The historical development of Indian music : a critical study / by Swami Prajnanananda.
| Author/creator | Prajnanananda |
| Format | Book |
| Edition | [2d new edition]. |
| Publication Info | Calcutta : Firma K. L. Mukhopadhyay, 1973. |
| Description | xv, 495 pages : illustrations ; 22 cm |
| Subjects |
| Contents | Chapter one. Historical method in the study of music. What is history ; Croce about history ; Profs. Reiner, Toynbee and Spengler about history ; Plato and Kant about history and art ; The primitive culture and T. C. Berkeley ; Cecil Gray about history of music ; Prof. Ogden about history of music ; The Aryan music ; The Ptolemic system of scale ; A change came in the middle of the 18th century ; North-Indian music in Mohammedan period ; The present condition of Indian music -- Chapter two. What is Indian music. Music is a fine art ; The term sangita ; Melody of music ; Swami Abhedananda on Indian music ; How a rāga is determined ; Nārada and Bharata about ten essentials ; Nārada about ten qualities of a rāga ; The sound and tone ; Mānduki-siksā about the tones ; Yogasāstra and Tantra about rāga ; Two kinds of notes ; Number of tones ; What are the grāmas ; Bharata about determination of the grāmas ; Nārada about the tones ; Sārangadeva about the tones, placed and displaced ; Murcchandās and grāmas in the Rāmāyana ; The jāti-vyakti-chart ; The rāgas are the living forces ; Sāstra and sādhanā ; What do we mean by the theory of music -- Chapter three. Evolution of Indian music. The idea of evolution ; Music in primitive time ; The fundamental urge in the process of evolution ; Alfred Einstein about process of evolution ; The primitive peoples and music ; Prof. Schneider about primitive melody ; Edward Macdowell about primitive music ; Process of evolution of music ; Charles Darwin and evolution ; Nāradi-siksā and music tones in relation to the sounds of the beasts ; Roussa, Harder, and Herbert Spencer about the beginning of music ; Prof. Rowbotham and Prof. Wallaschek about evolution of music ; Dr. Burney about vocal music of the antique days ; Primitive was divided into classes ; Macdowell's opinion about those two classes ; Nature and the primitive men ; Archika, gāthika and other kinds of music ; The Vedic conception of the sun, the sky and the fire ; Basic source of Indian music ; Nāda and mantra ; The conception of Devi Sarasvati ; Vacdevi and Sarasvati -- Music in Vedic time. The sāmagāna and its process ; The Pānchavimsa-Brāhmana about the sāmans ; Gāna and gāthā ; Gāna and stuti ; Gāna and stotra ; The sāmagāna in the Chhandagya-Upanisad ; The universal sound and the sāmans ; The Upanisads about udgitha ; What do we mean by the sāma or sāman ; The stabhas ; Different kinds of note in the Upanisad ; Prof. Hillebrandt about the Vedic songs ; Dr. Keith about the Vedic sacrifices and hymns ; Dr. Caland and Rāmendra Sunder Trivedi about the sāmans ; Prof. Hillebrandt about the Mahāvrata rite and Vedic songs ; Dr. Keith and the method of singing the samans ; The Aitareya-Brāhmana about the sāmans -- Soma-plants. Soma-plant in the Vedic sacrifices ; MM. A. Chinnaswami Sāstri about the soma-plant ; The nature of the soma-juice -- Musical instruments in Vedic time. Dundubhi and bhumi-dundubhi ; Adambara, gargara, nadi and pinga ; Sāyana about vāna-veenā ; Kātyāyani-veenā ; The kānda-veenā -- Notes and scales of Vedic music. Sāyana and Kātyāyana about the Vedic scale ; The five saman notes ; The Prātisākhyas about the sāman ; Vāsudeva Sāstri about the sāman-notes ; The sāman scale and the Greek scale ; The Sāmatantra about the Vedic scale ; Saunaka in the Rk-prātisākhya about Vedic scale ; Prof. Whitney on the process of Vedic notes ; The Puspasutra about the notes ; Nārada about the sāman notes ; The reverse order of the notes ; M. S. Rāmaswāmi Aiyār about the reverse order ; Nārada and the order of the Vedic notes ; Sāyana on different order of notes ; Yājnavalkya and Pānini about the notes ; The registar notes, anudātta, svarita and udātta ; Vāsudeva Sāstri and Vedic notes ; Many modes of singing of the Vedic sāmans ; The stobhas as used ; The priests who use to sing the Vedic songs -- Method of singing the Sāmanas. The changes in the modes of singing of the Vedic sāmagānas ; Six kinds of changes ; The modes of singing were different according to different recensions ; The Vedic and the Laukika notes ; The gāyatri-sāma -- Music in the prehistoric time. The crude materials of music in Mohenjo-daro and Harappa ; Piggot and K. N. Diksit about the prehistoric remains of music ; Curt Sachs and the prehistoric Mesopotamian music ; Dr. Farmer about early Sumerian music ; Early origin of music in the West ; The Siksās and the Prātisākhyas about the early music ; The expert singers of the Vedic age (it is to note that the system of sāmagāna-notations according to Dr. Hoogot has been discussed elaborately in my forthcoming book, A Constructive History of Indian Music, vol. I) -- Music in Classical period. Evolution of gāndharva type of music ; A. K. Coomaraswamy about mārga and desit music ; Brahmā and Siva about the classical music ; Bharata and the jātirāga-gānas ; The jātirāgas in the Rāmāyana ; The grāmarāgas in the Mahābhārata and the Harivamsa ; Narada and the five ancient microtones ; Bharata and his devisement of twentytwo srutis in the two veenās fixed and changing ; Rasas and bhāvas in the jātirāgas ; Matanga and other post-Bharata authors on different forms of rāgas ; Pārsvadeva and alapa and alapti ; The later development of the rāgas and gānas -- Music in post-Classical period. Music type durin Amir Khasrau's time ; Vrndāvana and Mathurā were then the prominent seats of culture of dhrupa (dhruvapada) prabandha music ; Gradually evolved the kheyal type of song ; Other types of classical music evolved ; Melas and grāmas evolved ; What are the mela and thāta ; The janya-janaka-scheme ; Venkatamakhi and Locbana-kavi on the melas ; Different types of folk songs evolved ; Development of music in Bengal -- Chapter four. Evolution of the rāgas. The role that played in evolution of the rāgas ; The sound and its evolution ; Rāgas evolved in the great epics ; The gāndhāra-grāma in the pre-Christian era ; What is a rāga ; The time of Bharata was an epoch-making period ; Matanga and dasa-laksmana ; Jatirāga ; Graha and other essentials ; The cycle of the fifth and fourth ; The gitis in terms of rāga ; Jātis in the Rāmāyana ; Different emotions of the rāgas ; The word avadhāna in Brhaddesi ; The Kudumiyāmālāi cave inscription ; The total rāgas in that above inscription ; The jātis and rāgas ; What is known by the word mārga ; The rāgas evolved from the rāgagitis ; The varnas of a rāga ; What is dipti ; The grāmarāgas ; The bhāsā-rāgas ; The neo-creative rāgas ; The notation of a jātirāga ; The number of the suddha and misra rāgagitis ; Mādhava-Vidyāranya and the evolved rāgas ; The murcchanās ; The melakartās ; Venkatamakhi and the rāgas ; Rules for determining a rāgas -- Chapter five. Folk-element in Indian classical music. The forms and characteristics of the folk music ; Rāgini Bāngāli ; Rāga Bhairava ; The Bhairava-rāga is a tribal tune and it was gradually formalized ; The Bhairava in the Jātaka ; The variants of the Bhairava-rāga ; The rāgas are divided into three classes ; The rasa srngāra ; Abhinavagupta and rasa ; Rasa in Bhairava-rāga ; The sānta-rasa ; Is Bhairava the ādi-rāga -- Chapter six. Development of rāga-vasanta. Different ancient musicologists about the rāga-vasanta ; Ramamatya about vasanta ; Dāmodara and vasanta ; Vasanta in the South ; Vasanta in the line of Tansen ; Sudarsanāchārya on vasanta ; Variants of vasanta ; Dipaka and its variants ; Panchama and Dipaka ; The sentiments (rasas) in vasanta, dipaka and panchama ; The rāga-Bāhāra ; The special characteristic of vasanta ; The festival of Vasanta in the east and west ; The description of vasanta ; Variant forms of vasanta-- Chapter seven. Change-cum-development in music. General discussion ; Srutis, Indian and Greek ; Prabandha and Sthāya ; Musical theory ; Change is inherent ; Gitis, rāgas, upa-ragas, mixed rāgas ; Jātiragas, grāmarāgas ; Bhātkhande and Lochana-Kavi ; Rānā Kumbhā ; Example of Bhairava ; Mela or thāta-- Chapter eight. Word, style, literature and prabandha. Origin and nature of prabandha ; Prabandha and its divisions ; Dhruvapada ; Influence of language upon thought ; Anandavarddhana and dhvani ; Different kinds of dhvani ; What is a symbol ; Prof. Richards about 'word' ; Method of conveying meaning ; The structure of language ; The style of composition of prabandha ; Visvanāth-Kavirāja's definition of riti ; Different kinds of riti ; The Alankārikas about riti (style) ; A. C. Bradley about style ; Prof. Hollingwarth and style ; Form of music ; Texture and form ; Prof. Murry about style ; Literature and prabandha ; Language and symbol ; Prof. Langer about language ; Feeling and form ; Dr. Reid about feeling ; Langer and Reid ; Language and literature ; Prof. Hudson's division of purposes of literature ; Language of prabandha ; Prof. P. C. Mazumder about language ; Different languages in Sanskrit literature ; Sanskrit and Prakrit ; Prakrit and its types ; Dr. S. N. Sāstri and Sanskrit and Prākrit languages ; Bhojadeva about kābya ; What is a vrtti ; What is a kāku ; Dr. S. K. Chatterhi on language ; Sauraseni and Apabharmsa ; Padas of Svāmi Haridās ; Mr. Growse on the Gosāins of Vrndāvana ; Different compositions of songs by different masters ; Pārsadeva on the characteristics of the gānas -- |
| Contents | Chapter nine. Development of music in Sanskrit. What is a tradition ; Changes in music ; Music requires some medium ; Sanskrit language is a medium ; The prehistoric remains ; Sanskrit as the text-part ; Rendering of the old Sanskrit songs ; Vowel and consonant in the musical text-parts ; The stotra-gāna ; Music-rendering in Kālidāva's time ; The musical tradition in 12th and 13th century -- Chapter ten. Aesthetic contents in Indian music. Dr. Carritt an aesthetic theory ; Dr. Collingwood on aims at beauty ; Classical and Romantic art ; Prof. Will Durant on the rasa-theory of Aristotle ; Kant on artistic creation ; Hegel on the art-theory of Schelling ; Croce and aesthetics ; Dr. D. M. Datta on Kant's aesthetic faculty ; E. Hanslick on the beauty of music ; Hanslick said on the beautiful ; Prof. Bosanquet on aesthetics ; Herbert and Schopenhouer on the beauty of music ; George Santayana on the beauty of music ; Prof. Santyayana on expression ; Dr. Listowel on the theory of beauty ; Mr. Langer on feeling and form ; Mr. Roger Fry on art ; Indian aesthetics ; Bhojaraja on rasa ; Bharata on rasa and bhava ; Svaras and rāgas in Indian music ; Abhinavagupta and Bhatta Nāyaka on rasa-theory ; Panditarāja Jagannātha on rasa ; Bhānudatta on rasas ; Jiva-Gasvāmi on rasa-theory ; Visnudās Gosvāmi and Jiva-Gosvāmi on rasa ; Panditarāja Jagannātha on rasa ; Profs. A. C. Sāstri and Rāmasvāmi Sāstri on the rasasutra of Bharata ; Jagannāth Pandit on the rasa-realization and dhvani ; Dr. S. K. De on Jagannātha's work ; Hemchandra on the doctrine of ānanda ; Visvanāth Kavirāja on rasa ; Rupa Gosvāmi on the bhāvas ; Development of idea of aesthetics ; Aestheticin the Veda ; Rasa-theory as found in the great epics ; Bharata on the bhāvas ; Nandalal Bose on the rasa-pictures ; Nārada and Bharata on rasas of the notes ; Alamkāras and Kākus in the Sangita-Ratnākara ; Bharata on the rasas of the jātis ; Sāradātanya on rasa ; Sāradātanaya criticized other Alamkārikas ; Srikantha on rasa ang bhava ; Srikantha and the Rasakaumudi ; Idea of rasa in Greek music ; The bhajans and kritis and their rasas ; Utility of the aesthetic in music ; Combination of sound ; Beautiful in art ; Fine art and beauty ; Rabindrrnath on aesthetic of Indian music -- Chapter eleven. Evolution of the music-parts. Sārangadeva on the music-parts ; Kātyāyana on Vedic meters ; The music-parts in the Vedic music ; What is a sthāyi ; The music-part, ābhoga ; Pandit Ahobala and others on the music-parts ; Rādhā Mohan Sen on the music-parts ; Pandit Bhātkande on the music-parts ; Sinihabhupāla and Matanga's opinions -- Chapter twelve. Development of music and musical literature of Bengal. Classical music and Bengal ; Music in the time of Rājā Laksanasena ; Kavi Jayadeva and musical composition ; The mangalagiti in Bengal ; Sri Chaitanya and music ; Thakur Narottama and music ; Naraharidas and music ; Rāmprasād Sen and Nidhu Babu and music of Bengal ; How the music of Bengal developed ; Music developed in Visnupur, Bankura ; Music developed all over Bengal ; Music literature of Bengal ; Rāgas and tālas in the Gitagovinda-padagāna ; Rānā Kumbhā and the rāgas and tālas of the Gitagovinda ; The music-literature by the Bengali masters -- Chapter thirteen. Gitagovinda-Padagāna is the background of Padāvali-Kirtana. Definitions of kirtana ; Gopāla Bhatta on the definition of kirtana ; The Rādhā-Krisna-cult in the kirtana ; Narottamadās introduced padāvali-kirtana after the introduction of nāma-kirtana by Sri Chaitanya ; Rasas and bhāvas in kirtana ; Dr. Vimāna Mazumder on the padavali hirtana -- Chapter fourteen. Origin and development of Padāvali-Kirtana. W. G. Archer on the kirtan or the Urāons ; Nāma-kirtanas, propagated by Sri Chaitanya ; Dr. Asutosa Bhattāchāry's research and collection of the jhumrā-gāna which are all in to kirtana ; Different Alamkārikas on the padas or padagitis ; Krsna-Gopi legend and Dr. S. B. Dasgupta ; Dr. S. K. De on Rādhā theory ; Vāsudeva. Krsna in the Upanisads ; R. G. Bhāndārkar on the Vāsudeva-theory ; The name Goinda ; The significance of Rādhā ; Rupa Gosvami on Rādhā ; The Vaisnava-Sahajyā school ; The padas of the Alvāras of the South ; The Vaisnava Mahājanas on the language and composition of the Kritana ; The language, Vrajabuli ; Dr. Sunti K. Chatterji on Vrajabuli ; Dr. Sukumer Sen on Vrajrabuli ; Sārangadeva and 'kirtana' ; Eight Karana types of songs ; Mangala, batta and other regional rāgas ; Stutigana in the Harivamsa ; Hallisaka-dance ; The Kathaka-dance ; Yavan Haridas ; Svāmi Haridas of Vrndavana ; Svāmi Krsnadas ; Bharata and Matanga on prabandha ; Parsadeva and prabandha ; Thākur Narottama and kirtana ; Rupa-Gosvāmi ; Naraharidas and prabandha ; Kirtana and tāravali-jari ; Sixty four bhāvas ; Sub-limbs of kirtana ; Tattvas of kirtana ; Sāhitya of kirtana ; Nāyaka-Nāyikas ; Parakiya-bhāva ; The rāgas of kirtana ; Tālas in kirtana ; The notation of a kirtana ; Madhu Kān and dhap-kirtana ; The plots (pālā) of dhap-kirtana -- Chapter fifteen. Development of rhythm and tempo. Philosophical significance of rhythm ; What is a rhythm ; Philosophical conceptions of rhythm and tempo ; The conception of time in the Atharvaveda ; Rhythm and tempo in European music ; D. F. Tovey on rhythm ; Mr. Anderson on rhythm ; Prof. Scholas and tempo ; Rhythm and tempo in Indian music ; Saunaka and chhanda ; What does tempo convey the idea ; Sir Arthur Eddington on laya ; Bharata on tāla ; Sārangadeva on tāla ; Appaya Tulsi or tāla ; Tālas of the Carnatic music ; Rhythmical harmony ; E. B. Havell on fine art ; On kāla (definition by Sir Brajendranath Seal) ; Or space (definition by Sir B. N. Seal) -- Chapter sixteen. Evolution and development of veena. Four divisions of musical instruments ; The Vedic idea of nature ; Prof. Panum and lyre ; The Egyptian instrument ; Dr. Qskar Seffert on string instrument (seven-stringed) ; The term veena conveys a derivative meaning ; The vāna-veenā ; Max Mueller on vāna-veenā ; The bow-instrument in Sumer ; Music instrument (crude) in the prehistoric cities ; Mrs. Milward on the musical instruments (of the chenchee people) ; Henry Balfour on the bow ; Prof. Hortense Panum and the finger-board ; The triangular harp ; Curt Sachs on stringed instrument ; Musical instruments in the Vedic period ; The Aitareya-Brāhmana or veenā ; The veenā in the great epics ; Veenā in the Jātakas ; Bharata on veenā ; Jāmalatantra and veenā ; Two methods of playing ; Different types of veenā ; Nārada or veenā ; Sārangadeva on veenā ; Rāmāmatya on veenā ; The chart of notes of the Carnetic music -- Chapter seventeen. Origin and development of Tumbura. Dr. B. Chaitanya Deva on emergence of drone ; Who is Tumburu ; Dr. Bāgchi on Tumburu ; Dr. R. B. Chatterji on Tumburu ; Prof. Galpin on the name of tumburu ; Prof. Carl Engel on tāmbourā ; Antiquity of the Tumburu-Veenā ; Esraj ; Sitār ; Saroda -- Chapter eighteen. Ideal of Indian music. Music is a fine art ; Evolution and music ; Appreciation of music ; Indian Joga psychology on science of music ; Indian and Western music ; New drive on Indian music ; Sense of proportion in music ; Greatness of art of music ; Music consciousness in the time of ereating ; Latent should be polent ; Contribution of music in culture ; Ideal of Indian art ; Place of music in general history by Romain Rolland. |
| Bibliography note | Includes bibliographical references (pages 486-495). |
| LCCN | 74175177 |
Availability
| Library | Location | Call Number | Status | Item Actions |
|---|---|---|---|---|
| Music | Closed Stacks - Ask at Circulation Desk | ML338.P72 H5 1973 | ✔ Available | Place Hold |