000			03476nam a2200145Ia 4500
999			_c177926 _d177926
020			_a8184570678
040			_cCUS
082			_a780.954 _bSTR/F
100			_aStrangways,A.H. _911985
245		0	_aFeatures principles and technique of Indian music/ _cA.H.Strangways
260			_aNew Delhi: _bKanishka publishrs, _c2008.
300			_a364 p.
505			_a••• The understanding of music as affected by national characteristics, by an anti quated system, by the absence of harmony, by difference of content, Causes of the particular form taken by Indian music due to the conservatism of India, to its size, to its climate, A concert. The future of Indian music. I A Musical Diary ••• Conditions under which these songs were collected and caution with which they should be received, Chanties and labour songs. Occupation songs, Nagpur, Central Provinces, West coast, Travan- core, Maratha bards. Conclusions. n A Musical Diary — 50-72 Garhwalis, Gurkhas, Punjabis, Cuttack dance, Bhavnagar, Lullabies, Children's songs. Conclusions. Page ( viii) III Legend, History and the Present Day Absence of the historical Sense, Legend, History, The present day. Subbanna and Seshanna of Mysore, Ramachandra of Trivandrum, Sourendro Banerji ot Calcutta, Chandraprabhu of Bhavnagar, Rabindranath Tagore. IV The Scale The facts of folk-song and folk-instru ments, List of Sanskrit authorities. Technical terms. The gramas, Bharata, Date of his system, His twenty-two srutis. South India, Transilient scales, The huli in practical music, and m European music. V Mode Scale and mode, Indian conception of mode. The Greek parallel. Mode m actual practice, Appoggiatura, Absolute pitch, Grama and Rag, Ancient and modern mode. VI Raga The table of Rags, Appropriate times and seasons. Sources of Raga, Tessitura, ARag is not a tune, but is conforms to law. Conjunct motion. Harmony and harmonization, Instances of Rag, Re entrant Rdgs. The drone. Comparison with European melody, and with the ecclesiastical modes. Imitation. T e intervals chosen in melody have no basis in harmony. Vn Grace Grace is inherent in the note, not an appendage to it. Two main kinds of grace. Comparison with Scotch graces, and Hungarian, Grace in the Sanskrit theory. The Mohammedan Tappa, Grace may be traced to Sanskrit pronunciation. VIII Tala ... 191-224 Stress and quantity, Sanskrit metres. The transition from poetical to musical metre. Metre in music. The Carnatic system of Time, The Hindustani system, Comparison with the European system. IX Drumming ... 225-245 Indian and European drumming. Drums, Drum-words, drum-phrases, and drum- variants, Instances, Augmentation and diminution, and 'convergence* and 'cumulation*. The drum used orna mentally not structurally. X The Saman Chant ... 246-279 The Rgveda accent, The Samaveda, Its 'form*, its rhythm, its scale, its original nucleus. Consonance, The Gandhara grdt Of The Sdmotif scale as transilient. The musical hand, The early Greek scale. Instances of Sdman chant. Nota tion, Some technical terms, A vocal scale. XI Form - 280-319 Amsa and drone take the place of our dominant and tonic as the basis of form, The Kirihanam, Other forms. The Khyal, Subsidiary forms, Specimens of Rags, The cycle of Rags. Xll Melody ••• 320-342 Melody is homogeneous, Conjunct and disjunct motion. Climax, Tessitura, (x) Rhythm, cross-metre, Analysis of a European, and of an Indian melody. Their characteristics contrasted
942			_cWB16 _01