Time In Indian Music

Time in Indian Music is the first major study of rhythm, metre, and form in North Indian rag , or classical, music. Martin Clayton presents a theoretical model for the organization of time in this repertory, a model which is related explicitly to other spheres of Indian thought and culture as well as to current ideas on musical time in alternative repertoriesnullincluding that of Western music. This theoretical model is elucidated and illustrated with reference to many musical examples drawn from authentic recorded performances. These examples clarify key Indian musicological concepts such as tal (metre), lay (tempo or rhythm), and laykari (rhythmic variation).

Time in Indian Music is the first major study of rhythm, metre, and form in North Indian rag , or classical, music. Martin Clayton presents a theoretical model for the organization of time in this repertory, a model which is related explicitly to other spheres of Indian thought and culture as well as to current ideas on musical time in alternative repertoriesnullincluding that of Western music. This theoretical model is elucidated and illustrated with reference to many musical examples drawn from authentic recorded performances. These examples clarify key Indian musicological concepts such as tal (metre), lay (tempo or rhythm), and laykari (rhythmic variation). More generally, the volume addresses the implications of performance practice for the organization of rhythm and metre. Written in a clear and accessible style and illustrated with 102 music examples and diagrams, it will appeal to anyone interested in Indian aesthetic forms and the study of musical time.

Peter Lavezzoli, Buddhist and musician, has a rare ability to articulate the personal feeling of music, and simultaneously narrate a history. In his discussion on Indian music theory, he demystifies musical structures, foreign instruments, terminology, an

This Book Introduces To Lay Readers The Basic Concepts Of Indian Music To Aid A Fuller Appreciation. Raga. Its Melodic Base, Is Examined First, With Scales And Figures Employed Where Necessary. Chapters On Tone And Rhythm Follow.The Many Forms Of Composition - Kheval, Thumri, Kriti - Are Explained Historically, And The Lives Of The Masters Briefly Touched Upon. Also Discussed Is The Folk Base Of Classical Music - Particularly The Devotional Forms That Abound. Folk And Concert Instruments Of A Wide Range Are Described, And Their Canons Of Classification Expounded.The Author Has Covered Hindustani And Karnatak Music; The Parallel Treatment Not Only Makes For Comprehensiveness, But Brings Out Common Features To The Benefit Of Those Familiar With Either System. The Approach Being Historical, The Study Of Evolving Codes And Canons Leads Naturally To A Consideration Of Music In The Modern Milieu.Illustrated With Over 80 Drawings, The Book Is Intended To Serve As A Primer For Those At Home And Abroad Who Seek The Enrichment India'S Ancient Music Offers.

Contents: Introduction, Music, Ancient Indian Music and Man, Indian Music, Man and the Aesthetics of Indian Music, Dance, Drama and Music, Indian Dance: The Background, Indian Dance: Theory and Practice, Music An Expression of Man s Creative Genius, The Search for Divinity in Khayal, Aspirations of the Ideal Musician, The Agra Gharana, Man s Response to Rhythm, Folk Music of Some Indian States, Music for Posterity and Role of the Notation.