Music, according to Sufi teaching, is really a small expression of the overwhelming and perfect harmony of the whole universe—and that is the secret of its amazing power to move us. The Indian Sufi master Hazrat Inayat Khan (1882–1927), the first teacher to bring the Islamic mystical tradition to the West, was an accomplished musician himself. His lucid exposition of music's divine nature has become a modern classic, beloved not only by those interested in Sufism but by musicians of all kinds.
The phenomenon of Sati, on account of its dramatic and tragic element, has always commanded considerable attention. This has not always been complemented by adequate analysis. Even when the treatment of the subject has transcended sensationalism, it has not always been sufficiently nuanced. This book hopes to remedy this situation by bringing to bear on the topic (whose relevance the recent recurrences of the phenomena have highlighted) a measure of methodological sophistication which was not possible prior to the emergence of the History of Religions as a discipline.
Four books containing most of the master's teachings on sound and music. Inayat Khan was a musician of renown and often expressed himself in musical terms; in this he followed the ancient Sufi saints and mystics. The Mysticism of Sound; Music; the Power of the Word; and Cosmic Language.
First published in 1923, this classic volume contains timeless teachings on the nature of vibration and harmony as the basis of all creation. Transcending the barriers of religious traditions, The Mysticism of Sound explores profound and universal truths in a personable manner that will appeal to any seeker on the path of illumination.
Peter Lavezzoli, Buddhist and musician, has a rare ability to articulate the personal feeling of music, and simultaneously narrate a history. In his discussion on Indian music theory, he demystifies musical structures, foreign instruments, terminology, an
Music in the Post-9/11 World addresses the varied and complex roles music has played in the wake of September 11, 2001. Interdisciplinary in approach, international in scope, and critical in orientation, the twelve essays in this groundbreaking volume examine a diverse array of musical responses to the terrorist attacks of that day, and reflect upon the altered social, economic, and political environment of "post-9/11" music production and consumption. Individual essays are devoted to the mass-mediated works of popular musicians such as Bruce Springsteen and Darryl Worley, as well as to lesser-known musical responses by artists in countries including Afghanistan, Egypt, Mexico, Morocco, Peru, and Senegal. Contributors also discuss a range of themes including the role played by Western classical music in rites of mourning and commemoration, "invisible" musical practices such as the creation of television news music, and implicit censorship in the mainstream media. Taken as a whole, this collection presents powerful evidence of the central role music has played in expressing, shaping, and contesting worldwide public attitudes toward the defining event of the early twenty-first century.
Rhythm, Metre, and Form in North Indian Rāg Performance
Author: Clayton Martin
Publisher: Oxford University Press on Demand
Time in Indian Music studies rhythm, metre, and form in North Indian rag, or classical, music. It presents a theoretical model for the organisation of time in this repertory, elucidated and illustrated with reference to many musical examples.