The Rāgs of North Indian Music: Their Structure and Evolution |
Contents
Preface to the First Edition vii w | 3 |
Introduction to the Historical Background | 16 |
An Outline of Presentday North Indian | 27 |
That | 46 |
The Effect of Drones | 65 |
Evolution of the Circle of Thāts | 90 |
Alternative Notes | 102 |
Transilient Scales | 122 |
Symmetry Movement and Intonation | 151 |
Summary | 179 |
Music Examples | 186 |
Other editions - View all
The Rāgs of North Indian Music: Their Structure and Evolution Nazir Ali Jairazbhoy No preview available - 1971 |
Common terms and phrases
accompanying record alternative notes appears Asāvri ascending disjunct tetrachords ascending note Bhairav Bhatkhande Bhatkhaṇḍe's Bilāval characteristic Circle of Thāts consonant Darbāri derived descending conjunct tetrachords descending line Dha Ni Sa Dha Nib Dhab discussed dissonant example Ga Ma Pa ground-note heptatonic hexatonic hexatonic rāgs important notes Indian classical music Indian music indicated instance intervals intonation Kāfi Kalyāṇ Khamāj Khan's komal Lalit leading note Locana's Mālkoś Mārvā ṭhāt minor third mode modern musical theory musicians Nib Dha North Indian classical North Indian music notations oblique movement occurs octave omission order balance note overtone parent scales pentatonic rāgs pentatonic scales perfect fifth perfect fourth performance phrase prominent Pūrvi rāg rāg Mārvā rāgas Reb Gab relationship Sa Re Ga Sa-Pa samvādī Sanskrit secondary drone semitone songs śruti sthāyi suddh tāl terminal note ṭhāṭ Tori tradition transilience unbalanced upper tetrachord vādi Vilayat Khan Western wholetone Yaman