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(1762-1827) 300 compositions, 50 surviving, mostly in Telugu
Appealed to intellectuals |
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(1775-1835) 400 compositions, mostly kriti in Sanskrit
Traveled widely throughout North India, wrote a kriti that sounded like God Save the King… One of his students started using the western violin as a carnatic instrument. |
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(1767-1847) Up to 1000 compositions, mostly kriti in Telugu
Probably the most highly revered of the carnatic classical composers. |
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wrote lots of poetry; very evocative; took love metaphors to extremes that freaked westerners.
highly revered, but British misread her poetry, not seeing it as religious expression. SO they edited her stuff to be in line with Victorian prudish protocols. Further, they took out her name as author and her autobiography because she was a woman. |
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| Nagarathnammal(1878-1952) |
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skilled musician at a time when technological changes start working in the favor of skilled musicians.
so skilled that her teachers would pressure authorities to let her perform in more prominent, public venues.
she also leverages her wealth and popularity, in part due to putting out recordings. Begins her own festival. Female voice records better |
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Priests
Warriors
Merchants
Laborers
Untouchables |
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| Tambura: a long necked lute chordophone , provides background sruti drone in concerts |
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Carnatic Violin:
voice:
carnatic flute |
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| mridangam: double headed jackwood membranophone, the main drum in Karnatic music
kanjira: small lizard-skin-frame drum with metal jingles attached to a wooden shell
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ghatam : an open-top, tuned clay pot idiophone
Tavil: Double-headed membranophone used in periya melam
Dholak-a double headed membranophone popular in Indian folk music |
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| long double-reed aerophone used in periya melam (think “snake charmer”) |
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| collection of fundamental ragas (scales)- parent ragas that all other ragas are based off of. must contain all seven svaras-no skipping of notes- ascending and descending scales must contain the same notes |
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| a melodic step ( like the European note) 7 different steps ie: ( sa, ri, ga, ma, pa, da, ni) |
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| the melodic drone in the background; also the 22 possible pitches within the melakarta music system |
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7=3+2+2
Ta-Ki-Ta Ta-Ka Di-Mi |
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| Number Patterns within Tala |
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| “limb” tala made of different groups of beats |
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rhythmic spiralling down (calculation)
Class example: 11-9-7-4-3-2-2-1 |
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| Intro of the Raga; a mini lesson in the raga; introduces each notes and ornamentation. Improvisation in free rhythm. |
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| Uses Mudra: when a composer puts their own name into the text of the song, a stamp or signiture |
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| improvisation in solfege syllables. usually staccato |
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Pallavi: “sprouting” the first section of the Kriti; throughout the song, the musician returns to a brief reinstatement of the pallavi
Anupallavi: means a continuation of the sprouting, was placed in between the
pallavi and caranam,
Caranam: a kriti usually has one or more of these; a stanza; literally meaning “feet”;
The Basic form of a Kriti is as follows:
A B A C A
Pallavi Anupallavi pallavi reprise Caranam pallavi reprise |
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Javali: “Didn’t I Tell you Not to Girl/ Vaddani”
Pg. 78-79 Track 18
Raga: Kapi
Tala: Rupaka
Form: Pallavi
Anupallavi
Caranam |
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No matter how often I tell you/Ettanai Connalum”
Pg. 93-95 Track 22
Raga: Saveri
Tala: Adi
Form: Pallavi
Anupallavi Caranam |
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