BOOKS ON INDIAN MUSICAL INSTRUMENTS

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Utkaliya Pala
Utkaliya Pala
By JAGANNATH KUANR
RM112
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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
RM139
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Ganamrutha Bodhini (Sangeetha Bala Padam)
Ganamrutha Bodhini (Sangeetha Bala Padam)
By A. S. Panchapakesa Iyer
RM89
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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
RM157
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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
RM58
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Tabla Of Farrukhabad Gharana
Tabla Of Farrukhabad Gharana
By Anup Ghosh
RM116
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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
RM182.40
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Handbook of Bansuri (Flute): History, Anatomy, Learning, Maintenance
Handbook of Bansuri (Flute): History, Anatomy, Learning, Maintenance
By Pankaj+Vishal
RM89
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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
RM112
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Tamizh Padams
Tamizh Padams
By Nandini Ramani
RM107
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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
RM84.70
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Nikhil Banerjee (Down The Heart of Sitar)
Nikhil Banerjee (Down The Heart of Sitar)
By Swapan Bandyopadhyay
RM143
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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
RM150.40
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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
RM179
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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
RM107
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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
RM89
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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
RM89
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How to Play Flute & Shehnai (With Notations)
How to Play Flute & Shehnai (With Notations)
By Mamta Chaturvedi
RM72
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How To Play Harmonium & Synthesizer (With Notations)
How To Play Harmonium & Synthesizer (With Notations)
By Mamta Chaturvedi
RM81
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Tabla (Rare Compositions of The Great Masters)
Tabla (Rare Compositions of The Great Masters)
By Pt. Vijay Shanker Mishra
RM143
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Learn to Play on Harmonium
Learn to Play on Harmonium
By Ram Avtar 'Vir'
RM98
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How To Play Sitar
How To Play Sitar
By Krishana Kumar Agrwal & Smt. Rama Babry
RM112
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Sitar Playing A Practical Guide
Sitar Playing A Practical Guide
By Clem Alford
RM81
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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
RM121
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Learn to Play on Tabla - II (Advance Course)
Learn to Play on Tabla - II (Advance Course)
By Ram Avtar 'Vir'
RM68
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Folk Musical Instruments of HImachal Pradesh
Folk Musical Instruments of HImachal Pradesh
By Surat Thakur
RM85
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Sitar Technique in Nibaddh Forms (With Notations)
Sitar Technique in Nibaddh Forms (With Notations)
By Stephen Slawek
RM125.30
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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
RM183
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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
RM523.80
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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
RM103.60
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Handbook of Sitar (History, Anatomy, Learning and Maintenance)
Handbook of Sitar (History, Anatomy, Learning and Maintenance)
By Pankaj Vishal
RM89
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Handbook of Harmonium (History, Anatomy, Learning, Maintenance)
Handbook of Harmonium (History, Anatomy, Learning, Maintenance)
By Pankaj+Vishal
RM89
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Prominent Musical Instruments- Technique and Tradition
Prominent Musical Instruments- Technique and Tradition
By Madhubala Saxena
RM143
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THE SITAR (The Instrument and its Technique)
THE SITAR (The Instrument and its Technique)
By Manfred M. Junius
RM103
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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
RM291.75
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Sitar and Its Compositions
Sitar and Its Compositions
By Prof. V.K. Aggarwal and Dr. Alka Nagpal
RM259
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The Harmonium in North Indian Music
The Harmonium in North Indian Music
By Birgit Abels
RM74.90
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Art Education: Teachers’ Handbook For Classes VII-VIII
Art Education: Teachers’ Handbook For Classes VII-VIII
By Vineeta Rashid Khan
RM94
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How to Play Tabla
How to Play Tabla
By Vikas Aggarwal
RM81
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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
RM649
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Learn How to Play Flute
Learn How to Play Flute
By Bharti Agarwal
RM89
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Musical Instruments of India (Their History and Development)
Musical Instruments of India (Their History and Development)
By B. Chaitanya Deva
RM215
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Handbook of Sarod (History, Anatomy, Learning, Maintenance)
Handbook of Sarod (History, Anatomy, Learning, Maintenance)
By Pankaj+Vishal
RM94
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Tabla for Advanced Students
Tabla for Advanced Students
By Sadanand Naimpalli
RM148
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Musical Instruments
Musical Instruments
By B.C. Deva
RM89
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Facets of Tabla Playing (With Notation)
Facets of Tabla Playing (With Notation)
By Pandit Ashis Sengupta
RM152
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Krishna Theatre In India
Krishna Theatre In India
By M.L. Varadapande
RM179
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Musical Instruments in Sculpture in Karnataka
Musical Instruments in Sculpture in Karnataka
By B. Chaitanya Deva
RM63
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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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