Die wichtigsten Begriffe der südindischen Musik im Überblick

ådi tåla	8 beat tåla, the most common tåla in present day South Indian music,
	full name chatusra jåti triputa tåla
akshara(kåla)	beat
anågala eduppu	eduppu falls after samam
anga	literally limb, part of a tåla
anudrutam, anudruta,	one beat anga
anuloma	multiplying the speed
arai chåpu	kind of stroke that brings out the second harmonic
ardi, arudi	1. short cadential kanakku 2. structural point in the middle of the
composition
atita	eduppu eduppu lies before samam, at the end of a presumed prior avartanam
avartanam	cycle
bani	playing tradition
bhedam	change through replacement
cadential	leading to a structural point, such as sam or ardi

chåpu	resonant mridangam stroke that brings out the first harmonic
chåpu, tålas	the other now regular tålas, probably from folkloric origin, the name
	chåpu comes from såyppu, Tamil for bent
chatusra	1. four 2. subdivision: four måtras per beat
dim	resonant mridangam stroke that brings out the tonic
dhruva	type of sulådi tåla
drutam	2 beat anga
durita kåla(m)	fast speed
eduppu	starting point of the melody (Tamil)
gamaka	melodic ornamentation
gati	subdivision fixed in tåla rendition
ghåtam	claypot
gråha	eduppu (Sanskrit)


gumki	resonant bass stroke involving pitch bending, percussion equivalent of
	gamaka
guru	guide, teacher
gurukula	guru-shisya system
guru-shisya system	traditional way of learning an instrument by living with the guru
arai chåpu	half chåpu

jati	1. syllables 2. quick phrases such as farans
jåti	classification type (3, 4, 5, 7, 9)
jhampa	type of sulådi tåla
kacceri	concert
kalå (kalai)	subdivision of the beat in counting, one of the tåla dasa prånas
kalpana svara	improvised section based on varying the notes
kalpita	prepared music
kanakku	structures involving regrouping of måtras not following the pulse of the
	tåla, creating tension
kanjira	single headed tambourine
Kannada	language of Karnataka, one of the four South Indian states
karnatak, carnatic,
karnatic music
	South Indian classical music
kårvai	gap
khanda	1. five 2. subdivision: five måtras per beat
khanda chåpu	fast five beat tåla, not belonging to the sulådi system
konnakol	use of solkattu in concert
koraippu	1. reducing structure 2. decreasing question and answer in improvised
	section
korvai, kovai	final cadential structure (Tamil)
kriti	type of composition, often referred to as “song”
kriyå	movement for tålacounting
laghu	3, 4, 5, 7, 9 beat anga
laya	tempo

laya vinyasa	the intricacies of laya; vinyasa is expansion
laya suddha	accuracy in rhythm
madhya	medium
madhyama kålam	medium speed
mahå prånas	the first five or main tåla dasa prånas
Malayalam	language of Kerala, one of the four South Indian states
manodharma	improvisation (Sanskrit)
måtra	unit, often called syllables in English
mishra	1. seven 2. subdivision: three seven per beat
mishra chåpu	fast seven beat tåla, not belonging to sulådi tålas
mittu	1. outer ring of the valantalai 2. type of stroke: resonant on the outer
	ring
mohra, mora,

	percussion only cadential formula to indicate the ending of the
	percussion solo section
morsing	jew’s harp
motta kanakku	using a new nadai in a superimposed pulse
mridangam	doubleheaded barrelshaped drum, main South Indian percussion
	instrument
mrudangam,
mrdangam
mrdangam,
mrdanga, etc

mudivu	conclusion of a phrase
mukhtaya	korvai (Kannada)
mukhtayam	korvai (Telegu)
nadai	1. subdivision of the beat 2. timekeeping pattern with calculation
nam	resonant stroke on the mittu
nåtu	type of stroke: non resonant on the soru
neraval	type of melodic improvisation based on altering the pitches while
	retaining the rhythmical frame

cadradhår	in korvai, the first time the phrase ends just after the sam, then moves
	back until it lands on the sam the third time

pada	part of korvai
pallavi	1. first section of the composed part of a kriti 2. tåla oriented type of
	composition
pharans	fast filler phrases on percussion instrument
polyrhythm	a rhythmic phenomenon that gives the feeling that the music,
	temporarily, has a different tempo by suggesting different subdivisions
	and/or a different pulse
praståra	permutations and combinations
pratiloma	1. changing the tålaspeed while keeping the music in the same tempo
	(mainly used as an excercise 2. halving the tempo
purvardam	first pada of a korvai
råga	mode and characteristic phrases, turns etc
råga bhåva	the mood of a råga
rupaka	3 or 6 beats, common tåla, full name tisra jåti rupaka tåla
sabha	specialist concert venue with knowledgeable audience
såhityam	lyrics
samam	first beat of a tåla
sama eduppu	eduppu coincides with samam
sangati	composed variation on the pallavi
sangita	music
sankirna	1. nine 2. subdivision: nine måtras per beat
Sanskrit	India’s scholars’ language
sapta tåla gita	the knowledge that in 420 beats, all seven types of tålas will land on the
	same downbeat
sarvalaghu	timekeeping pattern without calculation

solkat	variation in drumming
solkattu	drumming language: syllables used in percussion for learning and
	performance (see also konnakol)
sulådi (sapta) tålas	the now common tålas, there are seven types with five possibilities each
svara kalpana	free melodic improvisation technique, section in elaborated
	composition

tadiginathom	stroke combination often used in uttarardam
tåla	time cycle
tåla dasa prånas	the ten “life giving elements” for the tåla
tåla pradhana	tåla oriented composition type
tåla vadyam	percussion ensemble
Tamil	language of Tamil Nadu, one of the four South Indian states
tånam	permutation based melodic improvisation technique, unmetred section
	in the rågam tåˆam pallavi form
tani avartanam	percussion solo section in a concert
tavil	percussion instrument used in temple music and laya vinyasa ensemble
Telegu	language of Andhra Pradesh, one of the four South Indian states
thom	bass stroke on the mridangam; resonant
tillåna	lighter type of composition
tirmånam	dance term for kØrvai, sometimes used to indicate ardi
tisra, trisyam	1. three 2. subdivision: three måtras per beat

trikålam	three speeds: first, second (double), third (quadruple)
triputa	type of sulådi tåla
tukra	the last section of a concert, after the main item, consisting of lighter
	songs

cadradhår	in korvai, the phrase ends just before the sam the first time, then moves
	forward until it lands on the sam after the third time
upa pakka vadyam	secondary percussion instruments
upa prånas	the secondary tåla dasa prånas
urtus	see pharans
uttarardam	last part of a korvai, usually a form of the phrase tadiginathom
	valantalai high head of the mridangam, tuned to the tonic

varnam	type of composition used in teaching and to open a concert
vilamba kåla	slow speed
viloma	reverse
viråma	old term for anudrutam
visu	or the empty part of the tåla, usually on the half of the avartanam; the
	equivalent of the hindustani khali
yati	rhythmical shape

hoch

Zurück zur Startseite | Kontakt | Impressum