Alemanha
Áustria
Suíça
Países Baixos
Bélgica
França
Luxemburgo
Itália
Espanha
Portugal
Finlândia
Suécia
Polónia
República Checa
Grã-Bretanha
Mundial
Conteúdo
- Forward:
- Preface:
- CD Track List:
-
- 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 Sruti, Drone, Function:
- Summary
-
- 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 Td=alas:
- Tala Exercises in Three Speeds:
- Raga: Melody in Karnatak Music
- Scale:
- Note (Svara) and Solfege Syllable Names: Kiravd=ani 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
-
- 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
-
- 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
-
- 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 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:
