ompare two performances, selecting examples either from the Carnatic tradition (kritis) or Hindustani tradition ( rags). Please make sure that you are comparing performances of either the same rag or the same kritis.
In your analysis you will want to consider how the performers engage with both the fixed material (raga, tala, and kriti respectively) n relation to the real-time unfolding of fixed material through improvisation.
A few elements you may wish to consider:
– How do the musicians address the section of alap (the slow unmetered introduction)? How do they slowly or quickly present or reveal characteristics of the raga? How do they chose to play with movement across register or octave.
– How do the musicians give form to the performance? Cartnatic musicians make choices about the presentation of the three core sections (palace, anupalavi, and caranam). How do they navigate the composition while creating space for improvisation? How might you describe the overall form of a performance of a Hindustani raag? What is the temporal and affective experience like?
– How do musicians employ repetition, variation, and ornamentation?
– Are there any interactions between musicians (i.e soloist and accompanist) that are particularly striking to you? How would you describe the roles occupied by each musician in the ensemble?
