Paolo Pacciolla is Tagore Fellow affiliated with the Indira Gandhi National Centre for the Arts of New Delhi, where he is conducting research on ritual drumming in Kerala. His main ethnographic focus is on music in India, and his research interests include Ethnomusicology, Organology, Iconography of Music, Indology and Religious Studies.
Inhaltsangabe
Chapter One. Introduction 1.1 Background 1.2 Fieldwork among pakhavajis 1.3 Ancient courts: the roots of a musical tradition 1.4 Nathdwara, a contemporary reign of the King-God and his court 1.5 A multidimensional approach Chapter Two. A drum between courts and temples 2.1 Music, religions, the sacred and the secular in India 2.2 Paramparas and gharanas according to contemporary pakhavaj players Chapter Three. The pakhavaj in contemporary India and its religious and mythological heritage according to pakhavaj players 3.1 The pakhavaj 3.2 The pakhavaj and the pakhavaj players in the classical music scene of contemporary India 3.3 The pakhavaj heritage according to its players Chapter Four. Auspicious Drumming 4.1 Auspiciousness 4.2 Auspiciousness and its roots 4.3 The auspicious arts in literature and other textual sources 4.4 Rain on the lotus pond 4.5 Gaja-Lak mi 4.6 The cloud-drum 4.7 Rain of blessings Chapter Five. The drum of the King-God: from m däga to pakhavaj 5.1 The socio-historical context of the emergence of the m däga as major courtly drum 5.2 The sound of the m däga in the aestheticised life of the courts 5.3 Siva, the magnification of the warrior king 5.4 The drum giving voice to death 5.5 Vi u- K a, the righteous king and the bhakti cults Chapter Six. From m däga to pakhavaj 6.1 The multiplication of m dägas and the emergence of the pakhavaj 6.2 From m däga to pakhavaj and vice versa: making the desi marga and the marga desi Chapter Seven. The Nathdwara gharana: playing the pakhavaj for Nathji 7.1 Vallabhacarya and the Pu imarg 7.2 Sri Nathji, the King-God, and his worship 7.3 The role of music and aesthetics in the cult of Pu imarg 7.4 The family of Purushottam Das 7.5 Pandit Dalchand Sharma and my research Chapter Eight. The repertoire 8.1 The pakhavaj: facets of its language and playing styles 8.2 Compositional types 8.3 Parans as structures based on geometrical figures 8.4 Parans as prayers 8.5 Parans, images and poetry 8.6 A knowledgeable king of the 20th century and his parans 8.7 The torrent and the rain Chapter Nine. The solo pakhavaj recital 9.1 The structure of the solo recital 9.2 Lotuses, garlands of flowers and the solo pakhavaj 9.3 The solo recital of the Nathdwara gharana 9.4 Stuti paran 9.5 Madhya lay ka prastar 9.6 Dhenanaka baj 9.7 Paran 9.8 Lay tal torneka kata 9.9 Chandkari 9.10 Thapiya ka baj 9.11 Rela Conclusion Glossary Bibliography Solo Pakhavaj Recordings
Chapter One. Introduction 1.1 Background 1.2 Fieldwork among pakhavajis 1.3 Ancient courts: the roots of a musical tradition 1.4 Nathdwara, a contemporary reign of the King-God and his court 1.5 A multidimensional approach Chapter Two. A drum between courts and temples 2.1 Music, religions, the sacred and the secular in India 2.2 Paramparas and gharanas according to contemporary pakhavaj players Chapter Three. The pakhavaj in contemporary India and its religious and mythological heritage according to pakhavaj players 3.1 The pakhavaj 3.2 The pakhavaj and the pakhavaj players in the classical music scene of contemporary India 3.3 The pakhavaj heritage according to its players Chapter Four. Auspicious Drumming 4.1 Auspiciousness 4.2 Auspiciousness and its roots 4.3 The auspicious arts in literature and other textual sources 4.4 Rain on the lotus pond 4.5 Gaja-Lak mi 4.6 The cloud-drum 4.7 Rain of blessings Chapter Five. The drum of the King-God: from m däga to pakhavaj 5.1 The socio-historical context of the emergence of the m däga as major courtly drum 5.2 The sound of the m däga in the aestheticised life of the courts 5.3 Siva, the magnification of the warrior king 5.4 The drum giving voice to death 5.5 Vi u- K a, the righteous king and the bhakti cults Chapter Six. From m däga to pakhavaj 6.1 The multiplication of m dägas and the emergence of the pakhavaj 6.2 From m däga to pakhavaj and vice versa: making the desi marga and the marga desi Chapter Seven. The Nathdwara gharana: playing the pakhavaj for Nathji 7.1 Vallabhacarya and the Pu imarg 7.2 Sri Nathji, the King-God, and his worship 7.3 The role of music and aesthetics in the cult of Pu imarg 7.4 The family of Purushottam Das 7.5 Pandit Dalchand Sharma and my research Chapter Eight. The repertoire 8.1 The pakhavaj: facets of its language and playing styles 8.2 Compositional types 8.3 Parans as structures based on geometrical figures 8.4 Parans as prayers 8.5 Parans, images and poetry 8.6 A knowledgeable king of the 20th century and his parans 8.7 The torrent and the rain Chapter Nine. The solo pakhavaj recital 9.1 The structure of the solo recital 9.2 Lotuses, garlands of flowers and the solo pakhavaj 9.3 The solo recital of the Nathdwara gharana 9.4 Stuti paran 9.5 Madhya lay ka prastar 9.6 Dhenanaka baj 9.7 Paran 9.8 Lay tal torneka kata 9.9 Chandkari 9.10 Thapiya ka baj 9.11 Rela Conclusion Glossary Bibliography Solo Pakhavaj Recordings
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