[INDOLOGY] A new work monograph on "The Doctrine of Shruti in Indian Music" by Prof. Vinod Vidwans

[Nagaraj Paturi]

Now the full book can be downloaded from

http://www.computationalmusic.com/pdfs/The-Doctrine-of-Shruti-in-Indian-Music.pdf

On Mon, Apr 4, 2016 at 1:56 PM, Nagaraj Paturi <nagarajpaturi at gmail.com>
wrote:

> Prof. Vinod Vidwans , Professor and Chair, School of Fine and Performing
> Arts, FLAME University, Pune, India has come out with his new work a
> monograph entitled "The Doctrine of Shruti in Indian Music" .
>
> Here is the conclusion part of the work:
>
> This monograph concludes with five important insights about the concept of
> *shruti* in Indian music. Firstly, it provides clarity about the five
> types of *shrutis* mentioned in *Naradiya Shiksha* and their
> applications. Secondly, the monograph conclusively proves that Bharata’s
> octave has strong foundations in Vedic *swaras* that eventually resulted
> in twenty two *shrutis*. Thirdly, the monograph conclusively establishes
> Bharata’s paradigm of equal temperament twenty two *shrutis* with
> thorough analysis of Bharata’s original text from *Natyashastra*.
> Bharata’s *`Shruti Nidarshanam’* experiment as thoroughly discussed is a
> conclusive proof of the equal temperament twenty two *shrutis*. This also
> tells a musician, how to establish *shrutis* on *Veena* and perceive them
> in a step-by-step manner. Fourthly, an attempt has been made to integrate
> Narada’s paradigm of *shrutis* with Bharata’s paradigm of *shrutis*. Each
> of Bharata’s *shruti* is considered as a cluster called *Shruti-Punja* or *Shruti
> Megha*. Every such cluster is divided into five types mentioned in *Naradiya
> Shiksha* to fine-tune Bharata’s paradigm. Finally, this monograph
> attempts to accommodate the latest findings of the empirical and
> computational research in the above-mentioned *Shruti Punja* model.
>
>
>
> Other important conclusions of this monograph are as follows.
>
> Bharata’s paradigm is completely different from *Naradiya Shiksha*. For *Naradiya
> Shiksha, shrutis* are sonar qualities of a Vedic *swara* while for
> Bharata *shrutis* are twenty two microtones or distinct places equally
> distributed (having equal temperament) across the octave. Thus *shrutis*
> have physical existence and in modern times can be understood in terms of
> their frequency values. *Shrutis* are not merely mental concepts. Bharata
> gives highly sophisticated *Shruti-Nidarshanam* or *Sarana-Chatushtaya*
> experiment to experience and demonstrate twenty two *shruti* that
> conclusively demonstrates the existence of equal temperament twenty two
> *shrutis*. The present monograph also developed a different variation of
> the *Shruti Nidarshanam* experiment as discussed. Computational
> simulation of the *`Shruti-Nidarshanam’* experiment has helped to clarify
> many concepts more conclusively. It suggests that computational approach
> towards musical research is worth exploring and fulfilling at the end.
>
> This monograph puts forth two types of arguments: a stronger or primary
> argument and few secondary arguments. The stronger argument is based on the
> critical analysis of Bharata’s original Sanskrit text from *Natyashastra*
> and then the analysis of the *`Shruti Nidarshanam’* experiment as a
> confirmatory proof of equal temperament twenty two *shrutis*. This
> stronger argument is the crux of this monograph while other arguments are
> supplementary in nature.
>
> Apart from the stronger argument, this monograph provides a step-by-step
> method of establishing *swaras* in an octave (*swara-sthapana* or *swara
> mandala sadhanam*) based on the original text of Bharata. This was not
> attempted in any other earlier studies. This is another original
> contribution of this monograph.
>
> Computer simulation of *`Shruti Nidarshanam’* experiment and further
> analysis help in re-establishing Bharata’s paradigm. This led to the
> development of a *`Shruti-Punja’* or *`Shruti-Megha’* frame-work of equal
> temperament hundred and ten microtones in an octave.
>
> This monograph attempted to argue that Bharata’s paradigm is very robust
> and highly relevant for Indian music in modern times. With the help of
> advanced computational technology it can help exploring newer possibilities
> to enrich Indian music.
>
>
> Those interested in the full work may contact me offline. I shall send the
> pdf.
>
> --
> Nagaraj Paturi
>
> Hyderabad, Telangana, INDIA.
>
> Former Senior Professor of Cultural Studies
>
> FLAME School of Communication and FLAME School of  Liberal Education,
>
> (Pune, Maharashtra, INDIA )
>
>
>
>



-- 
Nagaraj Paturi

Hyderabad, Telangana, INDIA.

Former Senior Professor of Cultural Studies

FLAME School of Communication and FLAME School of  Liberal Education,

(Pune, Maharashtra, INDIA )


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