scholarly journals A Reflection on the Aesthetics of Indian Music, With Special Reference to Hindustani Raga-Sangita

SAGE Open ◽  
2016 ◽  
Vol 6 (4) ◽  
pp. 215824401667451 ◽  
Author(s):  
Santosh Kumar Pudaruth
Keyword(s):  
Special Reference ◽  
Aesthetic Experience ◽  
Classical Music ◽  
Ultimate Reality ◽  
Spiritual Exercise ◽  
Art Forms ◽  
Indian Aesthetics ◽  
Indian Classical Music ◽  
Indian Music ◽  
The Aesthetic

Like in any other heteronomous art-forms, the practitioners of Indian music and dance ( Bharatiya Sangita) aim at expressing emotions and creating the aesthetic or the “beautiful.” Indian thinkers and musicologists have gone a step further in declaring that Indian classical music ( Raga-Sangita) is the most appropriate means for attaining aesthetic experience and delight, and the most suitable pathway, if not, downright, short-cut, toward self-realization or realization of the Ultimate Reality or Truth. Thus, aesthetics and spirituality make up the very woof and warp of the Indian arts, in general, and Raga-Sangita, in particular. Raga-Sangita is, thus, considered a spiritual exercise ( nada sadhana) to attain salvation ( moksha) through sound. This conceptual article reflects upon and sheds light on the Theory of Rasa, as propounded in Indian Aesthetics, and attempts to make an assessment of it in relation to Hindustani Raga-Sangita. Through this theory, the author examines and explains the different causes leading to an aesthetic experience, referred to as “out-of-this-world” ( alaukika). In doing so, he also brings to light the possible pitfalls which both the performer and the listener should avoid.

scholarly journals Theology of Music and Hindu Religion: From Divine Origins to Classical Songs

Religions ◽  
2021 ◽  
Vol 12 (8) ◽  
pp. 663
Author(s):  
Guy L. Beck
Keyword(s):  
Classical Music ◽  
Ancient Greek ◽  
World Religions ◽  
Biblical Narratives ◽  
Hindu Religion ◽  
Indian Classical Music ◽  
Indian Music ◽  
The Rich

As a subfield in the study of religion and music, the theology of music is generally understood in Western terms. Yet to fully encompass the rich heritage of music in world religions, the theology of music must welcome non-Western traditions. After introducing ancient Greek and Biblical narratives regarding the origins of music, including metaphysical concepts, narratives of music as Divine Gift, musical angels, and the sacred origin of the notes and scales, this article explores music in Hindu religion through the lens of theology. We find that Indian music is also ‘given by the gods’ (i.e., Brahmā, Vishnu, and Śiva), associated with ‘musical angels,’ and originally formed from metaphysical principles (i.e., OM and the concept of Nāda-Brahman). What is demonstrated here, representing a long continuity, is how these same ideas are viable in the performance of Indian classical music today. Citing examples of compositions of Dhrupad and Khayal from the standard repertoire, this article reveals how modern-day classical songs contain references to sacred sound principles and the divine origins of music, both in their lyrics and in the unfoldment of musical notes (Svaras) and melodic patterns (Rāgas).

Experiencia estética y experiencia mística. Su relación en la Escuela de Cachemira

1970 ◽  
Vol 2 ◽  
Author(s):  
Chantal Maillard
Keyword(s):  
Aesthetic Experience ◽  
Indian Aesthetics ◽  
Mystic Experience ◽  
The Aesthetic

RESUMENLa estética y la mística con dos modalidades de la experiencia que parecen coincidir en el proceso de unificación que pretenden lograr. No obstante, sus caminos son divergentes: en la experiencia mística el acuerdo con lo otro se establece a partir de la disolución de las diferencias, mientras que la experiencia estética procede con las diferencias, procura integrarlas diseñando un orden. Desde los parámetros de la estética india, dos autores pertenecientes a la escuela de Cachemira dan cuenta, respectivamente, de la identidad entre los ámbitos estético y místico, y de la crítica que corresponde hacerle a dicha identificación.PALABRAS CLAVEESTETICA-MISTICA-INDIAABSTRACTAesthetics and Mysticis are two forms of experience wich seems to coincide in the unifiction that both pretend to accomplish. Notwithstanding, they follow different ways: in the mystic experience, the union arises from the dissolution of differences, whereas the aesthetic experience works with differences and tries to integrate them by designing an order. From the parametres of Indian Aesthetics, two authors of the Kashmir School propound, respectively, the identity between Aesthetics and Mysticism and the basis for a criticism of this identificationKEYWORDSAESTHETIC-MYSTICISM-INDIA

Teaching Indian Music in the West: Problems, Approaches and Possibilities

1986 ◽  
Vol 3 (3) ◽  
pp. 267-278 ◽  
Author(s):  
Gerry Farrell
Keyword(s):  
Music Education ◽  
Classical Music ◽  
Western Music ◽  
The West ◽  
Traditional Methods ◽  
Wide Range ◽  
Indian Classical Music ◽  
Indian Music

This article explores ways in which the elements of north Indian classical music may be taught in a western context. It examines traditional methods of teaching in India and points out the difficulties of transferring such methods into Western music education. The basic materials of Indian music are examined, with a view to using them to heighten awareness of music in general, but not necessarily to produce solo performers. The article suggests ways in which Indian music can be explored without compromising its inherent complexity, sense of form and aesthetic beauty; while, at the same time, making it more accessible to a wide range of people.

scholarly journals The Roaring Lion: Critical Musicology, the Aesthetic Experience, and the Music Department

2013 ◽  
Vol 19 (1) ◽  
pp. 19-33 ◽  
Author(s):  
David Gramit
Keyword(s):  
North American ◽  
Aesthetic Experience ◽  
Classical Music ◽  
Music Instruction ◽  
Music Department ◽  
Critical Scholarship ◽  
The Aesthetic ◽  
Western Classical Music

This paper argues that a number of recent responses within North American musicology to critical scholarship that has challenged disciplinary conventions have in common a deep loyalty to the aesthetic experience of music as a supreme value. The vigour with which this value is defended has close parallels in religion, and such defences have indeed sometimes resorted to explicitly religious terminology. The institutional situation of North American musicology in university music departments dominated by Western classical music instruction strengthens this ideology, which continues to resist socially oriented study of music.

scholarly journals A STUDY OF MUTHUSWAMI DIKSHITAR’S EXPERTISE ON VARIOUS ELEMENTS OF MUSICOLOGY REFLECTED THROUGH HIS COMPOSITIONS

2021 ◽  
Vol 2 (2) ◽  
pp. 83-92
Author(s):  
Utpala Karanth ◽  
Dr. R Rangan
Keyword(s):  
Music Theory ◽  
Classical Music ◽  
The South ◽  
Sufficient Knowledge ◽  
South Indian ◽  
Indian Classical Music ◽  
Indian Music ◽  
Ancient Texts

Musicology is the study of scientific and intellectually handling of music. This is a colossal subject of music and inquest into the History and phenomenon of music including; life and works of Composers and performers, music theory like melody, rhythm, harmony, modes, aesthetics, form etc. The Historical evidences of Indian Classical music have been discussed in several ancient texts like Veda’s, Upanishads, epics way back 2000 years ago. The Rigveda, Yajurveda, Samaveda and Atharvaveda contains ritual hymns and incantations (vedic chants) , praising the specific dieties during the Sacrificial rituals. The South Indian music has a phlegmatic and pedagogic nature when compared with the music of other unconsecrated Hindustani traditions. This paper highlights the proficiency of Dikshitar’s knowledge of Musicology bequeathed from his father Ramaswami Dikshitar, a scholar, musician, learned musicologist, and recipient of many honours and emoluments in the knowledge of music gained sufficient knowledge in musicology who had settled down at Tiruvarur where Dikshitar was born. Tiruvarur then was a seat of learning of Sanskrit and Vedanta. Dikshitar’s compositions reflect his deep and thorough knowledge widely through the interpretation of their literature as seen in famous compositions like ‘Vatapi Ganapatim Bhaje’, ‘Amrutavarshini’ and others will be discussed with the various rasas created through the ragas as enunciated in the Natyashastra of Bharat Muni.

A Subtle Novelty: Repetition, transmission and the valorisation of innovation within North Indian Classical Music

2006 ◽  
Vol 1 (3) ◽  
Author(s):  
John James Napier
Keyword(s):  
Classical Music ◽  
Indian Classical Music ◽  
Indian Music ◽  
Instrumental Accompaniment ◽  
The Individual

This paper investigates the interrelation between two aspects of North Indian classical music that at first might appear to occupy opposite poles of creativity and constraint. The first is the soloist’s actual construction of melody itself, and the interpretation of this as improvised. The second is sangat, the imitative instrumental accompaniment afforded such melodies when performed by vocalists. I argue that the conventional description of North Indian music as ‘improvised’ downplays the importance of the re-presentation of fixed materials, thus underemphasising the projection of tradition and transmission. In turn, I suggest that sangat has a homologous relationship to pedagogy, the process of transmitting traditional materials. Both melodic construction and imitative accompaniment derive aspects of their overall form and quality from, and may be understood in reference to, an ideational cluster that attempts to reconcile a socially validated and hierarchically underscored conservatism with an acceptance of individual innovation. Both practices may be seen as performed subjectivities standing at temporal interstices between tradition and contemporaneity, the broadly cultural and the individual.

Intonation in present-day North Indian classical music

1963 ◽  
Vol 26 (1) ◽  
pp. 119-132 ◽  
Author(s):  
N. A. Jairazbhoy ◽  
A. W. Stone
Keyword(s):  
Classical Music ◽  
Indian Classical Music ◽  
The Subject ◽  
Indian Music ◽  
General Opinion

Most Sanskrit texts dealing with Indian music refer to 7 svaras (notes) and 22 śrutis (intervals ? microtones ?) which are said to be the basis of Indian music. Many modern writers in Western as well as the vernacular languages consider that śrutis refer to the microtonal variations in particular notes from one rāga to another. In order to convey the general opinion on the subject of intonation, we quote from Alain Daniélou, a prominent writer on North Indian music:‘It is impossible to sing the complete scale of the shrutis accurately in succession (as some singers pretend to do), but they can all be sung with perfect accuracy when they are embodied in expressive scales’.

scholarly journals AN ANALYSIS OF THE CHARACTERISTICS OF MUSIC CREATION IN MEFISTOFELE

2021 ◽  
Author(s):  
LING YANG ◽  
SHENG-DONG YUE
Keyword(s):  
Aesthetic Experience ◽  
Classical Music ◽  
16Th Century ◽  
Specific Language ◽  
Complex Emotions ◽  
Internal Structures ◽  
True Meaning ◽  
History Of ◽  
Expression Of Emotions ◽  
The Aesthetic

Successful opera art cannot be separated from literary elements, but also from the support of music. Opera scripts make up plots with words. Compared with emotional resonance directly from the senses, music can plasticize the abstract literary image from the perspective of sensibility. An excellent opera work can effectively promote the development of the drama plot through music design, and deepen the conflict of drama with the "ingenious leverage" of music. This article intends to analyze the music design of the famous opera, Mefistofele, and try to explore the fusion effect of music and drama, and its role in promoting the plot. After its birth at the end of the 16th century and the beginning of the 17th century, western opera art quickly received widespread attention and affection. The reason for its success is mainly due to its fusion of the essence of classical music and drama literature. Because of this, there have always been debates about the importance of music and drama in the long history of opera art development. In the book Opera as Drama, Joseph Kerman, a well-known contemporary musicologist, firmly believes that "opera is first and foremost a drama to show conflicts, emotions and thoughts among people through actions and events. In this process, music assumes the most important performance responsibilities."[1] Objectively speaking, these two elements with very different external forms and internal structures play an indispensable role in opera art. A classic opera is inseparable from the organic integration of music and drama, otherwise it will be difficult to meet the aesthetic experience expected by the audience. On the stage, it is necessary to present wonderful audio-visual enjoyment, and at the same time to pursue thematic expressions with deep thoughts, but the expression of emotions in music creation must be reflected through its independent specific language rather than separated from its own consciousness. Only through the superb expression of music can conflicts, thoughts and emotions be fully reflected, or it may be reduced to empty preaching. Joseph Kerman once pointed out that "the true meaning of opera is to carry drama with music". He believes that opera expresses thoughts and emotions through many factors such as scenes, actions, characters, plots and so on. However, the carrier of these elements lies in music. Only under the guidance and support of music can the characters, thoughts and emotions of the drama be truly portrayed. Indeed, opera scripts fictional plots with words, and music presents abstract literary image specifically and recreationally, allowing more potentially complex emotions that are difficult to express in words to be perceived by the audience in the flow of notes, thereby resonate with people.[2] Mefistofele, which this article intends to explore, is such an opera that is extremely exemplary in the organic integration of music and drama.

scholarly journals Relevance of Music in Vedic Traditions and Contemporary Context

2021 ◽  
Vol 9 (VI) ◽  
pp. 4954-4958
Author(s):  
Dr. Mrs. Tanuja Nafde
Keyword(s):  
Classical Music ◽  
Research Topic ◽  
The Core ◽  
The Earth ◽  
History Of ◽  
Indian Classical Music ◽  
Indian Music ◽  
Topic Theory ◽  
Contemporary Context

Indian classical music has a very long-accumulated heritage of centuries. The origin of Indian music can be traced back to nearly two thousand years ago. It is undisputedly believed that the sage Narada introduced the art of music to the Earth, also it is said that the sound that pervades the whole universe, i.e. Nadabrahma, itself represents divinity. Scientifically structured Indian music owes its origin to the Samaveda. The Veda scriptures describe all the seven notes of the raga karaharpriya in descending order, which is a favorite research topic theory and treatise writers to explore, how the core sound ‘Om’ gave rise to the various notes. The first evidential reference to music dates back to 500 BC by Panini and the first reference to musical theory dates back to 400 BC found in Rikpratisakhya. Bharata’s Natya Shastra dating 4th Century AD contains several chapters on music. This is the first known work that clearly elaborated the octave of its structured characteristics for various applications. There is an eternal statement about the history of Indian Music, that "classical Indian music is derived from the Vedas". Although no one can say that this statement is false, it is deceptively simplistic, when discussing the Relevance of Music in Vedic Traditions and contemporary context.

scholarly journals Structure of subjective experience of classical music

Psihologija ◽  
2018 ◽  
Vol 51 (4) ◽  
pp. 397-411
Author(s):  
Marko Zivanovic ◽  
Masa Vukcevic-Markovic ◽  
Blanka Bogunovic
Keyword(s):  
Subjective Experience ◽  
Aesthetic Experience ◽  
Classical Music ◽  
Musical Experience ◽  
Second Phase ◽  
Affective Tone ◽  
Study Results ◽  
Two Phases ◽  
The Aesthetic

Previous studies on the subjective experience of music did not give unambiguous results related to the number and content of dimensions underlying the experience that one has in contact with various musical pieces. Furthermore, previous studies have provided no evidence relating to the structure of subjective experience of classical music pieces. The aim of this study was to determine the number of structurally distinct dimensions of the musical experience of classical music pieces and the relations among obtained dimensions. The research was conducted in two phases. In the first phase, 28 participants were asked to produce descriptions of their subjective experience of 44 short segments of music pieces. In the second phase, 44 participants rated the same set of musical pieces using a scale comprised of the most frequent descriptors obtained in the first phase of the study. Results have shown that musical experience descriptors are grouped into five interrelated dimensions of musical experience: the Aesthetic Experience, Affective Tone, Tension, Content?Fullness, and Structure. The paper discusses the nature of these dimensions, their relationship and compares them to those obtained in previous studies both related to the experience of music as well as art in other modalities.

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