Forward: Preface: CD Track List: 1. Song in South India Bhajan (Devotional Song) Songs and Singing: Meaning of the Text: Devotion, Love, and Praise: Celebrating Tyagaraja in the United States and in South India: Languages of the Region: Kriti: Evolution of Kriti Text and Context--a Continuum of Performance from Devotion to Virtuosity: Music, Language, and Politics: The Tamil Music Movement: Muttuttandavar (Seventeenth Century): The Text of I Trusted You/Unnai Nambinen (CD track 3) The Musical Setting of I Trusted You/Unnai Nambinen (CD track 3) The Group's Progress Through the Kriti The Ensemble: The Instruments: Violin (Chordophone); Mridarigam (Membranophone); Tambura (Chordophone) and Its Sruti, Drone, Function: Summary 2. Key Concepts in Karnatak Music Tala: Meter and Rhythm in Karnatak Music The Five Families of Rhythm and Drummers' Thinking: Hand Gestures and Vocalized Syllable Sequences for Commonly Used Td=alas: Tala Exercises in Three Speeds: Raga: Melody in Karnatak Music Scale: Note (Svara) and Solfege Syllable Names: Kiravd=ani and Kapi Ragas: Raga as a Vast Ocean Ornamentation (Gamaka) Phrase (Sancara or Prayoga): Phrases in Kiravani and Kapi Ragas Functional Notes--Svaras Holding Particular Functions Integrated Melodic-Rhythmic Training Summary 3. The Karnatak Concert Today Presentation and Discussion of the Main Piece of a Concert The Setting: Tuning Up: Beginning: Kriti as an Orally Transmitted Composed Case of a Performance Brief Guide to the Performance Composition and Improvisation: Fixity and Fluidity: Kiravani Raga Alapana: Aesthetics and Dynamics of Accompaniment Kriti: The Core Component: The Pallavi; The Anupallavi and Pallavi reprise; The Caranam and Pallavi Reprise Niraval Svara Kalpana: Different Ways to Improvise: A Comparison of Niraval and Svara Kalpana Tani Avarttanam--Drum Solo Summary 4. Contextualizing South Indian Performance, Socially and Historically Women and Music: The Devadasi and Her Community Women's Public Performance Circa 1900: Loss and Recovery of a Woman's Work: Now We Women Have a Platform to Commence Singing--Bangalore Nagarathnammal and the Tyagaraja Festival: Bangalore Nagarathnammal as a Performer: Sringara Bhakti: Being in Love with God; Listening through the Static: The Rise of Audio Recording Men and Music: From Temple and Court to Public and State Patronage Men's Performance in Precolonial South India: The Hereditary Male Temple Service Musician: The Emperor of Nagasvaram: T.N. Rajarattinam Pillai: The Audience Would Not Be Satisfied If He Did Not Play This Raga; Alapana in Todi Raga A New World of Performance: Concert Halls, Media, and Audiences in the Urban Environment The Development of Radio: The Recording Industry: Commodification and Resistance: The Effect of the Performance Should Be Such As to Keep the Listeners Spell-Bound: Men Scripting and Singing Women's Inner Feelings A Hereditary Music Family A Dual Musical Enculturation and Education: I Am Going to Snub These Male Chauvinists: Music and Gender Today: Summary: An Ancient and Modern Tradition of Musical-Social Behavior 5. Regional and Modern Traditions: Contemporary Music Making in South India and Beyond Music in Kerala Idakka, a Pressure Drum from Kerala: Kathakali Dance Drama: Character Types, Costume, and Makeup; Changes in the Twentieth Century The Kathakali Music Ensemble Kathakali Songs: Slokam and Padam Performance of Padam from Nala Caritam Music of the Cinema in South India The Company Drama and the Silent Cinema: Early Sound Films: The Mythological: The Social: The Playback Singer: The Cinema and Karnatak Music: A Parting of Ways: When I Say Come/Ba Ennalu Cross-Cultural Composition and Collaboration Can There Be Release/Moksamu Galada? Tatva, a Regional Performance Tradition in Karnataka State The Deccan Plateau: Meeting of North and South India: The Kannada Tatva Composer Sharif Saheb Hindu-Muslim Relations in Karnataka State: Katha Performers of the Kinnari Jogi Community Why Do You Worry/Yake Cinti? A Circle Completed: Summary Glossary: Resources: Index:
