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Dhrupad: Tradition and Performance in Indian Music [Kõva köide]

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  • Formaat: Hardback, 396 pages, kõrgus x laius: 229x152 mm, kaal: 453 g, 10 Tables, black and white; 94 Halftones, black and white; 94 Illustrations, black and white
  • Sari: SOAS Studies in Music
  • Ilmumisaeg: 16-Feb-2023
  • Kirjastus: Routledge
  • ISBN-10: 1032389176
  • ISBN-13: 9781032389172
Teised raamatud teemal:
Dhrupad: Tradition and Performance in Indian MusicSuurem pilt
  • Formaat: Hardback, 396 pages, kõrgus x laius: 229x152 mm, kaal: 453 g, 10 Tables, black and white; 94 Halftones, black and white; 94 Illustrations, black and white
  • Sari: SOAS Studies in Music
  • Ilmumisaeg: 16-Feb-2023
  • Kirjastus: Routledge
  • ISBN-10: 1032389176
  • ISBN-13: 9781032389172
Teised raamatud teemal:
Püsilink: https://www.kriso.ee/db/9781032389172.html
Märksõnad:

Dhrupad is believed to be the oldest style of classical vocal music performed today in North India. This detailed study of the genre considers the relationship between the oral tradition, its transmission from generation to generation, and its re-creation in performance. There is an overview of the historical development of the dhrupad tradition and its performance style from the sixteenth to the nineteenth centuries, and of the musical lineages that carried it forward into the twentieth century, followed by analyses of performance techniques, processes and styles. The authors examine the relationship between the structures provided by tradition and their realization by the performer to throw light on the nature of tradition and creativity in Indian music; and the book ends with an account of the ‘revival’ movement of the late 20th century that re-established the genre in new contexts. Augmented with an analytical transcription of a complete dhrupad performance, this is the first book-length study of an Indian vocal genre to be co-authored by an Indian practitioner and a Western musicologist.



Dhrupad is believed to be the oldest style of classical vocal music performed today in North India. This detailed study of the genre considers the relationship between the oral tradition, its transmission from generation to generation, and its re-creation in performance.

Arvustused

"A significant contribution to Indian musical studies, breaking new ground in documentation and analysis, and in its fruitful approach to collaborative musicological method. For its systematic definition of a musical domain it should become required reading for students of North Indian music, but beyond this it supplies a wealth of new material which will lay the foundations for further research." Jonathan Katz, Ethnomusicology Forum

"A model for the sort of joint undertaking that should occur more often in the field of ethnomusicology... the definitive monograph on its subject." Peter Manuel, Music and Letters

"Dhrupad is a notable attempt to develop a "context-sensitive music analysis" that can uncover the "inner logic" of the music and identify "formal archetypes" within it, and it presents a carefully nuanced and extremely detailed view of dhrupad from many angles. Sanyal and Widdess's coauthorship is to be lauded, and readers may hope that it will be as much an inspiration for future collaborative projects as it is a valuable resource for the student of dhrupad." Matthew Allen, The Journal of Asian Studies

"The authors consistently and successfully integrate disparate but important strands of historical, theoretical, and practical knowledge throughout the narrative...In addition to its meticulous historical research, the extensive performance analysis emerges as its most significant contribution." Natalie Sarrazin, Notes

List of Figures
ix
List of Music Examples
x
List of Tables and Maps
xii
Preface xiii
Acknowledgements xix
A Note on Notations and Spellings xxi
1 What is Dhrupad?
1(44)
A View from the Audience
1(2)
A View from the Platform
3(1)
A Problem of Definition
4(1)
The Structure of Performance
5(1)
Melody
6(2)
Rag
6(1)
Melodic Style
7(1)
Intonation
7(1)
Rhythm and Metre
8(5)
Map
8(1)
Til and Time-keeping
9(1)
Melodic Rhythm
10(2)
Laykari
12(1)
Text
13(1)
The Dhrupad Repertory
13(7)
Cautal Dhrupad
14(2)
Dhamar
16(1)
Sadra
17(1)
Fast Dhrupads
17(1)
Other Items
18(1)
The Talwandi Gharana Repertory
19(1)
Instruments
20(6)
Accompaniment and Ensemble
20(1)
Pakhavaj
21(3)
Rudra Vina
24(2)
Other Instruments
26(1)
Singers
26(12)
The Seniya Tradition
27(1)
Regional Dhrupad Traditions
28(10)
Dhrupad Ideology
38(7)
2 The Historical Emergence of Dhrupad Style
45(16)
Dhrupad at the Mughal Court
45(8)
Origins
46(3)
Composition
49(1)
Performance
50(1)
Style and Transmission
51(2)
The Rise of Khyal and Decline of Dhrupad
53(2)
The Nineteenth Century: Willard and Imam
55(2)
Conclusions
57(4)
3 Tradition and Style: The Four Bonis
61(34)
The Origins of Bani
62(4)
The Four Bonis
66(25)
Sources
66(2)
Bani as a Synaesthetic Concept
68(1)
Bani and Giti
68(4)
The Gaudahar Bani
72(4)
The Dagar Bani
76(4)
The Khandar Bani
80(6)
The Nauhar Bani
86(5)
The Fate of the Banis
91(4)
4 The Transmission of Tradition: The Dagar Heritage
95(46)
Sources of Tradition
98(3)
Bahrain Khan
101(11)
Bahram Khan at Jaipur
102(2)
Bahrain Khan the Musician
104(1)
Bahram Khan the Teacher
104(3)
Bahram Khan's Origins
107(5)
Bahram Khan's Successors
112(5)
The Dagar Heritage in the Twentieth Century
117(8)
Transmitting the Dagar Bani
125(16)
Aesthetic Concepts
125(2)
The Musical Repertory
127(1)
The Teacher-Pupil Relationship
128(1)
Talim
129(6)
Institutional Transmission
135(6)
5 Alap and Tradition
141(34)
Function, Form and Process
141(3)
Traditional Aspects of Alap Performance
144(25)
Alapti
144(3)
The Stages of Alap
147(5)
The Norn Tom Syllables
152(5)
The Mukhra
157(4)
Laksanas
161(8)
Aesthetic and Philosophical Concepts
169(6)
6 An Alap Performance in the Dagar Tradition
175(34)
Analysing Alap Performance
175(5)
Objectives
175(1)
Representing Melody and Rhythm
176(4)
Rag Multani
180(2)
Slow Alap
182(13)
The Opening
182(6)
Slow Alap: Sthayl
188(5)
Slow Alap: Antara
193(2)
Medium Alap
195(5)
Fast Alap
200(7)
Rhythm in Fast Alap
204(3)
Tradition in Performance
207(2)
7 Composition and Tradition
209(30)
Dhrupad Compositions as Cultural Objects
210(3)
Origins and Transmission
213(3)
Identity
216(6)
Form
222(6)
The Formal Archetype
228(1)
Origins of the Archetype
229(6)
Composition and Tradition
235(4)
8 Performing the Composition: Rhythmic Variation and Improvisation
239(38)
`Fixed' and `Free' Laykari
239(4)
Historical Context
243(5)
Augmentation and Diminution
243(2)
Historical Evidence for Improvisation
245(3)
Laykari in the Talwandi Style
248(6)
Suddh Gait
250(1)
Ar Gait
251(1)
Kuar Gait
252(1)
Viar Gait
253(1)
Laykari in the Darbhanga Style
254(4)
Laykari in the Dagar Style
258(19)
General Characteristics of Style: Ritwik Sanyal
259(1)
The Articulation of Metrical Space
260(1)
Tihai
261(6)
Improvising Laykari
267(10)
9 Dhrupad in the Modern World: Tradition, Performance and Revival
277(40)
The Dhrupad Revival
277(7)
The Dagar Family and the Beginnings of Revival
278(2)
`Festivalization'
280(1)
Transmission
281(1)
Dhrupad Overseas
282(1)
Media
283(1)
Festivals of Dhrupad
284(12)
Banaras and Vrindaban: Inception and Organization
284(3)
Two Symbols
287(2)
Three Individuals
289(2)
Dhrupad and Wrestling: Tradition and Modernity
291(1)
Continuity and Change
292(1)
Other Festivals
293(3)
Revival and Change
296(21)
Appendix 1 Principal Dhrupad Tils 317(2)
Appendix 2 Dhrupad Lineages 319(10)
Appendix 3 Alap and Dhrupad, Rag Multani (Transcription) 329(36)
Contents of the CD 365(2)
Bibliography 367(8)
Index of Authors 375(2)
Index of Musicians 377(4)
Index of Raga Names 381(2)
General Index 383
Ritwik Sanyal is a retired professor of the Department of Vocal Music, Banaras Hindu University. He also a recipient of one of India's highest civilian honours, the Padma Shri. A disciple of the late Zia Mohiuddin and Zia Fariduddin Dagar, and a leading exponent of the Dagar dhrupad tradition, he performs and teaches dhrupad internationally, and is a composer of new dhrupad compositions, with many CD recordings to his credit. He holds a PhD in musicology and is the author of Philosophy of Music (1987) and Dhrupad Panchashika (2015). In 2013 he received the prestigious Sangeet Natak Akademi National Award (New Delhi) for Hindustani Classical Vocal Music.

Richard Widdess is Emeritus Professor of Musicology in the Department of Music, School of Arts, SOAS University of London, and a Fellow of the British Academy. He specialises in the musicology of South Asia, with reference to the history, theory and analysis of vocal music traditions in North India and Nepal. He is the author of The Rgas of Early Indian Music (1995) and Dph: Sacred Singing in a South Asian City (2013).