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Appreciation of Music - A Guide (Set of 2 Volumes with CD)

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Item Code: UAY234
Author: Geetha Ravikumar
Publisher: LKM Publication, Chennai
Language: English
Edition: 2011
Pages: 304
Other Details 8.50 X 5.50 inch
Weight 370 gm
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Book Description

About The Book

Dr. (Smt) Geetha Ravikumar, B.Sc., M.A., Sangeet Acharya, employed with Reserve Bank of India, had her early training in Vocal Music (Karnatic) under her mother Smt. Mangalathammal and later in Vina under her sister Smt. Lakshmi Krishnaswamy, a reputed Vina player of long standing in A.I.R., Mumbai. She was a disciple of Shri Ramachandran for Vocal (Karnatic) and Sangeetha Kalanidhi Late Prof. K.S. Narayanaswamy (Vina), Principal, Sangeetha Vidyalaya of Sri Shanmukhananda Fine Arts and Sangeetha Sabha, Mumbai. Her present guru is Vidushi Smt. T.R. Balamani.

She had her initial training in Hindustani Music (Vocal) under Shri W.H. Ranade of Gwalior Gharana through B.R. Deodhar's Indian School of Music, Mumbai. Later she completed M.A. (Vocal) in Hindustani Music under the able guidance of Dr. Prabha Atre and Smt. Meenakshi Mudbhidri of Kirana and Agra Gharana from S.N.D.T. University, Mumbai.

She was groomed under the able guidance of three gurus of Agra Gharana viz., Smt. Meenakshi Mudbhidri, Pt. Yashwant Bua Joshi and Padma Bhushan late Pt. C.R.Vyas.

She has been awarded Doctorate in Music (Sangeetacharya) from Akhil Bharatiya Gandharva Mahavidyalay, Mumbai.

A graded artist in All India Radio, Mumbai, she is an accomplished singer both in the Karnatic and Hindustani styles and is gifted with a declarative but intensely musical voice, which is also marked by depth and range. She is also a musicologist and an instrumentalist (Vina).

She was awarded Justice K.T. Telang Fellowship for her post-doctoral research. She is also the recipient of the Fellowship of the Department of Culture, Govt. of India.


The supremacy of vocal music has been recognised by all ancient cultures. The human voice is a God-given gift and with a little training, it can become a source of delight. The delight would be all the greater if the listeners have a little knowledge of music.

This book is a compilation of a series of articles written by me in 'Bhavan's Journal', Mumbai. I tried to describe therein the fundamental concepts of our Indian Music to enable music-lovers and music students to learn, to understand and to appreciate the splendour of our music.

The chapters cover the history of Indian music in general, basic and derived concepts (both Karnatic and Hindustani styles), and the various musical forms which help appreciate our music.

Music appreciation means the real enjoyment of music. All your senses get focussed at one point. Music is a good therapy which cures many bodily ailments.

The concept of raga has changed over time from ancient times. It will continue to change in the years to come, but many ragas will remain ever-green despite the changes.

Ragas had existed long before they were classified. The original classification has undergone several modifications.


Music is the art and science of

combining vocal or instrumental sounds

or tones in varying melody, harmony,

rhythm and timbre, especially so as to

form structurally complete and

emotionally expressive compositions.

To appreciate music the listener need not know the definition of music. A knowledge of science is desirable in that it helps him or her to substantiate his or her conclusions. However, it is not a must, because music and human psyche are so inter-related that the mind involuntarily responds to music like a plant to sunlight.

Albert Einstein, himself an amateur violinist, wrote: "In music I do not look for logic. I am quite intuitive on the whole and know no theories. I never like a work if I cannot intuitively grasp its inner unity".

Music is an integral part of India's culture. Our classical music systems, the Karnatic and the Hindustani, have evolved from the same origin. Naturally, the basic concepts and principles seem very similar, yet we do recognize the two distinct styles and do experience apparent differences in their presentations.

Indian music is a typical example of modal music i.e. music based on modes. The individuality of a mode is established by notes of defined frequencies in its structure. It is not the inter-relationship between the notes that establishes the raga, although this inter-relationship is there but the relationship of each note to the basic tonic note. This tonic note may be actually heard through a drone or even in its absence, a trained ear is able to recognize a raga, bearing in mind the presumed tonic note. Memory plays an important role in Indian music.

**Contents and Sample Pages**

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