| Verfasst von: | Sankrityayan, Ashish [VerfasserIn]  |
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| Titel: | Dhrupad of the Dagars |
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| Titelzusatz: | conceptual foundations and contemporary questions |
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| Verf.angabe: | Ashish Sankrityayan |
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| Verlagsort: | New Delhi, India |
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| Verlag: | Published by Vikram Jain for Munshiram Manoharlal Publishers Pvt. Ltd |
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| E-Jahr: | 2020 |
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| Jahr: | [2020] |
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| Umfang: | 834 Seiten |
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| Illustrationen: | Illustrationen |
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| Fussnoten: | Accompanied by music CD: Dhrupad - Ragas Abhogi Lalit. Vocals by Ashish Sankrityayan, pakhawaj accompaniment by Dalchand Sharma ; Includes bibliography and index |
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| ISBN: | 978-81-215-1301-2 |
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| | 81-215-1301-4 |
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| Abstract: | 1. The descendats of Gopal Das, and the origins of their music -- 2. Dhrupad at the turn of the last century -- 3. The decline of Kalāvant traditions -- 4. The system of pedagogy of the Dagars -- 5. My path to Dhrupad -- 6. The beginning of fragmentation -- 7. The conceptual basis -- 8. Śruti, Grāma, Mūrcchanā - the elusive tones and their colours -- 9. The Śrutis of Kāfi - Zakiruddin Khan at the 1916 Baroda Conference -- 10. Vīṇā, voice, and the Sadā-e-Haq -- 11. The grammar of an exposition -- 12. The composition -- 13. The twelve Alaṅkārs and a radically different system of music -- 14. Dhrupad and Khyāl - the rigidity versus creativity debate -- 15. New paradigms of music and the global audience of dhrupad -- 16. The Vant Rūp - Behram Khan and the Śastric tradition of the Nāyaks -- 17. Rahim Fahimuddin Dagar -- 18. The patronage of non-connoisseurs - the state, the market, and dhrupad -- 19. The Bānīs of dhrupad -- 20. Music conferences - amateurs, professionals, competitions and medals -- 21. Finding the remnants - dhrupad archaeology -- 22. Dhrupad and academia -- 23. A new experiment and a skewed result -- 24. The Dagars - the last of their kind -- 25. The singing of the maestros - contemporary accounts -- Appendix: Rāgas and their systems of classification through the ages. |
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| | Abhogi Alap (30:49) -- Abhogi Dhamar (8:25) -- Lalit Alap (15:30) -- Lalit Dhamar (5:23). |
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| | Dhrupad of the Dagars, Conceptual Foundations and Contemporary Questions by Ashish Sankrityayan deals with the history of the tradition of the descendants of Behram Khan, renowned today as the Dagars, and the conceptual foundations of their art, in the overall context of Indian music. It deals at length with the traditional system of pedagogy of the Dagars, and the changes that came about in teaching methods in the last several decades, and establishes through the documented teachings and explanations of the Dagars, and in particular of Rahim Fahimuddin Dagar, reportedly the last storehouse of knowledge of the tradition, that dhrupad is the culmination of a long process of development from the vedic chants, and differs in a fundamental sense from the forms that developed later, in the very concept of a note, of tonal relations, and of raga - that the music of the Dagars is based on the older shruti-grama-murcchana system, and the concomitant use of a system of sound, resonance, and gesture through what are called the vedic svaras: udatta, anudatta, and svarita, that got supplanted by the new thata or mela system based on twelve notes, around the seventeenth century, with the older system surviving as esoteric knowledge in a few traditions |
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| Schlagwörter: | (p)Ḍāgar <Familie : 18. Jh.-> / (s)Dhrupad |
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| Sprache: | eng |
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| RVK-Notation: | LS 39000 |
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| Sach-SW: | Singing ; Interpretation (Phrasing, dynamics, etc.) |
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| | Dhrupad |
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| | Ragas |
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| | Vocal music |
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| | Singing - Interpretation (Phrasing, dynamics, etc.) |
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| | Criticism, interpretation, etc |
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| Geograph. SW: | India |
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| K10plus-PPN: | 1809337577 |
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