机读格式显示(MARC)

• 000 05263cam 2200253 4500

• 001 0000051333

• 005 20151127100710.0

• 008 030506s2004 nyua b 001 0 eng

• 020 __ |a 9780195145915 (pbk.)

• 040 __ |a DLC |c DLC |d CCOM

• 090 __ |a J607.35/E3

• 093 __ |a J607.35

• 100 1_ |a Viswanathan, T.

• 245 10 |a Music in South India : |b the Karṇāṭak concert tradition and beyond : experiencing music, expressing culture / |c T. Viswanathan, Matthew Harp Allen.

• 260 __ |a New York : |b Oxford University Press, |c 2004.

• 300 __ |a xxv, 150 p. : |b ill. ; |c 21 cm. + |e 1 sound disc (4 3/4 in.)

• 490 1_ |a Global music series

• 504 __ |a Includes bibliographical references (p. 135-142) and index.

• 505 00 |t Song in South India -- |t Bhajan (Devotional Song) -- |t Songs and Singing -- |t Meaning of the Text: Devotion, Love, and Praise -- |t Celebrating Tyagaraja in the United States and in South India -- |t Languages of the Region -- |t Kriti -- |t Evolution of Kriti -- |t Text and Context--a Continuum of Performance from Devotion to Virtuosity -- |t Music, Language, and Politics -- |t The Tamil Music Movement -- |t Muttuttandavar (Seventeenth Century) -- |t The Text of "I Trusted You/Unnai Nambinen" (CD track 3) -- |t The Musical Setting of "I Trusted You/Unnai Nambinen" (CD track 3) -- |t The Group's Progress Through the Kriti -- |t The Ensemble -- |t The Instruments -- |t Violin (Chordophone) -- |t Mridangam (Membranophone) -- |t Tambura (Chordophone) and Its Sruti, Drone, Function -- |t Key Concepts in Karnatak Music -- |t Tala: Meter and Rhythm in Karnatak Music -- |t The Five "Families" of Rhythm and Drummers' Thinking -- |t Hand Gestures and Vocalized Syllable Sequences for Commonly Used Talas -- |t Tala Exercises in Three Speeds -- |t Raga: Melody in Karnatak Music -- |t Scale -- |t Note (Svara) and Solfege Syllable Names -- |t Kiravani and Kapi Ragas: Raga as a "Vast Ocean" -- |t Ornamentation (Gamaka) -- |t Phrase (Sancara or Prayoga) -- |t Phrases in Kiravani and Kapi Ragas -- |t Functional Notes--Svaras Holding Particular Functions -- |t Integrated Melodic-Rhythmic Training -- |t The Karnatak Concert Today -- |t Presentation and Discussion of the "Main Piece" of a Concert -- |t The Setting -- |t Tuning Up -- |t Beginning -- |t Kriti as an Orally Transmitted Composed Case of a Performance -- |t Brief Guide to the Performance -- |t Composition and Improvisation: Fixity and Fluidity -- |t Kiravani Raga Alapana -- |t Aesthetics and Dynamics of Accompaniment -- |t Kriti: The Core Component -- |t The Pallavi -- |t The Anupallavi and Pallavi reprise -- |t The Caranam and Pallavi Reprise -- |t Niraval -- |t Svara Kalpana -- |t Different Ways to Improvise: A Comparison of Niraval and Svara Kalpana -- |t Tani Avarttanam--Drum Solo -- |t Contextualizing South Indian Performance, Socially and Historically -- |t Women and Music: The Devadasi and Her Community -- |t Women's Public Performance Circa 1900 -- |t Loss and Recovery of a Woman's Work -- |t "Now We Women Have a Platform to Commence Singing"--Bangalore Nagarathnammal and the Tyagaraja Festival -- |t Bangalore Nagarathnammal as a Performer -- |t Sringara Bhakti: Being in Love with God -- |t Listening through the Static: The Rise of Audio Recording -- |t Men and Music: From Temple and Court to Public and State Patronage -- |t Men's Performance in Precolonial South India -- |t The Hereditary Male Temple Service Musician -- |t The "Emperor of Nagasvaram": T. N. Rajarattinam Pillai -- |t "The Audience Would Not Be Satisfied If He Did Not Play This Raga" -- |t Alapana in Todi Raga -- |t A New World of Performance: Concert Halls, Media, and Audiences in the Urban Environment -- |t The Development of Radio -- |t The Recording Industry: Commodification and Resistance -- |t "The Effect of the Performance Should Be Such As to Keep the Listeners Spell-Bound" -- |t Men Scripting and Singing Women's Inner Feelings -- |t A Hereditary Music Family -- |t A Dual Musical Enculturation and Education -- |t "I Am Going to Snub These Male Chauvinists" -- |t Music and Gender Today -- |t Summary: An Ancient and Modern Tradition of Musical-Social Behavior -- |t Regional and Modern Traditions: Contemporary Music Making in South India and Beyond -- |t Music in Kerala -- |t Idakka, a Pressure Drum from Kerala -- |t Kathakali Dance Drama -- |t Character Types, Costume, and Makeup -- |t Changes in the Twentieth Century -- |t The Kathakali Music Ensemble -- |t Kathakali Songs: Slokam and Padam -- |t Performance of Padam from Nala Caritam -- |t Music of the Cinema in South India -- |t The "Company Drama" and the Silent Cinema -- |t Early Sound Films: The "Mythological" -- |t The "Social" -- |t The Playback Singer -- |t The Cinema and Karnatak Music: A Parting of Ways -- |t "When I Say Come/Ba Ennalu" -- |t Cross-Cultural Composition and Collaboration -- |t "Can There Be Release/Moksamu Galada?" -- |t Tatva, a Regional Performance Tradition in Karnataka State -- |t The Deccan Plateau: Meeting of North and South India -- |t The Kannada Tatva Composer Sharif Saheb -- |t Hindu-Muslim Relations in Karnataka State -- |t Katha Performers of the Kinnari Jogi Community -- |t "Why Do You Worry/Yake Cinti?" -- |t A Circle Completed.

• 650 _0 |a Music |z India |x History and criticism.

• 650 _0 |a Carnatic music |x History and criticism.

• 700 1_ |a Allen, Matthew Harp.

• 830 _0 |a Global music series.

• 905 __ |a 211440 |b BK343638 |d J607.35 |e 3