Percussion Art Forms. Aspekte der Produktion und Kommunikation südindischer Talas im Kutiyattam

2008

Musikinterfaces die sich an traditionelle MusikerInnen wenden, werden ublicher Weise anhand von modellhaften Vorstellungen des Interagierens am Instrument konstruiert. Lehrmethoden des Instrumentalspiels liegen ebenfalls modellhafte Vorstellungen der Spieler Instrument Interaktion zugrunde. In diesem Positionspapier werden Unterschiede in Methoden der Interaktion am Instrument gezeigt. Anhand von Beobachtungen werden Folgerungen fur die Konstruktion von Musikinterfaces gezogen.

2019

Vistār (expansion, extension, development), a term originally applied to melodic elaboration, is today commonly used to describe the method to create a string of variations on a theme in tablā solo music. Even though nowadays, tablā solos are mainly dominated by forms that include a vistār – and despite the fact that the vistār depends heavily on the creativity and spontaneity of individuals – there are no scientific studies that examine vistār as individual artistic expression. In fact, a normative approach prevails, which – by means of rules and example variations – gives the impression of a static and homogeneous tradition. This study is based on the transcriptions of 22 interpretations of a single qāydā by 16 different tablā players from different traditions. The qāydā form from Delhi is considered the form with the most stringent vistār, and the Delhi qāydā examined in this study is one of the most well known and most played ones. Two different notation systems were developed for the transcriptions: one which is entirely based on the syllabic writing common in tablā tradition, illustrating structural correlations, and another that visualises details of the playing technique. These systems are being discussed in detail in the context of existing modes of notation, and the transcription methods as well as existing theories and studies about vistār in tablā music, in particular those by Robert Gottlieb, James Kippen und Sudhir Mainkar, are also discussed in-depth. The first main part of this study consists of analyses of the 22 qāydā interpretations, the second main part of comparisons of these qāydā interpretations with regards to single isolated aspects. This makes it possible to identify a few particularly prevalent variation techniques that are based on simple principles, which are responsible for most of the vistār. Also it becomes clear, that on one hand most players fall back onto a shared repertoire of pre-composed phrases, some of which already appear in interpretations by the oldest of the researched players, Ahmedjan Thirakwa. But on the other hand, the study also shows the vast variety and individuality of different approaches – in the handling of the shared phrases as well as through the application of individual structural principles. In addition, the analyses delve into how the bāyā̃ is being played, i.e. the lower one of the two drums, which so far has not been considered adequately in literature about tablā. They establish how added strokes, glissandi and pressure accents, which can’t be represented by the traditional syllables and can only be studied in detail through the newly developed notation system, often contribute substantially to the vistār. A great difference between the players finally becomes evident in the arrangement of the progression of a variation sequence, which appears distinctly more stringent, purposeful and more clearly structured with some players of the younger generations, particularly Shankar Ghosh, Latif Ahmed Khan and Aneesh Pradhan, than with representatives of the older generations like Ahmedjan Thirakwa, Keramatullah Khan or Nizamuddin Khan.

KUSATU, 2015

Aus dem oben Untersuchten komme ich zu dem Schluss, dass der Fügung weqatal im Koheletbuch auf der Ebene der Darstellung die fünf verschiedenen syntaktischen Funktionen zukommen, nämlich 1. Koordiniertes Perfekt, 2. Modalität, 3. individueller SV in der achzeitigkeit, 4. iterativer / genereller SV, 5. die sogenannte aramaisierende Redeweise. Bezüglich der Verbalsyntax spielt der sogenannte Aramaismus innerhalb des Koheletbuches eine geringe Rolle. So darf er auf der Ebene der Verbalsyntax nicht überschätzt werden. Das Vorhandensein des aramaisierenden Duktus erlaubt die Annahme, dass das Sprachsystem des Kohelet in der Übergangsphase zwischen dem klassischen Hebräisch und Mittel-(Spät)hebräisch stehen könnte. Vielleicht kann man auch unterstellen, dass Kohelet gelegentlich die zeitgenössische Umgangssprache bzw. das Nordisraelitische verwendet. Außerdem hat die Abfolge yiqtol weqatal, welche individuelle nachzeitige Sachverhalte ausdrückt, auch die Möglichkeit, als iterative / generelle Sachverhalte auszudrücken. Aus dem Gesagten ergibt sich, dass der Autor des Koheletbuches im Wesentlichen die weqatal-Funktionen

Anthropos. Internationale Zeitschrift für Völker- und Sprachenkunde. 111.2016/2, 395-415., 2016

The ritual context of the Kerala's Sanskrit genre of drama, Kūṭiyāṭṭam, demands the exclusive use of percussionists of sacral and secular miḻāvu drums in kūṭiyāṭṭam, naṅṅyār-and cākyār kūttu performances as well as orchestral temple music.

Acta Praehistorica et Archaeologica, 2013

Aktuelle Forschungen zu afrikanischen Sprachen, Köln 2002,, 2002

The Southeastern Gurunsi languages, spoken at the southern periphery of the Gurunsi area, are separated into a western (Cala, Dulo) and an eastern branch (Bago, Kusuntu). The speakers of those languages are surrounded by peoples speaking dissimilar languages. The paper briefly outlines the recent history and examines how the different contact situations may have contributed to the considerable diversity which exists between the two branches. It is shown that in the West, particularly in Cala and to a lesser extent in Dulo as well, contact with their Kwa neighbours has extensively affected the lexicon, phonology, and nominal morphology. In the East, in Bago and Kusuntu, the influence of the various contact languages has been comparatively less. Only Yoruboid appears to have had any significant impact on these languages, a fact which is most visible in the lexicon. It is not clear whether contact with Yoruboid is also responsible for alterations in the verbal phrase and for the introduction of certain TAM morphemes. Whereas we find dramatic changes in the noun class system of Cala, the noun class systems of Bagu and Kusuntu are two of the most archaic morphological systems within Gurunsi.

Zeitschrift der Gesellschaft für Musiktheorie [Journal of the German-Speaking Society of Music Theory]

MDOG, 1997

Untersuchungen der Zweigstelle Kairo des Österreichischen Archäologischen Instituts, Band: 40, 2 Vol., 2021