Emergence of dance, drama, music and the like as forms of social performance and systematic studies thereof as disciplines of learning may well be regarded among the finest achievements of human mind. The Upanishad called them by the name Devajana vidya which come to be known as Gandharva-Vidya in course of time. Initiation of nature and reaction to surrounding phenomena gave rise to aesthetic expression in physical movement, vocal articulation or so from the very early days of human existence on earth. Gradually instruments were conceived with available re- sources to help in and accompany with physical rendering. Human body also come to be described at times as Sariri Bina, the bodily lyre. Tradition of performing arts is very old in both the East and the West. Advent of dawn is thus construed in the veda as appearance of a dancing girl. Invocation to deities by chanting saman in melody is equally an old vedic practice. In Bharata’s Natyasastra we come across a reference to Tandu, a dancing maestro who taught the art of dance performance to nymphs for the sake of dramatic enactment. Theoretical deliberations on such performing arts have been encoded in India in a vast literature comprising Natyasastra, Abhinayadarpana, Naradiyasiksa, Sangitaratnakara, Brhaddesi, Sangitadamodara, Nartananirnaya, Srihastamuktavali, to name of a few. Bengal’s contribution to the development of performance and theorization relating to these arts is remarkable indeed. And this living tradition found great protagonists here in Gosvamins of the Gaudiya Vaignava order including Kavikarnapira, in the mediaeval era, and musicologists of the past two centuries viz. Saurindra Mohan Thakur, who authored Gandharva-Kalapa-vyakarana in late nineteenth century, Rabindranath Thakur, Gopeswar Bandyopadhyay, Swami Prajnanananda and the like. it is a glory to inherit this sacred learning given to us by our illustrious forefathers and it is our bounden duty to carry their message forward to coming generations. A cultural University dedicated to learning and study of various forms of performing arts has a significant role to play in this respect.
I am happy to learn that the Department of Musicology of Rabindra Bharati University in going to publish a book of essays on music and musicology authored by renowned experts in the field. Such collections are sure to go a long way to enriching our young talents in music appreciation, study and research in the relevant arena. I congratulate the editor on his untiring effort and zeal in bringing out this volume and extend my gratitude to the learned contributors for their kind help and active collaboration. May all such efforts be crowned with success.
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