Bibliographie de la Modalité / Modality Bibliography

The first 21 references are taken from the article “Mode” of Howard Powers in the New Grove. The rest is additional or slightly modified material.

Rāgas de l’Inde, Asie du Sud / Indian rāgs, South-Asia

  1. N.S. Ramachandran: The Rāgas of Karnatic Music (Madras, 1938)
  2. Omkamāth Thakur: Sangītanjalī, i (Lahore, 1938, 2/1959), ii (Hathras, 1954), iii–vi (Benares, 1955–62), vii–viii (MSS, unpubd) [Hindi]
  3. K. Ramachandran: Śrī daksinarāga ratnākaram (Madras, 1949) [Tamil]
  4. S.N. Ratanjankar: ‘Ragas in Hindustani Music’, Journal of the Music Academy, Madras, xxii (1951), 97
  5. A. Daniélou: Northern Indian Music, ii: The Main Ragas (London, 1954, 2/1968)
  6. B. Subba Rao: Raganidhi: a Comparative Study of Hindustani and Karnatak Ragas, i (Nagpur, 1956); ii–iv (Madras, 1964–6)
  7. W. Kaufmann: The Ragas of North India (Bloomington, IN, 1968)
  8. H.S. Powers: ‘An Historical and Comparative Approach to the Classification of Rāgas’, Selected Reports, i/3 (1970), 1–78
  9. N.A. Jairazbhoy: The Rāgs of North Indian Music: their Structure and Evolution (London, 1971)
  10. R. Sonnenschmidt: Bhairavī-rāgini: Studien zu einen Nord-Indischen Medlodietyp (Munich, 1976)
  11. M. Lath: A Study of Dattilam: a Treatise on the Sacred Music of Ancient India (New Dehli, 1978)
  12. D.R. Widdess: “The Kudumiyāmalai Inscription: a Source of Early Indian Music in Notation”, Musica Asiatica, ii (1979), 115–50
  13. L. Rowell: “Early Indian Musical Speculation and the Theory of Melody”, JMT, xxv (1981), 217–44
  14. N. Ramanatham: “Vādī, samvādī, vivādī, and anuvādī svaras”, Journal of the Music Academy, Madras, liv (1983), 60–82
  15. M. Lath: “An Enquiry into the Rāga-Time Association”, National Centre for the Performing Arts Quarterly Journal, xiii/4 (1984), 23–9
  16. M.R. Gautam: “The Concept of Rāga in Hindustāni Music”, Aspects of Indian Music, ed. S. Mutatkar (New Delhi, 1987), 13–18
  17. S. Ramanatham: “The Concept of the Rāga in Carnatic Music”, Aspects of Indian Music, ed. S. Mutatkar (New Delhi, 1987), 9–12
  18. D.R. Widdess: “Sugar, Candy and Treacle: History and the Concept of Rāga in Indian Music”, Ethnomusicology and the Historical Dimension, ed. M.L. Philipp (Ludwigsburg, 1989), 71–81
  19. H.S. Powers: “Reinterpretations of Tradition in Hindustani Music: Omkarnath Thankur contra Vishnu Narayan Bhatkhande”, The Traditional Indian Theory and Practice of Music and Dance, ed. J. Katz (Leiden, 1992)
  20. D.R. Widdess: “Reflections on a Mediaeval Melody: Theory, Practice and Musical Notation in Early Indian Musicological Texts”, The Traditional Indian Theory and Practice of Music and Dance, ed. J. Katz (Leiden, 1992)
  21. D.R. Widdess: “Sléndro and pélog in India?”, Performance in Java and Bali, ed. B. Arps (London, 1993), 186–96

Added References

  1. Allen, Matthew Harp: “Tales Tunes Tell: Deepening the Dialogue between ‘Classical’ and ‘Non-Classical’ in the Music of India”, Yearbook for Traditional Music (1998) [doi:10.2307/768552], 22-52.
  2. Anon.: The Music of Hindostan, Mittal Publications.
  3. Arnold, Alison: “Popular Film Song in India: A Case of Mass-Market Musical Eclecticism”, Popular Music (1988) [doi:10.1017/S0261143000002749], 177-188.
  4. Arnold, E. James, Bernard Bel, and Wasiuddin J. Arnold: “L’intonation des musiques monodiques: méthodologies experimentales”, Revue de Musicologie (1985) [doi:10.2307/928597], 159-163.
  5. Arnold, Wasiuddin J.: “L’intonation juste dans la théorie ancienne de l’Inde: ses applications aux musiques modale et harmonique”, Revue de Musicologie (1985) [doi:10.2307/928592], 11-38.
  6. Avtar, Ram: Theory of Indian music: the first book containing the sentiments, their effects on shrutis, notes and ragas in ornamental shape along with formation and manner of display, Pankaj Publications (1980).
  7. Bake, A. A: “Some Aspects of the Development of Indian Music”, In Proceedings of the Royal Musical Association (1949), 23–34.
  8. Baké, Arnold: “The Impact of Western Music on the Indian Musical System”, Journal of the International Folk Music Council (1953) [doi:10.2307/836155], 57-60.
  9. Bake, Arnold A.: “Some Aspects of the Development of Indian Music”, Proceedings of the Royal Musical Association (1949), 23-34.
  10. Bhatkhande, Vishnu Narayan: Music systems in India: a comparative study of some of the leading music systems of the 15th, 16th, 17th & 18th centuries, S. Lal (written in 1930, n.p. n.d.).
  11. Bhatnagar, Neerja: The evolution of Indian classical music, 1200-1600 A.D., 1st ed., Publication Scheme (Jaipur, 1997).
  12. Bhattacharya, C. and R. W Hall: “Geometrical Representations of North Indian That. s and Rags”.
  13. Blume, G.: “Blurred affinities: tracing the influence of North Indian classical music in Keith Jarrett’s solo piano improvisations”, Popular Music (2003), 117–142.
  14. Castellano, Mary A., J. J. Bharucha, and Carol L. Krumhansl: “Tonal hierarchies in the music of North India.”, Journal of Experimental Psychology: General (1984) [doi:10.1037/0096-3445.113.3.394], 394-412.
  15. Caudhurī, Vimalakānta Rôya: The dictionary of Hindustani classical music, Motilal Banarsidass Publ. (2000).
  16. Chakraborty, S., R. Ranganayakulu, S. Chauhan, et al.: “Which notes are Vadi-Samvadi in Raga Rageshree?”, Arxiv preprint arXiv:0812.0706 (2008).
  17. Chib, Satyendra Krishen Sen: Companion to North Indian classical music, Munshiram Manoharlal Publishers (2004).
  18. Clements, Ernest: Introduction to the study of Indian music. An attempt to reconcile modern Hindustani music with ancient musical theory… by E. Clements…, Longmans, Green and Co. (1913).
  19. Clough, John, Jack Douthett, N. Ramanathan, and Lewis Rowell: “Early Indian Heptatonic Scales and Recent Diatonic Theory”, Music Theory Spectrum (1993), 36-58.
  20. Coomaraswamy, A. K: “The Old Indian vīṇā”, Journal of the American Oriental Society (1931), 47–50.
  21. Coomaraswamy, A. K: “The Parts of a Vīnā”, Journal of the American Oriental Society (1930), 244–253.
  22. Coomaraswamy, A. K: Indian music, G. Schirmer (1917).
  23. Daniélou, Alain: The ragas of Northern Indian music, [s.n.] (London, 1968).
  24. Daniélou, Alain: Northern Indian music: The main ragas (1954).
  25. Daniélou, Alain: Northern Indian music [by] Alain Daniélou (Ṡhiva Ṡharan), C. Johnson (1949).
  26. Farrell, Gerry: “The Senia Style of Sitar Playing in Contemporary India”, British Journal of Ethnomusicology (2002), 29-60.
  27. Farrell, Gerry: Indian music and the West, Oxford University Press (1997).
  28. Farrell, Gerry: “The Early Days of the Gramophone Industry in India: Historical, Social and Musical Perspectives”, British Journal of Ethnomusicology (1993), 31-53.
  29. Gangoly, Ordhendra Coomar: Rāgas & rāginīs: a pictorial & iconographic study of Indian musical modes based on original sources, Kumar Printers (1966).
  30. Gangoly, Ordhendra Coomar: Rāgas & rāginīs: a pictorial & iconographic study of Indian musical modes based on original sources, Nalanda Publications (1948).
  31. Gautam, Madura Ramaswami: The musical heritage of India, Abhinav Publications (1980).
  32. Grandin, Ingemar: “Raga Basanta and the spring songs of the Kathmandu Valley [Elektronisk resurs] : A musical Great Tradition among Himalayan farmers?”, In European Bulletin of Himalayan Research, European Bulletin of Himalayan Research Institutionen för studier av samhällsutveckling och kultur (1997).
  33. Guillebaud, Christine: “Musique et société en Asie du Sud”, L’Homme (2004), 499-511.
  34. Henry, Edward O.: “The Rationalization of Intensity in Indian Music”, Ethnomusicology (2002) [doi:10.2307/852807], 33-55.
  35. Henry, Edward O.: “Folk Song Genres and Their Melodies in India: Music Use and Genre Process”, Asian Music (2000) [doi:10.2307/834398], 71-106.
  36. Humble, Matthew: The Development of Rythmic Organisation in Indian Classical Music, MMus Ethnomusicology, SOAS – University of London (2002).
  37. Jain, S. K: “Wooden Musical Instruments of the Gonds of Central India”, Ethnomusicology (1965) [doi:10.2307/850416], 39-42.
  38. Jairazbhoy, N. A.: “An Interpretation of the 22 Śrutis”, Asian Music (1975) [doi:10.2307/833842], 38-59.
  39. Jairazbhoy, N. A.: “Factors Underlying Important Notes in North Indian Music”, Ethnomusicology (1972) [doi:10.2307/850443], 63-81.
  40. Jairazbhoy, Nazir Ali: “What Happened to Indian Music Theory? Indo-Occidentalism?”, Ethnomusicology (2008), 349-377.
  41. Jairazbhoy, Nazir Ali: The rāgs of North Indian music: their structure and evolution, Wesleyan University Press (1971).
  42. Jones, W.: “On the Musical Modes of the Hindoos”, Asiatic Researches, iii, (1792), 55–87, [repr. in Tagore (1875); repr. in S. Gupta, Music of India (Calcutta, 1962)]
  43. Kak, S.: “The golden mean and the physics of aesthetics”, Ancient Indian Leaps Into Mathematics (2010), 111.
  44. Kak, S.: “Early Indian Music”, In A search in Asia for a new theory of music: a symposium organized by the University of the Phillipines Centre for Ethnomusicology, February 17-23, 2002 (2002), 59.
  45. Kak, S.: “The Idea of 22Srutis” (2001).
  46. Kak, Subhash: “Time, Space and Structure in Ancient India”, 0903.3252 (2009).
  47. Kak, Subhash: “Greek and Indian Cosmology: Review of Early History”, physics/0303001 (2003).
  48. KARANTH, D.: “Amir Khusrau’s Contributions to Indian Music: A Preliminary Survey”, Sangeet Natak (2008a).
  49. Katz, Jonathan: “Music and Aesthetics: An Early Indian Perspective”, Early Music (1996), 407-420.
  50. Katz, Jonathan: The Traditional Indian theory and practice of music and dance, BRILL (1992).
  51. Kaufmann, Walter: The rāgas of South India: a catalogue of scalar material, Indiana University Press (1976).
  52. Kaufmann, Walter: The rāgas of North India, Published for the International Affairs Center by Indiana University Press (1968).
  53. Knight, Roderic: “The Harp in India Today”, Ethnomusicology (1985) [doi:10.2307/852322], 9-28.
  54. Kolinski, M.: “The origin of the indian 22-tone system”, Studies (1961), 3–18.
  55. Krishnaswami, S.: “Musical Instruments of India”, Asian Music (1971) [doi:10.2307/834150], 31-42.
  56. Krishnaswamy, A.: “Multi-dimensional musical atoms in South-Indian classical music”, In Conference on Music Perception and Cognition, Evanston, Illinois, USA (2004).
  57. Krishnaswamy, A.: “On the twelve basic intervals in South Indian classical music”, PREPRINTS-AUDIO ENGINEERING SOCIETY (2003).
  58. Lachmann, Robert: “Ein grundlegendes Werk über die Muſik Indiens”, Archiv für Musikwissenschaft (1924) [doi:10.2307/929638], 484-490.
  59. Lāṭha, Mukunda: A study of Dattilam: a treatise on the sacred music of ancient India, Impex India (1978).
  60. Lavezzoli, Peter: The dawn of Indian music in the West: Bhairavi, Continuum International Publishing Group (2006).
  61. Lavignac, Albert (1846-1916): “Inde”, Encyclopédie de la musique et dictionnaire du conservatoire.. 1,1, Encyclopédie de la musique et dictionnaire du conservatoire. première partie, Histoire de la musique. [1], Antiquité, Moyen-Age / Albert Lavignac,… Lionel de La Laurencie,…, 1, Delagrave (Paris) (1931).
  62. Mahajan, Anupam: Ragas in Indian classical music, Gyan Books (1989).
  63. Manoharan, Pravina: From Classical To Fusion : Changes In Hindustani Sitar Music In Malaysia As Exemplified In The Works Of Orm Maheswaran And Samuel J. Dass  [M142.S5 P918 2008 f rb]., Masters Thesis, Universiti Sains Malaysia (2008).
  64. Manuel, Peter: “The Evolution of Todi Ragas in Indian Music”, Journal of the Indian Musicological Society, xii/3–4 (?1998), 14–30.
  65. Manuel, Peter: “Popular Music in India: 1901-86”, Popular Music (1988), 157-176.
  66. Massey, Reginald and Jamila Massey: The music of India, Abhinav Publications (1996).
  67. Meer, W. V: “Hindustani music in the 20th century” (1980).
  68. Morton, David: “The Music of India”, Music Educators Journal (1971) [doi:10.2307/3393837], 61 -63.
  69. Moutal, Patrick: A comparative study of selected Hindustānī rāgas: based on contemporary practice, Munshiram Manoharlal (1997).
  70. Mukhopādhyāẏa, Pr̥thvīndranātha: Thât-mélakartâ : les échelles fondamentales de la musique indienne du Nord et du Sud, Publibook (Paris, 2010).
  71. Music, David W.: “‘The First Indian Tune That Ever Was Wrote Out’: An Early Example of ‘World Hymnody’ from the Subcontinent”, Asian Music (2006) [doi:10.1353/amu.2007.0007], 122-140.
  72. Neuman, Daniel M.: The life of music in north India: the organization of an artistic tradition, University of Chicago Press (1990).
  73. Nijenhuis, Emmie te: Saṅgītaśiromaṇi: a medieval handbook of Indian music, BRILL (1992).
  74. Nijenhuis, Emmie te: The rāgas of Somanātha: History and analysis, Brill Archive (1976).
  75. Nijenhuis, Emmie te: Handbuch der Orientalistik: history and structure. Indien. Indian music, BRILL (1974).
  76. Oelmann, Hella and Bruno Laeng: “The emotional meaning of harmonic intervals”, ognitive Processing (2008) [doi:10.1007/s10339-008-0217-z], 113-131.
  77. Oliver, Paul: “Musico-Ethnological Approaches to Musical Instruments”, Popular Music (1988), 216-218.
  78. Perlman, Marc: “The Rāgs of North Indian Music, Forty Years Later”, Ethnomusicology (2011), 318-324.
  79. Perlman, Marc and Carol L. Krumhansl: “An Experimental Study of Internal Interval Standards in Javanese and Western Musicians”, Music Perception: An Interdisciplinary Journal (1996), 95-116.
  80. Peters, K. A and M. Todorova: Contemplating Music and the Boundaries of Identity: Attitudes and Opinions Regarding the Effect of Ottoman Turkish Contact on Bulgarian and Macedonian Folk Musics, Folklorica (2005).
  81. Pinckney, Warren R.: “Jazz in India: Perspectives on Historical Development and Musical Acculturation”, Asian Music (1989) [doi:10.2307/834073], 35-77.
  82. Pingle, Bhavánráv A.: Indian music, Education Society’s Press, Byculla (1898).
  83. Popley, H. A.: The Music of India, General Books LLC (2010).
  84. Popley, Herbert A.: The music of India, Association Press (1921).
  85. Portman, M. V.: “Andamanese Music, with Notes on Oriental Music and Musical Instruments”, Journal of the Royal Asiatic Society of Great Britain and Ireland, New Series (1888), 181-218.
  86. Powers, Harold S.: “Symposium of the International Musicological Society, Melbourne, 28 August-2 September 1988”, Acta Musicologica (1988), 321-324.
  87. Powers, Harold S.: “Classical Music, Cultural Roots, and Colonial Rule: An Indic Musicologist Looks at the Muslim World”, Asian Music (1980) [doi:10.2307/833796], 5-39.
  88. Powers, Harold S.: “The Structure of Musical Meaning: A View from Banaras (A Metamodal Model for Milton)”, Perspectives of New Music (1976) [doi:10.2307/832644], 308-334.
  89. Powers, Harold S.: “Indian Music and the English Language: A Review Essay”, Ethnomusicology (1965a) [doi:10.2307/850413], 1-12.
  90. Powers, Harold S.: “Indian Music and the English Language: A Review Essay”, Ethnomusicology (1965b), 1–12.
  91. Powers, Harold S.: “Mode and Raga”, The Musical Quarterly (1958), 448-460.
  92. Prajñānānanda (Swami): The form and function of music in ancient India: a historical study, Ramakrishna Vedanta Math (1989).
  93. Prajñānānanda (Swami): A historical study of Indian music, Munshiram Manoharlal (1981).
  94. Prajñānānanda (Swami): Music of the South-Asian peoples: a historical study of music of India, Kashmere, Ceylon and Bangladesh, and Pakistan, Ramakrishna Vedanta Math (1979).
  95. Raffé, W. G.: “Rāgas and Rāginīs: A Key to Hindu Aesthetics”, The Journal of Aesthetics and Art Criticism (1952) [doi:10.2307/426037], 105-117.
  96. Ramachandran, N. S.: The rāgas of Karnatic music, University of Madras (1938).
  97. Rao, Basavapatna Subba: Bharatiya sangeet, raganidhi: a comparative study of Hindustani and Karnatak ragas, Music Academy (1996).
  98. Rosenthal, Ethel and Sir William Jones: The story of Indian music and its instruments: a study of the present & a record of the past; together with Sir William Jones celebrated treatise in full, with 19 plates chiefly of instruments, music illustrations, and a map, Oriental Books Reprint Corp. (1970).
  99. Ross, Israel J: “Ritual and Music in South India: Syrian Christian Liturgical Music in Kerala”, Asian Music (1979), pp. 80-98.
  100. Rowell, Lewis: “Time in Indian Music: Rhythm, Meter, and Form in North Indian Rāg Performance”, Music Theory Spectrum (2004), 164-167.
  101. Rowell, Lewis: “Scale and Mode in the Music of the Early Tamils of South India”, Music Theory Spectrum (2000a), 135-156.
  102. Rowell, Lewis: Music and musical thought in early India, University of Chicago Press (1992).
  103. Rowell, Lewis: “The Songs of Medieval India: The ‘Prabandhas’ as Described in Mataṅga’s ‘Bṛhaddeśī’”, Music Theory Spectrum (1987), 136-172.
  104. Rowell, Lewis: “The Temporal ‘Spectrum’”, Music Theory Spectrum (1985), 1-6.
  105. Rowell, Lewis: “Early Indian Musical Speculation and the Theory of Melody”, Journal of Music Theory (1981a) [doi:10.2307/843650], 217-244.
  106. Rowell, Lewis: “A Śikṣā for the Twiceborn”, Asian Music (1977) [doi:10.2307/833818], 72-94.
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  108. Sambamoorthy, Pichu: History of Indian music, Indian Music Pub. House (1982).
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  110. Sambamoorthy, Pichu: A Dictionary of South Indian Music and Musicians, Indian Music Publishing House (1952).
  111. Sambamoorthy, Pichu: South Indian Music Series (1938).
  112. Sambamoorthy, Pichu: Syama Sastri: and other famous figures of South Indian music, The Indian Music Publishing House (1934a).
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  114. Sambamoorthy, Pichu: Elements of Karnatic music: containing the Primer, Book I and Book II of the South Indian music series, in one volume, Indian Music Pub. House (1929).
  115. Sanyal, Ritwik and Richard Widdess: Dhrupad: tradition and performance in Indian music, Ashgate Publishing, Ltd. (2004).
  116. Schippers, Huib: “Ali Akbar Khan, le maître du sarod indien”, Cahiers de musiques traditionnelles (1992) [doi:10.2307/40240135], 257-276.
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  118. Sharma, Manorma: Tradition of Hindustani music, APH Publishing (2006).
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