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Published by Low Price Publications, 2006
ISBN 10: 8175364041ISBN 13: 9788175364042
Seller: Books Puddle, New York, NY, U.S.A.
Book
Condition: New. pp. iii + 46 + [34] + xiii.
Published by Low Price Publications, 2006
ISBN 10: 8175364041ISBN 13: 9788175364042
Seller: Majestic Books, Hounslow, United Kingdom
Book
Condition: New. pp. iii + 46 + [34] + xiii.
Published by Low Price Publications, Delhi, 2006
ISBN 10: 8175364041ISBN 13: 9788175364042
Seller: Books in my Basket, New Delhi, India
Book
Hardcover. Condition: New. ISBN: 9788175364042.
Published by Low Price Publications, 2006
ISBN 10: 8175364041ISBN 13: 9788175364042
Seller: Revaluation Books, Exeter, United Kingdom
Book
Hardcover. Condition: Brand New. In Stock.
Published by Low Price Publications, Delhi, 1995
ISBN 10: 8186142401ISBN 13: 9788186142400
Seller: Alhambra Books, Edmonton, AB, Canada
Book
Hardcover. Condition: Good. Paper-covered boards creased, rubbed at extremities. Interior unmarked and solid.
Published by Books for All, 2006
ISBN 10: 8175364041ISBN 13: 9788175364042
Seller: dsmbooks, Liverpool, United Kingdom
Book
paperback. Condition: New. New. book.
Published by Calcutta: Calcutta Central Press Company Limited, 1877, 1877
Seller: Peter Harrington. ABA/ ILAB., London, United Kingdom
Handsomely presented copy of the second edition, perhaps correctly the third, of this pioneering work of Indian musicology, first published 1875. The author founded the Bengal Music School, 1871 and the Bengal Academy of Music, 1881. Here he offers analyses of the Indian raga system including melodies transcribed in his newly devised Indian notation with Sanskrit words, and Western notation with transliterated Sanskrit words. Uncommon. Sourindra Mohun Tagore (1840-1914) was a scion of the wealthy bhadralok "middle class" which emerged in Bengal under British rule, "an ideological construct which was created in response to the political and economic domination by the British on the one hand and the cultural leadership among the colonized people on the other. cultural leaders of the indigenous colonized people" (Bhattacharyya). He studied Sanskrit and English at Hindu College, Calcutta, graduating in 1858. Along with his formal studies "Tagore began learning the sitar from Lakshmi Narayan Mishra of Benaras at the age of 17 and continued studies in other aspects of classical music and musicology with the well-known scholar Kshetra Mohan Goswami. Both the teachers were upper-caste Brahmins so their high-caste and class affiliations were appropriate for their inclusion by the bhadralok modernizers. Tagore also learnt Western music from a German pianist and took much interest in collecting books and ancient manuscripts on Indian music theories and works on European music" (ibid.). In May 1870 he gave a lecture entitled Jatiya Sangita Bishayak Prostab("Discourse on National Music") at the Calcutta Training Academy and was immediately proposed to establish and head a school of music. The Bengal Music School, established on the premises of the Calcutta Normal School in 1871 was the first such establishment in India. The school's syllabus aimed at a well-rounded musical education through training in vocal music, instrumental - sitar and harmonium - and percussion (mridanga), alongside theory classes. It almost certainly for his contributions in the latter field that Tagore is best known. Describing Six Principal Ragas as a "unique work" Bhattacharyya goes on to explain how it was "composed in the tradition of the Ragamala paintings in Mughal India that represented the sixragasand thirty-sixraginisin figural iconography. the seasonal theory ofragascombined with 'emblematical representations' in the form of lithographs. Defining theragaas a personified entity as distinguished from one another through their emotions, Tagore presented sixragasspecific to six seasons in India as follows: Summer, Panchama; Monsoon, Megh; Autumn, Bhairav; Dewy, Sri; Winter, Nat Narayan; Spring, Basant". His aim was to identify a national music, based in a theory that "seamlessly linked back to the ancient Sanskrit texts and yet was also discursively modern. placed within a framework of scientific knowledge, supported by a body of theoretical terms for disciplinary needs, institutionally mediated and openly critical of Western misinterpretations of music in India". Tagore also strove to promote interest in Indian music in other countries, donating collections of Indian instruments to institutions across America and Europe, even sending three as a personal gift to emperor Mutsihito in 1877. In 1902 he established the Tagore Gold Medal for the Royal College of Music in London, which had received its first major donation of musical instruments from him in 1884. The medal is still awarded today. An important work, and extremely attractively produced both in the letterpress and the unusual lithographic illustrations executed in a hybrid traditional-illusionist style, a register made possible by the wider availability of lithography which provided "the subtle gradations of shading essential for emulating illusionist art" (Mitter, pp. 12-13). Doss was one of the artisans "adopting the new process" early (ibid. p. 15). The attractive, presumably locally produced, binding on this copy is similar to, if a little simpler than that on the copy of Tagore's Eight Principla Rasas. presented to Queen Victoria and held by the Royal Collection Trust (RCIN 1051343). Its status as an author's or presentation copy is confirmed by the presence on the title page of Tagore's embossed pictorial monogram stamp in red. Anirban Bhattacharyya, "Sourindro Mohun Tagore: Pioneering a Modernist Thought in Indian Musicology", Sahapedia, 2016; Partha Mitter, "Mechanical reproduction and the world of the colonial artist", Contributions to Inidan Sociology, 36, 1-2, Feb. 2002. Quarto (290 x 230 mm). Red morocco presentation binding, gilt lettered direct to the spine, broad gilt panels to both boards, Bengal Music School centre tool to the front, arabesqued cartouche to the back, palmate gilt roll to the board edges and turn-ins, strong bluish green surface-paper endpapers, page edges gilt. 7 lithographed plates by Kristo Hurry Doss (225 x 165 mm) mounted on stub-mounted gloss-coated heavy card leaves with green printed decorative foliate borders, each with original tissue guard, title page printed in red and black, text in English and Sanskrit, 17 pages of musical notation Western and Sanskrit, text throughout printed within decorative borders. A little rubbed, particularly on the joints, front inner hinge just starting head and tail, pale toning to the text, some spotting and creasing to the guards, but overall a very good copy.