BOOKS ON NORTH INDIAN MUSIC

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Improvisation in Hindustani Classical Music: Key to the Phenomenon of Development and Beautification of the Raaga
Improvisation in Hindustani Classical Music: Key to the Phenomenon of Development and Beautification of the Raaga
By Basavi Mukerji
RM149
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Theory of Indian Music: Sangita Sastra Sangraha- Part II (With Notation, Only 1 copy in stock)
Theory of Indian Music: Sangita Sastra Sangraha- Part II (With Notation, Only 1 copy in stock)
By Dr. M.B. Vedavalli
RM169
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Therapeutic Magic of Kathak: Based on the Research Study 'Scope of Kathak Dance As a Healing Therapy (with Special Focus on Acupressure)’
Therapeutic Magic of Kathak: Based on the Research Study 'Scope of Kathak Dance As a Healing Therapy (with Special Focus on Acupressure)’
By Ruchi Khare
RM132
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Performing Self, Performing Gender (Reading the Lives of Women Performers in Colonial India)
Performing Self, Performing Gender (Reading the Lives of Women Performers in Colonial India)
By Sheetala Bhat
RM88.40
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Indian Music
Indian Music
By Swami Rama
RM116
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Music and Modernity - North Indian Classical Music in an Age of Mechanical Reproduction
Music and Modernity - North Indian Classical Music in an Age of Mechanical Reproduction
By Amlan Das Gupta
RM136
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An Introduction to Indian Art- Textbook in Fine Arts for Class XI and XII (Set of 2 Volumes)
An Introduction to Indian Art- Textbook in Fine Arts for Class XI and XII (Set of 2 Volumes)
Publisher National Council of Educational Research and Training
RM132
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The Innovative & Prevalent Ragas and Talas- In North Indian Classical Music (With Notations)
The Innovative & Prevalent Ragas and Talas- In North Indian Classical Music (With Notations)
By Prem Kishor Mishra
RM153
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Nrttaratnavali of Jaya Senapati- Critically Edited With English Introduction and Notes by Kavi Kokila, Sakala Kala Kalapa, Vidvat Kavindra, Vidya Vacaspati, Padmabhushan
Nrttaratnavali of Jaya Senapati- Critically Edited With English Introduction and Notes by Kavi Kokila, Sakala Kala Kalapa, Vidvat Kavindra, Vidya Vacaspati, Padmabhushan
By V. Raghavan
RM169
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भारतीय नाट्य परम्परा और अभिनयदर्पण Indian Natya Tradition and the Abhinaya Darpan
भारतीय नाट्य परम्परा और अभिनयदर्पण Indian Natya Tradition and the Abhinaya Darpan
By Vachaspati Gairola
RM256
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India's Kathak Dance Past, Present, Future
India's Kathak Dance Past, Present, Future
By Reginald Massey
RM149
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National Eligibility Tests for Indian Music
National Eligibility Tests for Indian Music
By Dr. S. Bhagyalekshmy.M.A.Ph.D
RM95.20
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Ancient Indian Music
Ancient Indian Music
By Nagendra Jha
RM237.60
RM297 20% off
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Rajesh Khanna (The Untold Story of India's First Supterstar)
Rajesh Khanna (The Untold Story of India's First Supterstar)
By Yaseer Usaman
RM91
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वाग्गेयकार- Vaggayakar (The Legendary Vaggeyakar of Hindustani Classical Music of Khayal Gharana)
वाग्गेयकार- Vaggayakar (The Legendary Vaggeyakar of Hindustani Classical Music of Khayal Gharana)
By Kumud Diwan
RM297
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Cultural Tourism and Performing Arts of Andhra Pradesh- Prospects and Perspectives
Cultural Tourism and Performing Arts of Andhra Pradesh- Prospects and Perspectives
By Vanaja Uday
RM186
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Rag-Dhun Dictionary- A Lexicon of Melodic Scales of Indian Music (Set of Two Volumes)
Rag-Dhun Dictionary- A Lexicon of Melodic Scales of Indian Music (Set of Two Volumes)
By R. K. Das
RM260.80
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Swaranjanee: Compositions in Night Raags of North Indian Classical Music (with Notation, Song-Text Meaning & Audio C.D.)
Swaranjanee: Compositions in Night Raags of North Indian Classical Music (with Notation, Song-Text Meaning & Audio C.D.)
By Prabha Atre
RM456
RM570 20% off
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Indian Music: In Professional and Academic Institutions
Indian Music: In Professional and Academic Institutions
By Manjusree Chaudhuri
RM227
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Traditional Martial Practices in Odisha
Traditional Martial Practices in Odisha
By Ileana Citaristi
RM211
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Indian Music and Swati Tirunal
Indian Music and Swati Tirunal
By Vasanthy Rao
RM91
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Traditional Indian Theatre: Multiple Streams
Traditional Indian Theatre: Multiple Streams
By Kapila Vatsyayan
RM140
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भारतीय नाट्य सिध्दान्त - उद्भव और विकास (संस्कृत एवं हिंदी नाटकों के विशेष सन्दर्भ में): Principles of Indian Theatre - Origin and Development (A Rare Book)
भारतीय नाट्य सिध्दान्त - उद्भव और विकास (संस्कृत एवं हिंदी नाटकों के विशेष सन्दर्भ में): Principles of Indian Theatre - Origin and Development (A Rare Book)
By डॉ. रामजी पाण्डेय (Dr. Ramji Pandey)
RM235
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Glimpses of Indian Music and Dance for NET, SLET & JRF (Objective Type Questions)
Glimpses of Indian Music and Dance for NET, SLET & JRF (Objective Type Questions)
By Dr. Arun Bangre
RM136
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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
    A16/1 WAZIRPUR INDUSTRIAL AREA
    Delhi 110052
    Delhi
    India
    Tel:+91-8031404444
In the USA
  • Tel: +1 347 468 7193
Our Stores
  • Flagship Store
    71/2 Kirti Nagar Main Road
    WHS Block 2
    Delhi 110015, India
    Tel: +91 95991 00764
  • Home Decor
    Khasra No. 432
    Mehrauli-Gurgaon Rd
    opp. Metro Pillar 97
    Gadaipur, DLF Farms
    New Delhi 110030, India
    Tel: +91 92178 44842
  • Jewelry & Apparel
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    Shahpur Jat, Siri Fort
    New Delhi 110049, India
    Tel: +91 92178 43827
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