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a Maciszewski, p. 511. Discusses

31. Some Indian Conceptions of Music — Mrs. Mand Mann, p. 65. Discusses
32. Ragas in Indian Classical Music — Anupam Mahajan — Gian Publishing House, p. 138. Discusses
kut taan, p. 35 , attributes of Swara by Allauddin Khan
33. ?copy? Ragas in Hindustani Music — Conceptual aspects — Anupam Mahajan — . Discusses
different aangas, Brindavani Sarang \cap Desh
34. Premature Genius in Tala(-Prastara) in Indian Music — Akella Mallikarjuna Sharma — Telegu
University of Hyderabad, 1992, p. 237. Discusses
35. Discovering Indian Music — Raghava R. Menon — Somaiya Publications Pvt Ltd, p. 87. Discusses
36. Indian Music — The Magic of Raga — Raghava Menon — Somaiya Publications Pvt Ltd, p. 102.
Discusses
37. The sound of Indian Music — A journey into Raga — Raghava R. Menon — Indian book company,
p. 85. Discusses
38. A comparative study of Selected hindusthani Ragas — Patrick Moutal — Munshiram Manoharlal,
p. 580. Discusses chalan of many raag,
39. *Indian Classical Music — Changing profiles — Bimal Mukherjee — West Bengal State Music
Academy — 36 Anwar shah Road — Calcutta 700033, p. 239. Discusses anecdotes — Tilak kamod at
p. 192, cried due to music p. 154, Nayak Baiju and Benaras Gharana lineage p. 15–16.
40. Sangeetha Laalithya Lahari (The waves of Elegance in Music) — Bangalore — S. Mukund —
1989, p. 299. Discusses Saama Veda, Natya Saastra, Gram-Murchana-Jati, Hindusthani music,
Karnatic music, 72 scales (janaka raga), Katapayaadi sutram, 22 srutis, Hindusthani vs Karnatic,
equivaent mela of thaats p. 7
41. Indian music — an introduction — D.P. Mukherjee, p. 67.
42. Theory of Harmonization of Indian Melody — Sanatan Mukherjee, p. ~30. Discusses the author
could play violin and mouth-organ together, photo given
43. The science of music — K. Vasudeva Sastri, Research publications, Ellayammankoil street,
Tanjore, p. 74.
44. A Rasika’s journey through Indian music — Rajeev Nair — Indialog publications pvt ltd, p. 402.
Discusses Major gharanas, great musicians, instruments and instrumentalists.
45. Indian Music — History and Structure — Emmie Te Nijenhuis, 1974, p. 150.
46. In pensare musicale indiano — Paolo Pacciolla — BESA Editrice, p. 147.
47. The origin and development of Durupad and its bearing on instrumental music — E. S. Perera, K P
Bagchi and company — Calcutta, New Delhi, 1994, p. 307. Discusses Dhrupad and Man Singh,
Prabandha and epic period, Prabandha-git and pre-dhrupad period, Sapta-dhatu and Sadanga
prabandhas, Baiju Bawra, Dhrupad and yoga, Tughluq period, Veena (Been), Rabab, bandishes (one
obtained from BKRC, p. 290).
48. The illustrated companion to South Indian Classical Music — Ludwig Pesch — Oxford univ press,
Delhi, 1999, p. 376.
49. The rags of Hindustan — Puna, Philharmonic society of Western India — 1918, p. 48. Discussess
many compositions from people like Abdul Karim Khan
50. The rags of Hindustan Vol II— Puna, Philharmonic society of Western India — 1921, p. 99.
51. The rags of Hindustan Vol III— Puna, Philharmonic society of Western India — 1923, p. 25.
52. North Indian rhythms on the drum set — Ed Pias — Univ of Washington, 1996, p. 100
53. History of Indian Music — Bhavanrav A. Pingle — Sudil Gupta (India) Private Ltd, Calcuta 4, 1962,
p. 124
54. The Music of India — H. A. Popley — Low price publications — Delhi 110052, 1921, 1990, p. 187.
55. The Music of India — Herbert A. Popley — 2nd edition — Y.M.C.A. Publishing house, 5 russell
street, Calcutta, 1950, p. 184
56. A Historical study of Indian Music — Swami Prajnanananda, Munshiram Manoharlal Publishers
Pvt Ltd, 1980, p. 412. Discussess jatis as described in Bharata’s Natya Sastra, Saptatantri-veena in
the Buddhist caves of Pitalkhora, Aryan and Non-Aryan elements in Some Indian ragas, origin and
development of Dhruvapada, Evolution of Khayal and itc developement.
57. A history of Indian Music — Vol 1 (ancient period) — Swami Prajnanananda — Ramakrishna
Vedanta Math — 1963, p. 215.
58. A history of Indian Music — Vol 2 (Midieaval period and modern period) — Swami Prajnanananda
— Ramakrishna Vedanta Math — 1963, p. 231
59. Music : Its form, function and value — Swami Prajnanananda, Munshiram Manoharlal Publishers
Pvt Ltd, 1979, p. 181.
60. Glimpses of Indian music — Vani Bai Ram — Kitab Mahal Private ltd, p. 193. Discussess 25
hindusthani ragas name in karnatic, p. 101. “Life spent without swimming in the blissful ocean of
Musical knowledge is a burden to the earth”. Tyagaraja
61. The ragas of Karnatic Music — N. S. Ramachandran — University of Madras, 1938, p. 228.
62. Indian aesthetics — Music and Dance — Sri Venkateshwara University, 1966, p. 74.
63. Hindusthani Music — An outline of its physics and aesthetics — G. H. Ranade, 1951, p. 204.
64. Music in Maharashtra — G.H. Ranade, p. 58.
65. History of South Indian (carnatic) Music — From Vedic times to the Present — R. Rangaramanuja
Ayyangar, 1972, p. 487. Discusses 2116 raga names in p. 345.
66. Sri Kiruti Mani Malai — Rangaramanuja, 1965, p. 740, in Tamil.
67. The Varnam (a special form of Karnatic Music) — Lalita Ramakrishna — Harman Publishing
House, New Delhi 1991, p. 286
68. The Art and Science of Carnatic Music — Vidya Shankar — The music academy of Madras —
306, T.T.K. Road, Madras 600014, 1983, p. 216. Discusses Ragas and Mela-system, Clasification of
Ragas, graha-bheda, Tala, bhava, Kalpana-sangita, srutis, fretting of Vina, Gamakas
69. A book in Tamil, 1965, p. 712. (probably Kritimanimalai by Rangaramanuja)
70. Another book in Tamil, p. 542
71. Another book in Tamil, p. 408
72. Music of Eastern India — Voccal Music in Bengali, Oriya, Assamese and Manipuri with special
emphasis on Bengali — Sukumar Ray — Firma K. L. Mukhopadhyay — Calcutta, 1973, p. 164. very
important p. 69-75.
73. The Music of India — 6000 BC to 1000AD — Vol 1 – Ram Avatar Vir – Pankaj Publications, Delhi
1986, p. 280
74. The Music of India — 1001 AD to 1986 — vol 2 — Ram Avatar Vir — p. 256
75. History of Indian Music and Musicians — Ram Avatar Vir — 1987, p. 110. Discusses A photo of
Dabir Khan
76. Musical Heritage of India — Lalita Rama Krishna — Shubhi Publications — New Delhi — 110035,
2003, p. 291.
77. Acoustical perspective on Raga-Rasa theory — Suvarnalata Rao — Munshiram Manoharlal
Publishers Pvt Ltd, 2000, p. 145.
78. The concept and Evolution of Raga in Hindusthani andf Karnatic msuic — Geetha Ravikumar —
Bhavan’s book university, 2002, p. 184.
79. Aesthetics of North Indian classical Music — Bimalakanta Roychaudhuri — Imdadkhani school of
Sitar — 88 Moore avenue, Calcutta 700040, first ed. 1993, p. 125.
80. *Indian Music in the past and present — A study of the present and 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) — Ethel Rosenthal, p. 220. {the first All-India music Conference, convenced in
19916 by H. H. the Maharaja Gaekwar of Baroda, inaugurated several projects of reform (p.88) …up
to the end of 1925 four conferences had taken place (In December, 1927, an All-India Music
conference was held in Madras). Widespread interest in music is being aroused amongst the
intelligentsia of India, and it is to be hoped that the renaissance of Indian music will soon be a fait
accompli. The second cnoference was held at Delhi in 1918, under the presidentship of H.H. the
Nawab of Rampur (p. 80)
81. All you wanted to know about INDIAN MUSIC (Carnatic and Hindustani) but didn’t know whom to
ask — Sakuntala Narasimhan — Veenapani Centre for Arts, Bangalore, 1999, p. 100. Discusses
srutis, their frequencies (p. 93)…. the 22 srutis within an octave are not equally spaces. Three kinds of
eka-sruti intervals are identified — the purna ekasruti (256/243 or 90 cents), nyuna eka sruti (25/24 or
70 cents) and pramana eka sruti (81/80 or 22 cents)
82. History of Indian Music — Padma Bhusan P. Sambamoorthy, p. 262. Discusses historical
concerts, anecdotes, very nice book, very useful to learn about Carnatic Music
83. Dhrupad — Tradition and Performance in Indian Music — Ritwik Sanyal and Richard Widdess —
SOAS Musicilogy Series — Ashgate Publishing limited (.com), 2004, p. 395.DiscussesWhat is
dhrupad, Historical Imergence of Dhrupad style, The four banis, The dagar Heritage (life of Behram
Khan is described). Alap and tradition etc.
84. copy –2
85. Ragas and Raginis — Amiya Nath Sanyal — Orient Longman, 1959, p. 282. Discussess Many
interesting theoritical concepts, for eg. Bhupali to Malkauns (p. 196)
86. Sangita-Ratnakara of Sarangadeva — Vol 1 — Treatment of Svara — English translation by Dr. R.
K. Shringy, under the supervision of Dr. (Miss) Prem Lata Sharma, Motilal Banarasidass — Delhi
Varanasi — Patna, 1978, p. 450.
87. Sangita Ratnakara of Sarangadeva — Sanskrit text and English translation with Comments and
Notes — Chapters II-IV, English translation by Dr. R. K. Shringy, under the supervision of Dr. Prem
Lata Sharma, Munshiram Manoharlal Publishers Pvt Ltd, Vol II, 1989, p. 397.
88. The winged form — aesthetical essays pn hindustani rhythm — Sushil Kumar Saxena — Reader
in Philosophy, University of Delhi — Sangeet Natak Academi — Rabindra Bhawan, Ferozeshah Road,
New Delhi, 1979, p. 170
89. Contributions of Saints and Seers to the Music of India — Vol 1 — Shantsheela Santhianathan —
Kanishka Publishers, Distributors — New Delhi — 110002, 1996, p. 387.
90. Same —- Vol 2, 1996, p. 589
91. Indian concept of rhythm, Arun Kumar Sen, Kanishka Publishers, Distributors, 1994, p. 178
92. Power and delight : Wocal training in North Indian Classical Music — Stanley Arnold Scott
(Wesleyan University ), May 1997, p. 550. Discusses Badal Khan taught Girijashankar Chakrabarty,
Krishnachandra De, as well as Bhishmadev Chatterjee (from Raychoudhury, Bimalakanta, 1991,
Bharatiya Sangeetkosh, Calcutta : Imdadkhani School of Sitar)
93. The catechism of Indian Music with songs — Mohindro Lall Seal, Honoratry member of the
Managing committee, Bengal Music School, author of the “index of Kantha-Kaumudi” of 1877 and of
“The Musical chart — 1885), Calcutta — 1893. (aupapattika tauryatrika (theoretical music),
kriyasiddha siddha …
94. Music India — Dr. Manorma Sharma — A.P.H. Publishing corporation — 5, Ansari Road, Darya
Ganj, New Delhi — 110002, 1999, p. 589.DiscussesTerminologies! of Concepts and Terms, Melodies
— Ragas, Forms and Styles, Gems of Indian Music, Instruments, Rhythm – Tala, The language of
Expression – Dance, Literature
95. Hindu Music and Rhythm — Vishnudass Shirali, Musical director of Uday Shankar and Company
of Hindu Dancers and Musicians, p. 49
96. My music, My Life by Ravi Shankar, with an introduction by Yehudi Menuhin, Vikas Publishing
house Pvt Ltd, 1969, p. 160.
97. copy
98. Sargam — An introduction to Indian Music — Vishnudass Shirali — Abhinav/ Marg Publications,
1977, p. 125. Discusses many old compositions from Sangit Darpana
99. Indian Music — Late Dr. Thakur Jaideva Singh — Edited by Prem Lata Sharma, Sangeet
Research Academy, Calcutta, Sangeet-Paridarshini Series-2, 1995, p. 536. Discussess musicians
from 800 to 1900, from Baiju to all. (p. 152 — Krishnananda Vyasa has also collected a number of
Baiju’s dhruvapada compositions in his Ragakalpadruma… invented a few ragas of which Gujari Todi
and Bahaduri Todi are justly famous. Gujari Todi was invented to immortalize the memory of
Mriganayani (na) gujari, the favourite queen of his earlier patron, Raja Mansingh of Gwalior, and
Bahaduri Todi was composed in honour of his later patron, Sultan Bahadur Shah of Gujarat.
100. Spiritual aspects of Indian Music — robert Leopold Simon — Sundeep Prakashan, Delhi, 1984, p.
154
101. Invitation to Indian Music — Daljit Singh — Classicl Music Circle Ludhiana, p. 202. Discusses
Karim Khan was awarded Sanget Ratna at the Town Hall of Mysore on 20th December, 1929.
(Saranga Deva (1210–1274), Sangeet Ratnakar)
102. An approach to the study of Indian Music — Purnima Sinha, India Publications, Calcutta, 1970, p.
119
103. Indian Series — Bh. A. Pingle — Sri Satguru Publications, a division of Indian books centre,
Delhi, 1989, p. 341.
104. Dhrupada — A study of its origin, Historical Development, Structure and Present State, Indurama
Srivastava, Motilal Banarsidass, Delhi Varanasi Patna, 1980, p. 152.Discussessbiographical sketches
of Past and Present Dhrupada singers among others
105. Studies in Indian Music and Allied arts — in 5 volumes , Edited by De Leela Omchery, Mrs
Deepti Omchery Bhalla, Sundeep Prakashan, Delhi 1990, p. 195, 232, 237, 149, 174. Discusses
Music therapy (asta vakra) etc
106. Euphony — Indian Classical music — L. Subramaniam and Viji Subramaniam, Affiliated East-
West Press Pvt Ltd, 1995, p. 190. Discusses Karnatic composers (p. 140)
107. Veena Dhanammal — The making of a Legend — Lakshmi Subramanian, Routledge, Taylor and
Francis group, 2009, p. 111
108. Studies in Indian Music — T.V. Subba Rao — Asia Publishing house, 1962, p. 248. Discusses
Many classic composers and compositions of Tyagaraja
109. Bharatiya Sangeet : RAGA NIDHI (Enclopedia of Indian Ragas). Vol 1 ABC (30 80 106), A
comparative study of Hindustani and Karnatak Ragas — Subba Rao, 1956, p. 158.
110. RAGA NIDHI Vol 2, A comparative study of Hindustani and Karnatak Ragas — B. Subba Rao,
auided by the Sangeet Natak Akademi, New Delhi, published by The Music Academy, Madras, 115-E,
Mowbray’s road, Madras — 14. 1964, p. 185. (D to J)
111. RAGA NIDHI Vol 3, A comparative study of Hindustani and Karnatak Ragas — B. Subba Rao,
auided by the Sangeet Natak Akademi, New Delhi, published by The Music Academy, Madras, 115-E,
Mowbray’s road, Madras — 14. 1965, p. 262. (K to P)
112. RAGA NIDHI Vol 4, A comparative study of Hindustani and Karnatak Ragas — B. Subba Rao,
auided by the Sangeet Natak Akademi, New Delhi, published by The Music Academy, Madras, 115-E,
Mowbray’s road, Madras — 14. 1966, p. 303. (Q to Z)
113. Bharatiya Sangita Darshani — Indian Music — A profile — Kalluri Subba Rao, 1984, p. 80.
Discusses Gamakas (p. 53)
114. Theory of Indian Music — Bishan Swarup — Swarup brothers, 7/A, Hamilon Road, Allahabad.
2nd and enlarged edition 1950, p. 238
115. the musical scales of the Hindus with remarks on the applicability of Harmony to Hindu Music by
RAJAH COMM. SOURINDRO MOHUN TAGORE, Mus. Doc., Sangita-Nayaka, Calcutta, Bengal
Academy of Music, 1884, p. 118.discusses Sampurna thaat ragas, Sharava thaat ragas, Orava that
ragas
116. Six principal Ragas, witha brief review of Hindu Music by Sourindro Mohun Tagore, Neeraj
Publishing house, delhi — 110052, 1st ed. 1877, reprinted 1982, p. 90. Discusses murchanas in
Sharajagrama, Madhyamagrama with their names, contains some songs of Jayadeva
117. Nadopasana — Prof. S. K. Thyagarajan, with a foreword by P. Sambamoorthi, Sarada Publishing
house, 248-G, New Dharapuram Road, Palni, S. India, p. 61.
118. Singing the praises divine : Music in the Hindu tradition — Selina Thielemann — A.P.H.
Publishing corporation, 5, Ansari Road, Darya Ganj, New Delhi 110002, 200, p. 175.
119. Three monographs on Music — Antsher Lobo : The universal Basic scale of Unicentric Tonality ,
Indian Musical Ma-Grama of Bharata — World’s only Perfect scale; The Jain Data about Musical
Instruments — Hiralal Kapadia, Indian Musicological Society, Jambu Bet, Dandia Bazar, Baroda,
India, 1980, p. 151. Discussess Identity of the perfect scale, Misinterpretation of Bharata, New Bi-polar
methods confirm bharata, Bi-cyclic method and compostie scale, Natya Shastra and the Algebraic
Method, the acoustic and absolute system of Gramas, The bi-polar system of gramas, Shrutis and
murchanas, The myth of the so-called standard scale, post-bharatan errors and misinterpretations.
120. To whom Dhrupad owes its renaissance —AGAR, about a 40 page book, with lineage in the first
page.
121. The Mala-Raga-Malika of Maha-Vaidya-Natha Sivan — The adyar library, 1937, p. ~ 100. Nice
book discussing Katapayadi etc
122. Music in India — The classical traditions — Bonnie C. Wade — Manohar, 1987, p. 252.
123. Aspects of India Music , A collection of Essays, edited by Sumati Mutatkar — Sangeet Natak
Akademi, New Delhi, 1987, p. 135.DiscussesRabindrasangeet : Song compositions of Rabindranath
Tagore etc.
124. Essays in Musicology — Edited by R. C. Mehta, Indian Musicology Society — Bombay and
Baroda1983, p. 214.
125. Glimpses of Indian Music — Gowry Kuppuswamy, M. Hariharan — Sundeep Prakashan, Delhi,
1982, p. 250. Discusses Carnatic music (only?)
126. A Miscellany in Indian Music — Alamelu Govindarajan — Tiruvanmiyur, Madras – 41, p. 66
127. The immortals of Indian Music — Edited by Leela Omchery, Deepti Omchery Bhalla — Gyan
Publishing House, New Delhi — 110002, 1998, p. 240
128. Indian Music : A perspective — Gowry Kuppuswamy, M. Hariharan, Sundeep Prakashan, Delhi,
1980, p. 262.
129. The correct understanding of some of the Taaka Dasa Praanas — Prof. S. R> Janakiraman —
Percussive Arts Centre (Reg.), 183, 8th cross, 2nd block, Jayanagar, Bangalore — 560011, 1988, p.
22.
130. Music research — perspective and prospects — reference Indian Music — edited by R. C. Mehta
— Indian Musicology society, Bombay and Baroda, 1995, p. 92.
131. On music and musicians of Hindoostan — Ashok D. Ranade — New Delhi , Promilla and co.,
Publishers, 1984, p. 208.
132. Psychology of Laya — S. K. Ramachandra Rao — Percussive Arts Centre (Reg.), 183, 8th
Cross, 2nd block, Jayanagar, Bangalore 560011, p. 12
133. Readings on Indian Music — Gowrie Kuppuswamy, M. Hariharan — College Book House, M. G.
Road, Trivandrum, 1979, p. 239.
134. Readings on Music and Dance — edited by Gowri Kuppuswamy, M. Hariharan — 1979, B.R>
Publishing Corporation, Delhi — 110052, p. 211.
135. Panels of the VIIth world sanskrit conference, vol. XI, The Traditional Indian Theory and Practice
of Music and Dance — edited by Jonathan Katz, E.J. Brill — Leiden New York KOln, 1992, p. 230
136. Aesthetic anc scientific values in Carnatic Music — Lecture — Demonstrations by Vidya Shankar
at the annual conferences of The Madras Music Academy — 1946—1996, p. 255
137. The evolution of Indian Classical Music (1200 — 1600 AD) — Nerja Bhatnagar — The publication
scheme, Jaipur, India, 1997, p. 255
138. Dattilam — A compendium of Ancient Indian Music — Introduction, translation and commentary
by E. Wiersma – Te Nijenhuis, Leiden – E.J. Brill — 1970, p. 477
139. Ghunyatu’l Munya — the earliest Persian work on Indian Classical Music — translation into
English and Annotated by Shahab Sarmadee — Indian council of Historical research, New delhi in
association with Northern book centre, New Delhi, 2003, p. 158.
140. A study of Dattilam — a treatise on the Sacred Music of Ancient India — Mukund Lath — Impex
India, New Delhi, January, 1978, p. 472.
141. Indian Classical Music and Sikh Kirtan — Gobind Singh MAnsukhani — Oxford and IBH
Publishing Co — New Delhi Bombay Calcutta, 1982, p. 164.
142. (Art and Culture Series) The form and Function of Music in Ancient India (A Historical Study) —
vol two — Swami Prajnanananda — Ramakrishna Vedanta Math, 1990, p. 256. Discussess the
characteristic of Rigveda and Samveda, Music in the introduction to Samveda, Music in the Rktantra,
Music and the Samatantra or puspasutra, the pratisakhya of the sama-veda, music in the samatantra
and the sama-vidhana-brahmana, music in the mantra-brahmana, music in the panchavimsa-
brahmana, music in the Rk-pratisakhya, music in the taittiriya-pratisakhya, music inthe sukla-yaju-
pratisakhya, music in the siksas, music in the yajnavalkya-siksa, music in the mandukisiksha, music in
the paniniya-siksa, the vedic music samaganas and their methods of playing, musical instruments in
vedic and ancient India.
143. (The chaukhambha Sanskrit Bhawan series 32) Music — Dance and Musical instruments during
the period of Nayakas (1673 — 1732) — Dr. K. Kusuma Bai — Chaukhambha Sanskrit Bhawan,
Varanasi — 221001, p. 196.
144. Hindustani Music in the 20th century by Wim Van Der Meer — 1980, Martinus Nijhoff Publishers,
p. 252.
145. The Ragas of Early Indian Music — Modes, melodies and musical notations from the Gupta
period to c. 1250 — Richard Widdess — clarendon Press — Oxford, 1995, p. 429
146. Music, Dance and Drama in Andhra Pradesh — Report of the survey Conducted by Andhra
Pradesh Sangeeta Nataka Akademi Hyderabad, December 1960, p. 357
147. The music of Bauls of Bengal — Charles Capwell — The kent state university press — 1986, p.
243.
148. Sailing on the sea of love — the music of the bauls of India (accompanied by CD) — Charles
Capwell — Seagull books — New york London Calcutta, 2011, p. 244.
149. Sastriya Sangita and Music Culture of Bengal through the Ages (Vol 1) — Chhaya Chatterjee —
Sharada Publishing House — Delhi — 110035, 1996, p. 293. discusses Prachina yuga (prehistoric to
1200), Madhya yuga (medieval period (1200) to Muslim-era (1757)), adhuni yuga
150. Sastriya Sangita and Music Culture of Bengal through the Ages (Vol 2) — Chhaya Chatterjee —
Sharada Publishing House — Delhi — 110035, 1996, p. 555. discussess musical styles of bengal
(pachali, dhrupad, khayal, tappa etc)
151. Song of Goa — Mandos of Yearning — Jose Pereira and Micael Martins — Aryan books
International, New Delhi, 2000, p. 234
152. Song of Goa, no. 2— Mandos of Yearning — Jose Pereira and Micael Martins — Aryan books
International, New Delhi, 2003, p. 190
153. Mysore as a seat of Music — Dr. (Mrs.) M.B. Vedavalli — CBH Publications, 1992, p. 220.
Discussess musical traditon of Mysore, Rulers of Mysore and their patronage, Royal Musicians, Court
Vidwans of Mysore, Contribution to Musicology — theoretical works, Salient Features of Music of
Mysore
154. AT THE CENTRE — Fifteen Musicians of Madhya Pradesh — Mohan Nadkarni — Ustad
Allauddin Khan Sangeet Akademi — Lalit LKala Bhawan, Tagore MArg, Bhopal 42003, February
1982, p. 85. Discusses Alauddin Khan (the true acharya), Hafiz Ali Khan (the aristrocratic maestro),
Rajab Ali Khan (the temperamental ustad), AmirKhan ( A phenomenon), Dagar bandhu (torch-bearers
of “Dhrupad Gayaki”), Krishnarao Shankar Pandit (Doyen of Gwalior Gharana), Sharadchandra
Arolkar (the pandit with a difference), Kumar Gandharva (the rebel genius), Abdul Halim Jaffer Khan
(where tradition meets innovation), Amjad Ali Khan (the “avant grade” sarodiya), Budhaditya
Mukherjee (the virtuoso to Watch), Malini Rajurkar (the eclectric vocaost), Ajay Pohankar (on the
threshold), Om Prakash Chourasiya (the enterprising santoorist), Kiran Dehspande (Tala in his blood)
155. Maharashtra’s contribution to Music — Vamanrao Deshpande — Maharashtra information centre,
New Delhi, January 1972, p. 83.
156. (chaukhambha Oriental research studies No 30) Manipuri Tala Prakasa — Darshana Jhaveri,
Kalavati Devi, Chaukhambha Orientalia, 1990, p. 290
157. Thirty songs from the Panjab and Kashmir — Ratan Devi, Ananda K. Coomaraswamy — New
edition, revised and enlarged — edited by Premlata Sharma, Indira Gandhi National Centre for the
Arts, New Delhi, 1994, p. 177.
158. Devi Amba’s Drum : Mina miracle chant and the ritual ostinato of spirit-possesion [performance in
southern Rajasthan — David Roche, 1996, p. 372
159. The history of Tamil Music — Dr. Salem S. Jayalakshmi, University of MAdras, Chennai — 600
005, June, 2003, p. 235.
160. Tanjore as a seat of Music — Dr. S. Seetha (Proessor and Head of Indian Music, University of
Madras), University of Madras, 1981, p. 654.
161. The Music of Bengal — Essays in Contemporatry Perspective — Edited by Jayashri Banerjee,
Indian Musicological Society, Baroda and Bombay, 1988, p. 130. Discusses
162. Echoes from Dharmasala — Music in the life of a tibetan Refugee Comunity — Keila Diehl —
University of California Press, 2002, p. 312
163. Sufyana Musiqi — the classical music of Kashmir — Jozef M. Pacholczyk, 1996, p. 261.
discusses Hindu period (3rd Century BC to 14th century AD), Islamic period (14th century AD until
present) etc
164. A monograph on Kudumiyanmalai inscription on Music — Br V Premlatha, Madurai, 1986, p. 69.
165. Musical Heritage of Lucknow — Susheela Misra — Harman Publishing House, New Delhi, 1991,
p. 170.
166. Music makers of the Bhatkhande college of Hindustani Music — Sudheela Misra — Sangeet
Research Academy, Calcutta — 700040, 1985, p. 83
167. A critique of Hindustani Music and Music Education — S.S. Awasthi, Dhanpat Rai and Sons,
Jullundur Delhi, p. 240.Discussesancient periods, Samvedic Music, Kauthuma school Gandharva
Veda, Brahmanas, Sutras, Paniniya siksa, Rudradamarudbhava sutra, Mahabharata, Ramayana,
Narada, Svati, visakhilacharya, bharata, Kasyapa, Sardula, Dattila, Utpalacharya, kohal, Matanga,
Abhinavagupta, Haripal, JAyadeva, Sarangadeva, Medieval period, Sinha bhupala. Kallinatha,
Lochana kavi, Ramamatya, Raja Man Singh Tomar, Pundarika Vitthala, Ragamala, Raga Manjari, to
many things.
168. An introduction to Hindustani Music — Arati Chakravarty — Har-anand Publications pvt Ltd,
1999, p. 175.
169. Listening to Carnatic Music — B R C Iyengar, Savithri charitable trust, 1998, p. 140.
170. Hindustani Music — Ashok Da. Ranade — National book trust, India, 1959, p. 166.

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loirr565

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C'est d'ailleurs plus facile de se lancer aujoud'hui qu'il y a de cela 5 ans, j'explique déjà tout ça dans la
formation que je vais bientot lancer

Ceux dont on a eté victimes surtout, ce sont les business en importés.

On nous a fait croire qu'on etaient pas en mesure de faire les choses nous même.

On nous a faire croire qu'on ne possedait pas le talent pour lancer nos propres business en ligne.

Enfin, quand on dit business en ligne, c'est que c'est un truc de blanc, ce sont les europeens et les
Américains qui détiennent le monopole.

les endroits les plus luxieux de Dudai

La premiere cible aujourd'hui des societés de business en ligne sont les pays AFRICAINS.

Aujourd'hui ils ont meme des locaux en AFRIQUE.

Le marché AFRICAIN rapporte beaucoup.

Vous savez pourquoi? Ils savent que l'Africain aime beaucoup le "MADE IN"

Ou bien ?

Ce n'est pas l'Africain qui laisse la boutique de son propre frère pour aller payer le même produits
dans la boutique du libanais d'à côté.

Tous ce qu'il veut c'est que tu j'empoche pas son argent, il préfère envoyé ça à l'étranger.

L'Africain considère le produit ou de son frère comme un produit gratuit.

Si son frère ouvre Salle de jeux, lui viens c'est pour jouer gratuitement.

que?
Il n'y a pas un seul business que nous ne sommes pas en mesure de créer.

Nous disposons des marketeurs expérimenté

Nous disposons des concepteurs web talentueux

Nous disposons des traders professionnel

Nous disposons de grands influenceurs

Nous disposons des spécialistes en facebook ads, Google ads, e-commerce, dropshiping.. Etc

Nous

HALAL EXCHANGE | BTC~LUNES~CALLISTO 🇧🇯 GROUP, [06.06.20 09:43]

disposons de grands toutubeurs, de grand blogueur, des formateurs,

Nous disposons des spécialistes de la rédaction, le référencement, le SEO, la vente,

Ceux qui maîtrise le marketing sur instagram, YouTube, facebook, Pinterest, twiter, LinkedIn,

Nous disposons des spécialiste dans la cryptomonnaie et la technologie blockchain, mais on ne crois
pas en eux.

Nous disposons de grands auteurs avec des oeuvres qui prennent en compte les réalités de notre
continents, mais personnes ne veut acheter leurs oeuvres parce que quand c'est Africain, la qualité
est moins bonne, mais quand c'est gratuit, c'est normal.

Nous disposons des vrais génie en informatique, logistiques... Etc qui peuvent créer des solutions de
paiements en ligne simple et adapté à notre environnement.

Nous qui sommes web marketeurs aujourd'hui nous depensons beaucoup d'argent dans les logiciels
d'automatisation et autres services en lignes.
Pourtant nous sommes en mesures de le faire..

Nous sommes en mesure de créer notre propres plateforme d'affiliation à l'image de 1tpe ou encore
clikbank.

Nous sommes en mesure de créer notre propres plateforme pour vendre nos services comme sur le
site 5euro,

Nous sommes en mesure de reunir nos differents talents et construire la plus grandes écoles de
formations aux metiers du digital, que ce soit en ligne ou physique.

jgvhgfffffffffffffffffffffffffffffsgdh

Les leaders qui sont partir avec des milliards, l'argent des africains sont aujourd'hui entrain de vivre
leurs belle vie,

voyage partout au calme sans pression et prepare encore d'autres business pour venir récupérer
encore le djè.

On ne peut pas les poursuivre car on a déjà accepter dans les termes du contrats que si ça tourne
mal, on assume.

Donc on nous dit : Ne jamais investir ce que ton épargne, investir ce que tu peux te permettre de
perdre..

Un Africain qui créé un business modèle aujourd'hui est mal vue, pourtant je connais des business
lancé par les Européens sur le continent Africain en complicité avec des Africains.

Rudraavtaar Om Hram Phat Swaahaa . Om Namo Bhagwate

Hanumadaakhyaay Rudraay Sarva Dusht Janmukh Stambhanam

Kuru Kuru Swaahaa . Om Hraam Hreem Hreem Ttham Ttham

Ttham Phat Swaahaa.

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1 Om Hraam Hreem Hroom Namah Poorve.

Om Hraam Hreem Hroom Hroum Namah Aagneye.

Om Hreem Shreem Namah

Dakshinne. Om Gloom Bloom Namah

Neikritye.

Om Proom Proom Sam Sah Namah Pashchime.

Om Bhraam Bhraam Namah Vaayavye.

Om Bhraam Bram Bhram Phat Namah Eishaanye.

Om Glom Bloom Namah Oodhve.

Om Ghraam Ghram Ghrah Namah Adhodeshe.

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2 Bheirav Pratyakshikarann Mantra

Om Hraam Hreem Hroom Hah. Shaam Sheem Shoom Shah. Khraam

Khreem Khroom Khrah. Ghraam Ghreem Ghroom Ghrah. Bhraam

this volume deals with Yantra.

Actuallhis science even being an

Astrologer about a decade ago. But ghter fell the victim

of this science. The agony, anguish and mental worries, which

1 suffered lias been detaiied

tested hâve been indicated soCVNCV