderstandings of certain musical concepts.

A 78- minute Audio CD giving a practical introduction to each chapter accompanies the text. This book is (less)

2. Srutis and svaras.

3. The classification of ragas.

4. The structure and the alapa of ragas.

5. Gamakas and the embellishment of song.

6. The meaning of ragas.

7. The analysis of ragas.

From the preface: "The ragas constitute the fundamental factor which determines the character of Indian Music. It may be said that our system of Music was moulded in the past mainly in relation to the laws governing the concept of the Raga, and its future may be very largely guided by this influence.

"Though the Raga is so well known in practice, its theoretical aspects seem to have been only vaguely understood, and in many cases current ideas concerning them appear to be rather confused, partly owing to the string of differences of opinion and partly to insufficient acquaintance with the available literature on the subject. The need for a close study of the Ragas and what they (less)

For western music, there are such standard works as Grove’s Dictionary of Music and Musicians, The Oxford Companion to Music, the Macmillan Encyclopaedia of Music and Musicians and Riemann’s Lexicon. No such ambitious work has so far been attempted for Indian music either in English or in the Indian languages.

The author is glad that the publication of volume I of this Dictionary of South Indian Music and Musicians, synchronises with the completion of twenty-five years of his career as an author of music books. The other three volumes of this Dictionary of South Indian Music and Musicians will be published shortly.

In this Dictionary, topics of interest to different classes of readers have been covered. The Professional musician as well as the teacher, writer, research (less)

Essential and relevant information on all matters have been included. Concise summaries of important operas and dance dramas have been given.

Nomenclatures pertaining to srutis and svaras have been given. Plural meanings for those technical terms which admit of them have been given.

Current terms as well as obsolete terms, current ragas as well as obsolete ragas, current talas as well as obsolete talas, current musical forms as well as obsolete musical forms and current musical instruments as well as obsolete musical instruments have been noticed in this dictionary. Though the present book concerns itself primarily with South Indian Music and Musicians, terms, ragas, talas, composers and instruments pertaining to North (less)

Subbarama Dikshitar/Ettayapuram Rajamani. 2.

Veena Kuppayyar/P. Sambamurti.

3. Tirtha Narayana/V.

Raghavan. 4.

Patnam Subrahmanya Aiyar/Musiri Subrahmanya Aiyer. 5.

Sadasiva Brahmendra/R. Nagaswami.

6. Mysore Sadasiva Rao/N.

Chinnakesavayya. 7.

Tirupati Narayana Swami Nayudu/T. Sankaran.

8. Saint Arunagiri/K.

S. Venkatesan.

9. Maha Vaidyanatha Aiyar/P.

Sambamurti. 10.

Poochi Srinivasa Iyengar/N.R.

Bhuvaharan. 11.

Mysore Vasudevacharya/Yoga Narasimham. 12.

Gopalakrishna Bharathi/S.V.

Parthasarathi. 13.

Harikesanallur Muthiah Bhagavatar/T.L.

Venkatrama Aiyer. 14.

Neelakanta Sivan/D.V.

Vasudevan. 15.

Tanjore Quartette/T. Sankaran.

16. Last of the Tanjore Quartette/T.

Sankaran. 17.

Pallavi Gopalayyar/P. Sambamurti.

18. Kotiswara Aiyar/N.

M. Narayanan.

19. Anai-Ayya/V.

Raghavan. 20.

Annamalai Reddiar/S. Ramanathan.

21. Ghanam Krishna Aiyar/T.

Viswanathan. 22.

Veena Seshanna/D. Doraswami Iyengar.

22-1. Veena Seshanna/T.

B. Narasimhachary.

23. Subbaraya Sastri/P.

Sambamurti. 24.

Siddendra Yogi/Vedantam Sathyanarayana. 25.

Papanasa Mudaliar/K.C.

Thyagarajan. 26.

Ramaswami Sivan/Mudikondan Venkatrama Aiyer. 27.

Vanamamalai Brothers/M. Visalakshi.

28. Karur Chinna Devudu/T.

Viswanathan. 29.

Chengalvaraya Sastri/P. Sambamurti.

30. Muthu Thandavar/M.

R. Vaidyanathan.

31. Marimutha Pillai/P.

Balakrishnan. 32.

Pallavi Seshayyar/P. Sambamurti.

33. Tiger Varadachariar/M.

D. Ramanathan.

34. K.

V (less)

Author's note on the second edition. Author's note on the third edition.

Guide to pronunciation for lyrics. 1.

Introduction. 2.

Melody. 3.

Rhythm. Practical exercises--Phase I: Getting started.

Practical exercises--Phase II: 1. Sequences.

2. Sarali Varishai.

3. Jantai Varishai.

4. Datu Varishai.

5. Melsthayi Varishai.

6. Alankaram.

Practical exercises--Phase III: Geetam and Tiruppugazh: 1. Lambodara Lakumikara.

2. Kunda gowra.

3. Kereya neeranu.

4. Padumanabha.

5. Bhaya samaya.

6. Shree Ganapatiye.

7. Analekara.

8. Iravu pahar.

9. Varaveena.

10. Harihara vinuta.

11. Kamalajadala.

12. Giridhara.

13. Kamalasulochani.

14. Shivaneriye.

15. Re re Shree Ramachandra.

16. Mandara dhare.

17. Teerappini teera.

18. Shree Govinda.

19. Kalaimahale.

20. Shree Ramachandra.

21. Janaki ramana.

22. Sarasvati.

23. Shree Ramachandra.

24. Jaya Karunasindho.

25. Sarasakshi.

26. Bhaktiyal yanunai.

27. Meenakshi.

Practical exercises--Phase IV: Swarajati: 28. Ra ra Venugopa bala.

29. Raveme maguva.

30. Sambashiva yanave.

Scheme of 72 Melakartas. A few popular (less)

Sanctity, Parts and property of Mrudangam. 1.

Practicing lessons, Tha, Thi, Thom, Nam. 2.

Practising Ki, Ta. 3.

Practicing Tha Longu. 4.

Details on Tala aspects Tala Chart. 5.

Main Sapta Talas-35 Talas-175 Talas. 6.

Exercises 15 to 18 (Farn Syllables, Eta Tala). 7.

Teka syllables. 8.

Gathi sub units. 9.

Aksharas, subunits. 10.

Accompaniment to music. 11.

Tisra Jathi Tripathi Tala. 12.

Exercise 27 (Tisra Rupakam). 13.

Special combinations. 14.

Varnam exercise 28. 15.

Prastaram, Mora, Mrudangam sound. "Mrudangam is the classical drum of India.

It rightly occupies an honoured place amongst musical instruments. Mrudangam playing is a great in India.

It takes atleast four years for a person to attain a commendable degree of proficiency in playing this instrument. Whereas, in other countries, the drum is used merely to indicate time, here in addition to indicating time, the Mrudangam is used to provide a crossorythmical accompaniment to the music in (less)

2. Technical and qualitative terms.

3. Musical instruments.

Bibliography. Index.

"All rich, durable and varied cultural traditions thrive because of their presence in multiple contexts. Hindustani music is no exception.

Arts, culture and life have shaped the multi-faceted personality of Indian music. Through this mechanism the performing and scholastic streams of Hindustani music have evolved to crystallize the totality of inherited and practiced musical knowledge.

The resulting musico-cultural profile is both rich and complex! Therefore the author thought it useful to combine two approaches of presenting source material, namely, the thesaurus and dictionary approaches. While the thesaurus approach seeks to provide larger contexts, the dictionary format supplies factual information and meanings.

Together, the approaches make it easier to appreciate the larger map of Indian music. Through three hundred entries grouped in three main sections and six subsections, the author deals with etymological, historical, musicological and cultural aspects of Hindustani music.

The (less)

Editorial. Cascade I: (English): Kalidasa-Sumanojhari/Susama-Kalasrih.

I. Flora in individual works of Kalidasa: 1.

Floral decoration ornamentation and cosmetics in Rtusamhara/Sushma Kulshreshtha. 2.

Eroticism and plant kingdom in Kumarasambhava/Sushma Kulshreshtha. 3.

Plant kingdom in Vikramorvasiya/Sushma Kulshreshtha. II.

Flora in collective works of Kalidasa: 4. Sixty-four lotus blossoms in Kalidasa/Sushma Kulshreshtha.

5. Forty images of mango blossoms in Kalidasa/Sushma Kulshreshtha.

6. Ten longing trees in Kalidasa/Sushma Kulshreshtha.

7. Mango blossom and male Cuckoo in Kalidasa(abstract)/Sushma Kulshreshtha, Abha Kulshreshtha.

III. Flora in Sanskrit literature: 8.

Lilakamala in Sanskrit literature/Sushma Kulshreshtha, Ila Ghosh. 9.

Eroticism and flower blossoms in Gathasaptasati/Sushma Kulshreshtha, Abha Kulshreshtha. 10.

Contribution of Pt. Jagannatha Misra to Raga-iconification in Rasakalpadrum (with special reference to flora)/Sushma Kulshreshtha, Jagdish Sahai Kulshreshtha.

IV. Flora: Vedic & Scientific perspective: 11.

Vedic flora: a study/Bidyut Lata Ray. 12.

The concept of plant science in ancient Indian literature/Mukta Biswas. 13.

Classification of plants and plant substances in Sanskrit literature/Nirmal (less)

Swara, Saptak and That. 2.

Raga and Time Theory. 3.

Forms of Hindustani Music. 4.

Gharanas in Hindustani Vocal and Instrumental Music. 5.

Karnatak Music. 6.

Indian Instrumental Music. 7.

Classical Dances of India. 8.

Tala. 9.

Artists Association with Indian Music and Dance. 10.

Rabindra Sangeet. 11.

Indian Folk Music and Dance. 12.

Definitions. 13.

Books and Authors. 14.

Music and Dance Academies and Institutions. 15.

Music and Dance Festivals. 16.

Creation/Invention in the Field of Indian Music. 17.

Awards and Sammans in the Field of Music and Dance. 18.

Court Musicians of India and Nick Names of Musicians. Bibliography.

The book has been written to benefit the students of Music and to cater to the needs of the NET/SLET/JRF aspirants. It covers all the aspects of Hindustani and Karnatak Music and Dance in an objective questionnaire manner.

Multiple choice objective questions would come in handy for those preparing to appear (less)

1. Introduction.

2. Indian Folk Music.

3. Folk music instruments.

4. Folk Music of Assam.

5. Folk Music of Arunachal Pradesh.

6. Andhra Pradesh's Folk Music.

7. Bihar's Folk Music.

8. Folk Music of Chhattisgarh.

9. Goa's Folk Music.

10. Hariyanavi Folk Music.

11. Kerala's Folk Music.

12. Karnataka's Folk Music.

13. Gujarat's Folk Music.

Bibliography. Index.

Vol. II: Preface.

1. Mizoram's Folk Music.

2. Folk Music of Punjab.

3. Rajasthan's Folk Music.

4. Folk Music of Tamil Nadu.

5. Uttarakhand's Folk Music.

6. Uttar Pradesh's Folk Music.

7. Folk Music of West Bengal.

8. Folk Music of other states.

Bibliography. Index.

"India has a very rich tradition of folk music. The extreme cultural diversity creates endless varieties of folk styles.

Each region has its own particular style. There is a tendency to lump folk music along with tribal music.

There is actually a difference. Where folk music is a mere (less)

At the same time, this genius proved his many detractors who criticized him for corrupting popular taste wrong by composing some of the most influential raga-based songs in Hindi cinema and showing an immense comfort with all kinds of music, including Indian folk. RD: The Man, The Music looks at the phenomenon called R.

D. Burman and how he changed the way Indians perceived Hindi film music.

Through anecdotes and trivia that went into the making of Pancham's music the many innovations he introduced, like mixed rhythm patterns, piquant chords and sound mixing and through interactions with the musicians who were part of RD's (less)

1. The Katcheri: a living laboratory or enchanted space? 2.

Articulating an aesthetic: the emergence of the music critic in modern South India. 3.

From the Gurukula to the university: initiatives in music education. 4.

The lighter side of entertainment. 5.

On the history of music: a bibliographical essay. Glossary.

Index. "The essays in New Mansions for Music: Performance Pedagogy and Criticism look at one of the most ancient and rigorous classical musical traditions of India, the Karnatik music system, and the kind of changes it underwent once it was relocated from the traditional spaces of temples and salons to the public domain.

Nineteenth-century Madras led the way in the transformation that Karnatik music underwent as it encountered the forces of modernization and standardization. This study also contributes to our understanding of the experience of modernity in India through the prism of music.

The role of Madras city as patron (less)

It is argued that earlier varieties may not have survived because they failed to meet the three crucial requirements for a language-like organism to survive, i.e.

, a robust community of practitioners/listeners which the author calls the Carnatic Music Fraternity, a sizeable Body of musical Texts and a felt communicative need. In fact, the central thesis of the book is that Carnatic music, like language, survived and evolved from early/mid-eighteenth century when these three requirements were met for the first time in the History of Indian music (less)

History and tradition. 2.

Hindustani vocal music. 3.

Vistar--the concept of improvisation. 4.

Raga, Tala and Rasa. 5.

Hindustani vocal music--a field study. 6.

Hindustani vocal music as seen in Canada and USA. 7.

Final reflections. Bibliography.

Index. "Hindustani music has become one of the most sought-after musical systems of the world.

The interest exhibited for this music is continuously on the rise. With its basic foundation on devotion and Indian philosophy, it clearly exhibits a superb quality of tranquility and meditation.

This quality alone has fascinated the music connoisseurs of the world. As a Hindustani vocal musician and instructor, I was afforded the privilege of performing and teaching this music to a vast audience in India, Canada and the USA over the last three decades.

I found most of the students and listeners, especially outside India, to be quite curious and interested in this music. Their genuine inquisitive nature and somewhat (less)