TY  - BOOK
AU  - Viswanathan,T.
AU  - Allen,Matthew Harp
TI  - Music in South India: the Karnatak concert tradition and beyond: experiencing music, expressing culture
SN  - 9780195145915
U1  - 780.9548  
PY  - 2004///
CY  - New York
PB  - Oxford University Press
KW  - Music
KW  - History and criticism
KW  - India
KW  - Carnatic music
N1  - 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
ER  -