BOOKS ON INDIAN MUSICAL INSTRUMENTS

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Learn to Play on Tabla - II (Advance Course)
Learn to Play on Tabla - II (Advance Course)
By Ram Avtar 'Vir'
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Folk Musical Instruments of HImachal Pradesh
Folk Musical Instruments of HImachal Pradesh
By Surat Thakur
CA$27
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Sitar Technique in Nibaddh Forms (With Notations)
Sitar Technique in Nibaddh Forms (With Notations)
By Stephen Slawek
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Vaishnava Harmonium (Based on the North Indian System of Music): Book 1 and 2 with Two CDs
Vaishnava Harmonium (Based on the North Indian System of Music): Book 1 and 2 with Two CDs
By Ramanujacharya Das
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Vintage Tabla Repertory (Drum Compositions of North Indian Classical Music)<br>Accompanied with Two Compact Discs
Vintage Tabla Repertory (Drum Compositions of North Indian Classical Music)
Accompanied with Two Compact Discs
By Gert - Matthias Wegner
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Triveni- A Confluence of Music Maestros & Their Musical Thoughts
Triveni- A Confluence of Music Maestros & Their Musical Thoughts
By Shivani Saxena
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Handbook of Sitar (History, Anatomy, Learning and Maintenance)
Handbook of Sitar (History, Anatomy, Learning and Maintenance)
By Pankaj Vishal
CA$29
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Handbook of Harmonium (History, Anatomy, Learning, Maintenance)
Handbook of Harmonium (History, Anatomy, Learning, Maintenance)
By Pankaj+Vishal
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Prominent Musical Instruments- Technique and Tradition
Prominent Musical Instruments- Technique and Tradition
By Madhubala Saxena
CA$46
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THE SITAR (The Instrument and its Technique)
THE SITAR (The Instrument and its Technique)
By Manfred M. Junius
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The Torchbearers (Keep the Flame of Indian Classical Music Alive)
The Torchbearers (Keep the Flame of Indian Classical Music Alive)
By Harsh Meswani
CA$93
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Sitar and Its Compositions
Sitar and Its Compositions
By Prof. V.K. Aggarwal and Dr. Alka Nagpal
CA$83
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The Harmonium in North Indian Music
The Harmonium in North Indian Music
By Birgit Abels
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Art Education: Teachers’ Handbook For Classes VII-VIII
Art Education: Teachers’ Handbook For Classes VII-VIII
By Vineeta Rashid Khan
CA$30
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How to Play Tabla
How to Play Tabla
By Vikas Aggarwal
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Mudra Viniyoga Prakriya - A Practical Book for the Interpretation of Mudra (Set of 2 Volumes)
Mudra Viniyoga Prakriya - A Practical Book for the Interpretation of Mudra (Set of 2 Volumes)
By Gullapudi Raman Kumari
CA$207
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Learn How to Play Flute
Learn How to Play Flute
By Bharti Agarwal
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Musical Instruments of India (Their History and Development)
Musical Instruments of India (Their History and Development)
By B. Chaitanya Deva
CA$69
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Handbook of Sarod (History, Anatomy, Learning, Maintenance)
Handbook of Sarod (History, Anatomy, Learning, Maintenance)
By Pankaj+Vishal
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Tabla for Advanced Students
Tabla for Advanced Students
By Sadanand Naimpalli
CA$47
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Musical Instruments
Musical Instruments
By B.C. Deva
CA$29
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Facets of Tabla Playing (With Notation)
Facets of Tabla Playing (With Notation)
By Pandit Ashis Sengupta
CA$49
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Krishna Theatre In India
Krishna Theatre In India
By M.L. Varadapande
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Musical Instruments in Sculpture in Karnataka
Musical Instruments in Sculpture in Karnataka
By B. Chaitanya Deva
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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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  • Exotic India Art Pvt Ltd
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    Tel:+91-8031404444
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