Applications of Karnatic Rhythm to Western Music
Composers
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.
This two-year programme revolves around rhythmical devices/complexities derived from the theory of South Indian classical music (Karnatic music) in order to use them within a western contemporary context. The final goal for the student is to achieve a higher degree of understanding of these concepts and its subsequent utilisation in today's music and never to merely copy the Karnatic tradition. Combining the Karnatic concepts mentioned below with western concepts of orchestration, counterpoint and polyphony is a must within the programme.
This two-year programme revolves around rhythmical devices/complexities derived from the theory of South Indian classical music (Karnatic music) in order to use them within a western contemporary context. The final goal for the student is to achieve a higher degree of understanding of these concepts and its subsequent utilisation in today's music and never to merely copy the Karnatic tradition. Combining the Karnatic concepts mentioned below with western concepts of orchestration, counterpoint and polyphony is a must within the programme.
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."
Focus of material
1) Theory of South Indian classical music:
- 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.
2) Practical exercises and homework based on the theory.
3) Extensive listening and analysis of recorded material.
Elements
The Masters profile comprises the following elements.
- 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 rhythmical exercises during the session, or learn and apply cell and motivic development to creation, 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 an Advanced Rhythm composition class each year. Within these lessons, there is 30 minutes a week dedicated to internalising the fundamentals of the rhythmical material.
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.