Hindustani music in the 20th century

One.- I. Basic Concepts and Characteristics.- A. R?ga.- B. T?la and laya.- C. Svara and scales.- D. Melodic movement.- E. The relation between r?gas.- F. Elements of r?ga performance.- II. Performing a R?Ga (1): Dhrupada.- A. Introduction.- B. ?l?pa: Structure and varieties.- C. The composition.- D. Variation and elaboration of the composition: Bolban?o.- E. Summary: The r?ga in dhrupada.- III. Performing a R?Ga (2): Khay?L.- A. Introduction.- B. The musical roots of khay?l: Comparison to dhrupada.- C. The structure of khay?l.- D. Summary.- IV. R?ga Delineation.- A. Individual r?gas or groups of r?gas.- B. Necessities in the delineation of a r?ga: The margin of classical music.- C. Stylistic approaches.- D. Varieties of dhrupada and khay?l.- V. Poetry, Melody and Rhythm.- A. Themes.- B. Melodic form and the text: Function of the words.- C. Words bridging melody and rhythm.- D. Summary.- VI. The Essence of R?ga and the Problem of Rasa.- A. The theory of rasa.- B. Application to music: Historical survey.- C. Rasa and the poetry of compositions.- D. Levels of rasa in music.- E. R?gabh?va.- F. Tirobh?va and avirbh?va.- G. Summary.- Two.- VII. Music and its Larger Social Environment.- A. Introduction.- B. Political data.- C. Social and economic data.- D. Cultural data.- E. Summary: The effect on music.- VIII. The Rise and fall of the Ghar?N? System.- A. Introduction.- B. The emergence of ghar?n?.- C. Process in ghar?n?.- D. The disappearance of ghar?n?.- IX. Training and Creativity.- A. Becoming an artist.- B. Case studies.- C. Summary.- X. The Role of the Great Musicians.- A. The period before 1920.- B. The period after 1920.- XI. A Survey of Changes in North Indian Music.- A. Introduction.- B. The plight of dhrupada.- C. Changes in voice culture.- D. Changes in stvle.- E. Changes in r?ga.- F. Changes in compositions and barhata.- G. Changes in t?na, layak?r? and ornamentation.- H. Different usage of t?las.- Conclusion.- Chronology.- Bibliography and Discography.- Music Examples.