T. M. Krishna's A Southern Music: The Karnatik Story PDF
By T. M. Krishna
T.M. Krishna starts off his sweeping exploration of the culture of Karnatik song with a basic query: what's tune?
Taking not anything without any consideration and addressing readers from around the spectrum - musicians, musicologists in addition to laypeople - Krishna presents a path-breaking evaluation of South Indian classical music.
Tata Literature reside! First publication Award for Non-Fiction (2014)
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Extra info for A Southern Music: The Karnatik Story
From this perspective, we shift our gaze from product to transformational process and ongoing development, which does not neglect product but situates it within a broader range of considerations. The futility of the product/novelty premise is underscored in the recognition of the possibility that, in a given moment, the exact replication of an action, idea, or structure that one may have enacted previously may still be a profoundly creative act due to the fact it is rooted in an Improvisation-driven Growth 45 integrative, transcendent state of awareness that enables such an expression to manifest not as the result of conditioning but radical, mindful presence.
An integrally informed approach to URAM reveals the solution to religious and scientific extremism not, as some would have it (particularly in regard to religion), to pull back from the respective domains but to deepen engagement in them in order that self-confining understanding opens up to self-transcending synthesis. And, to address the second concern, even if there are limits to human understanding about the ultimate nature of reality, few would deny that humanity has likely not come close to any such threshold, and that with each increment of new understanding may extend insights and solutions important to sustainability.
25 Jazz’s important role in the delivery of Black Atlantic Rhythm to the global musical landscape will be considered as fundamental a contribution to cross-cultural syncretism as the idiom’s improvisatory foundations. As will the fact that, among the thousands of musical genres that might be identified in the world, none combines the primary creative processes of both improvisation and composition to nearly the extent found in jazz. 26 Collective improvisation reflects a decidedly feminine thrust, and while one need not look far for small ensembles centered in this kind of creativity—indeed, small groups that in one way or another improvise together comprise the most prevalent musical configuration in the global landscape—what has not yet emerged to any notable degree are large, stylistically open improvisatory frameworks.
A Southern Music: The Karnatik Story by T. M. Krishna