Description :The contribution of forms of entertainment like drama, films and dance to music has been considerable. Not being restricted to the stricter grammar ofclassical music, they have greater freedom of choice of music; this is particularly important for them, as the music they employ is highly programme oriented. The sources of such music are also electic, folk, light-classical, classical and foreign forms are freely used. Dramafor instance" has beenafield where different ragas enter into what appear as different areas. Maharashtra for example has taken up ragas like Ananda Bhairavi from Karnatak, and styles like thumri and ghazals from North India. Dramatic and cinematic presentations have also borrowed heavily from folk music. The films improvise much of this and often imitate wholly Western lighter forms, often to the detriment of fine taste. The two articles-one by Sri Bhole and the other by Sri Joshi-i-study the contribution of Marathi drama to Indian Music. These papers were first presented some years ago at a Seminar organised by the Akademi at Delhi. They are a valuable source of information and a record of later enquiries into the same field.
Source :Sangeet Natak Akademi
Type :Article
Received From :Sangeet Natak Akademi
DC Field
Value
dc.contributor.author
Bhole, Keshevrao
dc.coverage.spatial
Maharashtra
dc.date.accessioned
2017-06-16T10:14:21Z
dc.date.available
2017-06-16T10:14:21Z
dc.date.issued
1970
dc.description.abstract
The contribution of forms of entertainment like drama, films and dance to music has been considerable. Not being restricted to the stricter grammar ofclassical music, they have greater freedom of choice of music; this is particularly important for them, as the music they employ is highly programme oriented. The sources of such music are also electic, folk, light-classical, classical and foreign forms are freely used. Dramafor instance" has beenafield where different ragas enter into what appear as different areas. Maharashtra for example has taken up ragas like Ananda Bhairavi from Karnatak, and styles like thumri and ghazals from North India. Dramatic and cinematic presentations have also borrowed heavily from folk music. The films improvise much of this and often imitate wholly Western lighter forms, often to the detriment of fine taste. The two articles-one by Sri Bhole and the other by Sri Joshi-i-study the contribution of Marathi drama to Indian Music. These papers were first presented some years ago at a Seminar organised by the Akademi at Delhi. They are a valuable source of information and a record of later enquiries into the same field.