Applications of Karnatic Rhythm to Western Music
Performers (classical and improvisers)

This profile is available to both classical performers and improvisers (see below).

This programme can be followed by students studying any masters programme offered by the Conservatorium van Amsterdam, or by contract students within the 'Continuing Education' platform.

Classical Performers

The main objective of the Master's Profile 'Applications of Karnatic Rhythm to Western Music for Performers' is to provide rhythmic tools that will help the student achieve a higher degree of accuracy and confidence. 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.

“If the rhythms and phrasing that are peculiar to contemporary music would be taught in the best conservatories in an intensive way, the future of contemporary music would certainly change and performers and general public would really start enjoying pieces by Berio, Xenakis or myself. The lack of accuracy in orchestras is the biggest obstacle for communication between composers and public”. Pierre Boulez

As mentioned in the introduction, the programme for classical performers addresses the 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 Masters profile comprises the following elements:

• Individual coaching in order to prepare a number of contemporary music pieces. The ultimate goals of this coaching are how to use Karnatic techniques to perform contemporary pieces and to work out a general methodology for the students to apply to a wide variety of pieces. The students are free to choose the repertoire and the coach's role is to help students with their chosen project.
• Regular sessions of the so-called ‘deepening sessions’, where the ‘roots’ of the material, as well as what other creators have done or are doing with Karnatic rhythmical concepts, will be listened to and analysed within a musical context.
• Following the so-called ‘Reading Ensemble’ each year.

As long as the students wish to dedicate at least 30% of their time to prepare contemporary pieces, these will be the pieces to be coached within this master profile. Therefore, these pieces are not meant to be a workload added to what the student has to prepare throughout the year but simply a shift on focus on the material to be used for those pieces (i.e., contemporary repertoire with rhythmical content and not pieces that exclusively explore extended techniques or other aspects of the evolution of classical music in the 20th and 21st centuries)

Alternatively, students can choose to follow an Improvisation ensemble and/or composition lessons. In this case, a smaller number of contemporary pieces could be worked out, and some coaching time could be used to work on creative aspects, be it compositional or improvisational in nature.

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Improvisers

This format is directed at performers who want to attain a broader view of rhythmical and structural fields. The rhythmical concepts of polyrhythm, polypulse and irregular groupings used in South India provide a very flexible method with which the student can experiment without trying to copy Karnatic music. All the topics are re-structured to enable the student to work only with the concepts and techniques.

Improvisers tend to be performers and creators simultaneously. Therefore, the emphasis of the Masters ‘package’ lies on a combination of rhythmical techniques to improve their accuracy, along with creative concepts that can be used to compose pieces or improvise solos.

The Masters ‘package’ comprises:

• Two different options as to how to deepen in the material.
• Creative output.

The student will be coached individually during the creative process as well as in the ensemble situation while putting the pieces together.

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Ways to go deeper in the material

Option A (35 credits)

• Individual coaching: Every week  students will meet their coach to work on their student's project. Each student is free to choose the pieces to work on, in terms of style and aesthetics, etc. They are also free in how to use the coaching time: for example,  students can choose to work on improvisation during the session, or learn and apply cell and motivic development to creation, whether improvised or composed, or any other idea they might have. There is no need to think of 'fulfilling' a particular style or aesthetic. The coach's role is to help every student in his/her style and choice, including how to broaden his/her style and choice with karnatic concepts and developmental ideas.
• Regular sessions where the ‘roots’ of the material, as well as what other creators have done or are doing with Karnatic rhythmical concepts, will be listened to and analysed within a musical context.
• Following the so-called ‘Improvisation Ensemble’ each year.
• Following the Advanced Rhythm composition class**** each year.

**** 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. Also, the student following the composition lessons is exempted from following the compulsory subjects of theory/harmony and arranging

The credits distribution for Option A is:

• 15 credits from the Ensembles,
• 15 credits from the master electives of which 10 credits replace the following of the compulsory ‘Arranging’ & ‘Theory’ courses (these credits will be allocated to the composition lessons)
• 5 credits from the main subject (these are the credits and time allocated to the individual coaching - see creative output below).

Option B  (30 credits)

• Individual coaching: Every week  students will meet their coach to work on their student's project. Each student is free to choose the pieces to work on, in terms of style and aesthetics, etc. They are also free in how to use the coaching time: for example,  students can choose to work on improvisation during the session, or learn and apply cell and motivic development to creation, whether improvised or composed, or any other idea they might have. There is no need to think of 'fulfilling' a particular style or aesthetic. The coach's role is to help every student in his/her style and choice, including how to broaden his/her style and choice with karnatic concepts and developmental ideas.
• Regular sessions where the ‘roots’ of the material, as well as what other creators have done or are doing with Karnatic rhythmical concepts, will be listened to and analysed within a musical context.
• Following the so-called ‘Improvisation Ensemble’ each year
• Following the so-called ‘Reading Ensemble’ each year ****

**** Following the reading ensemble will help the student to reinforce the main ‘building blocks’ of Karnatic rhythm as well as seeing various techniques from a completely different angle. Another goal is to increase the reading skills of the musician.

The credits distribution for Option B is:

• 15 credits from the Ensembles,
• 10 credits from the master electives for the reading ensemble
• 5 credits from the main subject (these are the credits and time allocated to the individual coaching - see creative output below).

Creative Output

As mentioned above, students will be coached individually in order to complete their project, whatever the nature of the project.

These pieces are not meant to be a workload added to what the student has to create throughout the year but simply a shift on focus on the material to be used for those pieces.

During the individual coaching sessions a special attention can be lent to working on cell and motivic development to enhance coherence while soloing or creating in general.

All pieces prepared in these two years can be used for the MA1 exam as well as the graduation recital.