By T. M. Krishna
T.M. Krishna starts his sweeping exploration of the culture of Karnatik track with a primary query: what's song?
Taking not anything without any consideration and addressing readers from around the spectrum - musicians, musicologists in addition to laypeople - Krishna presents a path-breaking evaluate of South Indian classical music.
Tata Literature reside! First e-book Award for Non-Fiction (2014)
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Additional info for A Southern Music: The Karnatik Story
During the Jikken Kǀbǀ period we discussed Japanese time, space and western structure…. 72 Yuasa’s research into personal and musical subjectivity recognized a possible convergence between the discovery of an originality of Japanese thought in Zen and some aspects of the new French music, particularly of Messiaen and Jolivet, who were studied by both Yuasa and fellow artists within Jikken Kǀbǀ. Yuasa came across Jolivet’s music in 1951:73 In the Que sais-je? series I found a book called La Musique française contemporaine, which contained the names of Olivier Messiaen and André Début 23 Jolivet.
Ex. 16 Cosmos Haptic, mm. 60 ff. - © Ongaku no Tomo 1973 This does not, however, represent in any way a reduction in the strong tension that has been attained in the work. One notes here the two tritones superimposed on one another in an expanded form, as seen in m. 7, this time raised a semitone higher and repeated in such close succession that they have no time to resonate as they had in m. 8. Even in this last, conclusive appearance, cell III is heard in a completely new way, no longer vibrantly static and contemplative as its inner tension has been expanded to make it now the centre of attention (in the last three measures).
11), I is “glossed” by a falling figure of four thirtysecond notes containing intervals of the augmented octave, the fifth, and the diminished octave: a minimal cell that, for convenience, will be identified as II. Notwithstanding its infrequent appearances (5 in total), cell II is one of the building blocks of this work, with its immediate recognisability in strategic positions, its logic of contraction/expansion applied to the intervals with the change in position of the two octaves and the altered central interval of the fifth.