Introduction to the Study of Indian Music; An Attempt to Reconcile Modern Hindustani Music With Ancient Musical Theory And to Propound An Accurate And Comprehensive Method of Treatment of the Subject of Indian Musical Intonation
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In our eReader you can find the full English version of the book. Read Introduction to the Study of Indian Music; An Attempt to Reconcile Modern Hindustani Music With Ancient Musical Theory And to Propound An Accurate And Comprehensive Method of Treatment of the Subject of Indian Musical Intonation Online - link to read the book on full screen. Our eReader also allows you to upload and read Pdf, Txt, ePub and fb2 books. In the Mini eReder on the page below you can quickly view all pages of the book - Read Book Introduction to the Study of Indian Music; An Attempt to Reconcile Modern Hindustani Music With Ancient Musical Theory And to Propound An Accurate And Comprehensive Method of Treatment of the Subject of Indian Musical Intonation
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The VUdi and Samvidi corresponded very nearly to the final and dominant of the Church modes ; they were invariably a fifth or a fourth apart (never a third as in some of the Plagal modes), and, as alternative Vadis and Samvidis were allotted to each J^ti, it is probable that a kind of modulation was allowed, this being more permissible in a system which required a constant fixed drone accompaniment. The simplest modes formed upon the plan thus briefly described were called "Shuddh J^tis." There... was one for every degree of the scale ; the " Shuddh Jatis " were distinguished from others in having the initial and final and chief note, or prevailing note of a composition, the same as the " ndma-svara," or that note which gave its name to the Jiti ; of the seven Shuddh Jatis, four belonged to the Shadj Grdma and three to the Madhyam GrS.ma. As a knowledge of the Shuddh Jitis is of great assistance to the student of the Indian scales, they are here given, first in their primitive form, and then in their modern position, based upon shadj ; it will be observed that their names are derived from those of the initial notes.
What to read after Introduction to the Study of Indian Music; An Attempt to Reconcile Modern Hindustani Music With Ancient Musical Theory And to Propound An Accurate And Comprehensive Method of Treatment of the Subject of Indian Musical Intonation?
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To quickly assess the difficulty of the text, read a short excerpt:
The VUdi and Samvidi corresponded very nearly to the final and dominant of the Church modes ; they were invariably a fifth or a fourth apart (never a third as in some of the Plagal modes), and, as alternative Vadis and Samvidis were allotted to each J^ti, it is probable that a kind of modulation was allowed, this being more permissible in a system which required a constant fixed drone accompaniment. The simplest modes formed upon the plan thus briefly described were called "Shuddh J^tis." There... was one for every degree of the scale ; the " Shuddh Jatis " were distinguished from others in having the initial and final and chief note, or prevailing note of a composition, the same as the " ndma-svara," or that note which gave its name to the Jiti ; of the seven Shuddh Jatis, four belonged to the Shadj Grdma and three to the Madhyam GrS.ma. As a knowledge of the Shuddh Jitis is of great assistance to the student of the Indian scales, they are here given, first in their primitive form, and then in their modern position, based upon shadj ; it will be observed that their names are derived from those of the initial notes.
What to read after Introduction to the Study of Indian Music; An Attempt to Reconcile Modern Hindustani Music With Ancient Musical Theory And to Propound An Accurate And Comprehensive Method of Treatment of the Subject of Indian Musical Intonation?
You can find similar books in the "Read Also" column, or choose other free books by Clements, E. (Ernest), Sir, B. 1873 to read onlineMoreLess
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