Melodic Types of Hindusthān: A Scientific Interpretation of the Rāga System of Northern India |
Contents
Introduction 120 | 1 |
Part IScientific Basis of Melody 21191 | 21 |
Theory of Consonance SamvadaTatva 3752 | 37 |
Copyright | |
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Ahobala Amsas ancient Apanyasa ascending Asthayî Bhairava Bhatkhande Cadence Cadence-Norm called character Characteristic Phrases Chrom Chromatic Melas Chromatic Scales compositions consonant cycle descending Dhrupad dissonant false Third Fifth Scale Fourth Scale Gandhara Grāma Group Hexachordal hexatonic Hexatonic Scales Hindola Hindusthanî music Indian music intervals Jati Kaishika Kheyal Lakshanas Lochana Madhyama Grama Major medieval Mela Melakarta melodic Minor Sixth Minor Third Mode of Primary Mode-octave modern Murchhana musicians Natya Shastra nonatones Nyasa Tana obliquely octave omitted notes Pentachord pentatonic Prim Primary Scales Ra Go Ra¹ Rāga Rāmāmātya Ri and Dha Ro Go Sa¹ Samvadî Sangîta Saranga Scale of Origin Second Scale Semitone Semitonic Notation Shadja Grama Sharngadeva Shruti Shuddha songs South Indian Southern India starting note Style sung Svara Tala Tānas tetrachord Tîvra Tîvratara Todî Tone Tonic Triads Trichordal Upanta Upper Tonic Vadî Varjita Vasanta Vikrita notes Vitthala