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UC Santa Cruz UC Santa Cruz Electronic Theses and Dissertations Title The Karnatik Tabla: Cross-Cultural Music Synthesis in South Indian Percussion Performance Permalink https://escholarship.org/uc/item/2mz32492 Author Lindsey, Michael Paul Publication Date 2013-01-01 Supplemental Material https://escholarship.org/uc/item/2mz32492#supplemental Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California

The Karnatik Tabla: Cross-Cultural Music Synthesis in South Indian

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Page 1: The Karnatik Tabla: Cross-Cultural Music Synthesis in South Indian

UC Santa CruzUC Santa Cruz Electronic Theses and Dissertations

TitleThe Karnatik Tabla: Cross-Cultural Music Synthesis in South Indian Percussion Performance

Permalinkhttps://escholarship.org/uc/item/2mz32492

AuthorLindsey, Michael Paul

Publication Date2013-01-01

Supplemental Materialhttps://escholarship.org/uc/item/2mz32492#supplemental Peer reviewed|Thesis/dissertation

eScholarship.org Powered by the California Digital LibraryUniversity of California

Page 2: The Karnatik Tabla: Cross-Cultural Music Synthesis in South Indian

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JQ!:((!G(45)*3!+(1,;%61,76,9:2%03!66A!"_QO"ddA!

98 THE MUSIC OF SOUTHERX IXDIA.

And like Indian music, Indian dancing should be judged entirely from an Oriental

standpoint. A Nautch usually commences with the singing of a Mangala or

"song of hail" (generally in the Raga Ntita), the words of which are intended to do

honour to the principal personages present. When this is concluded, the leader

or conductor of the troupe, who invariably plays the tala or jalra, hums or

sings a kind of accompaniment, called Konnagolu, to this one of the girls dances,

keeping time with the soft tinkling of the bells tied round her ankles. During this

the other instruments are independent of the leader and are played softly and

without time in any raga that may be chosen, the chorus, if any, being muchsubdued. And when the dance is finished, songs—such as javadis or pathams

follow, one voice singing the solo and the whole of the voices taking up at

intervals a soft refrain. Dances or gestures, in character with the words of the

song, are made by the girls performing in front of the musicians.

Sometimes Sanskrit slokes, called " Astapathi," are sung by one voice, the

instruments plaving a kind of soft, dreamy accompaniment without any well

defined time, either with or alternately with the voice.

The performance is brought to a close by the singing of a Mangala, in

either the ragas Surati or Saurashtra.

A MUblLAL I'AI.IV.

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Page 132: The Karnatik Tabla: Cross-Cultural Music Synthesis in South Indian

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Page 134: The Karnatik Tabla: Cross-Cultural Music Synthesis in South Indian

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Page 135: The Karnatik Tabla: Cross-Cultural Music Synthesis in South Indian

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Page 136: The Karnatik Tabla: Cross-Cultural Music Synthesis in South Indian

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Page 137: The Karnatik Tabla: Cross-Cultural Music Synthesis in South Indian

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Page 138: The Karnatik Tabla: Cross-Cultural Music Synthesis in South Indian

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Page 139: The Karnatik Tabla: Cross-Cultural Music Synthesis in South Indian

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Page 140: The Karnatik Tabla: Cross-Cultural Music Synthesis in South Indian

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Page 141: The Karnatik Tabla: Cross-Cultural Music Synthesis in South Indian

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Page 143: The Karnatik Tabla: Cross-Cultural Music Synthesis in South Indian

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Page 144: The Karnatik Tabla: Cross-Cultural Music Synthesis in South Indian

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Page 145: The Karnatik Tabla: Cross-Cultural Music Synthesis in South Indian

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Page 147: The Karnatik Tabla: Cross-Cultural Music Synthesis in South Indian

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Page 149: The Karnatik Tabla: Cross-Cultural Music Synthesis in South Indian

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Page 150: The Karnatik Tabla: Cross-Cultural Music Synthesis in South Indian

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Page 152: The Karnatik Tabla: Cross-Cultural Music Synthesis in South Indian

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Page 154: The Karnatik Tabla: Cross-Cultural Music Synthesis in South Indian

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Page 159: The Karnatik Tabla: Cross-Cultural Music Synthesis in South Indian

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