Abstract
This paper analyzes two contrasting compositions of Carnatic (South Indian classical) music. I focus on one of Carnatic music’s most widespread musical forms: the kriti, a devotional song usually in three major sections. Kritis often employ extensive use of certain melodic/rhythmic variations called sangatis. With the use of sangatis, the kriti becomes a long, dynamic composition, often containing a climax replete with intricate motivic development. The focus of this paper is to study the way in which the sangati phrases work to provide long-range continuity and a sense of autogenetic process within a kriti composition. The analyses are based on transcriptions made by the author of recordings of the compositions “Karpagame,” by Papanasam Sivan, and of “Mokshamugaladha” by Tyagaraja. 26S. Balachander died in 1990 at the age of 63. The fact that Balachander and Narayanaswamy play the piece similarly is interesting since Balachander was an innovator while Narayanaswamy is a traditionalist. 27I am grateful to Lewis Rowell, who offered suggestions and advice for improving the rst draft of this paper. This content downloaded from 157.55.39.242 on Sat, 26 Mar 2016 07:07:35 UTC All use subject to http://about.jstor.org/terms
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