Sitār Technique in Nibaddh Forms
Students of Indian music are well aware of the emphasis their gurus place on the development of correct technique through rigorous practice. This book focuses on sitar technique and shows how that technique comes into play during the improvisatory music-making endeavours of master sitarists. A series of systematic descriptions and analyses reveals how instrumental technique acts as a generative structure at the broad level and provides a corpus of factors of variation at the specific level. A unique feature of this study is the inclusion of musical transcriptions detailing not only the line of melody, but also the physical gestures (techniques) necessary to produce melody. Though technically complex in appearance, these transcriptions and the accompanying analyses provide valuable information to students interested in learning Sitar and to musicologists and ethnomusicologists inquiring into the basic improvisational processes that underlie contemporary styles of Sitar performance.
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alap alarikars arig articulations ath gun avartan barhat binkar bol pattern chah gun cikari da da da ra da dhrupad dir da ra dir dir da drone tones Drut Gat Vistar eka-tantri vina Example Figure frets gamak gat saili gharana gharsan gun tan-s guthav incorporating index finger Indian music instrumental music jhala kamrika Khan khyal krintan Lalmani Misra layakari left-hand techniques long-necked lute manjha Masit Khan Masitkhani gat matra melodic line middle finger Misra mizrab bol mukhra m 1ra-1ra musicians nibaddh notated octave ornament pakhavaj paran performance pitch precomposed sections ra da ra ra ra rabab Ravi Shankar repertory rhythmic cycle right-hand technique scale-degree sitar sitar playing sitar technique sitar-ists spars srnkhala srrikhala sthayi stick zither strings stroke structure style surbahar talim tans tempo tha gun tihai tin-tal tora variation Vilambit Gat Vistar vocal form zither га тз
Page xix - O'Grady and KL Hale have been a stimulus and encouragement to the writer in his task. This monograph is a thesis submitted to the Graduate Division of the University of Hawaii in partial fulfilment of the requirements for the degree of MA in Linguistics.
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