![]() Structural Levels in Karnatak Music Cultural and Methodological Concerns The remainder of the article is dedicated to supporting analysis, working successively from details of the musical surface to the basic tonal structure undergirding compositional and improvisational practice. I follow this section with a concise summary of my theory of structural levels in Karnatak music, accompanied by a critical discussion of the article’s methodology and attendant theoretical backdrop. For readers new to Karnatak music, click here to read a brief introduction to the history, instruments, and essentials of South Indian music. This conceptual framework has significant precedent both in Indian musical scholarship and in anecdotal accounts by practitioners with the support of close analysis of well-known compositions and performers, my theory synthesizes and expands these strands of thought, contending that widely accepted structural level-based accounts of improvisational practice also extend to theoretical systems, raga structure, and compositional practice. In the characteristic patterns of melodic ornamentation and phrase construction that contribute to the identity of a raga, as well as in formal approaches to composition and improvisation, Karnatak musical practice involves sophisticated elaborations of simple voice-leading strands that themselves elaborate a normative background structure. In the present study, I propose a theory of structural levels in Karnatak music, the classical music of South India. Subramanian) and compositions (including those by Tyagaraja, Muthuswamy Dikshitar, and Papanasam Sivan).Ĭopyright © 2015 Society for Music Theory Krishna, Bombay Jayashree, Lalgudi Jayaraman, Ranganayaki Rajagopalan, and Karaikudi S. My theory draws on precedents in Indian musical scholarship, firsthand accounts of practitioners, and close analysis of performances (including those of T. KEYWORDS: structural levels, South Indian music, Karnatak, Carnatic, composition, improvisation, normativity, etic, emic, raga, mode, kriti, alapana, gamaka, svara, TyagarajaĪBSTRACT: In the present study, I propose a theory of structural levels in Karnatak music, the classical music of South India. ![]()
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