The Tabla in Perspective

Description

Rebecca Stewart's brilliant PhD dissertation of the origins and evolution of classical tabla drumming in Northern India. Title Page Contents List of Charts List of Illustrations Preface and Acknowledgements Vita-Publications Abstract of Dissertation Introduction Part One - The Instrument and Its Techniques I The Instrument The Term The Age of the Instrument Physical Characteristics of the Tabla and Related Drums Tabla Jori Pakhavaj Dholak Naqqara Comparison of Characteristics Geographic Centers of Tabla Activity Musical Areas of Tabla Activity References II Tabla Strokes Introduction Delhi Baj Tabla Strokes Dholak Strokes Corresponding with Delhi Baj Tabla Strokes Naqqara Strokes Corresponding with Delhi Baj Tabla Strokes Purab Baj Tabla Strokes Pakhavaj Strokes Corresponding with Purab Baj Tabla Strokes Punjab Baj Tabla Strokes Comparative Summary References III Tabla Stroke Neclei Introduction Chart 1-Comparison of Delhi, Purab and Panjabi Baj Stroke Neclei Bols or bol patterns open to variable interpretation Pakhawaj-derived bol neclei which are sometimes played and spoken differently Characteristics of Delhi and Purab baj stroke nuclei Characteristics of Punjabi baj stroke nuclei Related Naqqara, Dholak and Pakhavaj Nuclei Relationship of Kathak Bol Nuclei and Tabla Bol Nuclei References Part Two - The Repertory (Section A) Explanation of Part Two IV The Structure of Tal and Theka in North India Introduction Terminology Notation Standard Tals and Thekas Charts of Tals and Thekas Origin of Pitch-oriented Tals Summary References V Theka Variations Introduction Examples and Explanation Dadra (100-160 MM) Pasto (120-150 MM)-Rupak (80-100 MM) Qawwali (120-150 MM) Dhumali (100-120 MM)-Jhaptal (80-160 MM) Ektal (130-150 MM) Tintal (160-180 MM) Kaherva (200-250 MM) Qawwali (230-250 MM) Tintal (200-300 MM) Ektal (200-300 MM) Kaherva (300-400 MM) Tintal (300-500 MM) Tintal (30-70 MM) Tilvara (30-60 MM) Dipcandi/Cacar (40-60 MM) Jhaptal (40-60 MM) Jhumra (10-15 MM) Ektal (10-15 MM) Basic Rule Governing Replacement of Strokes and Rhythmic Patterns Summary VI The Laggi and Rela Introduction The Laggi Examples Tals Laya Structure Stress Metric accent Khali Bol neclei Stroke Density Derivative and related patterns Origins Summary The Rela Examples Structure Stress Rhythmic density Lay Bol nuclei Derivative and related patterns Manipulative variations Rau Related patterns Origins Summary References VII The Kayada and Peskar Introduction The Kayada Gat Examples Structure Chart 8 Kayada Gat Bol Structures Stress Rhythmic Density Lay Bol nuclei The Kayada Prastar Examples The Peskar Gat Examples Structure Stress Rhythmic Density Lay Bol nuclei The Peskar Prastar Examples Function Structure Use of thematic material Use of new material Chart 9 Relationship of Peskar Palta, Bol Nucleus and Baj Layakari Cadential paltas Summary of characteristics Origins of the Kayada and Peskar Derivatin of gat Derivation of kayada prastar concept Derivation of peskar prastar concept References Part Two - The Repertory (Section B) Introduction The gat The tukra The paran Chart 10 Gat, Tukra and Paran Types VIII The Gat Examples Gat A: strict 2-part Gat B: varied 2-part Gat C1: progressive Chart 11 Progressive Gat Structures Gat C2: farat Derivation of progressive gats Gat D: dai-, tin-, caupali Chart 12 Comparison of Gat Types References IX The Mukhra and Tihai Introduction The Mukhra Examples Structure Density and stress Lay Bol nuclei Derivation The Tihai Introduction Examples Chart 13 Traditional Tihai Structures Superimposed on a Theoretical Madhya Tintal Framework Structure Damdar tihai Bedam tihai Structural variations Structure versus tal Density and stress Bol nuclei Derivation References X The Tukra Introduction Tukra A: gat-tukra Tukra B: standard Structural relationship between tabla, naqqara and kathak tukras Tukra C; laykari Tukra D: cakkardar or cakrakar Derivation of Tukras XI The Paran Introduction The Mohra The Uthan The Paran Examples of Three Pkhavaj Paran Types not Acquired by the Tabla Derivation of Tabla Parans Part Three - The Context Explanation of Part Three XII The Function of Tabla Patterns Introduction Examples of Thekas Used for Structural Support Examples of Varied or Embellished Thekas Used for Structural Support Examples of Elaborative Patterns Used for Complementary Support Examples of Mukhras and Tihais Used for Cadential Support Mukhras Tihais Nauhakka Examples of Elaborative Patterns Used as Alternative Expositions Summary XIII Tabla Patterns in the Context of Performance Style Introduction Historical Relationship Between the Tabla, the Khyal, the Gat and the Thumri The Ghazal, Dadra and Thumri Basic ghazal structure Basic dadra structure Chart 15 Relationship of Laggi Section to Tal Basic bol banao thumri structure Basic bol bant thrumri structure Basic bandis thumri structure Chart 16 Relationship of Laggi Section to Tal Comparison on bol banao and bol bant thumris Comparison of thumris with dadra Sitar and Sarod Adaptations of Thumri-style Forms and Techniques The Sitar and Sarod Gat Chart 17 Instrumental Gat Types Jhala sources Gat forms The function of tabla in the vilambit gat The function of tabla in the drut gat Madya lay gats Instrumental and Vocal Styles Performed by the Sahnai, Sarangi and Bansuri Compositional types Sahnai Sarangi Bansuri The Tarana The Khyal Chart 18 Vocal Khyal Types Vilambit khyal types Basic vilambit khyal structure Madhya and drut khyal types Basic madhya and drut khyal structure Tappa structure and style Sadra structure and style Thumri-khyal structure and style Summary References Conclusions Chart 19 The Tabla and Its Techniques Chart 20 Comparison of Rhythmic Concepts Governing Tabla Pakhawaj Patterns Conclusions Chart 21 A General Comparison of Elaborative Pattern Types Played on the Tabla Conjectures References Bibliography