Rītigaula

Somangshu Mukherji is Assistant Professor of Music Theory at the University of Michigan.

• 1. The language of South Indian classical music1.1. Improvisation of formal music1.1.1. Improvisation, music, and language1.1.2. The nature of rāga1.2. Some visual representations of rāga Rītigaula1.3. General aspects of composition and improvisation in South Indian music1.3.1. Form and text in composition1.3.2. Style in improvisation: the temporal domain of flow1.3.3. Other temporal domains: pace, position, and frequency2. The morphology of rāga Rītigaula2.1. Basic elements of musical form2.1.1. Aspects of pitch space and Sanskrit general phrase types2.1.2. Phrase types and nuclear motives2.2. Motivic structure in Rītigaula2.2.1. The nuclear motives of Rītigaula2.2.2. Simple motivic expansion in the rising and higher-falling categories2.2.3. Complex motivic expansion in the lower-falling category2.3. Thematic compounds2.3.1. The higher-register thematic compound2.3.2. The lower-register thematic compounds3. The syntax of rāga Rītigaula3.1. Phrase structure, order, and ambitus3.1.1. Phrase sequences in the – 7 melodic ambitus 3.1.2. Phrase sequences in the – 5 melodic ambitus3.2. The exposition of Rītigaula in the lower register3.2.1. The two ambitus used for the lower register3.2.2. The two thematic nuclei of the lower register and their extensions3.3. The exposition of Rītigaula in the higher register3.3.1. The thematic nuclei and exposition of the higher register3.3.2. Further instances of higher-register exposition and elaboration3.3.3. Internal and external marks separating off the higher-register exposition3.4. Rhetorical procedures in the improvisation3.4.1. Rapid passage work in improvisation and composition3.4.2. The improvisatory procedure of end-marked phrases3.5. Form, style, and procedure in improvisation4. Musicological method and Indian music4.1. Linguistic models and music analysis4.1.1. Models4.1.2. Levels4.2. Indian music and historical musicology4.2.1. Composition, improvisation, and the creative process in Indian music4.2.2. The "work of music" as historical datum and aesthetic object4.2.3. Ethnomusicology and "art" music5. Sanskrit musical theory in the 16th–18th centuries5.1. The Indic tradition for musical discourse5.2. The Tanjore tradition in historical context5.2.1. The treatise Sangīta-sudhā and the Shāhji manuscripts 5.2.2. Scholastic conflict between old and new doctrine5.3. The new doctrines of Sangīta-sudhā5.3.1. The new tonal system of the 16th–18th centuries5.3.2. Sangīta-sudhā’s six rāga components and the Shāhji manuscripts5.3.3. The four essential parts of a rāga presentation in 17th-century Tanjore5.4. Descriptions of Rītigaula in the treatises5.4.1. The similarity of the modern and the 17th-century Tanjore Rītigaula5.4.2. The description of Rītigaula in the Sangīta-sudhā5.4.3. Rītigaula in the treatise Sangīta-sārâmròta5.4.4. Rītigaula in treatises not from Tanjore6. Pre-modern and modern discourse in rāga Rītigaula6.1. Extemporized discourse in Rītigaula in the pre-modern sources6.1.1. The general shape of the improvisation and its introductory portion6.1.2. The exposition sections6.1.3. The passages returning to a constant theme6.1.4. The concluding portion6.2. Comparison of 17th-century and 20th-century extempore discourse in Rītigaula6.3. Improvisation, the concept of rāga, and the premises of musical thoughtAppendix 1. Visual models of RītigaulaChart I. Kriti "Jananī ninnu vinā"Chart II. ĀlāpanāAppendix 2. Guide to the audio recordings for RītigaulaAppendix 3. Ornaments and notationGlossary.Notes.Bibliography.