Paolo Pacciolla

The Indian Drum of the King-God and the Pakh¿vaj of Nathdwara

• Gebundenes Buch

Produktbeschreibung

The book studies the evolution of the ancient drum m¿däga into the pakh¿vaj, crossing more than 2,000 years of history. While focusing on the Nathdwara school of pakh¿vaj, the author joins ethnographic, historical, religious and iconographic perspectives to argue a multifaceted interpretation of the role and function of the pakh¿vaj in royal courts, temples and contemporary stages. Furthermore, he offers the first analysis of the visual and narrative contents of its repertoire.

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Produktdetails

• Verlag: Routledge
• Seitenzahl: 208
• Erscheinungstermin: 20. Mai 2020
• Englisch
• Abmessung: 240mm x 161mm x 16mm
• Gewicht: 484g
• ISBN-13: 9780367370237
• ISBN-10: 0367370239
• Artikelnr.: 69985042

Autorenporträt

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 pakh
vaj
s 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 Parampar
s and ghar
n
s according to contemporary pakh
vaj players Chapter Three. The pakh
vaj in contemporary India and its religious and mythological heritage according to pakh
vaj players 3.1 The pakh
vaj 3.2 The pakh
vaj and the pakh
vaj players in the classical music scene of contemporary India 3.3 The pakh
vaj 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
m
4.6 The cloud-drum 4.7 Rain of blessings Chapter Five. The drum of the King-God: from m
däga to pakh
vaj 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
iva, 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 pakh
vaj 6.1 The multiplication of m
dägas and the emergence of the pakh
vaj 6.2 From m
däga to pakh
vaj and vice versa: making the de
m
rga and the m
rga de
Chapter Seven. The Nathdwara ghar
n
: playing the pakh
vaj for N
thj
7.1 Vallabh
carya and the Pu
im
rg 7.2
r
N
thji, the King-God, and his worship 7.3 The role of music and aesthetics in the cult of Pu
im
rg 7.4 The family of Purushottam Das 7.5 Pandit Dalchand Sharma and my research Chapter Eight. The repertoire 8.1 The pakh
vaj: 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 pakh
vaj recital 9.1 The structure of the solo recital 9.2 Lotuses, garlands of flowers and the solo pakh
vaj 9.3 The solo recital of the Nathdwara ghar
n
9.4 Stuti paran 9.5 Madhya lay ka prast
r 9.6 Dhenanaka b
j 9.7 Paran 9.8 Lay t
l torneka kata 9.9 Chandkari 9.10 Thapiy
ka b
j 9.11 Rel
Conclusion Glossary Bibliography Solo Pakh
vaj Recordings

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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¿da¿ga to pakhavaj

5.1 The socio-historical context of the emergence of the m¿da¿ga as major courtly drum

5.2 The sound of the m¿da¿ga 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¿da¿ga to pakhavaj

6.1 The multiplication of m¿da¿gas and the emergence of the pakhavaj

6.2 From m¿da¿ga 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