Philosophy of Music

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The work spans the diversity of musical theory and practice by means of a definition of 'music' and a gradation of it into seven kinds. The author hit upon such a definition as a result of insights his gurus gave him into musical concepts and Sanskrit syntax, into the techniques of creating structures of beauty in music, into explanatory concepts in philosophical methods, and into anti-music and new music. The definition is based on the process of interaction between the participants in the process of musical communication. Dr. Sanyal calls it the axiological definition: it correlates the six elements of what he terms axiological set with the cases of the syntactic and semantics of the Sanskrit language and contrasting these with other classical value systems.

The author's presentation is grounded in the sastric tradition of Indian culture. His extensive analyses of Western aesthetic theory have, however, resulted in all attractive synthesis that will not limit his audience to members of his own culture. At the same time his expertise and concern for musical praxis prevents the study from falling into purely theoretical or speculative arguments.

About the Author:

The Author Ritwik Sanyal (b. 1953) trained in and studied dhrupad for twelve years with Ustad Zia Mohiuddin Dagar and Zia Fariduddin Dagar, often performing as the latter's partner. Dr. Sanyal has also given many concerts as soloist in his own right, both in India and in Europe.

In July 1982 he appeared at the Durham University Oriental Music Festival and the Bath WOMAD Festival. In 1983 the BBC presented him during the 89th season of the Henry Wood Promenade concerts at the Royal Albert Hall, London. He conducted workshops on dhrupad-dhamar at Innsbruck in 1979 and at Cambridge University School of Music in 1983. also took part in seminars on gamaka at S.N. Akademi Delhi and on purvaranga at Kalidas Akademi - Ujjain.

He is currently lecturer in Vocal Music at the Benaras Hindu University - Varanasi, from where he holds a first class Master's degree in vocal music and a Ph.D. in musicology. He also holds a first class Master's degree in philosophy from the University of Bombay. Presently working on a book on dhrupad in collaboration with Dr. Richard Widdess, lecturer in Indian Music at School of Oriental and African Music, London.

Dedication
Acknowledgement
Foreword
Preface

Chapter One

THE MATTER AND THE METHOD

Introdcution

1. The Matter

   1.1	Music as a Word
   1.2	Music as a Concept
   1.3	Music as a Situation

2. The Problem of Practical Diversity
   

   2.1	Ethnic and All Human
   2.2	Indian and Western
   2.3	Hindustani and Carnatic
   2.4	Classical and Modern
   2.5	Marga and Desi
   2.6	Textual Traditional and Oral Traditional
   2.7	Music and Antimusic
   2.8	Mystical and Meretricious
   2.9	Sophisticated and Folk
   2.10	Dhrupad and Khyal

3. The Problem of Theoretical Diversity

   3.1	Nihilism and Reductionism
   3.2	Prescriptivism and Descriptivism
   3.3	Relativism and Absolutism
   3.4	Objectivism and Subjectivism
   3.5	Intuitionism and Rationalism
   3.6	Empiricism and A Priorism
   3.7	Cognitivism and Nocognitivism
   3.8	Naturalism and Nonnaturalism
   3.9	Existentialism and Essentialism
   3.10	Deontologism and Teleologism
   3.11	Formalism and Contentism
   3.12	Realism and Romanticism
   3.13	Psychologism and Sociologism
   3.14	Moralsim and Mysticism

4. The Problem of Method

   4.1	Ethnomusicological Method 4.1.1 From Within 4.1.2 From Semi-within
   4.2	Philosophical Method : from Without
   4.3	Scientific Method : from Without
   4.4	Historical Method : from Detached-within

5. The Method Chosen
   

   5.1	The Axiological Set of Explanatory Concept
   5.2	Alternative Sets of Explanatory Concepts 5.2.1 The Cosmological Set 5.2.2 The Logical Set 5.2.3 The Aesthetic Set 5.2.4 The Linguistic Set
   5.3	The Logico-Phenomenological Mapping 5.3.1 Theory of Meaning and Truth 5.3.2 Sources of Knowledge (pramana) 5.3.3 Systems of Knowledge (pramiti) 5.3.4 Views of Reality (prameya) 5.3.5 The Self (pramata) 5.3.6 The Questions to be Answered
   5.4	The Problem of Definition
   5.5	Summing Up

Chapter Two

A METAMUSICOLOGICAL QUESTION

1. The Question of Definability

2. The Con-Argument
   

   2.1	The Nihilistic Con-argument
   2.2	The Reductionist Con-argument 2.2.1 Prelogical Natural Reductionism 2.2.2 Commonsensical Reductionism 2.2.3 Scientific Reductionism 2.2.4 Formal Logical Reductionism
   2.3	The Critical Con-argument 2.3.1 Formalistic Account of Music 2.3.2 Naturalistic Account of Music 2.3.2.1 (Realistic) 2.3.2.2 (Romantic) 2.3.3 Humanistic Account of Music 2.3.3.1 (Psychological) 2.3.3.2 (Sociological) 2.3.4 Idealistic Account of Music 2.3.4.1 (Moral) 2.3.4.2 (Mystical)

3. The Pro-argument
   

   3.1	Countering the Con-argument
   3.2	An Adequate Notion of Definition

Chapter Three

MUSICAL' AS A VALUE-PREDICATE
1. Elements of Music
   

   1.1	Objective Determinant of Music
   1.2	Objective Component of Music
   1.3	Objective Constituent of Music
   1.4	Subjective Determinant of Music
   1.5	Subjective Component of Music
   1.6	Subjective Constituent of Music
   1.7	Music as Subject-Object Relation

2. The Medium of Music : NADA
   
   The Cosmological Matrix

   2.1	Sound
   2.2	Time
   2.3	Speech

3. The Form of Music : RAGA
   

   3.1	Tone
   3.2	Best
   3.3	Verse

4. The Content of Music : RASA
   
   The Teleological Matrix
   

   4.1	Resonance
   4.2	Rhythm
   4.3	Meaning

5. The Maker of Music : ATMAN
   
   The Egological Matrix

   5.1	Performers
   5.2	Listeners
   5.3	Critics

6. The Making of Music : AVADHANA
   
   The Praxiological Matrix
   

   6.1	Creative Prehension
   6.2	Felt Prehension
   6.3	Critical Prehension

7. The Ground of Making Music : UPALABDHI
   
   The Ontological Matrix
   

   7.1	Practical Realization of Music
   7.2	Felt Realization of Music
   7.3	Theoretical Realization of Music

8. The Music : ANANDA
   
   The Axiological Matrix
   

   8.1	Creative Delight
   8.2	Aesthetic Delight
   8.3	Intellectual Delight

Chapter Four

'MUSIC' DEFINED
1. Some Simplistic Definitions

   1.1	Music = df Song
   1.2	Music = of Vocal cum instrumental music cum dance
   1.3	Gandharva = df svaratalapadatmaka
   1.4	Music = df tonal motion
   1.5	Music = df tonal analogue of feeling
   1.6	A Lexical Definition of 'Music'

2. A Logical Definition of Music

3. The Axiological Definition of Music
   

   3.1	'Art' Defined
   3.2	'Music' Defined

Chapter Five

MUSICO-AESTHETIC PREDICATES
1. Cognates of 'Beauty' in Music

2. Enumeration in the Indian Texts

   2.1	The Set of O-properties 2.1.1 The aesthetic subset 2.1.2 The in aesthetic subset
   2.2	The Set of S1 - properties 2.2.1 The aesthetic subset 2.2.2 The in aesthetic subset
   2.3	The Subset of Players
   2.4	The Set of Properties for Voice 2.4.1 The aesthetic subset 2.4.2 The in aesthetic subset 2.4.3 The set of properties for the gifted voice
   2.5	The Set of Properties for Playing
   2.6	Congenial and Uncongenial Reality
   2.7	Good Listeners and Bad Listeners 2.7.1 The aesthetic set for S2
   2.8	Good Critics and Judges 2.8.1 The Qualifications for S3 the judge 2.8.2 The Qualifications for S3 the patron
   2.9	Summing up

3. A Few Theories of Beauty Summed up

   3.1	Saundaryam Alankarah : Vamana
   3.2	The Predicates in Contemporary Aesthetics : Wittgenstein
   3.3	Five Different Meanings of 'Beauty' : Sparshott
   3.4	A General Theory of Beauty : Guy Sircello
   3.5	'The Perspicuous and the Poignant': J.N. Findlay
   3.6	The Rasa Theory of Beauty : NS
   3.7	Beauty as Objective Feeling : Virgil C Aldrich

4. Classifying the Musico-Aesthetic Predicates

   4.1	A Principle of Division for Grading

Chapter Six

MUSIC OF THE SEVEN SPHERES
1. Co-ordinating Spheres of Music with Modes of Experience
   

   1.1	Theory and Practice
   1.2	Development of Music

2. Prelogical Natural Music
   

   2.1	'Prelogical Natural' Defined
   2.2	Music of Bhurloka the First Heaven
   2.3	Antimusic of atala the First Hell

3. Commonsense Music
   

   3.1	'Commonsense' Defined
   3.2	Music of bhuvarloka the Second Heaven
   3.3	Antimusic of vitala the Second Hell

4. Scientific Music
   

   4.1	'Scientific' Defined
   4.2	Music of svarloka the Third Heaven
   4.3	Antimusic of sutala the Third Hell

5. Formal Logical Music
   

   5.1	'Formal logical' Defined
   5.2	Music of maharloka the Fourth Heaven
   5.3	Antimusic of mahatala the Fourth Hell

6. Philosophical Music
   

   6.1	'Philosophical' Defined
   6.2	Music of janaloka the Fifth Heaven
   6.3	Antimusic of talatala the Fifth Hell

7. Religious Music
   

   7.1	'Religious' Defined
   7.2	Music of tapoloka the Sixth Heaven
   7.3	Antimusic of rasatala the Sixth Hell

8. Mystical Music
   

   8.1	'Mystical' Defined
   8.2	Music of satyaloka the Seventh Heaven
   8.3	Antimusic of patala the Seventh Hell

Appendix I : Indian Music : Hindu, Hindustani, Carnatic

Appendix II : Definition

Appendix III : NADABRAHMA

Index