« UNIT III—Phenomena, Time, and Image | Main | Unit V. Complexities and Applications »
Thursday
Feb142013

UNIT IV—Hindustani Music & Additive Rhythm

guest: Dard Neuman 

Jairazbhoy, Nazir. Excerpts pp 3-15, 32-45 of The Rāgs of North Indian Music: Their Structure and Evolution.Bombay: Popular Prakashan, 1995 [First Edition London: Faber & Faber, 1971.]

Wade, Bonnie. Excerpts of Music in India: The Classical Traditions New York: Prentice-Hall,1979; reprinted Riverdale/Simon and Schuster, 1987; second edition, Manohar, 1997.

Lester, Joel. “Notated and Heard Meter” in Perspectives of New Music, Vol. 24, No. 2, Spring - Summer, 1986, pp. 116-128

Listening: The order of videos linked below is intentional; please listen to them continuously (perhaps a few per day). You do not need to listen to full performances—instead, spend enough time on each to digest some of its rhythmic characteristics before moving to the next.


DHRUPAD

1) Dagar Brothers, instrument (Vocal), genre (Dhrupad)

2) Asad Ali Khan, instrument (Veena), genre (Dhrupad)

3) Z.M. Dagar, instrument (Veena), genre (Dhrupad)

4) Imrat Khan, instrument (Surbahar), genre (Dhrupad)

KHAYAL VOCAL

1) Amir Khan, instrument (Vocal), genre (Khayal)

2) Bade Ghulam Ali Khan, instrument (Vocal), genre (Khayal)

KHAYAL INSTRUMENTAL

1) Ali Akbar Khan (sarod) and Swapan Chaudhuri (Tabla)—> start at 19:00

2) Vilayat Khan (sitar) & Ali Ahmed Khan (Shehnai)

3) Shujaat Khan (sitar) and Partho Saraty (Sarod)

THUMRI

1) Siddeswari Devi (vocal)

2) Bade Ghulam Ali Khan (vocal)

3) Vilayat Khan (sitar) —> start at 2:40. Imagery is feudal nostalgia.


GHAZAL

1) Begum Akhtar (Vocal) —>start at 2:00

2) Shujaat Khan (Vocal and Sitar)


Further reading:

Griffiths, Paul. Excerpts TBA from Olivier Messiaen and the Music of Time. Cornell University Press, 1985

Messaien, Olivier. “Mode de valeurs et d’intensités,” No. 2 in Quatre études de rythme. Paris: Durand, 2000.

References (10)

References allow you to track sources for this article, as well as articles that were written in response to this article.
  • Response
    Football is really 1 of the largest sports in America. It has a major following.
  • Response
  • Response
  • Response
    Cheap and Affordable Marquee Hire Company in Wigan, Lancashire
  • Response
    联系电话:13832771638 1393 成型机 2756620 王女士 15133711101 祁先生 固定电话: 开卷机 0317-8086188 传真:0317-8086199 QQ:59458991 49870222 浏览关于 成型机 | 开卷机 | 的信息 ...
  • Response
    Response: Good Sentences
  • Response
  • Response
    .C型钢机的产品主 C型钢机 要用途及产品特点 C型钢机 .C型钢机的产品主要用途及产品特点。经该C型钢机辊轧的C型檩条成品具有良好的抗弯抗压性能,平直度好、全自动定长切割、自动冲孔、自动化程度高,安装快捷方便。 产品可作为大中型工业民用建筑的主体受力结构,如厂房、 仓库、 C型钢机 机车库、飞机库、展览馆、影剧院、体育场馆、集市花棚的屋面承重荷载和墙面支撑。 该机主要由被动放料架、放料架底座、进料导入平台、整平装置、成型主机、冲孔装置、成型切断装置、液压站、电脑控制柜等几部分组成。  
  • Response
    Response: 泡沫板切割机
    840A型压瓦机使用过程简单介绍 压瓦机 840A型压瓦机是湿法生产琉璃瓦时用来对真空螺旋挤出机挤制并切割后的粗瓦坯进行精确定型压制的液压压力机。自动压瓦机可单独安装使用 咬口机生产厂家 ,但需人工装坯,卸坯,亦可配置自动装料架和卸坯机械手与挤出机、切瓦机,送坯机以及瓦托输送线等组成瓦坯生产流水线,完全不需要人 工进行操作,咬口机生产厂家。 我国琉璃瓦行业所使用的自动压瓦机最先都是从德国,意大利,法国等国引进,2006年湖南 德国 湘潭某陶机厂成功发开国产化的自动压瓦机,与进
  • Response
    Response: 布袋除尘器
    C型钢机工艺流程和改进完成的方法 C型钢机 C型钢机工艺流程:带钢从设备的尾部送入,经过各种压辊压制成C型钢从头部送出。传统工 C型钢机 艺中,C型钢压制成型后需要人工进行定长切断,再搬运到冲孔设备按照客户要求的尺寸打孔,生产不能连续,效率不高。经过逐步改进生产工艺,最终实现了全工艺过程自动控制,飞跃性地提高了生产效率,增加了客户设备的技术含量和附加值。 改进过程分四 自动控制 步完成: 第一步改进,增加长度测量装置和飞锯,当压制长度达到设定的长度时飞锯动作,自动切断型材。 第二步改进,加一台打边孔

Reader Comments

There are no comments for this journal entry. To create a new comment, use the form below.

PostPost a New Comment

Enter your information below to add a new comment.

My response is on my own website »
Author Email (optional):
Author URL (optional):
Post:
 
Some HTML allowed: <a href="" title=""> <abbr title=""> <acronym title=""> <b> <blockquote cite=""> <code> <em> <i> <strike> <strong>