Aesthetics of Tabla (With CD)

Contents: Preface by the author. Part I: 1. A poetry of Tabla-language: i. Concept of metre. ii. Syllabic Gana metre. iii. Beat-time-metre. iv. Figures of speech: a. Alliteration. b. Rhyme. c. Caesura. Part II: 2. Solo Tabla Playing - Subject matter and scope. 3. Bandish concept and it's presentation. 4. Process of expansion of expandable composition. 5. Peshakar concept. Part III: 6. Kayada. 7. Rela - Rav: i. Rav-Ravish. ii. Laggi. 8. Khali - Bhari concept and creation of beauty. 9. Complimentary and contrasting notes: i. Farshbandi (Quadruplicate Form). Part IV: 10. Bandishes of pre-composed nature: i. Gat - Tukada. ii. Tukda. iii. Mukhda and Mohara. iv. Gat. v. Tihai. vi. Chakradar types of Bandishes. 11. Use of Arithmetic in the matter of Tabla-playing: i. Technical description of Layakari. ii. Beauty in Jati-Metre. iii. Important formulae of Tihai. 12. Beauty of Sama in music: i. Anaghat - Atit. Part V: 13. Language oriented vis-a-vis arithmetic oriented compositions. 14. Use and scope of punctuations. 15. Joy of Padhant-Oral recitation of Bandish. 16. Extempore creative performance: i. Practice of extempore performance in accompaniment. 17. Beauty in theatricality - dramatization. 18. Repetition principle of beauty and Tabla. 19. Role of laws of perception in the communication of music: i. Element of relativity in music appreciation. 20. Classical music and different types of sports. Part VI: 21. Symmetry proportion and aesthetics. 22. Schools and the Baaj. 23. Life sketches of eminent Tabla artists. 24. Technical terms.

From the Foreword: "In the study of any performing art both the theory and practice are significantly relevant. Unfortunately not enough attention is focused on musical research relating to the theory of music and hence any addition to the reference books available would be of considerable value to the students and practitioners of music. All the more so, if such a book is authored by a practitioner himself.

In this book, Mainkarji seeks to relate the principles of aesthetics prevalent in the Indian languages and poetry to the art of Tabla. His analysis of Tabla compositions reveals that they are replete with various metrical forms as well as figures of speech such as alliteration, rhyme and punctuation etc. The author has also studied carefully the classical traditional compositions from the point of view of the language used therein and has discovered that there is a pre-planned scheme of selecting syllables and phrases by the composers which are used while composing a Tabla - Bandish. According to him, the discipline of Khali-Bhari and the selection of pre-designed complimentary and contrasting notes together help the compositions become more poetic and musically entertaining."