Samidha Vedabala is working as an Assistant Professor, Department of Music, Sikkim University, Gangtok, Sikkim. Her association with the Sitar is from an early age, but her formal learning began with Late. Pandit Deepak Choudhury, continuing the journey presently she is learning from Pt. Sanjoy Bandyopadhyay. Along with the practical aspects of music learning, performance and teaching, Samidha has achievements in the field of research in Music. She has published many research articles in academic journals that are listed in SCOPUS, Web of Science, and Google Scholar. She is associated with many cultural organizations around the country. She has also presented scholarly papers in many International and National seminars. Samidha has done her Ph.D. on the topic “Stylistic Evolution of Sitar Baaj in 20th and 21st Century” in Rabindra Bharati University, Kolkata under the supervision of Dr. Debasish Mondal.

In recent years the music of minimalist composers such as La Monte Young, Terry Riley, Steve Reich and Philip Glass has, increasingly, become the subject of important musicological reflection, research and debate. Scholars have also been turning their attention to the work of lesser-known contemporaries such as Phill Niblock and Eliane Radigue, or to second and third generation minimalists such as John Adams, Louis Andriessen, Michael Nyman and William Duckworth, whose range of styles may undermine any sense of shared aesthetic approach but whose output is still to a large extent informed by the innovative work of their minimalist predecessors. Attempts have also been made by a number of academics to contextualise the work of composers who have moved in parallel with these developments while remaining resolutely outside its immediate environment, including such diverse figures as Karel Goeyvaerts, Robert Ashley, Arvo Pärt and Brian Eno. Theory has reflected practice in many respects, with the multimedia works of Reich and Glass encouraging interdisciplinary approaches, associations and interconnections. Minimalism’s role in culture and society has also become the subject of recent interest and debate, complementing existing scholarship, which addressed the subject from the perspective of historiography, analysis, aesthetics and philosophy. The Ashgate Research Companion to Minimalist and Postminimalist Music provides an authoritative overview of established research in this area, while also offering new and innovative approaches to the subject.

This OCR GCSE Music Revision Guide presents all the key information that you will need to know for your written exam. This is for exams first teaching 2011 onwards. This clear and concise revision guide has been written by Alan Charlton, an experienced teacher and examiner, to help you to achieve the best results possible. It includes a revision section on the elements of music, the key facts about all the topics in each of the three strands, revision tips, test-yourself questions, listening suggestions and a comprehensive glossary. Alan Charlton is a freelance composer. He was awarded the first ever PhD in Composition from Bristol University in 1997 and was the first Eileen Norris Fellow in Composition at Bedford School (1999–2002). He was head of music technology at Bedford School from 2000–2009 and is also an examiner for Edexcel.

In this book, first published in 1972, Indian music is given the comprehensive treatment it so richly deserves. The author brings a wealth of association with the country and its music into focus with a general introduction to the cultural and spiritual environment, and to the techniques, instruments and methods of the Indian musician.

While the history of musical instruments is nearly as old as civilisation itself, the science of acoustics is quite recent. By understanding the physical basis of how instruments are used to make music, one hopes ultimately to be able to give physical criteria to distinguish a fine instrument from a mediocre one. At that point science may be able to come to the aid of art in improving the design and performance of musical instruments. As yet, many of the subtleties in musical sounds of which instrument makers and musicians are aware remain beyond the reach of modern acoustic measurements. This book describes the results of such acoustical investigations - fascinating intellectual and practical exercises. Addressed to readers with a reasonable grasp of physics who are not put off by a little mathematics, this book discusses most of the traditional instruments currently in use in Western music. A guide for all who have an interest in music and how it is produced, as well as serving as a comprehensive reference for those undertaking research in the field.