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AN EVALUATIVE STUDY OF THE CURRENT PRACTICES IN
SYNCHRONOUS ONLINE EDUCATION FOR INDIAN CLASSICAL MUSIC
!
A DISSERTATION
!
Submitted by
!
M.T.ADITYA SRINIVASAN
ROLL NUMBER: 200872701
to the
Online education in music
FACULTY OF DEPARTMENT OF MEDIA SCIENCES
in partial fulfillment for the award of the degree
of
MASTER OF SCIENCE
in
ELECTRONIC MEDIA (5 YRS INTEGRATED)
!
•
•
•
•
This was my thesis for my previous masters.!
Previous research by Enrich Alberich!
An opportunity to go in-depth presented itself!
But. . .!
!
DEPARTMENT OF MEDIA SCIENCES
ANNA UNIVERSITY
CHENNAI 600025
MAY 2013
!
The birth of an Idea . . .
SOLO
1729
Ear
Training
Can my musical background contribute to the compositional
and improvisational growth of my western counterparts ?
Going!
beyond the bar!
how can I
generate
maximum
impact !
Passion
Goal
Can I contribute
to my own musical
tradition in the
process ?
Strengths
The best thing I can bring to the table is
something that combines my passion for
teaching and sharing mind space , with
my background and love for rhythm
Calculation
Application
Inspiration
SEVERAL MILES TO
RAMANUJAM
A mathematical approach to thinking beyond the bar
A STUDY IN THE APPLICATION OF
INDIAN RHYTHMIC CONCEPTS FOR
WESTERN MUSICIANS
A lot of relevant information has been left out of this
presentation keeping time in mind. But it can all be read in the
submitted document.
Objective
The primary objective of the study is to develop a
syllabus and material for Indian rhythmical ideas
to be taught as a structured course to students at
music universities.
! To understand how Indian rhythmic compositions
can be transcribed into western notation without
compromising their aesthetic quality. !
❖
To write compositions in western notation in such a
way that the original mathematical and poetical
beauty will remain intact even when the transcriptions
are sight-read without prior context. !
To develop a written repertoire of compositions that
creates a foundation for rhythmic interaction for
musicians from other traditions with Indian
musicians. !
! To identify rhythmic structures and ideas that is
useful as compositional, performance ideas for other
genres of music (with specific reference to jazz). !
To understand, identify and incorporate Indian
rhythmic exercises that are beneficial to western
musicians in the context of structured course work. !
To learn how to teach these concepts as a course for
western musicians with little or no prior exposure to
Indian classical music, by understanding different
approaches to learning rhythm. !
Need for Analysis
Challenge 1: I needed a hands on
understanding of how western musicians
approached Indian musical concepts.
Challenge 2: I needed to learn to notate
compositions in such a way that they
weren’t reduced to paper
Challenge 3: I needed to critically analyze similar
endeavors in three categories - by western musicians
& scholars, by Indian musicians & scholars and by
students of both traditions.
The Ship of Theseus
❖
This is something that emerged out of reflection on the project, but for the
sake of this presentation it is discussed at this stage!
❖
The ship of Theseus, also known as Theseus' paradox, is a thought
experiment that raises the question of whether an object which has had all its
components replaced remains fundamentally the same object!
❖
Do the contents and concepts of this project remain Indian classical, that is,
are the participants indulging in Indian music or …
My so called complicated rhythmic
background was reduced to mere quarter
notes, eighth notes and rests
The Ego Crusher
Step 1: Learning to write and transcribe
traditional Indian rhythmic compositions. !
!
Challenge: Making an entirely oral
tradition relevant to a written document.
Critical Analysis of similar endeavors
❖
Analysis of books on the subject matter such as Sangeeta Akshara Hridaya, Indian rhythms for
the drum set, Time in Indian classical music etc!
❖
Analysis of video tutorials of different artists from both western and Indian traditions such as
John McLaughlin, Ghatam Kartik, Pete Lockett, Steve Smith, Umayalpuram Sivaraman etc!
❖
Reading of published research articles and other scholarly work on related areas!
❖
Detailed discussions with Berklee professors Allan Chase, Yoron Israel, Enrich Alberich etc!
❖
Transcription of material from all of these sources to incorporate into the proposed course work!
❖
Understanding the scope of such concepts and analyzing their application across the musical
spectrum
Common elements from analysis
❖
Westerners approach vs Indians!
❖
Majority designed for percussionists!
❖
Limited notation - often requiring knowledge of Indian music!
❖
No coherent pathway of growth!
❖
Limited application of concepts outside of context!
❖
South Indian system favored over north!
❖
No effective standard for notation of poetry
Western vs Indian musical conceptualization
❖
Kritis or bandishes vs Jazz standards!
❖
Tala, laya, meter and the bar: Rhythmic organization of time!
❖
Linear and non-linear and cyclicality of the timeline!
❖
Oral vs written tradition: Notation ! Notation ! Notation !!
❖
Eric Harland’s approach to rhythmic development in drum solos!
❖
Poetry in rhythm!
❖
Recognition of phrases and patterns beyond the bar
Thillanas in Jazz
❖
Adapting Indian ideas to Jazz isn't anything new, but I wanted particular
melodic and rhythmic ideas to be captured in a way they haven’t been done
before.!
❖
Why Thillanas ? The tillana is a distinct compositional form in Carnatic
music that has highly precise mathematical development bothmelodically
and rhythmically. It seemed the natural direction for this project.!
❖
Thillanas chosen are those by 20th-21st century composers Shri
Balamuralkrishna and Lalgudi Shri Jayaraman, regarded as the finest every
composers of thillanas.
Notation!
Notation
Notation
Notation ! Notation ! Notation !
Notation ! Notation ! Notation !
What was recorded
❖
3 Thillana based compositions arranged by Ricardo Curto and Myself!
❖
1 Thillana based composition composed by me and arranged by Stephen
Mchale!
❖
2 Thillanas yet to be recorded, arranged by Juan Aliaga, Andjela Stevanovic
and myself!
❖
1 Thillana arranged by Ricardo Curto and myself is being played in Perico
Sambeat’s ensemble
Observations based on Thillanas
The clave on the mand thillana!
Moving beyond the bar with the revathi thillana!
The melodic storyline with the Kalyani thillana!
Breathing space for wind instruments!
Harmony outside the raga!
Identifying phrases rather than bars!
It did not survive the ship of theseus!
Different approaches to rhythmic accompaniment!
Does every jazz piece require a solo in the traditional sense!
Cadences and Codas - identifying patterns to incorporate into the course work!
Developing myself as a project manager and producer
How the analysis shaped the project
❖
The words of the scholars are as important as the exercises themselves!
❖
The thillanas helped me understand how Indian rhythmic concepts were approached!
❖
Every exercise suggested have been analyzed and relevant ones included within the
proposed coursework!
❖
The course is not meant to survive the ship of theseus, that is, it is not a study of
Indian rhythms, but just an extrapolation of Indian concepts modified for western
musicians!
❖
Every effort has been made to incorporate the good aspects of previous works
How the analysis shaped the project
❖
Every exercise in the course needs to have executed examples alongside!
❖
Each exercise will be provided in mathematical format, western notation and
some applicational ideas. It will be insisted on that the written document
purpose is posterity. !
❖
The classes within the course will include actual playing of exercises on
instruments
Course design
Basic syllables under the South Indian recitation system for rhythm ( Konakkol )!
!
1 - Tha!
2 - Tha ka !
3 - Tha ki Ta!
4 - Tha ka Dhi mi / Tha ka Jo nu !
5 - Tha dhi gi na thom!
6 - Tha dhi . gi na thom !
7 - Tha . dhi . Gi na thom!
9 - Tha . dhi . gi . na. thom!
!
❖
The course design takes into account
analysis plus trial execution of the project!
❖
It is designed in 15 phases to develop a
strong rhythmic foundation!
❖
Audio/video examples for every exercise
plus in class and homework activities
designed for each stage
As you will notice, from 5 onwards, the syllables are the same, it is only the spacing ( gap inbetween )
syllables that chances. !
A standard method of counting gap between notes is to enunciate the gap, to increase convenience of
recitation . A gap of a beat + 2 counts is denoted as Thangu ( 3 counts total ). !
A gap of a beat + 1 count ( 2 counts total ) is denoted as tham. !
!
!
Endings for one avarthana of a Adi Tala ( with just a few additional possibilities )!
1,2,3,4,5!
6 - 2+2+2!
7 - 1+2+1+2+1!
8 - 2+1+2+1+2!
9 - 3+3+3!
10 - 2+2+2+2+2!
11 - 3+1+3+1+3!
12 - 2+3+2+3+2!
13 - 3+2+3+2+3!
14 - 4+1+4+1+4!
15 - 5+5+5!
16 - 4+2+4+2+4!
17 - 5+1+5+1+5!
18 - 6+6+6!
19 - 5+2+5+2+5!
20 - 6+1+6+1+6!
21 - 7+7+7 = 5+3+5+3+5!
22 - 6+2+6+2+6!
23 - 7+1+7+1+7 = 5+4+5+4+5!
24 - 6+3+6+3+6!
25 - 7+2+7+2+7!
26 - 8+1+8+1+8 = 6+4+6+4+6!
27 - 9+9+9 = 7+3+7+3+7!
28 - 8+2+8+2+8!
29 = 9+1+9+1+9 = 7+4+7+4+7!
30 = 10+10+10=8+3+8+3+8=6+6+6+6+6=4+6+4+6+4+6!
31= 7+5+7+5+7 = 9+2+9+2+9 !
32 = 8+4+8+4+8=10+1+10+1+10
What will you gain ? !
A new perspective of rhythm and mathematics!
Strong sense of internal rhythm
Compositional inspiration!
Improvization ideas!
Accompaniment ideas!
Konokol Chapter 4
1
2
5
3
4
1
5
2
3
5
4
5
Da - Di - Gi - Na - Dum Da - Di - Gi - Na - Dum Da - Di - Gi - Na - Dum Da - Di - Gi - Na - Dum
5
5
5
5
Da Di - Gi - Na - Dum Da Di - Gi - Na - Dum Da Di - Gi - Na - Dum Da Di - Gi - Na- Dum
6
6
6
JATHIS
regular accents over the gati
Da
6
Da - Di - Gi - Na - Dum Da - Di - Gi - Na - Dum Da - Di - Gi - Na - Dum Da - Di - Gi - Na - Dum
6
6
6
6
Da - Di - Gi - Na - Dum Da - Di - Gi - Na- Dum Da - Di - Gi - Na - Dum Da - Di - Gi - Na - Dum
5
5
5
3
ã œ> œ œ œ œ> œ œ œ œ> œ œ œ
3
Da
ã œ> œ œ> œ œ> œ
3
tisra jathi 4
5
tisra jathi 2
Da - Di - Gi - Na - Dum Da - Di - Gi - Na - Dum Da - Di - Gi - Na - Dum Da - Di - Gi - Na - Dum
3
3
3
tisra jathi 5
ã œ> œ œ œ œ œ> œ œ œ œ œ> œ œ œ œ
3
3
3
3
3
tisra jathi 7
5
5
5
5
Da - Di - Gi - Na - Dum Da - Di - Gi - Na - Dum Da - Di - Gi - Na - Dum Da - Di - Gi - Na - Dum
ã œ> œ œ œ œ œ œ œ> œ œ œ œ œ œ œ> œ œ œ œ œ œ
3
3
3
3
3
chatusra jathi 3
6
6
6
6
Da - Di - Gi - Na - Dum Da - Di - Gi - Na - Dum Da - Di - Gi - Na - Dum Da - Di - Gi - Na - Dum
ã œ> œ œ >œ œ œ œ> œ œ >œ œ œ
chatusra jathi 5
6
6
6
6
Da Di - Gi-Na - Dum Da Di - Gi-Na - Dum Da Di - Gi-Na - Dum Da Di - Gi-Na - Dum Da
ã œ> œ œ œ œ œ> œ œ œ œ œ> œ œ œ œ œ> œ œ œ œ
3
3
%''''
# $ $
%''''
Sample A Expanding
outer region - 10 = 1+9!
!
11 = 2+9 ; 12 = 3+9; 13 = 4+9; 14 = 5+9!
!
!
!
64=4+(1+9)+(2+9)+(3+9)+(4+9)+(5+9)!
64 = 4+10+11+12+13+14!
%'%''%'
Using Silence : If each of these numbers were considered a part, only the first hit of the part
%&&'&'&
!
64=4+1+#1+
1+#1+ 8 #+1+2+#1+8 #+1+3+#1+8 #+1+4+#1+8 #!
8 #+1+
!
to be called
out followed
by a rest on the
remaining counts
. Here I have
indicated
the rest
were
using italicized numbers. Every Nine becomes #1+8 #!
%(''''
11=5+6;12=6+6;13=7+6;14=8+6!
Further split - 4=1+3;5=2+3;6=3+3;7=4+3;8=5+3!
!
64 = 4+ (4+6)
+ (6+6) +(7+6)
+ (5+6)
+ (8+6)!
!
!
!
the first hit ofevery
in silence
Working
would
calling
part.
mean
64 = 4+ (1+3+6) + (2+3+6) + (3+3+6) + (4+3+6) + (5+3+6)!
!
!
!
region -10 =4+6 ; !
Sample
B
Expanding
inner
!
%)&'%'&'%'&
Trial execution
Background track : Thillana in
Lydian
Uniqueness of the project
❖
Brings together the work of many scholars and gives notational examples of not just
the exercises but also the application of concepts!
❖
Designed as a course work rather than book, with universities of music being specific
targets!
❖
Designed exclusively for Non Indian musicians!
❖
It has been designed by one who was experienced the best of both worlds - great
Indian masters as well as the best of contemporary music at Berklee!
❖
It is not a study in Indian music, it is a study in the relevance of Indian rhythmic
concepts to the world wide spectrum of music
The fellowship and future scope of the project
❖
As part of my fellowship I will concentrate on 2 different aspects of the course!
❖
The 1st is the designing of the advance material for the next semester of
coursework and the second is notating poetical aspects of Indian rhythm
toward the development of a percussion ensemble!
❖
This project is a calling card for me to conduct workshops and teach at music
universities. I hope to teach this course as part of the fellowship at Berklee. !
❖
Notation ! Notation ! Notation ! The application of this project in computation
SYNCHRONOUS ONLINE EDUCATION FOR INDIAN CLASSICAL MUSIC
!
A DISSERTATION
!
Submitted by
!
M.T.ADITYA SRINIVASAN
ROLL NUMBER: 200872701
to the
Online education in music
FACULTY OF DEPARTMENT OF MEDIA SCIENCES
in partial fulfillment for the award of the degree
of
MASTER OF SCIENCE
in
ELECTRONIC MEDIA (5 YRS INTEGRATED)
!
•
•
•
•
This was my thesis for my previous masters.!
Previous research by Enrich Alberich!
An opportunity to go in-depth presented itself!
But. . .!
!
DEPARTMENT OF MEDIA SCIENCES
ANNA UNIVERSITY
CHENNAI 600025
MAY 2013
!
The birth of an Idea . . .
SOLO
1729
Ear
Training
Can my musical background contribute to the compositional
and improvisational growth of my western counterparts ?
Going!
beyond the bar!
how can I
generate
maximum
impact !
Passion
Goal
Can I contribute
to my own musical
tradition in the
process ?
Strengths
The best thing I can bring to the table is
something that combines my passion for
teaching and sharing mind space , with
my background and love for rhythm
Calculation
Application
Inspiration
SEVERAL MILES TO
RAMANUJAM
A mathematical approach to thinking beyond the bar
A STUDY IN THE APPLICATION OF
INDIAN RHYTHMIC CONCEPTS FOR
WESTERN MUSICIANS
A lot of relevant information has been left out of this
presentation keeping time in mind. But it can all be read in the
submitted document.
Objective
The primary objective of the study is to develop a
syllabus and material for Indian rhythmical ideas
to be taught as a structured course to students at
music universities.
! To understand how Indian rhythmic compositions
can be transcribed into western notation without
compromising their aesthetic quality. !
❖
To write compositions in western notation in such a
way that the original mathematical and poetical
beauty will remain intact even when the transcriptions
are sight-read without prior context. !
To develop a written repertoire of compositions that
creates a foundation for rhythmic interaction for
musicians from other traditions with Indian
musicians. !
! To identify rhythmic structures and ideas that is
useful as compositional, performance ideas for other
genres of music (with specific reference to jazz). !
To understand, identify and incorporate Indian
rhythmic exercises that are beneficial to western
musicians in the context of structured course work. !
To learn how to teach these concepts as a course for
western musicians with little or no prior exposure to
Indian classical music, by understanding different
approaches to learning rhythm. !
Need for Analysis
Challenge 1: I needed a hands on
understanding of how western musicians
approached Indian musical concepts.
Challenge 2: I needed to learn to notate
compositions in such a way that they
weren’t reduced to paper
Challenge 3: I needed to critically analyze similar
endeavors in three categories - by western musicians
& scholars, by Indian musicians & scholars and by
students of both traditions.
The Ship of Theseus
❖
This is something that emerged out of reflection on the project, but for the
sake of this presentation it is discussed at this stage!
❖
The ship of Theseus, also known as Theseus' paradox, is a thought
experiment that raises the question of whether an object which has had all its
components replaced remains fundamentally the same object!
❖
Do the contents and concepts of this project remain Indian classical, that is,
are the participants indulging in Indian music or …
My so called complicated rhythmic
background was reduced to mere quarter
notes, eighth notes and rests
The Ego Crusher
Step 1: Learning to write and transcribe
traditional Indian rhythmic compositions. !
!
Challenge: Making an entirely oral
tradition relevant to a written document.
Critical Analysis of similar endeavors
❖
Analysis of books on the subject matter such as Sangeeta Akshara Hridaya, Indian rhythms for
the drum set, Time in Indian classical music etc!
❖
Analysis of video tutorials of different artists from both western and Indian traditions such as
John McLaughlin, Ghatam Kartik, Pete Lockett, Steve Smith, Umayalpuram Sivaraman etc!
❖
Reading of published research articles and other scholarly work on related areas!
❖
Detailed discussions with Berklee professors Allan Chase, Yoron Israel, Enrich Alberich etc!
❖
Transcription of material from all of these sources to incorporate into the proposed course work!
❖
Understanding the scope of such concepts and analyzing their application across the musical
spectrum
Common elements from analysis
❖
Westerners approach vs Indians!
❖
Majority designed for percussionists!
❖
Limited notation - often requiring knowledge of Indian music!
❖
No coherent pathway of growth!
❖
Limited application of concepts outside of context!
❖
South Indian system favored over north!
❖
No effective standard for notation of poetry
Western vs Indian musical conceptualization
❖
Kritis or bandishes vs Jazz standards!
❖
Tala, laya, meter and the bar: Rhythmic organization of time!
❖
Linear and non-linear and cyclicality of the timeline!
❖
Oral vs written tradition: Notation ! Notation ! Notation !!
❖
Eric Harland’s approach to rhythmic development in drum solos!
❖
Poetry in rhythm!
❖
Recognition of phrases and patterns beyond the bar
Thillanas in Jazz
❖
Adapting Indian ideas to Jazz isn't anything new, but I wanted particular
melodic and rhythmic ideas to be captured in a way they haven’t been done
before.!
❖
Why Thillanas ? The tillana is a distinct compositional form in Carnatic
music that has highly precise mathematical development bothmelodically
and rhythmically. It seemed the natural direction for this project.!
❖
Thillanas chosen are those by 20th-21st century composers Shri
Balamuralkrishna and Lalgudi Shri Jayaraman, regarded as the finest every
composers of thillanas.
Notation!
Notation
Notation
Notation ! Notation ! Notation !
Notation ! Notation ! Notation !
What was recorded
❖
3 Thillana based compositions arranged by Ricardo Curto and Myself!
❖
1 Thillana based composition composed by me and arranged by Stephen
Mchale!
❖
2 Thillanas yet to be recorded, arranged by Juan Aliaga, Andjela Stevanovic
and myself!
❖
1 Thillana arranged by Ricardo Curto and myself is being played in Perico
Sambeat’s ensemble
Observations based on Thillanas
The clave on the mand thillana!
Moving beyond the bar with the revathi thillana!
The melodic storyline with the Kalyani thillana!
Breathing space for wind instruments!
Harmony outside the raga!
Identifying phrases rather than bars!
It did not survive the ship of theseus!
Different approaches to rhythmic accompaniment!
Does every jazz piece require a solo in the traditional sense!
Cadences and Codas - identifying patterns to incorporate into the course work!
Developing myself as a project manager and producer
How the analysis shaped the project
❖
The words of the scholars are as important as the exercises themselves!
❖
The thillanas helped me understand how Indian rhythmic concepts were approached!
❖
Every exercise suggested have been analyzed and relevant ones included within the
proposed coursework!
❖
The course is not meant to survive the ship of theseus, that is, it is not a study of
Indian rhythms, but just an extrapolation of Indian concepts modified for western
musicians!
❖
Every effort has been made to incorporate the good aspects of previous works
How the analysis shaped the project
❖
Every exercise in the course needs to have executed examples alongside!
❖
Each exercise will be provided in mathematical format, western notation and
some applicational ideas. It will be insisted on that the written document
purpose is posterity. !
❖
The classes within the course will include actual playing of exercises on
instruments
Course design
Basic syllables under the South Indian recitation system for rhythm ( Konakkol )!
!
1 - Tha!
2 - Tha ka !
3 - Tha ki Ta!
4 - Tha ka Dhi mi / Tha ka Jo nu !
5 - Tha dhi gi na thom!
6 - Tha dhi . gi na thom !
7 - Tha . dhi . Gi na thom!
9 - Tha . dhi . gi . na. thom!
!
❖
The course design takes into account
analysis plus trial execution of the project!
❖
It is designed in 15 phases to develop a
strong rhythmic foundation!
❖
Audio/video examples for every exercise
plus in class and homework activities
designed for each stage
As you will notice, from 5 onwards, the syllables are the same, it is only the spacing ( gap inbetween )
syllables that chances. !
A standard method of counting gap between notes is to enunciate the gap, to increase convenience of
recitation . A gap of a beat + 2 counts is denoted as Thangu ( 3 counts total ). !
A gap of a beat + 1 count ( 2 counts total ) is denoted as tham. !
!
!
Endings for one avarthana of a Adi Tala ( with just a few additional possibilities )!
1,2,3,4,5!
6 - 2+2+2!
7 - 1+2+1+2+1!
8 - 2+1+2+1+2!
9 - 3+3+3!
10 - 2+2+2+2+2!
11 - 3+1+3+1+3!
12 - 2+3+2+3+2!
13 - 3+2+3+2+3!
14 - 4+1+4+1+4!
15 - 5+5+5!
16 - 4+2+4+2+4!
17 - 5+1+5+1+5!
18 - 6+6+6!
19 - 5+2+5+2+5!
20 - 6+1+6+1+6!
21 - 7+7+7 = 5+3+5+3+5!
22 - 6+2+6+2+6!
23 - 7+1+7+1+7 = 5+4+5+4+5!
24 - 6+3+6+3+6!
25 - 7+2+7+2+7!
26 - 8+1+8+1+8 = 6+4+6+4+6!
27 - 9+9+9 = 7+3+7+3+7!
28 - 8+2+8+2+8!
29 = 9+1+9+1+9 = 7+4+7+4+7!
30 = 10+10+10=8+3+8+3+8=6+6+6+6+6=4+6+4+6+4+6!
31= 7+5+7+5+7 = 9+2+9+2+9 !
32 = 8+4+8+4+8=10+1+10+1+10
What will you gain ? !
A new perspective of rhythm and mathematics!
Strong sense of internal rhythm
Compositional inspiration!
Improvization ideas!
Accompaniment ideas!
Konokol Chapter 4
1
2
5
3
4
1
5
2
3
5
4
5
Da - Di - Gi - Na - Dum Da - Di - Gi - Na - Dum Da - Di - Gi - Na - Dum Da - Di - Gi - Na - Dum
5
5
5
5
Da Di - Gi - Na - Dum Da Di - Gi - Na - Dum Da Di - Gi - Na - Dum Da Di - Gi - Na- Dum
6
6
6
JATHIS
regular accents over the gati
Da
6
Da - Di - Gi - Na - Dum Da - Di - Gi - Na - Dum Da - Di - Gi - Na - Dum Da - Di - Gi - Na - Dum
6
6
6
6
Da - Di - Gi - Na - Dum Da - Di - Gi - Na- Dum Da - Di - Gi - Na - Dum Da - Di - Gi - Na - Dum
5
5
5
3
ã œ> œ œ œ œ> œ œ œ œ> œ œ œ
3
Da
ã œ> œ œ> œ œ> œ
3
tisra jathi 4
5
tisra jathi 2
Da - Di - Gi - Na - Dum Da - Di - Gi - Na - Dum Da - Di - Gi - Na - Dum Da - Di - Gi - Na - Dum
3
3
3
tisra jathi 5
ã œ> œ œ œ œ œ> œ œ œ œ œ> œ œ œ œ
3
3
3
3
3
tisra jathi 7
5
5
5
5
Da - Di - Gi - Na - Dum Da - Di - Gi - Na - Dum Da - Di - Gi - Na - Dum Da - Di - Gi - Na - Dum
ã œ> œ œ œ œ œ œ œ> œ œ œ œ œ œ œ> œ œ œ œ œ œ
3
3
3
3
3
chatusra jathi 3
6
6
6
6
Da - Di - Gi - Na - Dum Da - Di - Gi - Na - Dum Da - Di - Gi - Na - Dum Da - Di - Gi - Na - Dum
ã œ> œ œ >œ œ œ œ> œ œ >œ œ œ
chatusra jathi 5
6
6
6
6
Da Di - Gi-Na - Dum Da Di - Gi-Na - Dum Da Di - Gi-Na - Dum Da Di - Gi-Na - Dum Da
ã œ> œ œ œ œ œ> œ œ œ œ œ> œ œ œ œ œ> œ œ œ œ
3
3
%''''
# $ $
%''''
Sample A Expanding
outer region - 10 = 1+9!
!
11 = 2+9 ; 12 = 3+9; 13 = 4+9; 14 = 5+9!
!
!
!
64=4+(1+9)+(2+9)+(3+9)+(4+9)+(5+9)!
64 = 4+10+11+12+13+14!
%'%''%'
Using Silence : If each of these numbers were considered a part, only the first hit of the part
%&&'&'&
!
64=4+1+#1+
1+#1+ 8 #+1+2+#1+8 #+1+3+#1+8 #+1+4+#1+8 #!
8 #+1+
!
to be called
out followed
by a rest on the
remaining counts
. Here I have
indicated
the rest
were
using italicized numbers. Every Nine becomes #1+8 #!
%(''''
11=5+6;12=6+6;13=7+6;14=8+6!
Further split - 4=1+3;5=2+3;6=3+3;7=4+3;8=5+3!
!
64 = 4+ (4+6)
+ (6+6) +(7+6)
+ (5+6)
+ (8+6)!
!
!
!
the first hit ofevery
in silence
Working
would
calling
part.
mean
64 = 4+ (1+3+6) + (2+3+6) + (3+3+6) + (4+3+6) + (5+3+6)!
!
!
!
region -10 =4+6 ; !
Sample
B
Expanding
inner
!
%)&'%'&'%'&
Trial execution
Background track : Thillana in
Lydian
Uniqueness of the project
❖
Brings together the work of many scholars and gives notational examples of not just
the exercises but also the application of concepts!
❖
Designed as a course work rather than book, with universities of music being specific
targets!
❖
Designed exclusively for Non Indian musicians!
❖
It has been designed by one who was experienced the best of both worlds - great
Indian masters as well as the best of contemporary music at Berklee!
❖
It is not a study in Indian music, it is a study in the relevance of Indian rhythmic
concepts to the world wide spectrum of music
The fellowship and future scope of the project
❖
As part of my fellowship I will concentrate on 2 different aspects of the course!
❖
The 1st is the designing of the advance material for the next semester of
coursework and the second is notating poetical aspects of Indian rhythm
toward the development of a percussion ensemble!
❖
This project is a calling card for me to conduct workshops and teach at music
universities. I hope to teach this course as part of the fellowship at Berklee. !
❖
Notation ! Notation ! Notation ! The application of this project in computation
Media of
