The volumes have been compiled mainly for the benefit of the researchers. With the development of... more The volumes have been compiled mainly for the benefit of the researchers. With the development of Music as a distinct and scientific discipline securing an important place in the curriculum of Universities and other academic Institutions, awarding Research Degrees to various levels such as M. Phil., M. Litt., Ph. D. and post Doctoral Degrees etc. More and more young aspirants are engaged in variety of subjects connected with music and its sister ramifications. Every one of them is expected to present something new, useful and satisfactory, and many of them feel strained or depressed for the paucity of authentic materials from their sources. The Indian Music and Allied Arts aims at providing the same. The Five volumes contain many useful informations from authentic sources and by distinguished scholars and authorities in their respective fields. While including subjects, some of them unexplored and others providing more facts and ideas, attention has been taken to provide views on on...
The ancient Indian texts on dance and dramaturgy go in for a detailed analysis of the two diverse... more The ancient Indian texts on dance and dramaturgy go in for a detailed analysis of the two diverse streams of dance namely Laasya (graceful & delicate) and Taandava (vigorous). Naatyashaastra speaks of dance as prelude to drama and uses the terms, laasya, kaisiki and sukumaara in relation to femininity. My attempt, in this essay, is to define Laasya and explore its practical applications in the Nritya (textual dance), Nritta (nontextual dance) and Naatya (acting) segments of Mohiniaattam, the classical female dance heritage of Kerala. An overview of the same, in the two popular and diverse Indian classical dance-forms like Odissi and Bharatanaatyam is furnished besides touching upon its space in the traditional theatre artforms of Kerala . Relevant excerpts from the ancient Indian texts on Performing Arts are quoted to establish the authenticity and significance of the term, Laasya. As a practitioner of Mohiniaattam, I have also analysed a malayala padam from the perspective of Laasy...
After the Vedic civilization, music in India existed as an accompaniment of Nāṭya , the drama and... more After the Vedic civilization, music in India existed as an accompaniment of Nāṭya , the drama and Nṛtya , the dance . Eventually, music and dance detached themselves from Nāṭya, and evolved as independent artforms . With the development of Rāga (melody), the Tāḷa (rhythm cycle), became a subordinate to the Rāga. But, in Kerala, the drumming became more predominant and Tāḷa got free from this servitude. Tāḷa instruments worked independently resulting in Tāḷa-Vādya-Laya-Vinyāsa , a flowing sequence of rhythm in musical instruments and the Tāḷa-Vṛnda-Vādya , the musical ensembles . The objective of this study is to establish the uniqueness of Tāḷa-s of temple music in Kerala, which differ from the present day Sūḷādi Sapta tāḷa-s of Kaṛṇāṭak music , with expressions and metrical setup, based on specific rituals and customs that heighten human emotions or Bhāva-s with a goal towards attaining tranquillity and self-realisation.
The volumes have been compiled mainly for the benefit of the researchers. With the development of... more The volumes have been compiled mainly for the benefit of the researchers. With the development of Music as a distinct and scientific discipline securing an important place in the curriculum of Universities and other academic Institutions, awarding Research Degrees to various levels such as M. Phil., M. Litt., Ph. D. and post Doctoral Degrees etc. More and more young aspirants are engaged in variety of subjects connected with music and its sister ramifications. Every one of them is expected to present something new, useful and satisfactory, and many of them feel strained or depressed for the paucity of authentic materials from their sources. The Indian Music and Allied Arts aims at providing the same. The Five volumes contain many useful informations from authentic sources and by distinguished scholars and authorities in their respective fields. While including subjects, some of them unexplored and others providing more facts and ideas, attention has been taken to provide views on on...
The ancient Indian texts on dance and dramaturgy go in for a detailed analysis of the two diverse... more The ancient Indian texts on dance and dramaturgy go in for a detailed analysis of the two diverse streams of dance namely Laasya (graceful & delicate) and Taandava (vigorous). Naatyashaastra speaks of dance as prelude to drama and uses the terms, laasya, kaisiki and sukumaara in relation to femininity. My attempt, in this essay, is to define Laasya and explore its practical applications in the Nritya (textual dance), Nritta (nontextual dance) and Naatya (acting) segments of Mohiniaattam, the classical female dance heritage of Kerala. An overview of the same, in the two popular and diverse Indian classical dance-forms like Odissi and Bharatanaatyam is furnished besides touching upon its space in the traditional theatre artforms of Kerala . Relevant excerpts from the ancient Indian texts on Performing Arts are quoted to establish the authenticity and significance of the term, Laasya. As a practitioner of Mohiniaattam, I have also analysed a malayala padam from the perspective of Laasy...
After the Vedic civilization, music in India existed as an accompaniment of Nāṭya , the drama and... more After the Vedic civilization, music in India existed as an accompaniment of Nāṭya , the drama and Nṛtya , the dance . Eventually, music and dance detached themselves from Nāṭya, and evolved as independent artforms . With the development of Rāga (melody), the Tāḷa (rhythm cycle), became a subordinate to the Rāga. But, in Kerala, the drumming became more predominant and Tāḷa got free from this servitude. Tāḷa instruments worked independently resulting in Tāḷa-Vādya-Laya-Vinyāsa , a flowing sequence of rhythm in musical instruments and the Tāḷa-Vṛnda-Vādya , the musical ensembles . The objective of this study is to establish the uniqueness of Tāḷa-s of temple music in Kerala, which differ from the present day Sūḷādi Sapta tāḷa-s of Kaṛṇāṭak music , with expressions and metrical setup, based on specific rituals and customs that heighten human emotions or Bhāva-s with a goal towards attaining tranquillity and self-realisation.
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