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Book Summary
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The present volume is a complete English version of a unique Persian work on Indian music. The original text happens to be the earliest to deal with the profound art of Sata comprising Gta, Vadya and Nr tya. As such, it may be placed almost next to the Sata Ratan akara of Sar = ngdeva, in chronological significance. The author of Ghunyatu’l Munya lays equal emphasis on tansf and talif: the poetic text and the same composed in melody and rhythm. Its departure from the traditional themes and its treatment of themes, whenever needed, its candid criticism of the age-old theories and concepts, its assignment of similar status to forms of song and dance such as Shuvah, Maath, Jhumrah and Rupak, introduce these as Ma’mul (practised), Mutadawil (current) and Sarvdey Makhsus (song-form par excellence). Similarly, Vastu (the natal) and Sohilah (nupital songs) of the ladies of India, and ancit, Loharai, bhamari—constituting the dance aerobatics of the nata tribes since time immemorial, give credence to the author’s objective outlook.
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