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Engaging Hybridity: Indian Hindustani and Carnatic Practices

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Engaging Hybridity: Indian Hindustani and Carnatic Practices ENGAGING HYBRIDITY: INDIAN HINDUSTANI AND CARNATIC PRACTICES IN THE WESTERN CLASSICAL SAXOPHONE TRADITION by HERBERT STANLEY FLANDERS II (Under the Direction of Connie Frigo) ABSTRACT There has been limited discussion as to why and how saxophonists within the Western classical tradition can integrate and utilize Indian musical pedagogy. This paper will explore how the Western classical saxophonist can benefit from incorporating traditional Indian pedagogical practices, particularly through three case studies of hybridized compositions. These include Raga Music for Solo Clarinet (1958) by John Mayer, Gavambodi 2 (1969) by Jacques Charpentier, and Shruut (2008) by Jorrit Dijkstra. Each chapter highlights a different aspect of India’s vast soundscape focusing on either a Hindustani (North India), Carnatic (South India), or Bollywood (Indian film) approach to melodic construction (rāga) and rhythmic concepts (tāla). By assimilating Western classical saxophone performance practice standards with Indian stylistic elements, an interpretive approach beyond the periphery of notes and rhythms can hopefully disclose the untapped interpretive potential of three compositions for the saxophone. The organizational format of this document is divided into six chapters: I. “Organizational Plan and Methodology;” II. “Transmission of the Saxophone in India;” III. “Raga Music for Solo Clarinet;” IV. “Gavambodi 2;” V. “Shruut;” VI. “Conclusion.” INDEX WORDS: Saxophone; Hindustani; Carnatic; Raga Music for Solo Clarinet; John Mayer; Gavambodi 2; Jacques Charpentier; Shruut; Jorrit Dijkstra; Gamaka; Raga ENGAGING HYBRIDITY: INDIAN HINDUSTANI AND CARNATIC PRACTICES IN THE WESTERN CLASSICAL SAXOPHONE TRADITION by HERBERT STANLEY FLANDERS II BM, Columbus State University, 2009 MM, University of Georgia, 2011 A Dissertation Submitted to the Graduate Faculty of The University of Georgia in Partial Fulfillment of the Requirements for the Degree DOCTOR OF MUSICAL ARTS ATHENS, GEORGIA 2016 © 2016 Herbert Stanley Flanders II All Rights Reserved ENGAGING HYBRIDITY: INDIAN HINDUSTANI AND CARNATIC PRACTICES IN THE WESTERN CLASSICAL SAXOPHONE TRADITION by HERBERT STANLEY FLANDERS II Major Professor: Connie Frigo Committee: Jean Kidula Angela Jones-Reus Electronic Version Approved: Suzanne Barbour Dean of the Graduate School The University of Georgia May 2016 iv ACKNOWLEDGEMENTS I would like to thank Dr. Connie Frigo and Dr. Jean Kidula for the guidance and support they have given me throughout this degree and assistance in the creation of this document. v TABLE OF CONTENTS Page ACKNOWLEDGEMENTS ............................................................................................... iv LIST OF FIGURES ........................................................................................................... vi LIST OF TERMS ............................................................................................................. viii CHAPTER 1 Organizational Plan and Methodology ..............................................................1 2 Transmission of the Saxophone in India ..........................................................15 3 Raga Music for Solo Clarinet ..........................................................................26 4 Gavambodi 2 ....................................................................................................43 5 Shruut ...............................................................................................................61 6 Conclusion .......................................................................................................79 REFERENCES ..................................................................................................................85 APPENDICES A Raga Music for Solo Clarinet for alto saxophone ...........................................91 B Instrument index ..............................................................................................95 vi LIST OF FIGURES Page Figure 3-1: Thāt marva and Rāga vibhasa ........................................................................33 Figure 3-2: Raga Music for Solo Clarinet III m.1 .............................................................34 Figure 3-3: Raga Music for Solo Clarinet III m.3 .............................................................35 Figure 3-4: Raga Music for Solo Clarinet III mm.10-11 ...................................................36 Figure 3-5: Thāt purvi and Rāga shri ................................................................................37 Figure 3-6: Raga Music for Solo Clarinet V mm.7-12 ......................................................38 Figure 3-7: Rāga puravi .....................................................................................................38 Figure 3-8: Thāt bhairav ....................................................................................................39 Figure 3-9: Raga Music for Solo Clarinet VII mm.1-8 .....................................................39 Figure 3-10: Thāt asavari and Rāga kanada .....................................................................40 Figure 3-11: Raga Music for Solo Clarinet VIII mm.1-4 ..................................................41 Figure 3-12: Raga Music for Solo Clarinet VIII mm.6-7 and mm.23-24..........................41 Figure 3-13: Raga Music for Solo Clarinet VIII mm.21-22 ..............................................41 Figure 4-1: 72 Études Karnatiques V.8 Table of Modes ...................................................47 Figure 4-2: Mēla gavambodi and three janya rāgas ..........................................................48 Figure 4-3: 72 Études Karnatiques V.8, no.43 Gavambodi mm.1-7 .................................49 Figure 4-4: Gavambodi 2 mode karnatique no.43 .............................................................50 Figure 4-5: Gavambodi 2 mm.1-3 .....................................................................................50 Figure 4-6: Gavambodi 2 m.13 ..........................................................................................51 vii Figure 4-7: Gavambodi 2 mm.16-17 .................................................................................52 Figure 4-8: Gavambodi 2 m.18 ..........................................................................................52 Figure 4-9: Gavambodi 2 m.32 ..........................................................................................53 Figure 4-10: Gavambodi 2 m.40 ........................................................................................53 Figure 4-11: 72 Études Karnatiques V.8, no.43 Gavambodi m.14 ...................................54 Figure 4-12: Gavambodi 2 mm.45-47 ...............................................................................55 Figure 4-13: Gavambodi 2 mm.48-51 and mm.59-62 rhythm...........................................55 Figure 4-14: Gavambodi 2 mm.72-75 and mm.80-83 solfège and register shift ...............58 Figure 4-15: Gavambodi 2 mm.72-75 and mm.80-83 with kampita and jaara .................58 Figure 4-16: Gavambodi 2 mm.72-75 and mm.80-83 with gamakas ................................59 Figure 5-1: “Charu’s Theme” from the film Charulata.....................................................66 Figure 5-2: Shruut mm.1-2 ................................................................................................68 Figure 5-3: Shruut mm.16-20 ............................................................................................69 Figure 5-4: Teental (16-beat cycle) theka ..........................................................................70 Figure 5-5: Shruut mm.37-40 ............................................................................................71 Figure 5-6: Shruut tenor saxophone line mm.57-62 and mm.65-72 ..................................72 Figure 5-7: Shruut mm.66-67 ............................................................................................73 Figure 5-8: Shruut mm.73-77 ............................................................................................74 Figure 5-9: Thāt bilaval .....................................................................................................74 Figure 5-10: Rāga alhaiy bilaval .......................................................................................75 Figure 5-11: Rāga modal shift ...........................................................................................77 viii LIST OF TERMS Alap (Alapana) – slow expositional material with no tāla or complex rhythm. Should provide a vivid portrayal of a rāga by maintaining a structural balance amidst the weaving of melodic patterns. Carnatic (Karnatic) – South Indian classical music. Deci-tāla – micro-rhythmic cells; influence most evident in the intermediate levels of musical structure: organization of phrases, lines, and stanzas. Drone – music is based on the establishment of relations between a permanent sound- fixed invariable. Key to all modal expression. Represents the cosmic sound Om. Drone instruments include: shruti box, tambūra. Dhrupad – classical Hindustani vocal genre. Gamaka – ornamentations through portamento and oscillation. Gat – formal section divided into two parts Vilambit (slow) and Drut (fast). Hindustani – North Indian classical music. Janya rāga - a scale derived from a mēla rāga. Can contain as little as five pitches and have an irregular ascent or descent. Jhālā – climax. Jor (Tanam) – similar to alap in that it has no tāla, however
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