Advanced Rhythm
Composition
This is a four-year programme that revolves around rhythmical devices/complexities and microtonal concepts (the latter are optional in the last two years) derived from the theory of South Indian classical music (Karnatic music) for use in a western contemporary context.
The final goal for the student is to achieve a higher degree of understanding of these concepts in order to utilise them in today's music, never copying the Karnatic tradition. Combining the Karnatic concepts mentioned below with western concepts of orchestration, counterpoint and polyphony is a must within the programme.
The final goal for the student is to achieve a higher degree of understanding of these concepts in order to utilise them in today's music, never copying the Karnatic tradition. Combining the Karnatic concepts mentioned below with western concepts of orchestration, counterpoint and polyphony is a must within the programme.
In the course of the last century...
The contemporary composer is developing a mature and panoramic vision on parameters of music such as timbre, pitch, counterpoint, form, texture, etc., as well as broader intercultural knowledge of musical instruments, and a great command of electronic resources. All of this can lead them to affirm their own expressive language.
And nowadays...
Just as a composer is aware of the physical constitution of an instrument when devising extended techniques, they could be fully aware of the organic implications of a rhythmical challenge in order to obtain an effective result.
Rhythmically, a lot has been tried out during the last hundred years, but the essence of the matter remains to be addressed within the curricula of western musical institutions, so as to produce a clear vision and comparative perspective.
The prism of Karnatic techniques provides clarity in the understanding of the rhythmical phenomenon. Numerous karnatic tools facilitate dealing with rhythmical queries: speed; density; accuracy, feasibility; displacement; regular and irregular accents; relation with texture, form; choice of conventional notation, note values, time signature; tempo modulations; polyrhythm, polypulse and a long etcetera.
Of course, rhythm is intertwined with every other musical parameter, never isolated. Hence, the deep understanding of its unique characteristics and how it enhances other parameters will result in a multiplying effect.
It is only up to the inventiveness, creativity and innovation of the composer to take it a step further.
The Karnatic rhythmical system offers paths to create music using rhythmical complexities in a very organic fashion, getting away from the highly-charged ‘intellectual approach’ that has possibly characterised much of the ‘new complexity’ approach to using rhythm. An important aspect of Karnatic rhythm is that it is a system in which the practice methodology and the developmental possibilities of the same concept are inextricably linked. The notion of common denominator impregnates the structural architecture of each technique and its developmental possibilities.
The contemporary composer is developing a mature and panoramic vision on parameters of music such as timbre, pitch, counterpoint, form, texture, etc., as well as broader intercultural knowledge of musical instruments, and a great command of electronic resources. All of this can lead them to affirm their own expressive language.
And nowadays...
Just as a composer is aware of the physical constitution of an instrument when devising extended techniques, they could be fully aware of the organic implications of a rhythmical challenge in order to obtain an effective result.
Rhythmically, a lot has been tried out during the last hundred years, but the essence of the matter remains to be addressed within the curricula of western musical institutions, so as to produce a clear vision and comparative perspective.
The prism of Karnatic techniques provides clarity in the understanding of the rhythmical phenomenon. Numerous karnatic tools facilitate dealing with rhythmical queries: speed; density; accuracy, feasibility; displacement; regular and irregular accents; relation with texture, form; choice of conventional notation, note values, time signature; tempo modulations; polyrhythm, polypulse and a long etcetera.
Of course, rhythm is intertwined with every other musical parameter, never isolated. Hence, the deep understanding of its unique characteristics and how it enhances other parameters will result in a multiplying effect.
It is only up to the inventiveness, creativity and innovation of the composer to take it a step further.
The Karnatic rhythmical system offers paths to create music using rhythmical complexities in a very organic fashion, getting away from the highly-charged ‘intellectual approach’ that has possibly characterised much of the ‘new complexity’ approach to using rhythm. An important aspect of Karnatic rhythm is that it is a system in which the practice methodology and the developmental possibilities of the same concept are inextricably linked. The notion of common denominator impregnates the structural architecture of each technique and its developmental possibilities.
Course description
Advanced Rhythm - Composition proposes an intercultural approach to universal rhythmical concepts. We reflect upon the essence of rhythm, tackling abstract and concrete notions, simple and complex expressions:
Objectives, training:
- Pulse, non-pulse, subdivision, speed, density, displacement, accents, polyrhythm, polypulse...
- Comparative notation of rhythmical values, time signature, tempo, metrical modulations...
- Rhythmical relation with phrasing, texture, form, larger structures... Numerous Karnatic (South Indian) tools provide clarity in the rhythmical phenomenon, reassuring the composers' personal view, while facilitating their creativity in all diversity of genres and aesthetics.
Objectives, training:
- Composers enrich their rhythmical palette, gaining intuitive, expressive and creative potential.
Theory and practice. Karnatic concepts in intercultural context. Universal rhythmic concepts. - Composers acquire an organic feel for rhythmical proportions.
Physical exercises based on karnatic tools. Bodily experience. Ability to demonstrate. - Composers explore rhythmical issues of existing repertoire, including their own pieces and work in progress.
Listening and analysis of relevant material from different origins, in different styles. - Composers experiment the latest developments in complex rhythmical notation, establishing their own vision.
Comparison of notational solutions to rhythmical challenges. - Composers can incorporate rhythmical concepts into a larger scale of structure and form.
Work on developing larger formal strategies. Karnatic, western and examples from elsewhere.
Course focus
1) Theory of South Indian classical music
2) Practical exercises and homework based on the theory
3) Extensive listening and analysis of recorded material
- Rhythmical complexities: Different types of Tala (cycles) construction, all sort of polyrhythms, polypulses, irregular groupings, inner amalgamation, structural metrical modulations, polytalas and mathematical/rhythmical calculations and their relationship to structural development.
- The study of rhythm, not only as an ‘isolated’ phenomenon of more or less complexity, but as a source for development, creation of structures and forms, feeling for proportionalities and a number of related concepts.
- Formal and structural concepts: Developmental techniques, different types of forms. Usage of South-Indian geometrical concepts to apply on macro and micro structures.
- Microtonality (optional from the 2nd year on): 22 srutis (pitches) system, different types of Raga construction, 39 srutis system, different types of modulation, use of pitches outside the raga and gamakas (South Indian ornaments).
2) Practical exercises and homework based on the theory
3) Extensive listening and analysis of recorded material
Approaches for theory students, improvisers and classical performers
Composition for Theory students
This programme, directed at Music theory students, addresses the rhythmical problems that may arise in many contemporary music pieces from Stravinsky, Bela-Bartok or Varesse to Xenakis, Boulez, Elliot Carter, Ferneyhough or Ligeti, as well as more recent composers. The main objective is to provide rhythmic tools that will help the student achieve a higher degree of accuracy and confidence as well as analytical tools, using karnatic concepts, to dissect pieces of contemporary music that have not been written with any karnatic technique in mind. South Indian classical music not only makes use of one of the most complex rhythmical systems but, in addition, has very clear and practical teaching and exercise methods.
There would be three separate aspects in the lessons:
Classes will take place once a week and they will be of 2 hours duration. Maximum amount of lessons that can be missed is 4 out of the 21 of theory/exercise lessons that take place until mid-February.
In the last 12 weeks (mid-February to June), the student can propose a final project; this project can range from a short dissertation about one of the topics seen, or a thorough rhythmical analysis of contemporary pieces with karnatic techniques, or a short composition (or any other proposal that would be suitable to the subject). Individual meetings will then take place in order to coach the student in his project.
Composition for Improvisers
Improvisers who would like to increase their palette of creative potential (whether written or improvised) could also follow the Composition lessons of Advanced Rhythm.
Following the composition lessons does not imply that the student has to create through-composed pieces in a classical contemporary style. These lessons are meant for the student to acquire many more creative techniques that are not imparted in the improvisation ensembles, and students can apply it to their composition as well as their improvisation.
Composition for Classical performers
Performers who would like to increase their palette of creative potential (whether written or improvised) could also follow the Composition lessons of Advanced Rhythm.
Following the composition lessons does not imply that the student has to create through-composed pieces. The lessons are meant for the student to acquire creative and analytical techniques that are not imparted in the Reading ensembles.
Similarly to the theory students, classical performers will be coached individually in the last 12 weeks (mid-February to June), and the student can propose a final project; this project can range from a creative exercise or piece of music, or a short dissertation about one of the topics seen, or a thorough rhythmical analysis of contemporary pieces with karnatic techniques, or a short composition (or any other proposal that would be suitable to the subject).
This programme, directed at Music theory students, addresses the rhythmical problems that may arise in many contemporary music pieces from Stravinsky, Bela-Bartok or Varesse to Xenakis, Boulez, Elliot Carter, Ferneyhough or Ligeti, as well as more recent composers. The main objective is to provide rhythmic tools that will help the student achieve a higher degree of accuracy and confidence as well as analytical tools, using karnatic concepts, to dissect pieces of contemporary music that have not been written with any karnatic technique in mind. South Indian classical music not only makes use of one of the most complex rhythmical systems but, in addition, has very clear and practical teaching and exercise methods.
There would be three separate aspects in the lessons:
- Imparting of many karnatic techniques and concepts that can be used pedagogically as well as creatively. These techniques will require some written exercises in order to show that the student has understood the ‘architecture’ of the techniques and concepts.
- Practice of the material to a level of ‘organic understanding’ of the techniques. The student will not be asked to perform the techniques to the level of the classical performers or improvisers, but will need to have a clear understanding of how to perform them but using exclusively ‘solkattu’ (set of rhythmical syllables used in South India as the first step before playing an instrument) and how to teach it to students.
- Exhaustive and intense comparative analysis of how to apply these techniques to western pieces or how to find parallels between karnatic techniques and music that has not been composed with them but yet, resemble karnatic concepts.
Classes will take place once a week and they will be of 2 hours duration. Maximum amount of lessons that can be missed is 4 out of the 21 of theory/exercise lessons that take place until mid-February.
In the last 12 weeks (mid-February to June), the student can propose a final project; this project can range from a short dissertation about one of the topics seen, or a thorough rhythmical analysis of contemporary pieces with karnatic techniques, or a short composition (or any other proposal that would be suitable to the subject). Individual meetings will then take place in order to coach the student in his project.
Composition for Improvisers
Improvisers who would like to increase their palette of creative potential (whether written or improvised) could also follow the Composition lessons of Advanced Rhythm.
Following the composition lessons does not imply that the student has to create through-composed pieces in a classical contemporary style. These lessons are meant for the student to acquire many more creative techniques that are not imparted in the improvisation ensembles, and students can apply it to their composition as well as their improvisation.
Composition for Classical performers
Performers who would like to increase their palette of creative potential (whether written or improvised) could also follow the Composition lessons of Advanced Rhythm.
Following the composition lessons does not imply that the student has to create through-composed pieces. The lessons are meant for the student to acquire creative and analytical techniques that are not imparted in the Reading ensembles.
Similarly to the theory students, classical performers will be coached individually in the last 12 weeks (mid-February to June), and the student can propose a final project; this project can range from a creative exercise or piece of music, or a short dissertation about one of the topics seen, or a thorough rhythmical analysis of contemporary pieces with karnatic techniques, or a short composition (or any other proposal that would be suitable to the subject).
Course structure
Jahnavi Jayaprakash, singer, composer and teacher of Karnatic music.
The whole year is divided as follows:
Theory: 14 lessons before Christmas and 7 lessons after Christmas
10-12 weeks to compose an ensemble piece (see below)
Between December and January the student must write a short 'etude-like' duo. From March on the student has to compose an ensemble piece (trio to sextet), and meetings to work on that piece will occur on a weekly basis.
The student can contact students who follow the performers programme to put the piece together, and be coached in a number of the rehearsals by of one of the teachers of the Advanced Rhythm programme. The piece can be premiered within one of the final concerts of the program, or the student can also simply choose to write a piece without any specific premiere date in mind if he/she so wishes or, eventually, for a commission or event he/she may be involved in.
The programme is divided into two parts, each consisting of two years. In the first part, four or five students will share weekly lessons of 2 hours. The first two years are exclusively of rhythmical/structural nature and in the third and fourth years the student can choose whether to get an introduction to karnatic forms along with more rhythmical devices, or to study only more rhythmical/structural concepts.
The second part will be structured in lessons of 1 hour, with each student devising his/her own programme based on a preference for form/structures or different options of rhythmical devices.
The final grade will be based on the homework, composition and a theory exam in March.
Theory: 14 lessons before Christmas and 7 lessons after Christmas
10-12 weeks to compose an ensemble piece (see below)
Between December and January the student must write a short 'etude-like' duo. From March on the student has to compose an ensemble piece (trio to sextet), and meetings to work on that piece will occur on a weekly basis.
The student can contact students who follow the performers programme to put the piece together, and be coached in a number of the rehearsals by of one of the teachers of the Advanced Rhythm programme. The piece can be premiered within one of the final concerts of the program, or the student can also simply choose to write a piece without any specific premiere date in mind if he/she so wishes or, eventually, for a commission or event he/she may be involved in.
The programme is divided into two parts, each consisting of two years. In the first part, four or five students will share weekly lessons of 2 hours. The first two years are exclusively of rhythmical/structural nature and in the third and fourth years the student can choose whether to get an introduction to karnatic forms along with more rhythmical devices, or to study only more rhythmical/structural concepts.
The second part will be structured in lessons of 1 hour, with each student devising his/her own programme based on a preference for form/structures or different options of rhythmical devices.
The final grade will be based on the homework, composition and a theory exam in March.
Credits
- Bachelors students: 10 per year from the elective package.
- Masters students: 10 per year; the first 10 are taken from the master electives and 10 of a second year from the 'individual credits'.