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This 2 page Study Guide was uploaded by Yesenia Kautzer on Wednesday September 30, 2015. The Study Guide belongs to MUS 3520 at Western Michigan University taught by Stanley Pelkey in Fall. Since its upload, it has received 20 views. For similar materials see /class/216767/mus-3520-western-michigan-university in Music at Western Michigan University.
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Date Created: 09/30/15
Lecture Handout and Examination Study Guide Indian Music To Consider Different musical cultures in the world can be seen as the result of the working out within particular cultural contexts of subtly different responses to certain universal constraints on music makingnsuch as those on perception cognition and memoryslight differences whose results are noneteless compounded over historical time to produce significantly different sonic results Martin Clayton Time in Indian Music 2000 p 5 Instruments tambura Sa Pa Ni sitar sarod tabla dahina 0r dayan and bayan b0 ls Mridangam often Mrigangdain Bansuri Krishna Other Terms Natyasastra Rasa Kathak dance Karnatak Carnatic Music Tyagaraja Hindustani Music Tansen lay ragam talam avart vibhag matra tali khali alapanam or ragaIntanamkriti alapjorjhala bhaj an Study Questions 1 Based on the textbook readings and the lecture materials discuss the possible relationships both historical and spiritual among Hindu religions Vedic traditions and Indian classical music 2 Compare and contrast Hindu and Muslim attitudes toward music in India Pakistan and other regions of Asia whose musical traditions are derived from Indian classical music How have these different religious traditions in uenced the different evolutions of Karnatak and Hindustani music 3 Where else can Indian classical music be heard besides in India What are some examples of fusions between Western and Indian musics discussed in class and in the textbook 4 Martin Clayton does not believe that musical structures simply re ect complex sociocultural ideas or deep cultural patterns as he calls them This is because musical meaning is not fixed it is always strongly shaped by individual creativity and individual perception Furthermore cultural patterns are never homogenous Is this true If it is then how can any musical utterance be shared across a society More to the point of this chapter how can Indian musicians themselves claim that the Vedic traditions give meaning to their activities Pelkey MUS3520 2006
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