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Callie Hutchison Final Document 04.27 An Introduction to Hindustani Violin Technique Item Type text; Electronic Dissertation Authors Hutchison, Callie Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 08/10/2021 06:17:31 Link to Item http://hdl.handle.net/10150/321309 AN INTRODUCTION TO HINDUSTANI VIOLIN TECHNIQUE by Callie Hutchison ____________________________ Copyright © Callie Hutchison 2014 A Document Submitted to the Faculty of the SCHOOL OF MUSIC In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS In the Graduate College THE UNIVERSITY OF ARIZONA 2014 2 THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE As members of the Document Committee, we certify that we have read the document prepared by Callie Hutchison, titled An Introduction to Hindustani Violin Technique and recommend that it be accepted as fulfilling the document requirement for the Degree of Doctor of Musical Arts. _______________________________________________________________________ Date: 4/21/14 Janet Sturman _______________________________________________________________________ Date: 4/21/14 Mark Votapek _______________________________________________________________________ Date: 4/21/14 Hong-Mei Xiao Final approval and acceptance of this document is contingent upon the candidate’s submission of the final copies of the document to the Graduate College. I hereby certify that I have read this document prepared under my direction and recommend that it be accepted as fulfilling the document requirement. ________________________________________________ Date: 04/21/14 Document Director: Janet Sturman 3 STATEMENT BY AUTHOR This document has been submitted in partial fulfillment of the requirements for an advanced degree at the University of Arizona and is deposited in the University Library to be made available to borrowers under rules of the Library. Brief quotations from this document are allowable without special permission, provided that an accurate acknowledgement of the source is made. Requests for permission for extended quotation from or reproduction of this manuscript in whole or in part may be granted by the copyright holder. SIGNED: Callie Hutchison 4 ACKNOWLEDGEMENTS I would like to express my sincerest appreciation to the many individuals whose assistance made the completion of this document and degree possible. I am thankful for the support, patience and help of my mentor and teacher Kala Ramnath, without whom this paper would not exist. I would like to thank my advisor Dr. Janet Sturman for her wisdom, time, guidance, encouragement and all of the hours spent helping me edit and develop this project. I would have never finished without your hard work and encouragement. I would also like to thank the rest of my committee, Mark Votapek and Hong-Mei Xiao for the hard work and contributions to this document, and to my violin teacher Mark Rush for leading me to this topic and putting me in touch with Kala Ramnath in the first place. I would also like to thank John Rabuck for turning me into a better writer. Finally, I would like to thank my parents for their constant support of everything I pursue. 5 TABLE OF CONTENTS LIST OF FIGURES .................................................................................................................................... 7 LIST OF MUSICAL EXAMPLES ....................................................................................................... 8 ABSTRACT ................................................................................................................................................ 10 I. INTRODUCTION ................................................................................................................................ 11 Hindustani Practice from a Western Player's Perspective .............................................................. 11 Hindustani Music ............................................................................................................................................... 14 The Value of Studying Hindustani Performance .................................................................................. 15 Plan of Study ........................................................................................................................................................ 15 II. THE VIOLIN AND ITS ANTECEDENTS IN INDIA .......................................................... 17 The Assimilation of the Violin into Indian and Hindustani Music ................................................ 17 The Sarangi, the Violin’s Older Cousin ...................................................................................................... 22 III. HINDUSTANI MUSIC THEORY .............................................................................................. 27 An Introduction to Hindustani Music Theory ........................................................................................ 27 Raag .................................................................................................................................................................... 27 Rasa ..................................................................................................................................................................... 31 Rhythm ............................................................................................................................................................... 33 Hindustani Concepts of Form, Composition and Improvisation ................................................... 37 Form .................................................................................................................................................................... 37 Composition ..................................................................................................................................................... 38 6 Improvisation ................................................................................................................................................... 38 IV. HINDUSTANI VIOLIN TECHNIQUE AND EXERCISES ............................................. 41 Hindustani Violin Basics ................................................................................................................................. 41 Beginning Exercises .......................................................................................................................................... 43 Intermediate Exercises .................................................................................................................................... 47 Improvisatory Exercises ................................................................................................................................. 50 Emulating the Voice .......................................................................................................................................... 56 V. TRANSCRIPTION OF A COMPOSITION AND IMPROVISATION IN RAAG YAMAN ....................................................................................................................................................... 58 Notating the Oral Tradition ........................................................................................................................... 58 VI. CONCLUSION: COMPARING THE ART OF THE VIRTUOSO ................................. 62 APPENDIX A. TRANSCRIPTION OF COMPOSITION AND IMPROVISATION IN RAAG YAMAN ......................................................................................................................................... 66 APPENDIX B. VIVA VOCE RECITAL PROGRAM ................................................................ 74 REFERENCES ........................................................................................................................................... 75 7 LIST OF FIGURES Figure 1.1 Kala Ramnath .................................................................................. 12 Figure 2.1 Sarangi player Parshuram Bhandari ................................................ 23 Figure 4.1 Hindustani Playing Position ............................................................ 41 Figure 4.2 Photo of Franco-Belgian Bow Hold ................................................ 42 Figure 4.3 Photo of Hindustani Bow Hold ....................................................... 42 Figure 5.1 Viva Voce Recital Program ............................................................. 74 8 LIST OF MUSICAL EXAMPLES Musical Example 3.1 Hindustani and Solfeggio Scale Systems ....................... 28 Musical Example 3.2 Hindustani Chromatic Scale .......................................... 29 Musical Example 3.3 Division of Shrutis ......................................................... 30 Musical Example 3.4 Raag Yaman .................................................................. 33 Musical Example 3.5 Teentaal Beat Pattern ..................................................... 35 Musical Example 3.6 Teentaal Beat Pattern Variation 1 .................................. 35 Musical Example 3.7 Teentaal Beat Pattern Variation 2 .................................. 35 Musical Example 4.1 Hindustani Violin Open-String Tuning ........................
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