The Forgotten Forms of Hindustani Music

Bharali, Rabindra

ISBN 10: 8184570228 / ISBN 13: 9788184570229

Published by New Delhi : Kanishka Publishers, 2008

About this Item

Original black cloth, silver lettered spine, dust jacket, 8vo.; Small dent on front board, edges dust jacket worn, stamp on endpapers.

Seller Inventory # 388049-UH13

Bibliographic Details

• Title: The Forgotten Forms of Hindustani Music
• Publisher: New Delhi : Kanishka Publishers
• Publication Date: 2008
• Language: English
• ISBN 10: 8184570228
• ISBN 13: 9788184570229
• Binding: Hardcover
• Condition: Good
• Dust Jacket Condition: Dust Jacket Included

About this title

Synopsis

Language: English
Pages: 126


About the Author

Dr. Rabindra Bharali is a musicologist and a young performing musician of Hindustani Classical Music. He has been trained under the able guidance of Pt. Deepak Chatterjee of Rampur Sahaswan Gharana ad Pt. Mukul Shiputra of Gwalior Gharana. Presently he is working as a lecture in the department of Music, St. Anthony’s College, Shillong, which is one of the most reputed institutions of the North Eastern region of India.

 

Preface

As we know Dhrupad and Khayal are the two well-known forms of Hindustani Classical music today. Vast and wide studies and researches are always under progress on these forms. But there are lesser known or in the other words the not so popular forms of Hindustani Classical music, which include-Chaturang, Trivat, Ragamala or Raga Sagar, Bamani Sargam or svarsagar etc. It would not perhaps be an over statement to say that these forms are virtually on the verge of extinction.

Having studied classical, music under renowned maestros and in a nationally acclaimed institute i.e. the Music Department of Delhi University, I gave serious thought to this aspect and decided to undertake a research study on the subject.

While the study was initiated, historical origin of these lesser known forms were quite obscure. Gradually the long presence of these forms were quite in the history of music began to be revealed.

The book is arranged in five chapters. The first chapter is the historical study of the compositional forms. Here thorough study of the compositional forms from the time of the Vedas to the present period has been done.

The second chapter contains the historical study of the lesser known forms over a span of period extending throug