Semiosis in Hindustani Music

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Motilal Banarsidass Publ., 2001 - 396 pàgines
For thousands of years music in India has been considered a signifying art. Indian music creates and represents meanings of all kings, some of which extend outwardly to the cosmos, while others arise inwardly, in the refined feelings which a musical connoisseur experiences when listening to it. In this book the author explores signification in Hindustani classical music along a two-fold path. Martineq first constructs a theory of musical semiotics based on the sign-theories of Charles Sanders Peirce. He then applies his theory to the analysis of various types of Hindustani music and how they generate significations. The author engages such fundamental issues as sound quality, raga, tala and form, while advancing his unique interpretations of well-known semiotic phenomena like iconicity, metalanguage, indexicality, symbolism, Martinez`s study also provides deep insight into semiotic issues of musical perception, performance, scholarship, and composition. An specially innovative and extensive section of the book analyzes representations in Hindustani music in terms of the Indian aesthetic theory of rasa. The evolution of the rasa system as applied to musical structures is traced historically and analyzed semiotically. In the light of Martinez`s theories, Hindustani music reveals itself to be both a delightfully sensuous and highly sophisticated system of acoustic representations.
 

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Continguts

The Signification of Indian Music
1
A cakkradār tihāſ in tintāl
2
Three early rāgarāgiņi systems
14
Known rāgas and their signification
20
Seegers universe of value
26
3
31
Tarastis model of musicological cognition
32
Rāgas khamāj chāyānaț deśī kāfī
52
4
271
Rāga suddhabhairava rāginīs and putrās
274
Rāgiņī saurāștrī RV 4 41
290
Rāgiņī mālaśrī RV 4 30
291
Rāgiņi dhanāśrī RV 4 31
292
Răgiņi varāți RV 3 46
293
Rāgiņi saindhavi RV 4 33
294
Rāgiņi rāmakſtī RV 4 20
295

Schaeffers classification of sound characters
58
Sign diagrams
72
Atīt tihāi in tintāl
95
A calan composed by Vedi for räga mālkauns
101
Khayāl Jhanana jhanana
114
Dhrupad Jagata jananī
124
Chāyās in marū bihāg
131
Dhrupad addressed to Emperor Akbar
139
Rāga darbārī kānhļā mukhya ang
163
Masitkhānī gat in rāga mālkauns
183
Tagores Jadi tor dāk
190
1
228
Jāti system a generative diagram
229
Jātis representing śmgāra amśa MP
236
2
245
The seven primary grāmarāgas
246
Rāgas derived from pañcama and their meanings BD
254
Rāgas derived from kaiśika and their meanings BD
255
Hindola and its derived rāgas
265
Rāga kalyāņa RV 4 33
297
Rāga nāța RV 4 45
298
Rāga hammīrā RV 4 25
299
Rāga hindola RV 4 14
300
Rāga lalita RV 4 28
301
5
302
Gambhir rāgas
318
Rāga bhairavī
319
Rāga śrī
320
Taral or cañcal rāgas
321
Rāga miyāṁ ki toţi
325
Rāgas komal re āsāvarī and pīlā
326
Räga hindola SR
336
The relations between early and contemporary hiņdola
343
The evolution of toţi
349
Aesthetic rapture as the spiral of interpretants
366
Kinds of rasas
381
257
391
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