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020 |a9789400987777|9978-94-009-8777-7
024 7 |a10.1007/978-94-009-8777-7|2doi
041 |aeng
049 |aTürk Tarih Kurumu Kütüphanesi
050 4|aM1-5000
072 7|aAV|2bicssc
072 7|aMUS000000|2bisacsh
072 7|aAV|2thema
082 04|a780|223
090 |aDK/9187
100 1 |avan der Meer, W.|eauthor.|4aut|4http://id.loc.gov/vocabulary/relators/aut
245 10|aHindustani Music in the 20th Century|h[electronic resource] /|cby W. van der Meer.
250 |a1st ed. 1980.
264 1|aDordrecht :|bSpringer Netherlands :|bImprint: Springer,|c1980.
300 |a272 p. 16 illus.|bonline resource.
336 |atext|btxt|2rdacontent
337 |acomputer|bc|2rdamedia
338 |aonline resource|bcr|2rdacarrier
347 |atext file|bPDF|2rda
505 0 |aOne -- I. Basic Concepts and Characteristics -- II. Performing a R?Ga (1): Dhrupada -- III. Performing a R?Ga (2): Khay?L -- IV. R?ga Delineation -- V. Poetry, Melody and Rhythm -- VI. The Essence of R?ga and the Problem of Rasa -- Two -- VII. Music and its Larger Social Environment -- VIII. The Rise and fall of the Ghar?N? System -- IX. Training and Creativity -- X. The Role of the Great Musicians -- XI. A Survey of Changes in North Indian Music -- Conclusion -- Chronology -- Bibliography and Discography -- Music Examples.
520 |aAIM In spite of a reasonably extensive literature in English' and Indian vernaculars, there are extremely few books on Indian music that can be considered of a scientific standard. I found, when I took up an interest in Indian music in 1967, that even protracted reading of the studies in English was not conducive to an understanding of the principles of performance. Most of my study and research have been devoted to the gradual refinement of this very understanding. In the course of time it also became obvious that different scholars and different musicians held divergent views on many basic concepts of Indian music. Therefore, one of my tasks was to assess the degree of variability in Indian music. As a corollary I wanted to know how this variability could manifest itself as change in a relatively short and well-documented period. It is often assumed that traditional cultures, as e. g. in India, are rather inert and that the art forms hardly ever change. This study proves the contrary: Indian music has a strong vitality. If we examine the different treatises through the centuries this vitality would appear to be a basic characteristic. I felt that at least an effort to discover the roots of such change would be valuable as a contribution to the study of art history and possibly to the sociology of culture.
532 8 |aAccessibility summary: This PDF is not accessible. It is based on scanned pages and does not support features such as screen reader compatibility or described non-text content (images, graphs etc). However, it likely supports searchable and selectable text based on OCR (Optical Character Recognition). Users with accessibility needs may not be able to use this content effectively. Please contact us at accessibilitysupport@springernature.com if you require assistance or an alternative format.
532 8 |aInaccessible, or known limited accessibility
532 8 |aNo reading system accessibility options actively disabled
532 8 |aPublisher contact for further accessibility information: accessibilitysupport@springernature.com
650 0|aMusic.
650 14|aMusic.
710 2 |aSpringerLink (Online service)
773 0 |tSpringer Nature eBook
776 08|iPrinted edition:|z9789024720668
776 08|iPrinted edition:|z9789400987784
856 40|uhttps://doi.org/10.1007/978-94-009-8777-7
912 |aZDB-2-SHU
912 |aZDB-2-SXL
912 |aZDB-2-BAE
950 |aHumanities, Social Sciences and Law (SpringerNature-11648)
950 |aLiterature, Cultural and Media Studies (R0) (SpringerNature-43723)