- Collection:
- Global music series
- Author / Interpreter:
- Viswanathan, T.;
Matthew Harp Allen
- Edition data:
- Oxford University Press Inc.; New York; 2004
- Subjects:
- HERRI MUSIKA
- Location:
- XIV / 5
- Notes:
- Liburu honek berekin CD bat du
- Content:
- Contents
Foreword....xv
Preface....xvii
CD Track List....xxiii
1. Song in South India....1
Bhajan (Devotional Song)........1
Songs and Singing........4
Meaning of the Text: Devotion, Love, and Praise........7
Celebrating Tyagaraja in the United States and in South India........9
Languages of the Region........12
Kriti........15
Evolution of Kriti........15
Text and Context- a Continuum of Performance from Devotion to Virtuosity........15
Music, Language, and Politics........19
The Tamil Music Movement........19
Muttuttandavar (Seventeenth Century)........21
The Text of 'I Trusted You/Unnai Nambinem' (CD Track 3)........24
The Group's Progress Through the Kriti........26
The Ensemble........29
The Instruments........29
Violin (Chordophone)........29
Mridarigam (Membranophone)........31
Tambura (Chordophone) and Its Sruti, Drone, Function........32
Summary........33
2. Key Concepts in Karnatak Music....34
Tala: Meter and Rhythm in Karnatak Music........34
The Five 'Families' of Rythm and Drummers' Thinking........35
Hand Gestures and Vocalized Syllable Sequences for Commonly Used Talas........36
Tala Exercises in Three Speeds........38
Raga: Melody in Karntak Music........42
Scale........42
Note (Svara) and Solfege Syllable Names........43
Kiravani and Kapi Ragas as a 'Vast Ocean'........44
Ornamentation (Gamaka)........47
Phrase (Sancara or Prayoga)........48
Phrases in Kiravani and Kapi Ragas........49
Functional Notes- Svaras Holding Particular Functions........51
Integrated Melodic-Rythmic Training........51
Summary........55
3. The Karnatak Concert Today....56
Presentation and Discussion of the 'Main Piece' of a Concert........56
The Setting........56
Tuni nning........59
Kriti as an Orally Transmitted Composed Case of a Performance........60
Brief Guide to the Performance........60
Composition and Improvisation: Fixity and Fluidity........60
Kiravani Raga Alapana........61
Aesthetics and Dynamics of Accompanient........61
Kriti: The Core Component........63
The Pallavi........65
The Anupallavi and Pallavi reprise........65
The Caranam and Pallavi Reprise........65
Niraval........65
Svara Kalpana........66
Different Ways to Improvise: A Comparison of Niraval and Svara Kalpana........66
Tani Avarttanam. Drum Solo........68
Summary........69
4. Contextualizing South Indian Performance, Socially and Historically....70
Women and Music: The Devadasi and Her Community........70
Women's Public Performance Circa 1900........72
Loss and Recovery of a Woman's Work........74
'Now We Women Have a Platform to Commence Singing'- Bangalore Nagarathnammal and the
Tyagaraja Festival........75
Bangalore Nagarathnammal as a Performer........76
Sringara Bhakti: Being in Love with God........76
Listening through the Static: The Rise of Audio Recording........79
Men and Music: From Temple and Court to Public and State Patronage........80
Men's Performance in Precolonial South India........81
The Hereditary Male Temple Service Musician81
The 'Emperor of Nagasvaram': T.N. Rajarattinam Pillai........83
'The Audience Would Not Be Satisfied If He Did Not Play This Raga'........84
Alapana in Todi Raga........85
A New World of Performance: Concert Halls, Media, and Audiences in the Urban Enviromment........86
The Development of Radio........87
The Recording Industry: Commodification and Resistance........88
'The Effect of the Performance Should Be Such As to keep the Listeners Spell-Bound'........88
Men Scripting and Singing Women's Inner Feelings........91
A Hereditary Music Family........95
A Dual Musical Enculturation and Education........96
'I Am Going to Snub These Male Chauvinists'........98
Music and Gender Today........100
Summary: An Ancient and Modern Tradition of Musical-Social Behaviour........101
5. Regional and Modern Traditions: Contemporary Music Making in South India and
Beyond....103
Music in Kerala........193
Idakka, a Pressure Drum from Kerala........104
Kathakali Dance Drama........105
Character Types, Costume, and Makeup........106
Changes in the Twentieth Century........108
The Kathakali Music Ensemble........108
Kathakali Songs: Slokam and Padam........109
Performance of Adam from Nala Caritam........110
Music of the Cinema in South India........112
The 'Company Drama' and the Silent Cinema........112
Early Sound Films: The 'Mythological'........113
The 'Social'........113
The Playback Singer........114
The Cinema and Karnatak Music: A Parting of Ways........114
'When I Say Come/ Ba Ennalu'........115
Cross-Cultural Composition and Collaboration........116
'Can There Be Release/ Moksamu Galada?'........116
Tatva, a Regional Performance Tradition in Karnataka State........120
The Decan Plateau: Meeting of North and South India........120
The Kannada Tatva Composer Sharif Saheb........121
Hindu-Muslim Relations in Karnataka State........121
Katha Performers of the Kinnari Jogi Community........122
'Why Do You Worry/ Yake Cinti?'........124
A Circle Completed........127
Summary........128
Glossary....129
Resources....135
Index....143
- ISBN:
- ISBN: 0-19-514590-9; ISBN: 0-19-514591-7 (pbk)
- Measures:
- 21; 14
