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Abstract(s)
Resumo - O presente trabalho incide sobre a análise e reflexão de alguns elementos específicos da música
carnática (que pertence ao âmbito da música clássica do Sul da Índia) e a sua utilização nos processos
criativos de composição, arranjo e improvisação. O principal cenário da investigação foi a escola
Swarnabhoomi Academy of Music, na zona de Chennai (Índia), lugar onde as aulas de música
ocidental e de música carnática acabam por misturar-se. Essa mistura cultural é o resultado direto
do convívio constante (de alunos e professores da Índia com professores ocidentais) e do permanente
fluxo de aulas, jam sessions, conversas, ensaios e concertos. Durante dois semestres como professora
de canto ocidental e a partir dessa experiência musical e de vida, fiz uma recolha de dados
através de bibliografia, entrevistas, aulas, concertos e experiências conjuntas de improvisação, arranjo
e composição utilizando alguns elementos da música carnática (padrões, escalas, conceito matemático
do ritmo, etc.).
A partir da análise da bibliografia encontrada é apresentada uma panorâmica geral da transformação,
espiritualidade, terminologia e funcionamento da música carnática. Na revisão bibliográfica
destaco alguns conceitos como antiguidade, tradição oral, disciplina e devoção no momento de criação
desse tipo de música. É muito importante conhecer a história e os fatores sociológicos que rodeiam
a música carnática, pois a sua estética tão característica é consequência do pensamento da
cultura hindu que remonta aos tempos dos Textos Vedas (1500 a.C. aproximadamente). Cientificamente
salienta-se a importância das matemáticas, dos padrões utilizados tanto melódica como ritmicamente,
e ainda, a própria classificação dos distintos elementos da música carnática.
Relativamente às entrevistas, apresentam-se diferentes perspetivas sobre a criatividade. Esses diferentes
pontos de vista demonstram as vantagens de se utilizar alguns conceitos da música clássica
do Sul da Índia para criar, tanto em composições como em criações mais efémeras (ex: um solo musical
ao vivo). Esses elementos são ativadores que flexibilizam e desbloqueiam a criatividade rítmica
e melódica e trazem consigo grandes melhorias em certas competências tais como a afinação e o
treino auditivo.
Também são apresentadas neste trabalho as pautas e a análise de algumas músicas como exemplos
ilustrativos dos processos de criação com elementos como as ragas e o konnakol.
Abstract - This work focuses on the analysis and reflection of some specific elements of Carnatic music (which belongs to the realm of classical music of South India) and their use in the creative processes of both composition and arrangement and also improvisation. The main stage of the investigation was the Swarnabhoomi Academy of Music, in Chennai district (India), where the Western music classes and Carnatic music end up blending. This cultural mix is the direct result of constant interaction (students and teachers from India with Western teachers) and the steady stream classes, jam sessions, talks, rehearsals and concerts. For two semesters, from that musical and life experience as a western vocal teacher , I made a data collection in several directions: literature, interviews, lectures, concerts and collective improvisation experiences, arrangements and compositions that use some elements of Carnatic music (patterns, scales, the mathematical concept of rhythm, etc.). From the found literature analysis is presented an overview of the transformation, spirituality, terminology and functioning of Carnatic music. The literature review highlights aspects such as the ancient oral tradition, discipline and devotion when creating this kind of music. It is very important to know the history and sociological factors surrounding the Carnatic music. Its aesthetic so characteristic is a consequence of thinking of Hindu culture that goes back to the times of Veda Texts (1500 BC approximately). Scientifically it is worth highlighting the importance of mathematics and patterns used both melodic and rhythmically and even more, the classification of the different elements of Carnatic music. Regarding interviews, different perspectives are presented on creativity in this context of cultural mix. These different views show the advantages of using some concepts of classical music of South India to create, both in composition and in more ephemeral creations as a live musical solo. These elements are activators that flexibilize and unlock the rhythmic and melodic creativity and bring with them great improvements in skills such as pitch and ear training. Are also presented in this paper the guidelines and analysis of some tunes as illustrative examples of the creation process with elements such as the ragas and konnakol.
Abstract - This work focuses on the analysis and reflection of some specific elements of Carnatic music (which belongs to the realm of classical music of South India) and their use in the creative processes of both composition and arrangement and also improvisation. The main stage of the investigation was the Swarnabhoomi Academy of Music, in Chennai district (India), where the Western music classes and Carnatic music end up blending. This cultural mix is the direct result of constant interaction (students and teachers from India with Western teachers) and the steady stream classes, jam sessions, talks, rehearsals and concerts. For two semesters, from that musical and life experience as a western vocal teacher , I made a data collection in several directions: literature, interviews, lectures, concerts and collective improvisation experiences, arrangements and compositions that use some elements of Carnatic music (patterns, scales, the mathematical concept of rhythm, etc.). From the found literature analysis is presented an overview of the transformation, spirituality, terminology and functioning of Carnatic music. The literature review highlights aspects such as the ancient oral tradition, discipline and devotion when creating this kind of music. It is very important to know the history and sociological factors surrounding the Carnatic music. Its aesthetic so characteristic is a consequence of thinking of Hindu culture that goes back to the times of Veda Texts (1500 BC approximately). Scientifically it is worth highlighting the importance of mathematics and patterns used both melodic and rhythmically and even more, the classification of the different elements of Carnatic music. Regarding interviews, different perspectives are presented on creativity in this context of cultural mix. These different views show the advantages of using some concepts of classical music of South India to create, both in composition and in more ephemeral creations as a live musical solo. These elements are activators that flexibilize and unlock the rhythmic and melodic creativity and bring with them great improvements in skills such as pitch and ear training. Are also presented in this paper the guidelines and analysis of some tunes as illustrative examples of the creation process with elements such as the ragas and konnakol.
Description
Relatório - Mestrado em Música
Keywords
Konnakol Ragas Tradição oral Improvisação Música carnática Composição Oral tradition Improvisation Carnatic music Composition
Pedagogical Context
Citation
Publisher
Instituto Politécnico de Lisboa - Escola Superior de Música de Lisboa