Analysis of rhythm performance strategies on the Indian tabla as a function of tempo

Abstract

In north Indian classical music, the range of tempi can extend from the ultra-slow ‘vilambit’ at less than a beat every 5 seconds to the super-fast ‘drut’ at over 10 beats per second. To hold a rhythm at these speeds and generate a perceptible metrical structure, performers routinely alter playing strategies that derive from neurophysiological and psychoacoustical considerations. At slow speeds, theoretically silent intervals are in practice punctuated by filler sounds to maintain perceptual connectivity. At high speeds, an interesting phenomenon is observed as compound sounds or ‘bols’ segregate into their simpler components, forming auditory streams of acoustically similar sounds. Compound bols such as ‘dha’ break up into the tonal ‘ta’ and the noisy ‘ghe’, with the sequence of rapidly recurring ‘ghe’ sounds forming a noise band that could potentially mask tonal accent markers. To avoid this, performers routinely drop out the ‘ghe’ sounds at high speeds at metrically unimportant points in the sequence, while retaining them at points that would mark accents. These playing strategies are useful in providing mental and physical relief to performers in maintenance of a steady rhythm across such a vast range of tempi while also preserving the rhythmic integrity of the music for listeners.