Most classical musicians, whether in orchestral or ensemble situations, will have to face a piece by composers such as Ligeti, Messiaen, Varèse or Xenakis, while improvisers face music influenced by Dave Holland, Steve Coleman, Aka Moon, Weather Report, Irakere or elements from the Balkans, India, Africa or Cuba. Rafael Reina argues that today’s music demands a new approach to rhythmical training, a training that will provide musicians with the necessary tools to face, with accuracy, more varied and complex rhythmical concepts, while keeping the emotional content. Reina uses the architecture of the South Indian Karnatic rhythmical system to enhance and radically change the teaching of rhythmical solfege at a higher education level and demonstrates how this learning can influence the creation and interpretation of complex contemporary classical and jazz music. The book is designed for classical and jazz performers as well as creators, be they composers or improvisers, and is a clear and complete guide that will enable future solfege teachers and students to use these techniques and their methodology to greatly improve their rhythmical skills. An accompanying website of audio examples helps to explain each technique. For examples of composed and improvised pieces by students who have studied this book, as well as concerts by highly acclaimed karnatic musicians, please copy this link to your browser: http://www.contemporary-music-through-non-western-techniques.com/pages/1587-video-recordings

Solkattu, the spoken rhythms and patterns of hand-clapping used by all musicians and dancers in the classical traditions of South India, is a subject of worldwide interest—but until now there has not been a textbook for students new to the practice. Designed especially for classroom use in a Western setting, the manual begins with rudimentary lessons in the simplest South Indian tala, or metric cycle, and proceeds step-by-step into more challenging material. The book then provides lessons in the eight-beat adi tala, arranged so that by the end, students will have learned a full percussion piece they can perform as an ensemble. Solkattu Manual includes web links to video featuring performances of all 150 lessons, and full performances of all three of the outlined small-ensemble pieces. Ideal for courses in world music and general musicianship, as well as independent study. Book lies flat for easy use.

Most classical musicians, whether in orchestral or ensemble situations, will have to face a piece by composers such as Ligeti, Messiaen, Varèse or Xenakis, while improvisers face music influenced by Dave Holland, Steve Coleman, Aka Moon, Weather Report, Irakere or elements from the Balkans, India, Africa or Cuba. Rafael Reina argues that today’s music demands a new approach to rhythmical training, a training that will provide musicians with the necessary tools to face, with accuracy, more varied and complex rhythmical concepts, while keeping the emotional content. Reina uses the architecture of the South Indian Karnatic rhythmical system to enhance and radically change the teaching of rhythmical solfege at a higher education level and demonstrates how this learning can influence the creation and interpretation of complex contemporary classical and jazz music. The book is designed for classical and jazz performers as well as creators, be they composers or improvisers, and is a clear and complete guide that will enable future solfege teachers and students to use these techniques and their methodology to greatly improve their rhythmical skills. An accompanying website of audio examples helps to explain each technique. For examples of composed and improvised pieces by students who have studied this book, as well as concerts by highly acclaimed karnatic musicians, please copy this link to your browser: http://www.contemporary-music-through-non-western-techniques.com/pages/1587-video-recordings

Time in Indian Music is the first major study of rhythm, metre, and form in North Indian rag , or classical, music. Martin Clayton presents a theoretical model for the organization of time in this repertory, a model which is related explicitly to other spheres of Indian thought and culture as well as to current ideas on musical time in alternative repertoriesnullincluding that of Western music. This theoretical model is elucidated and illustrated with reference to many musical examples drawn from authentic recorded performances. These examples clarify key Indian musicological concepts such as tal (metre), lay (tempo or rhythm), and laykari (rhythmic variation).

University Of Nebraska Studies, No. 24, January, 1961. A Discussion And Comparison For The Western Musician Of The Basic Tones And Intervals Of The Hindu Classical Music.

The first of its kind, this is book consists of twenty-one essays describing the many different uses of the digital computer in the field of music. Musicologists will find that various historical periods-from medieval to contemporary-are represented, and examples of computer analysis of ethnic music are considered. Edmund A. Bowles contributes an entertaining historical survey of music research and the computer. Lejaren Hill here discusses computer composition, both in this country and in Europe, and gives a bibliography of composers and their works. A. James Gabura's essay describes experiments in analyzing and identifying the keyboard styles of Haydn, Mozart, and Beethoven. There is also a section of particular interest to music librarians.