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.

Dead-Ends and New Directions

2021 ◽  
Vol 15 (4) ◽  
pp. 327-347
Author(s):  
Jean Francesco A.L. Gomes
Keyword(s):  
Natural History ◽  
Scientific Theory ◽  
Good Science ◽  
Orthodox Christian ◽  
The Core ◽  
The Earth ◽  
New Directions ◽  
History Of ◽  
Evolutionary Science ◽  
Doctrine Of Creation

Abstract The aim of this article is to investigate how Abraham Kuyper and some late neo-Calvinists have addressed the doctrine of creation in light of the challenges posed by evolutionary scientific theory. I argue that most neo-Calvinists today, particularly scholars from the Vrije Universiteit Amsterdam (VU), continue Kuyper’s legacy by holding the core principles of a creationist worldview. Yet, they have taken a new direction by explaining the natural history of the earth in evolutionary terms. In my analysis, Kuyper’s heirs at the VU today offer judicious parameters to guide Christians in conversation with evolutionary science, precisely because of their high appreciation of good science and awareness of the nonnegotiable elements that make up the orthodox Christian narrative.

Drumming, Language, and the Voice in South Asia

2017 ◽  
Author(s):  
Richard K. Wolf
Keyword(s):  
South Asia ◽  
Instrumental Music ◽  
Classical Music ◽  
Indian Subcontinent ◽  
Historical Context ◽  
Concert Music ◽  
The Public ◽  
South Indian ◽  
History Of ◽  
Indian Classical Music

This book explores drumming and other instrumental traditions that are interconnected over vast regions of South and West Asia. The traditions considered here qualify broadly as functional music rather than concert music and include the public instrumental music of weddings, funerals, and religious holidays. The book examines patterns that pervade functional music of South Asia and to some extent North and South Indian classical music and how performed texts are related to their verbal or vocal models. It also considers what it means in particular contexts for musical instruments to be voicelike and carry textual messages. This chapter discusses the broad historical context in which voices and instruments have been co-constructed in the history of the Indian subcontinent and regions west. Many examples from South India are included to help create a picture that transcends the bounds of Muharram Ali's travels.

scholarly journals HISTORY OF INNOVATION IN MUSIC, WITH REFERENCE TO DHRUPAD SINGING STYLE

2015 ◽  
Vol 3 (1SE) ◽  
pp. 1-3
Author(s):  
Sharmila Taylor ◽  
Kamna Sisodia
Keyword(s):  
Classical Music ◽  
Musical Instruments ◽  
Natural Process ◽  
Special Importance ◽  
Important Place ◽  
Historical View ◽  
Sanskrit Drama ◽  
Singing Style ◽  
History Of ◽  
Indian Classical Music

Changing the tradition of history is a natural process of nature. In the context of the Dhrupad singing style in the Indian classical music world, if we take a historical view, the practice of singing Dhruva and Prabandha songs before this style was prevalent. The ritual form of Dhruva songs is found in Sanskrit drama texts from pre- to late India. Dhruva has an important place in terms of song composition.Even in the exorcisms used in the puvarang before the Natyarambha, the Dhruvas have special importance due to the use of musical instruments. Originally, the verses of songs which are used within the play are called Dhruva to make those situations intensified or to intensify the character of the characters in various situations of the play. They are also related to the lyricists due to their use of various parts of the lyricists. इतिहास की परम्परा में परिवर्तन होना प्रकृति की स्वाभाविक प्रक्रिया है। भारतीय शास्त्रीय संगीत जगत में ध्रुपद गायन शैली के सन्दर्भ मं हम ऐतिहासिक दृष्टि डालें तो इस शैली के पूर्व ध्रुवा एवं प्रबन्ध गीतों को गाने का प्रचलन था। ध्रुवा गीतों की परम्परा का क्रियात्मक रूप भरत के पूर्व से लेकर परवर्ती संस्कृत नाटक ग्रंथों में पाया जाता है। गीत रचना की दृष्टि से ध्रुवा का महत्त्वपूर्ण स्थान है।नाट्यारम्भ से पहले पूर्वरंग में प्रयुक्त बहिर्गीतों में भी ध्रुवाएं वाद्यप्रयोग की उपरंजक होने के कारण विशेष महत्व रखती हैं। मूलतः नाट्य की विभिन्न परिस्थितियों में रसानुभूति करा कर उन परिस्थितियों को तीव्र बनाने अथवा पात्रों के चरित्र को उभारने के लिए जिन छन्दोबद्ध गीतों का प्रयोग नाट्य के भीतर किया जाता है वे ध्रुवा कहलताी है। गीतकों के विभिन्न अंगों का इनमें प्रयोग होने के कारण ये गीतकों से भी सम्बन्ध है।

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).

scholarly journals Time-Based Raga Recommendation and Information Retrieval of Musical Patterns in Indian Classical Music Using Neural Networks

2017 ◽  
Vol 6 (1) ◽  
pp. 33 ◽  
Author(s):  
Samarjit Roy ◽  
Sudipta Chakrabarty ◽  
Debashis De
Keyword(s):  
Neural Networks ◽  
Pattern Matching ◽  
Classical Music ◽  
Musical Composition ◽  
Accuracy Level ◽  
History Of ◽  
Indian Classical Music ◽  
Musical Patterns ◽  
The Times ◽  
Confusion Matrices

In Indian Classical Music (ICM) perspective, Raga is formed from the different and correct combination of notes. If it is observed the history of Indian Classical Raga in ICM, the playing or serving each of the ragas has some unique sessions. The procedure is to suggest the classifications of playing a raga has been attempted to display by explaining unique musical features and pattern matching. This contribution has been represented how music structures can be advanced through a more conceptual demonstration and consent to unambiguously describe process of computational modeling of Musicology which signify the challenge on complete musical composition from the elementary vocal objects of ICM usage using Neural Networks. In Neural network the samples of various ragas have been taken as input and classify them according to the times of the performance. Over 90% accuracy level has achieved using entire Confusion Matrices and Error Histogram performance evaluation technique.

Partitioning experiments in the laser-heated diamond anvil cell: volatile content in the Earth's core

2008 ◽  
Vol 366 (1883) ◽  
pp. 4295-4314 ◽  
Author(s):  
Andrew P Jephcoat ◽  
M. Ali Bouhifd ◽  
Don Porcelli
Keyword(s):  
Trace Elements ◽  
Diamond Anvil Cell ◽  
The Core ◽  
The Earth ◽  
Wide Range ◽  
Recent Developments ◽  
Mantle Reservoir ◽  
History Of ◽  
Diamond Anvil ◽  
Laser Heated

The present state of the Earth evolved from energetic events that were determined early in the history of the Solar System. A key process in reconciling this state and the observable mantle composition with models of the original formation relies on understanding the planetary processing that has taken place over the past 4.5 Ga. Planetary size plays a key role and ultimately determines the pressure and temperature conditions at which the materials of the early solar nebular segregated. We summarize recent developments with the laser-heated diamond anvil cell that have made possible extension of the conventional pressure limit for partitioning experiments as well as the study of volatile trace elements. In particular, we discuss liquid–liquid, metal–silicate (M–Sil) partitioning results for several elements in a synthetic chondritic mixture, spanning a wide range of atomic number—helium to iodine. We examine the role of the core as a possible host of both siderophile and trace elements and the implications that early segregation processes at deep magma ocean conditions have for current mantle signatures, both compositional and isotopic. The results provide some of the first experimental evidence that the core is the obvious replacement for the long-sought, deep mantle reservoir. If so, they also indicate the need to understand the detailed nature and scale of core–mantle exchange processes, from atomic to macroscopic, throughout the age of the Earth to the present day.

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.

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 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.

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