Forward
Preface
CD Track List
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); Mridarigam
(Membranophone); Tambura
(Chordophone) and Its nullruti
, 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 T^d=alas
Tala Exercises in Three Speeds
Raga: Melody in Karnatak Music
Scale
Note
(Svara) and Solfege Syllable Names
: Kirav^d=ani and Kapi Ragas: Raga as a "Vast Ocean"
Ornamentation
(Gamaka)
Phrase
(Sañcara 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 Caranam
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: nullringara 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:
nulllokam and
Padam
Performance of
Padam from
Nala 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
Summary
Glossary
Resources
Index
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