MAY 14
Guest: Dard Neuman
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)
Excerpts of Bhatkhande, Visnu Narayan. 1910. [1930-1931]. A Comparative Study of Some of the Leading Music Systems of the 15th, 16th, 17th and 18th Centuries. Bombay: Bhalchandra Sitaram Sukthankar. Undated reprint (post-1940). [Includes discussion of Sanskrit treatises. Originally published Lucknow: Sangeef, 1910.]
Clayton, Martin R. L. “Free Rhythm: Ethnomusicology and the Study of Music without Metre.” Bulletin of the School of Oriental and African Studies, University of London, Vol. 59, No. 2 (1996), pp. 323-332.
MAY 21-28:
1. ANALYSIS/INVESTIGATION 2: Due May 21 or 28; please upload to the Analysis/Investigation 2 folder
Choose two from among the many paradigms of temporal perception we have addressed so far (see list April 23, plus):
Differential approaches to “Free Rhythm” (Clayton)
“Form-bearing dimensions”, deployed in terms of similarity and invariance (McAdams/Matzkin)
Notated vs. heard meter (Lester)
Juxtaposed metricities and speeds in Hindustani rhythm (Wade, see also “Conjunctive” vs. “Disjunctive” Iqaat in Al-Farabi’s chapter on rhythm)
Narratives of non-ambivalence in the relation of musical signification to emotional/spiritual/ecstatic state (Neuman, Seydi — pp. 6-15)
Communal consciousness as an outcome of long semi-improvised cycle sequences in p’ungmul (Hesselink)
… etc.
Bring to class a 10-minute presentation consisting of specific quotes from course readings, and a musical (or other sensory) example that can help to promote questions about the specific issues arising in an originating concept. Make sure you have also represented or analyzed that example in some way.
Provocation
[Looping back around to April 23]
Wasler, Robert. “Rhythm, Rhyme, and Rhetoric in the Music of Public Enemy.” In Ethnomusicology Vol. 39, No. 2 (Spring - Summer, 1995), pp. 193-217. Pourdrier, Eve.
Theory: Choose 2 of these three, and at least 1 from “Additional Reading”; and then make one reading report for each week—the week when you are also presenting analysis, the reading report can be brief, or integrated into the analysis. As always, you are welcome to deliver a reading report that more deeply engages a past reading.
Kubik, Gerhard. “The Cognitive Study of African Musical Rhythm,” Chapter 6 of Theory of African Music, Volume 2.
Poudrier, Ève. “Tapping to Carter: Mensural Determinacy in Complex Rhythmic Sequences.” Empirical Musicology Review Vol. 12, No. 3-4, 2017
Krebs, Harald. “Some Extensions of the Concepts of Metrical Consonance and Dissonance.” Journal of Music Theory 31, 1987, pp. 99-120.
Additional reading:
Daniele, Joseph, and Patel, Anirudh. (2004.) “The Interplay of Linguistic and Historical Influences on Musical Rhythm in Different Cultures.” Proceedings of the 8th International Conference on Music Perception and Cognition, Evanston IL, 2004.
Desain, P. & Honig, H. “Computational Models of Beat-induction: the Rule-based Approach.” In Journal of New Music Research, 28(1), 1999, pp. 29–42.
Huron, David, and Royal, Matthew. “What is Melodic Accent? Converging Evidence from Musical Practice.” In Music Perception Summer 1996, Vol. 13, No. 4, 489-516.