Rasikas in the Netherlands may be interested in the following
On next Wednesday 23 April, 4.15 - 7.00 pm, Prof. K.G. Vijayakrishnan will give a lecture and recital in the colloquium series of the Musicology Department of Utrecht University (Netherlands). On behalf of Prof. Vijayakrishan, you are cordially invited to attend this session.
Utrecht Colloquia in the Musicologies
in collaboration with
Utrecht Institute for Linguistics
present
K. G. Vijayakrishnan
English and Foreign Languages University, Hyderabad
Wednesday, 23 April 2008, 4.15-5.30 pm,
followed by a recital, 6.00-7.00 pm
(refreshments will be provided)
Location: Drift 21, room 0.05 (Sweelinckzaal)
Markedness in Language and Music
It is well-known that Markedness plays a central role in the grammar of language. This paper examines the role of Markedness in Carnatic music, the classical music of south India. It is recognized that Markedness statements are of two types, namely context-free Markedness and context-sensitive Markedness. If and only if the latter are prioritized over the former can they play a role in the grammar of a system in selectively prohibiting the occurrence of the marked notes in certain contexts but allowing the same notes in other contexts. Tentatively, I assume that among the twelve notes of the octave D flat, F sharp and A flat are the most marked notes (based on some anecdotal evidence). Examining the pitch realizations of these three notes in Carnatic music across a range of melodic phrases in varied raagas, I arrive at the robust conclusion that there exist certain context-sensitive statements pertaining to these three notes in certain styles of Carnatic music. The reason why these three notes are singled out for context-sensitive Markedness statements is related to the fact that only these three notes are highly marked as opposed to the remaining nine notes of the octave which have relatively low Markedness values. Finally, a review of diverse styles of Carnatic music reveals the relative prioritization of even these context-sensitive Markedness statements. The larger issue that this paper raises is the validity of the context-free Markedness statements pertaining to these three notes assumed in this paper vis-Ã -vis other musical systems across the globe. Such investigations will, hopefully, lay the foundation for a theory of Universal Musicology which would be comparable to the generally accepted notion of Universal Grammar which is the basis of the language faculty in humans. This in turn would enable us to examine language and music as comparable cognitive systems.
K. G. Vijayakrishnan is a linguist by profession and a vainika by training. He started learning the veena at the age of six from his mother Late Srimati Karpagavalli Gopalakrishnan who learnt the art of veena playing from the musicologist of Kritimanimalai fame Late Sri Ranga Ramanuja Ayyangar. It is well known in music circles that Sri Ranga Ramanuja Ayyangar's veena technique is derived from the famous Veena Dhanammal style of veena playing. Thus Vijayakrishnan's style can be traced to the unique Dhanammal bani of veena playing which is noted for the delicacy of the strumming and the intricacy of the left hand technique. This style is also famous for blending the veena with the voice. True to this tradition of veena playing, Vijayakrishnan has retained its chamber music orientation, adhering to the Dhanammal tradition of the Friday evening open house recitals. Vijayakrishnan recently published his book The Grammar of Carnatic Music (Berlin: Mouton de Gruyter, 2007) where he applies the principles of modern linguistic theory to Carnatic music.
RECITAL
Prof. Dr. K. G. Vijayakrishnan, veena
English and Foreign Languages University, Hyderabad
Wednesday, 23 April 2008, 6.00-7.00 pm,
preceded by a lecture, 4.15-5.30 pm
(refreshments will be provided)
Location: Drift 21, hall
1. Varnam a two-part composition, performed at the beginning of a recital which has minimal language text, facilitating unimpeded vocalism.
Composer: Veenai Kuppa Iyer (1798-1860), one of the most distinguished disciples of the great composer Tyaagaraajaa (1767-1847)
Raagamaalikaa chain of nine raagas:
NaaTai: C Eb E F G Bb B C
GauLa: C Db F G B C / C B G F E F Db C
Aarabhi: C D F G A C / C (B) A G F (E) D C*
VaraaLi: C Eb D Eb F# G Ab B C / C B Ab G F# Eb (long) Db C
Sri: C D F G Bb C / C Bb G (G A Bb G) F D Eb D C**
Naaraayana gauLa: C D F G Bb A Bb C / C Bb A G F E D C
RiitigauLa: C Eb Eb F Bb Bb C / C Bb A F E F G Bb A F Eb D Eb C
BauLi: C Db E G Db C / C B Ab G E Db C
Keedaaram: C F E F G B C / C B G F E (long) D C
Taalam Aadi: the eight beat cycle
2. Niilaayadaakshi on the goddess at Tiruvaaruur temple
Composer Shyaamaa Shaastri (1762-1827)
Raagam MaayaamaaLavagauLa: C Db E F G Ab B
Taalam Tisra TirupuTai: an uneven beat cycle of six, four and four units
3. Santaana goopaalakrishNam on the deity at the temple in MannaarguDi
Composer Muttuswaami Dikshitar (1775 – 1835)
Raagam Kamaas: C F E F A Bb A G A Bb C / C Bb A G F E D E C (accidental note B)
Taalam Ruupakam: a three beat cycle
4. Mahimateliya naa taramaa on the female diety
Composer R. Venugopal (contemporary)
Raagam Dharmavati: C D Eb F# G A B
Taalam Aadi: the eight beat cycle
* the notes in brackets are of very short duration called Chaayaa swaram ‘shadow notes’
** the phrase in bracket is rendered very rarely but at least once
ALL WELCOME