The Indian Drum of the King-God and the Pakhavaj of Nathdwara

Cover
Half Title
Series Page
Title Page
Copyright Page
Dedication
Table of Contents
List of figures
List of music examples
List of audio files
List of video files
Acknowledgments
Notes on the transcriptions and transliteration
1. Introduction
	Background
	Fieldwork among
	Ancient courts: the roots of a musical tradition
	Nathdwara, a contemporary reign of the King-God and his court
	A multidimensional approach
2. A drum between courts and temples
	Music, religions, the sacred and the secular in India
	Paramparās and gharānās according to contemporary pakhāvaj players
3. The pakhāvaj in contemporary India
	The pakhāvaj
	The pakhāvaj and the pakhāvaj players in the classical music scene of contemporary India
	The pakhāvaj heritage according to its players
4. Auspicious drumming
	Auspiciousness
	Auspiciousness and its roots
	The auspicious arts in literature and other textual sources
	Rain on the lotus pond
	Gaja-Lak.mi
	The cloud-drum
	Rain of blessings
5. The drum of the King-God
	The socio-historical context of the emergence of the mṛdaṅga as major courtly drum
	The sound of the mṛdaṅga in the aestheticized life of the courts
	Śiva, the magnification of the warrior king
	The drum giving voice to death
	Viṣṇu-Kṛṣṇa, the righteous king and the bhakti cults
6. From mṛdaṅga to pakhāvaj
	The multiplication of mṛdaṅgas and the emergence of the pakhāvaj
	From mṛdaṅga to pakhāvaj and vice versa: making the deśī mārga and the mārga deśī
7. The Nathdwara gharānā: playing the pakhāvaj for Nā thjı̄
	Vallabhācarya and the Puṣṭimārg
	Śrī Nāthjī, the King-God and his worship
	The role of music and aesthetics in the cult of Puṣṭimārg
	The family of Purushottam Das
	Pandit Dalchand Sharma and my research
8. The repertoire
	The pakhāvaj: facets of its language and playing styles
	Compositional types
	Parans as structures based on geometrical figures
	Parans as prayers
	Parans, images and poetry
	A knowledgeable king of the 20th century and his parans
	The torrent and the rain
9. The solo pakhāvaj recital
	The structure of the solo recital
	Lotuses, garlands of flowers and the solo pakhāvaj
	The solo recital of the nathdwara gharānā
	Stuti paran
	Madhya lay ka prastār
	Dhenanaka bāj
	Paran
	Lay tāl torneka kata
	Chandkari
	Thapiyā ka bāj
	Relā
10. Conclusion
Bibliography
Index