BOOKS ON INDIAN MUSICAL INSTRUMENTS

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Показано с 1 до 24 из 130 результатов
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Utkaliya Pala
Utkaliya Pala
By JAGANNATH KUANR
CHF20
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Song of the Clay Pot- My Journey with the Ghatam
Song of the Clay Pot- My Journey with the Ghatam
By Sumana Chandrashekar
CHF25
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Ganamrutha Bodhini (Sangeetha Bala Padam)
Ganamrutha Bodhini (Sangeetha Bala Padam)
By A. S. Panchapakesa Iyer
CHF16
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Tabla Of Farrukhabad Gharana
Tabla Of Farrukhabad Gharana
By Anup Ghosh
CHF21
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Veena: The Instrument Par-Excellence (With Notation)
Veena: The Instrument Par-Excellence (With Notation)
By Vainika Vidwan and C.K. Shankara Narayana Rao
CHF28
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Veena, Self -Taught - An Introduction to Carnatic Music (With Notation)
Veena, Self -Taught - An Introduction to Carnatic Music (With Notation)
By S.V. Leela
CHF10
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Sitar and Its Compositions (Set Of 2 Volumes) (An Old and Rare Book)
Sitar and Its Compositions (Set Of 2 Volumes) (An Old and Rare Book)
By V. K. Aggarwal and Alka Nagpal
CHF32.80
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LEARN TO PLAY ON VEENA (PANKAJ LEARN YOURSELF MUSIC SERIES)
LEARN TO PLAY ON VEENA (PANKAJ LEARN YOURSELF MUSIC SERIES)
By TARA BALAGOPAL
CHF20
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Handbook of Bansuri (Flute): History, Anatomy, Learning, Maintenance
Handbook of Bansuri (Flute): History, Anatomy, Learning, Maintenance
By Pankaj+Vishal
CHF16
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Tamizh Padams
Tamizh Padams
By Nandini Ramani
CHF19
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Music-Dance and Musical Instruments: During The Period of Nayakas (1673-1732)
Music-Dance and Musical Instruments: During The Period of Nayakas (1673-1732)
By Dr. K. Kusuma Bai
CHF15.40
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Nikhil Banerjee (Down The Heart of Sitar)
Nikhil Banerjee (Down The Heart of Sitar)
By Swapan Bandyopadhyay
CHF26
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Compositions of The Great Tabla Maestros (Splendid and Rare Collection of the Compositions of Tabla Legends of Various Gharanas)
Compositions of The Great Tabla Maestros (Splendid and Rare Collection of the Compositions of Tabla Legends of Various Gharanas)
By Dr. S. R. Chishti
CHF27.20
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The Sangitopanisat-Saroddharah (A Fourteenth-Century Text on Music from Western India)
The Sangitopanisat-Saroddharah (A Fourteenth-Century Text on Music from Western India)
By Allyn Miner
CHF32
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Learn How to Play Harmonium (Learn Harmonium in Fifteen Days)
Learn How to Play Harmonium (Learn Harmonium in Fifteen Days)
By Bharti Agrawal
CHF19
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Learn How to Play Sitar- With Notations (Sitar Vadan Course)
Learn How to Play Sitar- With Notations (Sitar Vadan Course)
By Bharti Agarwal
CHF16
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The Story of Indian Music and its Instruments (A Study of the Present and a Record of the Past)
The Story of Indian Music and its Instruments (A Study of the Present and a Record of the Past)
By Ethel Rosenthal
CHF16
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How to Play Flute & Shehnai (With Notations)
How to Play Flute & Shehnai (With Notations)
By Mamta Chaturvedi
CHF13
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How To Play Harmonium & Synthesizer (With Notations)
How To Play Harmonium & Synthesizer (With Notations)
By Mamta Chaturvedi
CHF14
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Tabla (Rare Compositions of The Great Masters)
Tabla (Rare Compositions of The Great Masters)
By Pt. Vijay Shanker Mishra
CHF26
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Learn to Play on Harmonium
Learn to Play on Harmonium
By Ram Avtar 'Vir'
CHF18
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How To Play Sitar
How To Play Sitar
By Krishana Kumar Agrwal & Smt. Rama Babry
CHF20
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Sitar Playing A Practical Guide
Sitar Playing A Practical Guide
By Clem Alford
CHF14
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Musical Instruments Donated By Raja Sir Sourindro Mohan Tagore (A Tribute To Raja Sourindro Mohun Tagore On The International Museum Day)
Musical Instruments Donated By Raja Sir Sourindro Mohan Tagore (A Tribute To Raja Sourindro Mohun Tagore On The International Museum Day)
By Anup Matilal & Mita Chakrabarty
CHF22
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Ghazal – A Musical Expression of Divine Love and Nostalgia
The most popular expression of poetry in Urdu and Persian, the ghazal, is known as much as a poetic form as it is as a genre of music. The ghazal has roots in seventh century Arabia and gained prominence in the 13th and 14th century due to works of Persian poets like Rumi and Hafiz. Indian poets started writing ghazal in Urdu and Persian in the eighteenth century. The name of the poem is based on the Arabic word, ghazal, which means ‘talking to a beautiful young lady.’ Ghazal originated in Arabia long before the birth of Islam. It is a derivative of the Arabic panegyric qaseeda, which consisted of three sections: the naseeb, the raheel and any standard form of poetry. The naseeb was the introductory portion of the qaseeda that dealt with themes of nostalgia, romance and longing.
The Rhythm of Music - A Magical and Mystical Harmony
"Mysticism is the inherent desire to seek oneness with the ultimate reality... the sense organs provide the only window to perceive this supreme state of being... This state is non-material, just like music is... the first musical instrument was the human body itself, and the first created music, the human voice... In mysticism, everything is vibration... all material forms made up of vibrations... The drum, through its rhythms, replicates these vibrations... the beating together of cymbals is said to signify the symbolic union of opposites... an activity which is necessary to maintain the harmony of the dynamic universe... the flute... gives forth a clear, pure and simple sound... both intensely melancholy and entrancingly sprightly... The sacredness and reverence for the flute can be gauged form the fact that it is often deified as an extension of Krishna\'s own beauty"
Delight of Senses: The Indian Way of Seeing It
(A Discourse on Indian Theory of Rasa in Relation to Visual Arts)
"Senses delight all and have delighted always, but Indian theorists were perhaps the earliest to perceive the delight of senses as the essence of being - a phenomenon of mind sublimating spiritually... man\'s \'bhava-jagat\'...(emotional world)...alone comprised the theme of poetry, drama, sculpture, or painting. The spectator - \'rasika\', as he is called, witnesses a dramatic performance for the enjoyment of \'Rasa\'... This \'Rasa\'... - the delight which the spectator experienced when witnessing an emotion enacted on the stage, or represented into a medium, is the core of Indian aesthetic thought... As Bharat had it, a subject\'s instinctive nature comprising all sentiments and emotions - inherent and inborn, as well as concurrent and passing, alone could be the theme of arts... Bharat averred that arts were arts only when they excited the senses and aroused emotions, and created \'Rasa\', in which the mind perpetually rejoiced. He prescribed ten conditions of good writing - \'gunas\' as he called them; ten faults - \'doshas\', a good writing should avoid; and, thirty-six characters of a literary writing. Bharat\'s perception was thus broad as well as minute and analytical..."
Krishna\'s Dance with the Female Cowherds - A Joyous, Spiritual Narrative
"After having returned the clothes of the unclad maidens bathing in the sacred waters of river Yamuna, Krishna congratulated them for their unflinching devotion towards him and promised that he would sport with them during the forthcoming autumn nights...The gopis\' escape from the shackles of worldly life was not however without event...Truly, Krishna is the ultimate attraction, much like a magnet draws iron files towards it...whatever emotion is directed towards god, it should be intense and continuous...the gopis puffed up with pride and each regarded herself as special...the gopis forgot their agony of separation (viraha), and on physical "contact with him (anga sanga) felt all their desires fulfilled..."
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