Item Code: IDE781
by Prof. (Miss) Premlata Sharma, Edited By: Dr. Km. Urmila SharmaHardcover (Edition: 2000)
Size: 8.9" X 5.8"
Pages: 480 (B & W Illus: 10)
Price: $30.00 Shipping Free
This compilation of the research articles, monographs and treatises of some very important texts on Indian Aesthetics and Musicology may serve the purpose as a text book on the subject, essentially required for students and all other concerned.
These articles are of great value and significance. Besides breaking new grounds in Musicological research they serve as sources for the topics that have been prescribed for courses in Musicology and Music theory.
These articles relate chiefly to four areas - Aesthetics, texts in Sangeeta-Shastra, concepts in Ancient Indian Music, Hindustani Music and a comparison of the Northern and Southern systems of Indian Music.
The responsibilities and duties of the teachers of Music are also discussed in a subtle manner.
The supplement of the book includes a few glimpses of different phases of the life and some memoirs relating to Professor Premlata Sharma which give an idea of what could be the profile of a student and teacher-cum devoted human being and a personification of Love and Wisdom.
As expressed by Professor Edward Henry: " citing her important contributions would itself be a useful contribution" because her life in a way symbolized the growth of Musicology or a School of Music, Musicology, Aesthetics, Poetics, Philosophy of life etc. many in one.
About the Author:
Perfect disciple of Prof. P.L. Vaidya, Pt. Omkarnath Thakur, Pt. Mahadev Shastri, M.M.Pt. Gopinath Kaviraj, Prof. V.S. Agrawal and Pt. Hajari Prasad Dwivedi, Pt. Brahmadatta Jijnasu, Pt.T.V. Ramachandra Dixitar.
Born in Punjab, graduated from Delhi, post-graduated in Hindi, Sanskrit, Shastracharya (Sanskrit Sahitya) obtained Doctorate in Sanskrit - all from Banaras Hindu University. Received advanced training in Vocal Music, specialized in Dhrupad and in composing music for various purposes reconstructed ancient musical forms in the context of Sanskrit Drama, specialized in textual criticism and editing, translating Sanskrit, Bengali to Hindi, English. Renowned scholar of Musicology, Sanskrit, Aesthetics, Hindi, Philosophy. Well versed in eight languages - Indian and foreign. Professor and Head of the Deptt. of Musicology at Banaras Hindu University, Emeritus Prof. B.H.U., Vice Chancellor of Indira Kala Sangeet Vishvavidyalaya, Khairagarh (1985-88), Chairman of U.P. Sangita Natak Akademi (1983-86). Fellow and Vice Chairman of Sangita Natak Akademi, New Delhi (1992,94-98), Member of U.G.C. Panel on History of Art and Fine Arts (1986-98), Managing Society, National School of Drama, New Delhi, (1978-82), Advisory Committee for Sanskrit, Sahitya Akademi, New Delhi (1979-84) etc., Fullbright Fellow, convened and organized many national and international Seminars.
Author of several noted publications, mainly critical editions of Rasavilasa (1952), Sangitaraja (1963), Chitrakavyakoutukam (with translation in Hindi and preface in Sanskrit (1965), Sahasarasa (1972), Ekalingamahatmya (1976), Brihaddeshi (with English translation and notes, Vol. I , Vol II ) Bhaktirasamritasindhu (with translation and notes in Hindi) Vol. I (1998).
Translated many notable works in Hindi from Sanskrit and Bengali as Japasutram Vol.I (1966), Vol. II (1992). Edited - Research Journals - Nada-Rupa (1960-61) Dhrupad Annual (1986-95).
Prof. Sharma was widely acclaimed to have done pioneering work in initiating and establishing the serious study in the textual tradition of Indian Music and Aesthetics (specially in Sanskrit).
|1.||European Aesthetics of Music and traditional Indian Sangita Sastra||3-83|
|2.||Unique and unrivalled characteristics of the Art and Science of Indian Music||84-92|
|3.||Levels of Aesthetics Experience in Music||93-97|
|4.||Rasa Theory and Indian Music||98-108|
|5.||The ancient Grama system and its distortion in the Medieval times||111-125|
|6.||The concept of Sthaya in Indian Sangita Sastra (Part I)|
(Part II) A Glossary of Sthayas
|7.||Prabandhas or Compositional patterns of Hindustani Music||161-163|
|9.||History and origin of Thumari with special reference to Gharanas and styles||171-185|
|11.||Gamaka: A study (on the textual and performance traditions in Vocal Music-Hindustani and Karnatak)||190-193|
|12.||Traditional view of Drama|
(Music and dance as an integral part thereof)
|13-14||Sastra and Prayoga:|
Contemporary Tala practice vis-a-vis Sastric Tradition;
with specific reference to Hindustani Music
|15.||Brhaddesi of Matanga||227-247|
|17.||Rasakaumudi of Srikantha||306-321|
|18.||Manasollasa or Abhilasitartha-Cintamani||322-329|
|19.||Nanyadeva's Bharata Bhasya||330-340|
|21.||Sahasarasa of Nayaka Bakhshoo||349-359|
|23.||North-South distinction: A Survey||363-368|
|24.||Bridging the Gulf||369-373|
|25.||Indian Teachers in Rachester||374-376|
|26.||The Music Teacher||377-379|
|27.||Musical Instruments (Indian approach)||380-381|
|28.||Musical Creativity: Its affinity with other Arts and its uniqueness||382-389|
|A.||A few glimpses of Prof. Premlata Sharma||391-400|
|(i) Scholar, Teacher, Colleague, Friend|
|(ii) Our Behanji|
|(iii) A Great scholar and activist|
|(iv) The Other Persona|
|(v) Without Beginning or End|
|(vii) Like a Mother|