religiosaStudia Religiosa Rossica: научный журнал о религииStudia Religiosa Rossica: Russian Journal of Religion2658-4158РГГУ10.28995/2658-4158-2021-1-70-89religiosa-101Research ArticleСтатьиPapersВидимое / невидимое / достигнутое. Садхана музыкантов: кухня чудес в индийском исполнительском искусствеEvident/Unobvious/Achieved. Sādhanā of musicians: miracles’ workshop in Indian performing artsРыжаковаС. И.RyzhakovaS. I.

Светлана И. Рыжакова, доктор исторических наук

119991, Москва, Ленинский пр., д. 32А

Svetlana I. Ryzhakova, Dr. of Sci. (History)

bld. 32A, Leninsky Av., Moscow, 11999

SRyzhakova@gmail.comИнститут этнологии и антропологии РАНРоссияMiklukho-Maklay Institute of Ethnology and Anthropology, Russian Academy of ScienceRussian Federation202101042021017089Copyright © Рыжакова С.И., 20212021Рыжакова С.И.Ryzhakova S.I.Данная работа распространяется под лицензией Creative Commons Attribution 4.0.This work is licensed under a Creative Commons Attribution 4.0 License.https://srr.rsuh.ru/jour/article/view/101

В статье анализируется сангит садхана – дисциплина, практикуемая музыкантами, исполняющими индийскую классическую музыку. На основе множества личных бесед автор выявляет важнейшие формы и аспекты того таинства, которое связывается с постижением музыки и ее исполнением.

The essay analyzes sangīt sādhanā, a discipline practiced by musicians performing Indian classical music. On the basis of many conversations, the author identifies the most important forms and aspects of the sacrament associated with the comprehension of music and its performance.

индийская классическая музыкасангит садханачудесаIndian classical musicsangīt sādhanāmiraclesСтатья написана в рамках НИР С.И. Рыжаковой в Институте этнологии и антропологии РАН; полевой материал собран в рамках проекта С.И. Рыжаковой «Одержимость, служение, лицедейство: о границах и взаимосвязи индивидуального транса, религиозного почитания и художественного начала в индийских артистических традициях», грант РФФИ № 18-09-00389.This study is done as a part of research by Svetlana Ryzhakova in Institute of Ethnology and Anthropology, Russian Academy of Science; the fieldwork material collected by Dr. Svetlana Ryzhakova within the project “Possession, devotion, performance. On the borders and interconnections of personal selfpossession, worship and artistic experience in Indian artistic traditions”, grant of Russian Foundation for Fundamental Researches, № 18-09-00389.ReferencesBake 1957 – Bake A. The Music of India // The New Oxford History of Music / Ed. By E. Wellesz. London: Oxford University Press, 1957. Vol. 1. P. 196–199.Bake, A. (1957). “The Music of India”, in Wellesz, E. (ed.), The New Oxford History of Music, Oxford University Press, London, vol. 1, pp. 196–199.Beck 2010 – Sacred Sound. Experiencing music in World Religions / Ed. by Guy L. Beck. Delhi: Motilal Banarasidas, 2010. 232 p.Beck Guy L. (2010). Sacred Sound. Experiencing music in World Religions. Ed.by Guy L. Beck. Delhi: Motilal Banarasidas.Beck 1993 – Beck Guy L. Sonic Theology: Hinduism and Sacred Sound. Columbia: University of South Carolina Press, 1993. 290 p.Beck, Guy L. (1993). Sonic Theology: Hinduism and Sacred Sound. Columbia: University of South Carolina Press.Becker 2004 – Becker J. Deep Listeners. Music, Emotions, and Trancing. Bloomington and Indianapolis: Indiana University Press, 2004.Becker, J. (2004), Deep Listeners. Music, Emotions, and Trancing. Indiana University Press, Bloomington and Indianapolis.Burckhardh Qureshi 2006 – Burckhardh Qureshi R. Making music in the spiritual assembly: Qawwali and the Sufi tradition // Sacred to Profane: writings on performance and worship / Ed. by A. Katyal. London; New-York; Calcutta: Seagull books, 2006. P. 135–163.Burckhardh Qureshi, R. (2006), “Making music in the spiritual assembly: Qawwali and the Sufi tradition”, in Katyal, A. (ed.), Sacred to Profane: writings on performance and worship, Seagull books. London, New-York, Calcutta, pp. 135–163.Flood 2004 – Flood Gavin D. The Ascetic Self: Subjectivity. Memory and Tradition. Cambridge: Cambridge University Press, 2004. 304 p.Flood, G.D. (2004). The Ascetic Self: Subjectivity. Memory and Tradition, Cambridge University Press, Cambridge.Jacob 2003 – Jacob J. The architectural theory of the Mānasāra. [Montreal]: McGill University Libraries, 2003.Jacob, J. (2003), The architectural theory of the Mānasāra. [Montreal]: McGill University Libraries.Larson, Bhattacharya 2008 – Larson G.J., Bhattacharya R.Sh. Yoga: India’s Philosophy of Meditation. Delhi: Motilal Banarsidass, 2008. 784 p.Larson, G.J. and Bhattacharya, R.Sh. (2008), Yoga: India’s Philosophy of Meditation, Motilal Banarsidass, Delhi.Rahaim 2012 – Rahaim M. Musicking Bodies: Gesture and Voice in Hindustani Music. Middletown, Connecticut: Wesleyan University Press, 2012. XVII; 182 p.Rahaim, M. (2012), Musicking Bodies: Gesture and Voice in Hindustani Music. Wesleyan University Press, Middletown, Connecticut.Sanyal, Widdess 2004 – Sanyal R., Widdess R. Dhrupad. Tradition and Performance in Indian Music. Hampshire: Ashgate, 2004. 395 p.Sanyal, R. and Widdess, R. (2004), Dhrupad. Tradition and Performance in Indian Music, Ashgate, Hampshire.Saxena 2007 – Saxena S.K. Music and Silence // Sangeet Natak. 2007. Vol. 41, no. 1. P. 21–28.Saxena, S.K. (2007), “Music and Silence”, Sangeet Natak, vol. 41, no. 1, pp. 21–28.Widdess 2010 – Widdess R. The Emergence of Dhrupad // Hindustani music. Thirteenth to Twentieth Centuries / Ed. by J. Bor, ‘Nalini’ Delboye, J. Harbey, E. Nijenhuis. New Delhi: Manohar, 2010. P. 117–139.Widdess, R. (2010), “The Emergence of Dhrupad”, in Bor, J., Delboye, ‘Nalini’, Harbey, J. and Nijenhuis, E. (eds.), Hindustani music. Thirteenth to Twentieth Centuries. Manohar, New Delhi, pp. 117–139.

The authors declare that there are no conflicts of interest present.