Time in Indian Music: Rhythm, Metre, and Form in North Indian Rāg PerformanceTime in Indian Music is the first major study of rhythm, metre, and form in North Indian rag, or classical, music. Martin Clayton presents a theoretical model for the organization of time in this repertory, a model which is related explicitly to other spheres of Indian thought and culture as well as to current ideas on musical time in alternative repertoriesnullincluding that of Western music. This theoretical model is elucidated and illustrated with reference to many musical examples drawn from authentic recorded performances. These examples clarify key Indian musicological concepts such as tal (metre), lay (tempo or rhythm), and laykari (rhythmic variation). More generally, the volume addresses the implications of performance practice for the organization of rhythm and metre. Written in a clear and accessible style and illustrated with 102 music examples and diagrams, it will appeal to anyone interested in Indian aesthetic forms and the study of musical time. |
Contents
1 Introduction | 1 |
musical time in Indian cultural perspective | 10 |
general theories of rhythm and metre | 27 |
4 T257l theory as a model of rhythmic organization | 43 |
quantitative qualitative and cyclic functions | 57 |
tempo and rhythmic density | 75 |
7 Performance practice and rhythm in Hindust257n299 music | 93 |
8 The bandiś | 113 |
rhythmic variation | 153 |
instrumental vilambit and madhya lay gats in the repertoire of Deepak Choudhury Maihar Ghar257n257 | 179 |
12 North Indian rhythmic organization in crosscultural perspective | 198 |
Glossary | 211 |
Discography | 216 |
| 218 | |
List of Audio Examples on Companion Website | 225 |
Index | 227 |
Other editions - View all
Time in Indian Music: Rhythm, Metre, and Form in North Indian Rāg ..., Volume 1 Martin Clayton No preview available - 2000 |
Time in Indian Music: Rhythm, Metre, and Form in North Indian Rāg Performance Clayton M. Martin,Martin Clayton No preview available - 2008 |
Common terms and phrases
16 mātrās acceleration accent ākār ālāp Amjad Ali Khan anacrusis antarā Audio Example bandis beat Bidur bol bāṇṭ cautāl cheironomy clap pattern composition concept cyclicity Deepak Choudhury dhin nā dhrupad diri division drum drut duration ektāl episode ethnomusicology free rhythm gat performance gestures grouping hierarchical Hindustānī Hindustānī music illustrated in Example improvised instrumental gat jāti jhaptāl khālī Khan khyal khyāl performance lay ratio laykārī listener madhya lay gat masītkhānī gat mātrā rate mātrās melismatic melodic metre metric structure mukhṛā music theory musicians North Indian music notation pakhāvaj Pandit Jasraj perceived phrases pulse level ra da ra rāg Ravi Shankar relationship repertoire rhythmic density rhythmic organization rhythmic patterns rhythmic structure rhythmic style rūpak tāl sargam sarod sitār sthāyī surface rhythm tablā tāl structure tāns tempi tempo text syllables thekā theory thumri tihāī tīntāl trkt variation vibhāg vilambit gat vistār vocal genres Western music Widdess yati