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Philosophy Of Music
Philosophy Of Music
Description
From the Back of the Book:

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. He calls it the exiological definition: it correlates the six elements of what he terms axiological set with the cases of the syntactics and semantics of the Sanskrit language and contrasting these with other classical value systems.

The author's presentation is grounded in the sastric traditions of India 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:

Ritwik Sanyal a Dhrupad singer of international repute is performing and lecturing widely in India and abroad. He has been teaching at the Banaras Hindu University for the last 23 years. He was the former Head of the Department of Vocal Music, Faculty of Performing Arts and is presently Reader in vocal Music. He has rigorously been trainedin Alap Dhrupad Dhamar Genre of Indian Classical Music by Ustad zia Mohiuddin Dagar and Ustad Fariduddin Dagar. He has assimilated the Dagarvani tradition of Dhrupad and evolved a distinctive style of his own in rendering Dhrupad. He has specialized in advanced techniques of Alap-Jod-Jhala, intricate Laykari vocal culture and pedagogic both traditional and institutional. His music evokes sublimity and tranquility exuding Santa-Rasa throughout his performance.

He has performed widely both in India and abroad as distinguished solo artist as well as Ustad Fariduddin Dagar partner. Some of the notable concerts abroad include Asian contemporary Music Festival Seoul Korea 2002, University of London and Asian Music Circuit London, 1998 and 1999, Raveena Festival Italy 1997 promenade concert Royal Albert Hall 1983 Durham Oriental Music Festival 1982 amongst many others. He has several recordings to his credit, which includes All India Radio, BBC London; Radio France, Austrian Radio and Doordarshan Delhi and Mumbai.

He has also published a number of papers in leading journals. His work on a Dhrupad-tradition and performance was released in 2004. He was recipient of the Sangeet Natak Academy in 2003.

CONTENTS
Dedication v
Acknowledgement vii
Foreword ix
Preface xi
CHAPTER ONE The Matter And The Method 1-33
CHAPTER TWO A Metamusicological Question 34-67
CHAPTER THREE Musical as a Value Predicate 68-118
CHAPTER FOUR Music Defined 119-139
CHAPTER FIVE Musico-Aesthetic Predicates 140-174
CHAPTER SIX Music of the Seven Spheres 175-207
Resume 205
Appendix I Indian Music: Hindu, Hindustani, Carnatic 208
Appendix II Definition 213
Appendix III Nadabrahma 217
Index 219

Philosophy Of Music

Item Code:
IDF849
Cover:
Hardcover
Edition:
1987
ISBN:
8170391784
Language:
English
Size:
9.5" X 7.1"
Pages:
228
Other Details:
Weight of the Book: 515 gms
Price:
$27.50   Shipping Free
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From the Back of the Book:

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. He calls it the exiological definition: it correlates the six elements of what he terms axiological set with the cases of the syntactics and semantics of the Sanskrit language and contrasting these with other classical value systems.

The author's presentation is grounded in the sastric traditions of India 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:

Ritwik Sanyal a Dhrupad singer of international repute is performing and lecturing widely in India and abroad. He has been teaching at the Banaras Hindu University for the last 23 years. He was the former Head of the Department of Vocal Music, Faculty of Performing Arts and is presently Reader in vocal Music. He has rigorously been trainedin Alap Dhrupad Dhamar Genre of Indian Classical Music by Ustad zia Mohiuddin Dagar and Ustad Fariduddin Dagar. He has assimilated the Dagarvani tradition of Dhrupad and evolved a distinctive style of his own in rendering Dhrupad. He has specialized in advanced techniques of Alap-Jod-Jhala, intricate Laykari vocal culture and pedagogic both traditional and institutional. His music evokes sublimity and tranquility exuding Santa-Rasa throughout his performance.

He has performed widely both in India and abroad as distinguished solo artist as well as Ustad Fariduddin Dagar partner. Some of the notable concerts abroad include Asian contemporary Music Festival Seoul Korea 2002, University of London and Asian Music Circuit London, 1998 and 1999, Raveena Festival Italy 1997 promenade concert Royal Albert Hall 1983 Durham Oriental Music Festival 1982 amongst many others. He has several recordings to his credit, which includes All India Radio, BBC London; Radio France, Austrian Radio and Doordarshan Delhi and Mumbai.

He has also published a number of papers in leading journals. His work on a Dhrupad-tradition and performance was released in 2004. He was recipient of the Sangeet Natak Academy in 2003.

CONTENTS
Dedication v
Acknowledgement vii
Foreword ix
Preface xi
CHAPTER ONE The Matter And The Method 1-33
CHAPTER TWO A Metamusicological Question 34-67
CHAPTER THREE Musical as a Value Predicate 68-118
CHAPTER FOUR Music Defined 119-139
CHAPTER FIVE Musico-Aesthetic Predicates 140-174
CHAPTER SIX Music of the Seven Spheres 175-207
Resume 205
Appendix I Indian Music: Hindu, Hindustani, Carnatic 208
Appendix II Definition 213
Appendix III Nadabrahma 217
Index 219

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