The Distribution of Authority in the Performance of North Indian Vocal Music

Abstract

This paper examines subtle interactions between vocalist and melodic accompanist in North Indian classical music. Data are based on transcription and analysis sound recordings, observations of performances and interviews with both singers and accompanists. Descriptions of the melodic accompanist's role usually emphasise ‘following’ the vocalist and replicating their lines. This paper shows that though the singer holds musical primacy in the construction and direction of the performance, the accompanist presents an individuated voice, and performance becomes a site of subtle contestation, without its viability being compromised. Accompanists take temporary control over the performance during passages when they play alone, and may also present subtle but consistent variations of the vocal lines in their replication. Though no single paradigm of authority may be shown to dominate, the manner in which authority is being negotiated within, and may be apprehended from, performance, is clarified. The paper validates the individual authority over the music system demonstrated by accompanists even within their subordinate role. Finally, the paper draws attention to two possible ways of ‘hearing’ performances: one focusing on the soloist as central, the other on the ensemble.