Re: [tuning] Digest Number 3915

Haresh --

I believe that Raga Malika occur much more often in South Indian than in Hindustani recitals; they are valued especially as virtuoso displays for the soloist (and often take a place in the program next to a piece with a solo by the mridangnam player, in addition to giving the soloist a well-earned break, this makes for a strong contrast in the program as most Raga Malika are in free rhythm, without mridangam). In identifying Raga Malika with your type 2 modulation (Sah is always the same but the raga changes -- like modulating from C Major to C Dorian to C minor to C Lydian etc.) I follow the usage of my teacher T. Viswanathan. As if to emphasise this, Viswa made a point of using similar melodic patterns in each section of the Raga Malika.

I jumped into this discussion simply to note that "modulation" of some sort is present in musics other than those that another list member wishes to group together into an Islamic monolith. I could have also noted examples from Burma, Thailand, Java, China, or Japan with which I am familiar.

DJW

> Message: 12 > Date: Thu, 23 Feb 2006 02:06:01 -0000
> From: "Haresh BAKSHI" <hareshbakshi@hotmail.com>
> Subject: Re No drone in Indian music before 12th century (was: Re: More on shruti-s
> > --- In tuning@yahoogroups.com, Daniel Wolf <djwolf@...> wrote:
>>>>> >>>> The Karnatic Raga Malika (Garland of Ragas) ........ >>>>
> > Hi Daniel, > > 1. The variety called raga-malika [maalikaa = a garland], or
> raga-sagar [saagara = the ocean], is a set of compositions in
> different raga-s. This is an interesting sub-genre of Karnatic or
> Hindustani music, though not often included in a performance. Here the
> raga-s are not treated in depth. When we talk about a typical
> classical recital, we do not think of a raga-malika.
> > In a raga-malika, the different raga-s -- more accurately, chiefly,
> the compositions of those raga-s -- are rendered in quick succession.
> The 'Sa' (tonic) remains unchanged throughout the performance of a
> raga-malika. Only the the raga-related notes change. This is very
> different from anything like modulation.
> > Regards,
> Haresh.

Whoa! I never ever attempted to advocate another monopoly - much less an
Islamic one - on `modulation`. I said `Easterners`, not muslims. Is there
something wrong with the way I form words or the way you understand?

Cordially,
Oz.

----- Original Message -----
From: "Daniel Wolf" <djwolf@snafu.de>
To: <tuning@yahoogroups.com>
Sent: 23 �ubat 2006 Per�embe 14:26
Subject: Re: [tuning] Digest Number 3915

> Haresh --
>
> I believe that Raga Malika occur much more often in South Indian than in
> Hindustani recitals; they are valued especially as virtuoso displays for
> the soloist (and often take a place in the program next to a piece with
> a solo by the mridangnam player, in addition to giving the soloist a
> well-earned break, this makes for a strong contrast in the program as
> most Raga Malika are in free rhythm, without mridangam). In identifying
> Raga Malika with your type 2 modulation (Sah is always the same but the
> raga changes -- like modulating from C Major to C Dorian to C minor to C
> Lydian etc.) I follow the usage of my teacher T. Viswanathan. As if to
> emphasise this, Viswa made a point of using similar melodic patterns in
> each section of the Raga Malika.
>
> I jumped into this discussion simply to note that "modulation" of some
> sort is present in musics other than those that another list member
> wishes to group together into an Islamic monolith. I could have also
> noted examples from Burma, Thailand, Java, China, or Japan with which I
> am familiar.
>
> DJW
>
>