Hindustani music : a tradition in transition /

Bibliografia: s. 419.

PART I Culture, Technology and Economics: 1.1 Populism and Rival Forces: The Emergence of a Market ; Dimensions of Populism ; The Conservationist Reaction ; The Unlikely Ally. 1.2 If Peanuts is What You Pay: The Changing Context ; The Economics ; The Bottom-line. 1.3 Government, Business and Classical Music: The Traditional Patronage Model ; Benefactor Qualifications ; Reconfiguring Benefaction. 1.4 Pandits and Ustads Aplenty. 1.5 Archival Music and the Cultural Process: Obsolescence in Recorded Music ; The Archival Music Market ; Generations as "Markets" ; Continuity and Change ; The Challenge from the Graveyards ; The Yardstick of Musicianship ; The "Virtual Guru" ; The Big Picture. 1.6 A Requiem for the Gharanas: What is a Gharana? Favourable Conditions ; The Golden Age of Hindustani Music ; Chinks in the armor ; The Gharana "Brands" Today. PART II Form, Idiom and Format: 2.1 Architecture in Modern Hindustani Music: The Architectural Metaphor ; Function and Structure ; The Linearity of Progression ; The Cyclicity of Melodic Exploration ; The Econometric Model ; A Case Study ; The Duration Factor ; The Argument. 2.2 Instrumental Idioms Anga or Apanga: Source Material of the Hindustani Tradition ; Adoption and Adaptation ; Deviations and Innovations ; Aucitya in Innovation ; Aucitya - The Idea. 2.3 The Jugalbandi Racket ; Jugalabandi Patterns ; The Burden of Evidence ; Experimentation and Propriety ; 2.4 Tihayis and the Rape of Melody: The Logic of Tihayis ; Placement, Function, and Aesthetics ; The Aesthetic and the Grotesque. PART III The World of Ragas: 3.1 The Raga-ness of Ragas: The Melodic Grammar of Ragas ; The Aesthetic Grammar of Ragas. 3.2 Raga Chemistry and Beyond ; The Allotrope ; The Compound ; The Emulsion ; Chemistry Defines Options ; The Raga-Malika ; Beyond Chemistry ; Raga Chemistry and You. 3.3 Riga: Right and Wrong: Nomenclature ; Rare Ragas and their Compounds ; Creative License ; Raga Evolution ; Grammatical Propriety ; The Bottom-Line. 3.4 Kedara at Sunrise : The Theory ; A Rational Perspective. 3.5 The Experience of Melody: From Dhrupad to Santura: Melody in Dhrupad ; Melody in Khayala ; Melody on the Sitara ; Melody on the Saroda ; Melody on the Flute ; Melody on the Santura ; What the Trends Imply ; The Concept of a Genre ; The Concept of a Music-Scape ; Alarm and Reassurance. PART IV The Major Genres: 4.1 An Introduction to Dhrupad: An Aesthetic Perspective ; Stylistic Diversity ; Gharanas of Dhrupad ; Melodic Expressions in Dhrupad ; The Talas of Dhrupad ; Raga Presentation Structure ; Variants on the Raga Presentation Structure ; The Ensemble for Dhrupad Performance ; A Structural Analysis ; The Nature of Appeal ; Dhrupad Today ; 4.2 An Introduction to Khayala ; The Plastic Arts Metaphor Applied to Khayala Music ; History and Evolution ; The Gharanas of Khayala Music ; The Ensemble for Khayala Performance ; The Format of Khayala Presentation ; Melodic Expressions in the Khayala Genre ; The Poetic Element in Khayala Vocalism ; Articulation in Khayala Music ; The Structure of Compositions ; Khayala Presentation Protocol ; The Typology of Tanas ; The Aesthetics of Tanas ; Trends in Khayala Vocalism. 4.3 An Introduction to Thumari ; Sources of the Thumari Tradition ; Stylistic Evolution ; Landmark Personalities ; Poetry in Thumari ; Ragas in Thumari ; Tala in Thumari ; Dadara, The Genre ; Ensemble for Thumari Performances ; Bandisa Thumari: Structure and Rendition ; Bola-banao Thumari: Structure and Rendition ; Thumari in Instrumental Music ; The Thumari Today. 4.4 Introduction to the Tappa : Historical Outline ; Salient Stylistic Features ; The Tappa Today. PART V The Major Instruments 5.1 The Rudra Vina: Organology ; History ; Design ; Ergonomics ; Acoustics ; Stroke Craft ; Techniques of Melodic Execution ; Recent Bina Music ; The Disappearing Breed ; 5.2 The Sitara : The Masit Khani Gata ; The Raza Khani Gata ; Sitara Styles ; Techniques of Melodic Execution ; The Singing Sitara ; 5.3 The Surabahara: Surabahara and the Imdad Khan Lineage. 5.4 The Saroda: History ; Organology ; Design and Tuning ; Acoustics ; Ergonomics ; The Saroda Idiom ; Techniques of Melodic Execution ; New Path to Sculpting of Melody. 5.5 The Santura: Organology ; Construction and Tuning ; Evolutionary Perspectives ; Shivkumar Sharma's Music ; The Santura after Shivkumar Sharma. 5.6 The Sehnayi: Organology ; Design ; Idiom and Repertoire ; Genres in Sehnayi Music ; The Ensemble for Sehnayi Performances ; The Disappearing Sehnayi. 5.7 The Sarangi: Construction, Design, and Tuning ; Playing Technique ; The Role of the Sarangi in Music ; The Harmonium Challenge and the Response ; The Sarangi - As the Second Fiddle and the First. 5.8 The Indian Classical Guitar: Evolutionary Perspectives ; The Vicitra Vina Legacy ; Kabra's Guitar ; After Kabra.