Indian Music

Rating:
Summary: Wow!
Review: This book is a primer for classical Indian vocal training. The introduction and first two chapters provide an incredibly lucid and concise introduction to Indian music theory for Western audiences. Most other descriptions of Indian classical music that I have read that were written by Indians are virtually undecipherable for non-Indian readers. Most other texts overwhelm the reader with statements like "Ragam is the outcome of factors of the avohana and avarohana." Swami Rama actually makes these terms clear, and presents them in a way that makes perfect sense. Reading these chapters has filled in many gaps in my own knowledge of Indian music theory that have persisted despite 3 years of formal study. I wish I had begun my studies with this book- -then I wouldn't have spent so much time lost in confusion.

The remainder of the book consists of 30 alankars (exercises), followed by 10 classical raags and 12 classical taals (rhythms) in musical notation. The musical notation is presented "bilingually", that is, first in sa-ri-ga-ma notation in Western script, and then in Hindi script. The raags and taals are all from the Northern Indian tradition, but much of the theory itself and terminology applies to Carnatic music as well. The book also includes a glossary to help the user get a handle on the many terms that are used to describe facets of Indian music theory. A fresh beginner would probably need to work closely with a teacher in order to put the theory contained in this book into practice; indeed, this is what Swami Rama recommends. But a student who already knows the basics of Indian music may be able to progress independently with this book.

Rating:
Summary: Wow!
Review: This book is a primer for classical Indian vocal training. The introduction and first two chapters provide an incredibly lucid and concise introduction to Indian music theory for Western audiences. Most other descriptions of Indian classical music that I have read that were written by Indians are virtually undecipherable for non-Indian readers. Most other texts overwhelm the reader with statements like "Ragam is the outcome of factors of the avohana and avarohana." Swami Rama actually makes these terms clear, and presents them in a way that makes perfect sense. Reading these chapters has filled in many gaps in my own knowledge of Indian music theory that have persisted despite 3 years of formal study. I wish I had begun my studies with this book- -then I wouldn't have spent so much time lost in confusion.

The remainder of the book consists of 30 alankars (exercises), followed by 10 classical raags and 12 classical taals (rhythms) in musical notation. The musical notation is presented "bilingually", that is, first in sa-ri-ga-ma notation in Western script, and then in Hindi script. The raags and taals are all from the Northern Indian tradition, but much of the theory itself and terminology applies to Carnatic music as well. The book also includes a glossary to help the user get a handle on the many terms that are used to describe facets of Indian music theory. A fresh beginner would probably need to work closely with a teacher in order to put the theory contained in this book into practice; indeed, this is what Swami Rama recommends. But a student who already knows the basics of Indian music may be able to progress independently with this book.