medallion in southern Indian Music and the violin By Gordon N. Swift This article was first published as South Indian Gamaka and the Violin in Asiatic Music, the daybook of the Society for Asian Music, Volume XXI-2, 1990. Introduction Introduction n first hearing the violin vie in the South Indian classical (Carnatic) style, listeners often remark how head official document and music suit distributively other. The violins unfretted fingerboard and players relaxed leftfield agree seem ideal for executing the various gliding and reluctance gamakas (ornaments) which characterize Carnatic raga. Investigation reveals a specific modestness for this good fit: each type of gamaka matches a typical violin technique. O This article is base on textile drawn from the authors doctoral dissertation (1989), which explores the dissertation that types of melodic embellishment shared by South Indian and other musics brush aside be matched with shared principl es of violin fingering. This concord helps to explain wherefore the violin appeals to the various peoples who have adopted it. And it accounts, at least in part, for the instruments power as a vehicle of communication and influence between musical traditions.

In particular, the terce bulky of the mark classes of modern South Indian gamakaslides, deflections, and fingered stresses harmonize to the three types of left-hand movement which are intrinsic to the violin: shift, oscillation, and fingerfall. This gibe was key to the authors dissertation, and the present article describes it in detail. Ornamentation in South Indian M usic and the Violin 2 Overview of li! terary productions on Gamaka Overview of Literature on Gamaka he banner translations of gamaka as ornament (used in this paper) and ornament are twain inadequate, to the extent that they suggest something incidental added on to what is rudimentary. For gamaka is itself a fundamental element of raga. T Gamaka performs an integral, rather than...If you want to find a full essay, order it on our website:
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