By T. M. Krishna
T.M. Krishna starts his sweeping exploration of the culture of Karnatik song with a primary query: what's tune?
Taking not anything without any consideration and addressing readers from around the spectrum - musicians, musicologists in addition to laypeople - Krishna presents a path-breaking review of South Indian classical music.
Tata Literature dwell! First e-book Award for Non-Fiction (2014)
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Extra resources for A Southern Music: The Karnatik Story
The resurrection of this vast world of forgotten music and the bringing into the living room of music from all parts of the world as it sounds is such a recent development that it is still intellectually and artistically undigestedquite unlike the situation in literature and the fine arts, where the opening up of the horizons of the past and of the remote took place some time ago, allowing several generations of critics and historians sufficient time to discover stimulating facts and to elaborate valuable ideas.
Largely because of this frustrating situation, many good composers are becoming hesitant to devote the time and effort to the kind of writing that the modern orchestra requires. Why should they bother, when they can gain much more experience in chamber music and electronic music than they can in orchestral music these days? The third advantage of electronic music has to do with its prospects for public acceptance. Here we come to the ever-widening schism between the public for recorded music and the concert-going public, measured in terms of knowledge and acceptance of new music.
The high cost of orchestra rehearsals today makes it more difficult than ever for the young composer to gain this necessary experience; and when composers cannot have the opportunity of a complete and satisfactory testing of their newly written scores, they then have no choice but to fall back upon the standard routines of orchestral writing. Largely because of this frustrating situation, many good composers are becoming hesitant to devote the time and effort to the kind of writing that the modern orchestra requires.