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

Contents

• Chapter One. Introduction
• 1.1 Background
• 1.2 Fieldwork among pakhavajis
• 1.3 Ancient courts: the roots of a musical tradition
• 1.4 Nathdwara, a contemporary reign of the King-God and his court
• 1.5 A multidimensional approach
• Chapter Two. A drum between courts and temples
• 2.1 Music, religions, the sacred and the secular in India
• 2.2 Paramparas and gharanas according to contemporary pakhavaj players
• Chapter Three. The pakhavaj in contemporary India and its religious and mythological heritage according to pakhavaj players
• 3.1 The pakhavaj
• 3.2 The pakhavaj and the pakhavaj players in the classical music scene of contemporary India
• 3.3 The pakhavaj heritage according to its players
• Chapter Four. Auspicious Drumming
• 4.1 Auspiciousness
• 4.2 Auspiciousness and its roots
• 4.3 The auspicious arts in literature and other textual sources
• 4.4 Rain on the lotus pond
• 4.5 Gaja-Laksmi
• 4.6 The cloud-drum
• 4.7 Rain of blessings
• Chapter Five. The drum of the King-God: from mrdanga to pakhavaj
• 5.1 The socio-historical context of the emergence of the mrdanga as major courtly drum
• 5.2 The sound of the mrdanga in the aestheticised life of the courts
• 5.3 Siva, the magnification of the warrior king
• 5.4 The drum giving voice to death
• 5.5 Visnu- Krsna, the righteous king and the bhakti cults
• Chapter Six. From mrdanga to pakhavaj
• 6.1 The multiplication of mrdangas and the emergence of the pakhavaj
• 6.2 From mrdanga to pakhavaj and vice versa: making the desi marga and the marga desi
• Chapter Seven. The Nathdwara gharana: playing the pakhavaj for Nathji
• 7.1 Vallabhacarya and the Pustimarg
• 7.2 Sri Nathji, the King-God, and his worship
• 7.3 The role of music and aesthetics in the cult of Pustimarg
• 7.4 The family of Purushottam Das
• 7.5 Pandit Dalchand Sharma and my research
• Chapter Eight. The repertoire
• 8.1 The pakhavaj: facets of its language and playing styles
• 8.2 Compositional types
• 8.3 Parans as structures based on geometrical figures
• 8.4 Parans as prayers
• 8.5 Parans, images and poetry
• 8.6 A knowledgeable king of the 20th century and his parans
• 8.7 The torrent and the rain
• Chapter Nine. The solo pakhavaj recital
• 9.1 The structure of the solo recital
• 9.2 Lotuses, garlands of flowers and the solo pakhavaj
• 9.3 The solo recital of the Nathdwara gharana
• 9.4 Stuti paran
• 9.5 Madhya lay ka prastar
• 9.6 Dhenanaka baj
• 9.7 Paran
• 9.8 Lay tal torneka kata
• 9.9 Chandkari
• 9.10 Thapiya ka baj
• 9.11 Rela
• Conclusion
• Glossary
• Bibliography
• Solo Pakhavaj Recordings