Music in North India (Global Music Series): Experiencing Music, Expressing Culture
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Music in North India is one of several case-study volumes that can be used along with Thinking Musically, the core book in the Global Music Series. Thinking Musically incorporates music from many diverse cultures and establishes the framework for exploring the practice of music around the world. It sets the stage for an array of case-study volumes, each of which focuses on a single area of the world. Each case study uses the contemporary musical situation as a point of departure, covering historical information and traditions as they relate to the present. Visit www.oup.com/us/globalmusic for a list of case studies in the Global Music Series. The website also includes instructional materials to accompany each study. North India is home to a wealth of musical traditions composed of many different styles, genres, and practices. Music in North India provides a representative overview of this music, discussing rhythm and drumming traditions, song composition and performance styles, and melodic and rhythmic instruments. Drawing on his experience as a sarod player, vocalist, and music teacher, author George Ruckert incorporates numerous musical exercises to demonstrate important concepts. The book ranges from the chants of the ancient Vedas to modern devotional singing and from the serious and meditative rendering of raga to the concert-hall excitement of the modern sitar, sarod, and tabla. It is framed around three major topics: the devotional component of North Indian music, the idea of fixity and spontaneity in the various styles of Indian music, and the importance of the verbal syllable to the expression of the musical aesthetic in North India. Featuring vivid eyewitness accounts of performances and descriptions of interviews with performers, Music in North India examines the form, structure, and expression of North Indian music while also illuminating its profound religious and cultural significance. A 70-minute CD containing examples of the music discussed in the text is packaged with the book.
ForewordviiiPrefaceixCD Track Listxi1.Modernity and Tradition1A Culture of Bewildering Variety1Threads to Follow in this Text7The Devotional Component7Fixed Composition and Improvisation7The Verbal Syllable8Rhythmic Jatis8Syllables for Pitch Names10The Old and New in an Ancient Land10Indian Music on the Move162.Affect18Religious Connotations18Sacred Texts19Verbal Syllables21The Vocal Genre of dhrupad22The Vocal Genre of Tarana24Song Texts24A Musician's Practice27The Nine Moods28Extramusical Effects29Conclusion323.Teaching, Learning, and Performing Music33Teaching and Learning Music34Old Traditions in New Packages384.Rhythm and Drumming40Tala42Theka: The Tal as a Succession of Drum Sounds42Counting Patterns in Tal44The Tabla45Kayda46Tihai46Other Drumming Traditions50Conclusion515.Song and Performance52Composition and Improvisation52What is a Raga?55Raga in Performance55The On-the-spot Development of the Composition57Bara khyal57Vistar58Tan60Khyal and Instrumental Styles60Song Texts in Classical Styles61Other Song Genres62Conclusion646.Instrumentals, Melodic and Rhythmic65Drone Instruments66Melody Instruments68The Rise of Instrumental Music69The Sitar and the Sarod69The Sitar and the Sarod72Other Melody Instruments74Ensembles79Conclusion807.The Old World Joins the New81The Postcolonial Era81The Effect of the New Democracy on Music82Electronics: Preserving and Spreading the Traditions84Some Views from an Old Master85Glossary89Resources96Index99
