The Adaptation of Indian Carnatic Rhythmic Structures and Improvisation Methods Into Drum Set Language and Performance Practice
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The Adaptation of Indian Carnatic Rhythmic Structures and Improvisation Methods into Drum Set Language and Performance Practice Author Moore, Darren Published 2013 Thesis Type Thesis (Professional Doctorate) School Queensland Conservatorium of Music DOI https://doi.org/10.25904/1912/3293 Copyright Statement The author owns the copyright in this thesis, unless stated otherwise. Downloaded from http://hdl.handle.net/10072/367339 Griffith Research Online https://research-repository.griffith.edu.au The Adaptation of Indian Carnatic Rhythmic Structures and Improvisation Methods into Drum Set Language and Performance Practice Darren Moore Queensland Conservatorium Griffith University A dissertation submitted in fulfilment of the requirements of the degree of Doctorate of Musical Arts March 2013 The Adaptation of Indian Carnatic Rhythms i Abstract This research project is a documentation of a developmental journey centered on the incorporation of rhythmic elements from South Indian Carnatic music into an existing musical practice. The research provides an insight into the creative process of learning, adaptation and recontextualization of new musical elements into an existing musical practice that may provide a model and transferable methodology for musicians endeavouring to undertake similar research journeys of musical development. The Adaptation of Indian Carnatic Rhythmic Structures and Improvisation Methods into Drum Set Language and Performance explores the transformation process that occurs as a result of incorporating Carnatic rhythmic elements into the author’s drum set playing style. Through learning Carnatic rhythms, adapting the rhythms to the drum set and then applying the rhythms to musical situations, the research aims to observe the influence of this process on the author’s drum set playing within a performance context. The research focuses on examining the drum set playing on two different recordings. The recordings are presented as the creative works of the research, emphasizing audio-as-research which places listening as the central method of transmission. The creative works can be considered the primary vehicles through which the investigation of the performance practice occurs, with the exegesis serving to place the recordings within a written research context. The exegesis also provides the necessary background and contextual framework for the creative works. The Adaptation of Indian Carnatic Rhythms ii The first creative work titled Isolation has its Advantages (2009) is recorded by the Singapore-based Darren Moore Quintet and frames the performance practice within a jazz quintet context. The second creative work titled Territorium (2011) features drum set improvisations by Darren Moore and Carnatic percussionist Suresh Vaidyanathan, framing the performance practice within a percussion duo context. Through the codification of Carnatic rhythmic elements into thematically related material, selections of the drum set playing from both recordings are transcribed and analyzed to examine the manifestation of Carnatic rhythmic elements. Further implications of this research may include the development of an improvisational vocabulary that synthesizes Carnatic rhythmic concepts with Western drum set playing, in order to address the challenges that arise as a contemporary music practitioner. A Carnatic-derived improvisational vocabulary for Western drum set may include the development of a systematic approach to the application of various Carnatic- derived sticking patterns, orchestration and methods for the organization of rhythmic structures to the drum set. This direction would require further investigation into the transferability of Carnatic rhythmic elements into contemporary music practices and the addressing of issues concerning musical language and identity. The Adaptation of Indian Carnatic Rhythms iii Statement of Originality This work has not previously been submitted for a degree or diploma in any university. To the best of my knowledge and belief, the thesis contains no material previously published or written by another person except where due reference is made in the thesis itself. _____________________________ Darren Moore The Adaptation of Indian Carnatic Rhythms iv Table of Contents Abstract ................................................................................................................................ i Statement of Originality ..................................................................................................... iii Table of Contents…………………………………………………………………………………………iv List of Figures..…………………………………….……………………………………………………viii List of Tables………………………………………………..........................................................xx Foreword ........................................................................................................................... 21 Chapter One: Introduction to the Research Project .......................................................... 23 1.1 Research Background ............................................................................................. 28 1.2 The Creative Works ................................................................................................ 29 1.2.1 Isolation has its Advantages…………………………………………………………….30 1.2.2 Territorium………………………………………………………………………………….31 1.3 Lessons .................................................................................................................... 33 1.4 Learning Theory...................................................................................................... 36 1.5 Improvisation .......................................................................................................... 39 1.6 Jazz and Carnatic Forms ......................................................................................... 41 1.7 Ethnomusicological Perspective ............................................................................. 42 1.8 Indian Rhythms in Western Music ......................................................................... 46 1.9 The Study of Indian Rhythms ................................................................................. 48 1.10 Research Design.................................................................................................... 52 1.11 Summary ............................................................................................................... 56 Chapter Two: Carnatic Rhythmic Designs and Concepts ................................................. 57 The Adaptation of Indian Carnatic Rhythms v 2.1 Methods for Creating Variations on a Single Grouping ......................................... 59 2.1.1 Basic building blocks…………………………………………..…………………………59 2.1.2 Expansion and reduction…………………………………………………………………61 2.1.3 Rhythmic substitution……………………………………………………………….…....66 2.1.4 Karvai…………………………….………………………………………………………….68 2.2 Methods of Creating Rhythmic Variation with Multiple Groupings ...................... 71 2.2.1 Arudie……………………………………………………………………….………….…...71 2.2.2 Yati……………………………………………………………………………….…..……..74 2.2.3 Trikalam………………………………………………………………………………………77 2.3 Summary ................................................................................................................. 80 Chapter Three: Drum Set Techniques and Styles ............................................................. 81 3.1 Rudiments and Sticking Patterns ............................................................................ 82 3.1.1 Single stroke rudiments………………………………………………………………..…83 3.1.2 Double stroke rudiments……………………………………………………………..….84 3.1.3 Drag rudiments……………………………………………………………………………..89 3.1.4 Paradiddle rudiments………………………………………………………………………90 3.1.5 Multiple bounce rudiments………………………………………………………………92 3.1.6 Flam rudiments……………………………………………………………………..……..96 3.1.7 Hybrid rudiments………………………………………………………………………….99 3.2 Orchestration Methods .......................................................................................... 104 3.2.1 Addition of bass drum or hi hat to rudiments……………………………………..105 3.2.2 Linear drumming……………………………………………………………………..….109 3.3 Stylistic Considerations ........................................................................................ 114 The Adaptation of Indian Carnatic Rhythms vi 3.3.1 Jazz drumming……………………………………………………………………….…..115 3.3.2 Fundamental popular music styles…………………………………………………..120 3.3.3 Odd time grooves……..…………………………………………………………………123 3.3.4 Beat displacement………………………………………………………………………..127 3.4 Summary ............................................................................................................... 128 Chapter Four: Methodology ............................................................................................ 130 4.1 Stage One: The Study of Solkattu ......................................................................... 130 4.2 Stage Two: Application of Carnatic Rhythms to the Drum Set ............................ 137 4.3 Stage Three: Application of Carnatic Rhythms in Performance .......................... 143 4.3.1 Isolation has its Advantages……………………………………………………….….144 4.3.2 Territorium………………………………………………………………………………..150 4.4 Stage Four: Comparative Performance Analysis .................................................. 152 4.5 Summary ............................................................................................................... 156 Chapter 5: Comparative Performance Analysis .............................................................. 157