EUR €223.20EUR €186.00 excl. VAT
The Traditional Indian Theory and Practice of Music and Dance
Series: - Panels of the VIIth World Sanskrit Conference, Volume: 11
Editor:
From the Introduction by Jonathan Katz:
The articles in this volume are revised versions of papers presented at a session organized by Dr Sanjukta Gupta and the author for the 1987 World Sanskrit Conference in Leiden. The general interest in this session was the role of the Sanskrit tradition in the performing arts in India. Narrowing this down, the organizers invited participants to consider the relations between theory and practice in music and dance, with particular reference to the Sanskrit textual tradition of musicology. The responses to this invitation varied in approach. Broadly speaking, the discussions were concerned with two areas of investigation. Some examined the ways in which the theoretical treatises could throw light on the history of the arts themselves; others explored the theoretical models and explanations as systems for understanding and codifying ideas and practices. This book raises through detailed discussions in this field, more general issues found in the character of śāstric technical discourse.
The articles in this volume are revised versions of papers presented at a session organized by Dr Sanjukta Gupta and the author for the 1987 World Sanskrit Conference in Leiden. The general interest in this session was the role of the Sanskrit tradition in the performing arts in India. Narrowing this down, the organizers invited participants to consider the relations between theory and practice in music and dance, with particular reference to the Sanskrit textual tradition of musicology. The responses to this invitation varied in approach. Broadly speaking, the discussions were concerned with two areas of investigation. Some examined the ways in which the theoretical treatises could throw light on the history of the arts themselves; others explored the theoretical models and explanations as systems for understanding and codifying ideas and practices. This book raises through detailed discussions in this field, more general issues found in the character of śāstric technical discourse.
'...an important contribution to studies in Indian musicology...'
Allyn Miner, Book Reviews - South Asia, 1994.
Allyn Miner, Book Reviews - South Asia, 1994.
Jonathan Katz, 'Introduction: Śāstra, prayoga and sanngīta.'
Harold Powers, 'Reinterpretations of tradition in Hindustani music: Omkarnath Thakur contra Vishnu Narayan Bhatkhande.'
Richard Widdess, 'Reflections on a medieval melody: theory, practice and notation in early Indian musicological texts.'
N. Ramanathan, 'Influence of śāstra on prayoga: the svara system in the post-Sangītaratnākara period with special reference to South Indian music.'
Lewis Rowell, 'The prabandhas in Matanga's Bṛhaddeśī.'
P.L. Sharma, 'Śāstra and prayoga: śāstric tradition and contemporary tāla practice, with special reference to Hindustani music.'
Mukund Lath, 'Taṇḍu: the first theoretician of dance.'
S.S. Janaki, The hand-gesture patāka in nāṭya.'
Mandrakranta Bose, 'Categories of dance: bandha and anibandha.'
Harold Powers, 'Reinterpretations of tradition in Hindustani music: Omkarnath Thakur contra Vishnu Narayan Bhatkhande.'
Richard Widdess, 'Reflections on a medieval melody: theory, practice and notation in early Indian musicological texts.'
N. Ramanathan, 'Influence of śāstra on prayoga: the svara system in the post-Sangītaratnākara period with special reference to South Indian music.'
Lewis Rowell, 'The prabandhas in Matanga's Bṛhaddeśī.'
P.L. Sharma, 'Śāstra and prayoga: śāstric tradition and contemporary tāla practice, with special reference to Hindustani music.'
Mukund Lath, 'Taṇḍu: the first theoretician of dance.'
S.S. Janaki, The hand-gesture patāka in nāṭya.'
Mandrakranta Bose, 'Categories of dance: bandha and anibandha.'
specialists and students of Sanskritology, Indology, Oriental Studies and Asia.