The Music of India: A Popular Handbook of Hindustani Music |
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Page 25
... Saranga Deva in this respect . It will not be out of place here if I put before the readers the number of vibrations for each note of the Indian " Saptaka " or octave to form a rough idea of the difference between the Eastern " Saptak ...
... Saranga Deva in this respect . It will not be out of place here if I put before the readers the number of vibrations for each note of the Indian " Saptaka " or octave to form a rough idea of the difference between the Eastern " Saptak ...
Page 48
... Saranga ' has eight , ' Bilawal ' has twelve , ' Kedar ' has four , and so forth . The best and the easiest way to study the " Hindusthani System of Music " is to study the common and popular Ragas first , those which come under to the ...
... Saranga ' has eight , ' Bilawal ' has twelve , ' Kedar ' has four , and so forth . The best and the easiest way to study the " Hindusthani System of Music " is to study the common and popular Ragas first , those which come under to the ...
Page 63
... Saranga Deva mentioned in his " Sangeet Ratnakar " one hundred and twenty different varieties of " Tala , " the measurements of time that were in vogue in those days . It has been minutely observed that according to the necessity of the ...
... Saranga Deva mentioned in his " Sangeet Ratnakar " one hundred and twenty different varieties of " Tala , " the measurements of time that were in vogue in those days . It has been minutely observed that according to the necessity of the ...
Contents
PREFACE | 1 |
The intensity of the sound The character | 28 |
SECOND CHAPTERSYSTEM OF RAGA | 33 |
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Common terms and phrases
१ २ ३ ११ १२ १३ १२ १३ १४ २ ३ ४ according already authors belonging Bhairava Bilawal combination composed contains Descent Dha Dha Dha Pa Ma Dhrupads fifteen five notes fixed Flat four Ga Ma Pa Ga Ri Sa given gives hand head Hindusthani Music important Indian INDIAN STRING jati Kalyan kinds known Komal latter lover Ma Ga Ri Ma Pa Dha measure mediaeval melody mentioned namely Ni Dha Pa octave Odava Pa Ma Ga particular pitch played present principal produced purna Raga RAGINI regarding Ri Ga Ma Ri Ri Ri Sa 99 rule Sampurna Saranga scale scholars seven notes Shadava Sharp Shrutis singing songs sound specially style Suddhha sung supposed Swaras Tala Thata theory Tivra Todi treatises tune Vadi varieties vibrations Vikrits voice ठेका तथा ता ताल तीं धीं धीं धा ना मात्रा