Aesthetics of Hindustani music in independent India
Author :Saxena, S.K.
Keywords :Hindustani music--Aesthetics
Hindustani music--Philosophy and aesthetics
Issue Date :1996
Publisher :Sangeet Natak Akademi, New Delhi
Description :The purpose of this essay is clear. I want to trace the course of aesthetically thinking on Hindustani music since the attainment of our political independence; and to suggest, in the light of what has already been done in this direction, some lines of further inquiry that seem to be uniquely relevant to this art. Of course, this does not imply that there was no such thinking earlier. The art of music has for long been an object of serious reflection in our country. As is well known, attempts were freely made in ancient India to define such basic concepts of our sangeet as swara. raga. tala and rasa. Yet I see it clearly that serious attempts to think clearly about our music, without the obfuscation of glib references to religion and metaphysics- and in relation to our music as it flourishes today-began only when the country become independent'. An important new factor that has led to a growing realization of the need for a clearer understanding of our current music is the provision of regular columns for critical write-ups in our important dailies and weeklies'. Our universities too have made some contribution in this direction by encouraging research on such subjects as 'Aesthetical Canons of Hindustani Music', and 'Hindustani Music and the Aesthetic Concept of Form.
Source :Sangeet Natak Akademi
Type :Article
Received From :Sangeet Natak Akademi
DC Field
Value
dc.contributor.author
Saxena, S.K.
dc.coverage.spatial
India
dc.date.accessioned
2017-07-10T22:48:54Z
dc.date.available
2017-07-10T22:48:54Z
dc.date.issued
1996
dc.description.abstract
The purpose of this essay is clear. I want to trace the course of aesthetically thinking on Hindustani music since the attainment of our political independence; and to suggest, in the light of what has already been done in this direction, some lines of further inquiry that seem to be uniquely relevant to this art. Of course, this does not imply that there was no such thinking earlier. The art of music has for long been an object of serious reflection in our country. As is well known, attempts were freely made in ancient India to define such basic concepts of our sangeet as swara. raga. tala and rasa. Yet I see it clearly that serious attempts to think clearly about our music, without the obfuscation of glib references to religion and metaphysics- and in relation to our music as it flourishes today-began only when the country become independent'. An important new factor that has led to a growing realization of the need for a clearer understanding of our current music is the provision of regular columns for critical write-ups in our important dailies and weeklies'. Our universities too have made some contribution in this direction by encouraging research on such subjects as 'Aesthetical Canons of Hindustani Music', and 'Hindustani Music and the Aesthetic Concept of Form.
dc.source
Sangeet Natak Akademi
dc.format.extent
03-23 p.
dc.format.mimetype
application/pdf
dc.identifier.uri
http://hdl.handle.net/123456789/3945
dc.language.iso
en
dc.publisher
Sangeet Natak Akademi, New Delhi
dc.subject
Hindustani music--Aesthetics
Hindustani music--Philosophy and aesthetics
Government of India
