Time in Indian Music

Name: Time in Indian Music | Rhythm, Metre, and Form in North Indian Rag Performance
Brand: Oxford University Press, USA
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Rhythm, Metre, and Form in North Indian Rag Performance

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Oxford University Press, USA

1st Edition

Published on 25. January 2001

251 pages

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978-0-19-971305-9 (ISBN)

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Content

Intro
Contents
List of tables
List of examples
Note on orthography
Note on music notations
1. Introduction
1.1 A rag performance
1.2 Some prefatory remarks
1.3 The aims and scope of the present study
2. Theoretical perspectives I: musical time in Indian cultural perspective
2.1 Introduction
2.2 Time measurement
2.3 Musical performance as process
2.4 Cyclicity in musical and cosmic time
2.4.1 Time in Indian thought
2.4.2 Images of cyclicity in music
2.4.3 Linearity, narrativity, and cyclicity
3. Theoretical perspectives II: general theories of rhythm and metre
3.1 Introduction
3.2 Metre: an ethnomusicological perspective
3.2.1 Problems of metre in ethnomusicology
3.2.2 Three theories on metre
3.2.3 The subjectivity of metre
3.3 Metre vs. rhythm in Western and Indian music
3.4 Metre, cognition, and the present
3.5 Additive or complex metre
3.5.1 From additive and divisive rhythm...
3.5.2 ... to irregular or complex metre
3.6 Summary: six statements on metre
4. Tal theory as a model of rhythmic organization
4.1 An outline of tal theory
4.1.1 Implications of tal theory
4.1.2 Limitations of tal theory
4.2 Tal as metric structure
4.2.1 Syllabic style and a 'syllabic' model of rhythmic organization
4.2.2 Melismatic style and a 'melismatic' model of rhythmic organization
4.2.3 The tabla theka and a hybrid model of rhythmic organization
4.2.4 Summary: a unified model of rhythmic organization in North Indian music
5. Tal in practice: quantitative, qualitative, and cyclic functions
5.1 Tal in practice
5.1.1 Common tals of North Indian music
5.1.2 Functions of tal
5.2 Quantitative functions: tune measurement and division
5.2.1 Clap patterns (cheironomy)
5.2.2 Theka and time measurement
5.2.3 The relationship between clap pattern and theka
5.3 Qualitative functions: rhythmic character and accentual patterns
5.3.1 Observations on the character of tals
5.3.2 Theka as accentual pattern
5.4 Cyclicity
5.4.1 Theka and cyclicity: the case of tintal
5.4.2 Cyclicity in practice
5.5 Summary: tal functions and the theoretical model of rhythmic organization
6. Lay: tempo and rhythmic density
6.1 The concept of lay in Hindustani music
6.1.1 Definition and usage of the term
6.1.2 Tempo and metrical structure
6.1.3 Determining the effective pulse rate
6.2 The measurement of lay
6.2.1 Determining lay (tempo and rhythmic density)
6.2.2 Lay in performance
6.2.3 Variation of tempo in performance
6.3 Summary
7. Performance practice and rhythm in Hindustani music
7.1 Introduction
7.1.1 Elements of performance and their organization
7.2 Alap: unmetred (anibaddh) forms
7.2.1 Alap: pulsed or unpulsed?
7.2.2 Jor: metred or unmetred?
7.3 Bandis and development: metred (nibaddh) forms
7.3.1 Development techniques and their resolution into rhythmic parameters
7.3.2 Performance processes
7.3.3 The percussion accompaniment
8. The bandis
8.1 The place and importance of the the bandis
8.1.1 The length of the bandis
8.2 Rhythmic structure of vocal bandises
8.2.1 Verse metre and text distribution
8.3 Rhythmic structure in instrumental gats
8.3.1 Vilambit gats
8.3.2 Madhya lay gats
8.3.3 Drut gats
8.4 Further issues in bandis structure
8.4.1 Mukhras in vocal and instrumental bandiases
8.4.2 A note on the antara and variation of structure between lines
8.4.3 Variation of the bandis structure
8.5 Summary
9. Development techniques and processes
9.1 Introduction
9.2 Rag-oriented development
9.2.1 Vocal performance
9.2.2 Instrumental performance
9.3 Rhythm and/or text-oriented development
9.3.1 Vocal performance
9.3.2 Instrumental performance
9.4 Summary
10. Laykari: rhythmic variation
10.1 The concept of layakari
10.2 Divisive layakari: definition and variation of lay ratio
10.2.1 Terminology
10.2.2 Usage
10.2.3 Lay bant
10.2.4 Rhythmic patterns and grouping structure
10.3 Generation and variation of rhythmic patterns
10.3.1 Variation and development
10.3.2 Yati
10.3.3 Cadential techniques
10.3.4 Tihai
10.3.5 Cakkardar and nauhar tihais
10.3.6 Sam and visam in laykari
10.4 Usage of laykari techniques
10.4.1 Laykari in improvisation
10.4.2 Computation in laykari
10.5 Summary
11. A case study in rhythmic analysis: instrumental vilambit and madhya lay gats in the repertoire of Deepak Choudhury (Maihar Gharana)
11.1 Introduction
11.2 The case study
11.3 Results
11.3.1 Tal structure
11.3.2 Gat structure
11.3.3 Development procedures
11.3.4 Lay
11.3.5 Accompaniment style
11.3.6 Correlation of rhythmic parameters
11.4 Conclusions
12. North Indian rhythmic organization in cross-cultural perspective
12.1 Introduction
12.2 Metre and tal
12.2.1 Six statements revisited
12.2.2 Tal and the general study of metre
12.3 Free rhythm and music without tal
12.3.1 Free rhythm and alap
12.3.2 Free rhythm and metre in music without tal
12.4 Tal, metre, and free rhythm-a summary
Glossary
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Discography
References
List of Audio Examples on Companion Website
Index
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Time in Indian Music

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