Amrita Priyamvada – författare

This book contains vital information on Indian Music, eminent musicians and musicologists in the field of music. The Chapters portray the different facets of the theory of music, the tradition of Music and its performance, the science of Music, the concept of voice end Rhythm, the dance in its many splendors. In total, these chapters cover a wide range of Music and performing arts. An attempt has been made herein to study the various and Schools in Indian Music. Each chapter deals with a complete study of the various school of Indian music and the important contributions on each, treatise. This book also covers the various aspects of Tala. The introduction gives a proper evaluation of various types of Tala and a note on different composers.

Revered Hindu religious scriptures of the Vedas speak of the use of musical instruments in worship. The fact that Indian musical instruments are mentioned in such ancient religious works is indicative of the fact that music had an important role in ancient India. The foundation of Indian music was rooted in three different forms of performance-art. These were Vocal music or singing, instrumental music and dance. Today, many ancient musical instruments are hard to locate and some rare musical instruments that were once an important part of Indian musical tradition are no longer used at all. The 'been', a traditional blowpipe as is usually depicted in pictures of snake-charmers and the 'bhopung', a one-stringed musical instrument are some examples of these. India is a country of diverse tribes, cultures and languages. As such, the Indian sub-continent plays host to many varied forms of art and culture, which differ from region to region in the country. This leads to a great diversity in the area of folk music and musical instruments. This book is recommended for all those who have genuine interest in Indian music and instruments.

India has a very rich tradition of folk music. The extreme cultural diversity creates endless varieties of folk styles. Each region has its own particular style. There is a tendency to lump folk music along with tribal music. There is actually a difference. Where folk music is a mere rustic reflection of the larger Indian society, tribal music often represents cultures that are very different. Some of these tribal cultures are throwbacks to cultural conditions as they were thousands of years ago. Tribal and folk music is not taught in the sameway that Indian classical music is taught. There is no formal period of apprenticeship where the student is able to devote their entire life to learning the music, the economics of rural life does not permit this sort of thing. The musical practitioners must still attend to their normal duties of hunting, agriculture or whatever their chosen profession is. The book dealing with not only on folk music but also on socio cultural history of the folk community and the region of India. The book contains theoretical analysis of folkmusic and ethno-musicology. The book presents the documentation of the contemporary folk lore of India comprising of music, musical instruments and songs of different states of India.

India has a very rich tradition of folk music. The extreme cultural diversity creates endless varieties of folk styles. Each region has its own particular style. There is a tendency to lump folk music along with tribal music. There is actually a difference. Where folk music is a mere rustic reflection of the larger Indian society, tribal music often represents cultures that are very different. Some of these tribal cultures are throwbacks to cultural conditions as they were thousands of years ago. Tribal and folk music is not taught in the sameway that Indian classical music is taught. There is no formal period of apprenticeship where the student is able to devote their entire life to learning the music, the economics of rural life does not permit this sort of thing. The musical practitioners must still attend to their normal duties of hunting, agriculture or whatever their chosen profession is. The book dealing with not only on folk music but also on socio cultural history of the folk community and the region of India. The book contains theoretical analysis of folkmusic and ethno-musicology. The book presents the documentation of the contemporary folk lore of India comprising of music, musical instruments and songs of different states of India.

Revered Hindu religious scriptures of the Vedas speak of the use of musical instruments in worship. The fact that lndian musical instruments are mentioned in such ancient religious works is indicative of the fact that music had an important role in ancient lndia. The foundation of lndian music was rooted in three different forms of performance-art. These were Vocal music or singing, instrumental music and dance. Today, many ancient musical instruments are hard to locate and some rare musical instruments that were once an important part of lndian musical tradition are no longer used at all. The 'been', a traditional blowpipe as is usually depicted in pictures of snake-charmers and the' bhopung', a one-stringed musical instrument are some examples of these, lndia is acountry of diverse tribes, cultures and languages. As such, the lndian sub-continent plays host to many varied forms of art and culture, which differ from region to region in the country. This leads to a great diversity in the area of folk music and musical instruments. This book is recommended for all those who have genuine interest in lndian music and instruments.