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Music in South India: the Karnatak concert tradition and beyond: experiencing music, expressing culture/ T. Viswanathan, Matthew Harp Allen.

By: Viswanathan, TContributor(s): Allen, Matthew HarpMaterial type: Text

TextPublication details: New York : Oxford University Press, 2004Description: xxv, 150 p.: ill. ; 21 cmISBN: 9780195145915Subject(s): Music -- History and criticism. -- India | Carnatic music -- History and criticismDDC classification: 780.9548

Contents:

1. Song in South India Bhajan (Devotional Song) Songs and Singing Meaning of the Text: Devotion, Love, and Praise Celebrating Tyagaraja in the United States and in South India Languages of the Region Kriti Evolution of Kriti Text and Context-a Continuum of Performance from Devotion to Virtuosity Music, Language, and Politics The Tamil Music Movement Muttuttandavar (Seventeenth Century) The Text of "I Trusted You/Unnai Nambinen" (CD Track 3) The Musical Setting of "I Trusted You/Unnai Nambinen" (CD Track 3) The Group's Progress Through the Kriti The Ensemble The Instruments Violin (Chordophone) Mridari gam (Membranophone) Tambura (Chordophone) and Its Sruti, Drone, Function Summary 2. Key Concepts in Karnatak Music Tala: Meter and Rhythm in Karnatak Music The Five "Families" of Rhythm and Drummers Thinking Hand Gestures and Vocalized Syllable Sequences for Commonly Used Talas Tala Exercises in Three Speeds Raga: Melody in Karnatak Music Scale Note (Svara) and Solfege Syllable Names Kiravani and Kapi Ragas: Raga as a "Vast Ocean" Ornamentation (Gamaka) Phrase (Sancara or Prayoga) Phrases in Kiravani and Kapi Ragas Functional Notes-Svaras holding Particular Functions Integrated Melodic-Rhythmic Training Summary 3. The Karnatak Concert Today Presentation and Discussion of the "Main Piece" of a Concert The Setting Tuning Up Beginning Kriti as an Orally Transmitted Composed Case of a Performance Brief Guide to the Performance Composition and Improvisation: Fixity and Fluidity Kiravani Raga Alapana Aesthetics and Dynamics of Accompaniment Kriti: The Core Component The Pallavi The Anupallavi and Pallavi reprise The Caraname and Pallavi Reprise Niraval Svara Kalpana Different Ways to Improvise: A Comparison of Niraval and Svara Kalpana Tani Avarttanam-Drum Solo Summary 4. Contextualizing South Indian Performance, Socially and Historically Women and Music: The Devadasi and Her Community Women's Public Performance Circa 1900 Loss and Recovery of a Woman's Work "Now We Women have a Platform to Commence Singing"-Bangalore Nagarathnammal and the Tyagaraja Festival Bangalore Nagarathnammal as a Performer Sringara bhakti: Being in Love with God Listening through the Static: The Rise of Audio Recording Men and Music: From Temple and Court to Public and State Patronage Men's Performance in Precolonial South India The Hereditary Male Temple Service Musician The "Emperor of Nagasvaram": T.N. Rajarattinam Pillai "The Audience Would Not Be Satisfied If He Did Not Play This Raga" Alapana in Todi Raga A New World of Performance: Concert Halls, Media and Audiences in the Urban Environment The Development of Radio The Recording Industry: Commodification and Resistance "The Effect of the Performance Should Be Such As to Keep the Listeners Spell-Bound" Men Scripting and Singing Women's Inner Feelings A Hereditary Music Family A Dual Musical Enculturation and Education "I Am Going to Snub These Male Chauvinists" Music and Gender Today Summary: An Ancient and Modern Tradition of Musical-Social Behavior 5. Regional and Modern Traditions: Contemporary Music Making in South India and Beyond Music in Kerala Idakka, a Pressure Drum from Kerala Kathakali Dance Drama Character Types, Costume, and Makeup Changes in the Twentieth Century The Kathakali Music Ensemble Kathakali Songs: Slokam and Padam Performance of Padam form Hala Caritam Music of the Cinema in South India The "Company Drama" and the Silent Cinema Early Sound Films: The "Mythological" The "Social" The Playback Singer The Cinema and Karnatak Music: A Parting of Ways "When I Say Come/Ba Ennalu" Cross-Cultural Composition and Collaboration "Can There Be Release/Moksamu Galada?" Tatva, a Regional Performance Tradition in Karnataka State The Deccan Plateau: Meeting of North and South India The Kannada Tatva Composer Sharif Saheb Hindu-Muslim Relations in Karnataka State Katha Performers of the Kinnari Jogi Community "Why Do You Worry/Yake Cinti?" A Circle Completed

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Holdings
Item type	Current library	Call number	Status	Date due	Barcode	Item holds
General Books	Central Library, Sikkim University General Book Section	780.9548 VIS/M (Browse shelf(Opens below))	Available		P20497

Total holds: 0

Includes bibliographical references (p. 135-142) and index.

1. Song in South India
Bhajan (Devotional Song)
Songs and Singing
Meaning of the Text: Devotion, Love, and Praise
Celebrating Tyagaraja in the United States and in South India
Languages of the Region
Kriti
Evolution of Kriti
Text and Context-a Continuum of Performance from Devotion to Virtuosity
Music, Language, and Politics
The Tamil Music Movement
Muttuttandavar (Seventeenth Century)
The Text of "I Trusted You/Unnai Nambinen" (CD Track 3)
The Musical Setting of "I Trusted You/Unnai Nambinen" (CD Track 3)
The Group's Progress Through the Kriti
The Ensemble
The Instruments
Violin (Chordophone)
Mridari gam (Membranophone)
Tambura (Chordophone) and Its Sruti, Drone, Function
Summary
2. Key Concepts in Karnatak Music
Tala: Meter and Rhythm in Karnatak Music
The Five "Families" of Rhythm and Drummers Thinking
Hand Gestures and Vocalized Syllable Sequences for Commonly Used Talas
Tala Exercises in Three Speeds
Raga: Melody in Karnatak Music
Scale
Note (Svara) and Solfege Syllable Names
Kiravani and Kapi Ragas: Raga as a "Vast Ocean"
Ornamentation (Gamaka)
Phrase (Sancara or Prayoga)
Phrases in Kiravani and Kapi Ragas
Functional Notes-Svaras holding Particular Functions
Integrated Melodic-Rhythmic Training
Summary
3. The Karnatak Concert Today
Presentation and Discussion of the "Main Piece" of a Concert
The Setting
Tuning Up
Beginning
Kriti as an Orally Transmitted Composed Case of a Performance
Brief Guide to the Performance
Composition and Improvisation: Fixity and Fluidity
Kiravani Raga Alapana
Aesthetics and Dynamics of Accompaniment
Kriti: The Core Component
The Pallavi
The Anupallavi and Pallavi reprise
The Caraname and Pallavi Reprise
Niraval
Svara Kalpana
Different Ways to Improvise: A Comparison of Niraval and Svara Kalpana
Tani Avarttanam-Drum Solo
Summary
4. Contextualizing South Indian Performance, Socially and Historically
Women and Music: The Devadasi and Her Community
Women's Public Performance Circa 1900
Loss and Recovery of a Woman's Work
"Now We Women have a Platform to Commence Singing"-Bangalore Nagarathnammal and the Tyagaraja Festival
Bangalore Nagarathnammal as a Performer
Sringara bhakti: Being in Love with God
Listening through the Static: The Rise of Audio Recording
Men and Music: From Temple and Court to Public and State Patronage
Men's Performance in Precolonial South India
The Hereditary Male Temple Service Musician
The "Emperor of Nagasvaram": T.N. Rajarattinam Pillai
"The Audience Would Not Be Satisfied If He Did Not Play This Raga"
Alapana in Todi Raga
A New World of Performance: Concert Halls, Media and Audiences in the Urban Environment
The Development of Radio
The Recording Industry: Commodification and Resistance
"The Effect of the Performance Should Be Such As to Keep the Listeners Spell-Bound"
Men Scripting and Singing Women's Inner Feelings
A Hereditary Music Family
A Dual Musical Enculturation and Education
"I Am Going to Snub These Male Chauvinists"
Music and Gender Today
Summary: An Ancient and Modern Tradition of Musical-Social Behavior
5. Regional and Modern Traditions: Contemporary Music Making in South India and Beyond
Music in Kerala
Idakka, a Pressure Drum from Kerala
Kathakali Dance Drama
Character Types, Costume, and Makeup
Changes in the Twentieth Century
The Kathakali Music Ensemble
Kathakali Songs: Slokam and Padam
Performance of Padam form Hala Caritam
Music of the Cinema in South India
The "Company Drama" and the Silent Cinema
Early Sound Films: The "Mythological"
The "Social"
The Playback Singer
The Cinema and Karnatak Music: A Parting of Ways
"When I Say Come/Ba Ennalu"
Cross-Cultural Composition and Collaboration
"Can There Be Release/Moksamu Galada?"
Tatva, a Regional Performance Tradition in Karnataka State
The Deccan Plateau: Meeting of North and South India
The Kannada Tatva Composer Sharif Saheb
Hindu-Muslim Relations in Karnataka State
Katha Performers of the Kinnari Jogi Community
"Why Do You Worry/Yake Cinti?"
A Circle Completed

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