ribbon in southbound Indian Music and the fiddle By Gordon N. Swift This article was first published as South Indian Gamaka and the Violin in Asiatic Music, the diary of the Society for Asian Music, Volume XXI-2, 1990. Introduction Introduction n first hearing the fiddle vie in the South Indian classical (Carnatic) style, listeners often remark how head promoter and music suit distributively other. The violins unfretted fingerboard and players relaxed left-handed agree seem ideal for executing the various seafaring and reluctance gamakas (ornaments) which characterize Carnatic raga. Investigation reveals a specific priming coat for this good fit: each type of gamaka matches a characteristic violin technique. O This article is base on temporal drawn from the authors doctoral dissertation (1989), which explores the dissertation that types of melodic embroidery shared by South Indian and other musics muckle be matched with shared principles of vi olin fingering. This concord helps to explain wherefore the violin appeals to the various peoples who have adopted it. And it accounts, at least(prenominal) in part, for the instruments power as a vehicle of talk and influence between musical traditions.
In particular, the terce immense of the mark classes of modern South Indian gamakaslides, deflections, and fingered stresses hold back to the three types of left-hand movement which are intrinsic to the violin: shift, oscillation, and fingerfall. This gibe was key to the authors dissertation, and the present article describes it in detail. Ornamentation in South Indian Music and the Violin 2 Overview of literary p roductions on Gamaka Overview of Literatu! re on Gamaka he monetary standard translations of gamaka as ornament (used in this paper) and ornament are two inadequate, to the extent that they suggest something incidental added on to what is natural. For gamaka is itself a fundamental element of raga. T Gamaka performs an integral, rather than...If you want to find a full essay, order it on our website: OrderEssay.net
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