| Description |
1 online resource (422 p.) |
| Series |
SOAS Studies in Music Ser |
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SOAS Studies in Music Ser
|
| Contents |
Cover -- Half Title -- Series -- Title -- Copyright -- Dedication -- Original Title -- Contents -- List of Figures -- List of Music Examples -- List of Tables and Maps -- Preface -- Acknowledgements -- A Note on Notations and Spellings -- 1 What is Dhrupad? -- A View from the Audience -- A View from the Platform -- A Problem of Definition -- The Structure of Performance -- Melody -- Rāg -- Melodic Style -- Intonation -- Rhythm and Metre -- Ālāp -- Tāl and Time-keeping -- Melodic Rhythm -- Laykārī -- Text -- The Dhrupad Repertory -- Cautāl Dhrupad -- Dhamār -- Sādrā -- Fast Dhrupads |
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Other Items -- The Talwanḍī Gharānā Repertory -- Instruments -- Accompaniment and Ensemble -- Pakhāvaj -- Rudrā Vīṇā -- Other Instruments -- Singers -- The Senīyā Tradition -- Regional Dhrupad Traditions -- Dhrupad Ideology -- 2 The Historical Emergence of Dhrupad Style -- Dhrupad at the Mughal Court -- Origins -- Composition -- Performance -- Style and Transmission -- The Rise of Khyāl and Decline of Dhrupad -- The Nineteenth Century: Willard and Imām -- Conclusions -- 3 Tradition and Style: The Four Bānīs -- The Origins of Bānī -- The Four Bānīs -- Sources -- Bānī as a Synaesthetic Concept |
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Bānī and Gīti -- The Gauḍahār Bānī -- The Ḍāgar Bānī -- The Khaṇḍār Bānī -- The Nauhār Bānī -- The Fate of the Bānīs -- 4 The Transmission of Tradition: The Ḍāgar Heritage -- Sources of Tradition -- Bahrām Khān -- Bahrām Khān at Jaipur -- Bahrām Khān the Musician -- Bahrām Khān the Teacher -- Bahrām Khān's Origins -- Bahrām Khān's Successors -- The Ḍāgar Heritage in the Twentieth Century -- Transmitting the Ḍāgar Bānī -- Aesthetic Concepts -- The Musical Repertory -- The Teacher-Pupil Relationship -- Tālīm -- Institutional Transmission -- 5 Ālāp and Tradition -- Function, Form and Process |
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Traditional Aspects of Ālāp Performance -- Ālapti -- The Stages of Ālāp -- The Nom Tom Syllables -- The Mukhṛā -- Lakṣaṇas -- Aesthetic and Philosophical Concepts -- 6 An Ālāp Performance in the Ḍāgar Tradition -- Analysing Ālāp Performance -- Objectives -- Representing Melody and Rhythm -- Rāg Multānī -- Slow Ālāp -- The Opening -- Slow Ālāp: Sthāyī -- Slow Ālāp: Antarā -- Medium Ālāp -- Fast Ālāp -- Rhythm in Fast Ālāp -- Tradition in Performance -- 7 Composition and Tradition -- Dhrupad Compositions as Cultural Objects -- Origins and Transmission -- Identity -- Form -- The Formal Archetype |
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Origins of the Archetype -- Composition and Tradition -- 8 Performing the Composition: Rhythmic Variation and Improvisation -- 'Fixed' and 'Free' Laykārī -- Historical Context -- Augmentation and Diminution -- Historical Evidence for Improvisation -- Laykārī in the Talwanḍī Style -- Śuddh Gait -- Āṛ Gait -- Kuāṛ Gait -- Viāṛ Gait -- Laykārī in the Darbhangā Style -- Laykārī in the Ḍāgar Style -- General Characteristics of Style: Ritwik Sānyāl -- The Articulation of Metrical Space -- Tihāī -- Improvising Laykārī -- 9 Dhrupad in the Modern World: Tradition, Performance and Revival |
| Notes |
Description based upon print version of record |
|
The Dhrupad Revival |
| Subject |
Dhrupad -- History and criticism
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Raga.
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Dhrupad
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Raga
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| Genre/Form |
Criticism, interpretation, etc.
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| Form |
Electronic book
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| Author |
Widdess, Richard
|
| ISBN |
9781000845433 |
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1000845435 |
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