Konnakol - Revision history

UpdateBot at 14:39, 12 June 2022

2022-06-12T14:39:10Z

← Older revision		Revision as of 20:09, 12 June 2022
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	==Usage==		==Usage==
	Musicians from a variety of traditions have found konnakol useful in their practice. Prominent among these is [[John McLaughlin (musician)\|John McLaughlin]], who led the [[Mahavishnu Orchestra]] and has long used konnakol as a compositional aid.<ref>John McLaughlin and S. Ganesh Vinayakram, ''The Gateway to Rhythm''. DVD Mediastarz Monaco, 2007.</ref> [[V. Selvaganesh]], who plays alongside McLaughlin in the group [[Remember Shakti]], and [[Ranjit Barot]], who plays with McLaughlin in the group [[John McLaughlin (musician)\|4th Dimension]], are other noted konnakol virtuosos.{{fact\|date=July 2020}} Few of the prominent names performing konnakol are B K Chandramouli, Dr T K Murthy, B C Manjunath, Somashekhar Jois.		Musicians from a variety of traditions have found konnakol useful in their practice. Prominent among these is [[John McLaughlin (musician)\|John McLaughlin]], who led the [[Mahavishnu Orchestra]] and has long used konnakol as a compositional aid.<ref>John McLaughlin and S. Ganesh Vinayakram, ''The Gateway to Rhythm''. DVD Mediastarz Monaco, 2007.</ref> [[V. Selvaganesh]], who plays alongside McLaughlin in the group [[Remember Shakti]], and [[Ranjit Barot]], who plays with McLaughlin in the group [[John McLaughlin (musician)\|4th Dimension]], are other noted konnakol virtuosos.{{fact\|date=July 2020}} Few of the prominent names performing konnakol are B K Chandramouli, Dr T K Murthy, [[B C Manjunath]], Somashekhar Jois.

	Danish musician [[Henrik Andersen (musician)\|Henrik Andersen]] wrote the book ''Shortcut To Nirvana'' (2005) and the DVD ''Learn Konnakol'' (2014). Andersen was a student of [[Trilok Gurtu]] (India) and [[Pete Lockett]] (U.K.).{{fact\|date=July 2020}}		Danish musician [[Henrik Andersen (musician)\|Henrik Andersen]] wrote the book ''Shortcut To Nirvana'' (2005) and the DVD ''Learn Konnakol'' (2014). Andersen was a student of [[Trilok Gurtu]] (India) and [[Pete Lockett]] (U.K.).{{fact\|date=July 2020}}

imported>Gargaj: /* Solkattu */

2021-07-30T07:23:54Z

Solkattu

← Older revision		Revision as of 12:53, 30 July 2021
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	{{Use dmy dates\|date=July 2020}}		{{Use dmy dates\|date=July 2020}}
	{{Use Indian English\|date=July 2020}}		{{Use Indian English\|date=July 2020}}
	'''Konnakol''' (also spelled '''Konokol, Konakkol, Konnakkol''') ({{lang-ta\|கொன்னக்கோல்}} koṉṉakkōl) ({{lang-ml\|വായ്ത്താരി}}) is the art of performing percussion syllables vocally in [[South India]]n [[Carnatic music]]. Konnakol is the spoken component of '''solkattu''', which refers to a combination of konnakol syllables spoken while simultaneously counting the [[tala (music)\|tala]] (meter) with the hand.<ref>David P. Nelson, Solkattu Manual: An Introduction to the Rhythmic Language of South Indian Music, Wesleyan University Press, 2008</ref> It is comparable{{citation needed\|date=July 2012}} in some respects to '''''[[Bol (music)\|bol]]''''' in [[Hindustani music]], but allows the composition, performance or communication of rhythms. A similar concept in [[Hindustani classical music]] is called [[padhant]].<ref>{{Cite web\|url=https://books.google.com/books?id=4kf0AAAAMAAJ&q=pa6\|title=UCLA Journal of Dance Ethnology\|date=August 18, 1994\|publisher=UCLA Department of Dance\|via=Google Books}}</ref>		'''Konnakol''' (also spelled '''Konokol, Konakkol, Konnakkol''') ({{lang-ta\|கொன்னக்கோல்}} koṉṉakkōl) ({{lang-ml\|വായ്ത്താരി}}) is the art of performing percussion syllables vocally in [[South India]]n [[Carnatic music]]. Konnakol is the spoken component of '''solkattu''', which refers to a combination of konnakol syllables spoken while simultaneously counting the [[tala (music)\|tala]] (meter) with the hand.<ref>David P. Nelson, Solkattu Manual: An Introduction to the Rhythmic Language of South Indian Music, Wesleyan University Press, 2008</ref> It is comparable{{citation needed\|date=July 2012}} in some respects to '''''[[Bol (music)\|bol]]''''' in [[Hindustani music]], but allows the composition, performance or communication of rhythms. A similar concept in [[Hindustani classical music]] is called [[padhant]].<ref>{{Cite web\|url=https://books.google.com/books?id=4kf0AAAAMAAJ&q=pa6\|title=UCLA Journal of Dance Ethnology\|date=August 18, 1994\|publisher=UCLA Department of Dance\|via=Google Books\|access-date=15 September 2020\|archive-date=13 July 2021\|archive-url=https://web.archive.org/web/20210713073248/https://books.google.com/books?id=4kf0AAAAMAAJ&q=pa6\|url-status=live}}</ref>

	==Usage==		==Usage==
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	The artist improvises within a structure that interrelates with the [[raga]] being played and within the [[tala (music)\|talam]] preferred in the compositions. In [[mridangam]], [[kanjira]], or [[ghatam]], the [[percussion]] is limited to physical characteristics of their structure and construction: the resonance of skin over jackfruit wood, clay shells, or clay pots. The human voice has a direct and dramatic way of expressing the percussive aspects in music directly.<ref>{{cite web\|url=http://www.konnakol.org/?p=1 \|archive-url=https://web.archive.org/web/20170215014013/http://www.konnakol.org/?p=1 \|url-status=dead \|archive-date=2017-02-15 \|title=Konnakol-The Art of South Indian Vocal Percussion \|publisher=Konnakol.org \|date= \|accessdate=2019-09-07}}</ref>		The artist improvises within a structure that interrelates with the [[raga]] being played and within the [[tala (music)\|talam]] preferred in the compositions. In [[mridangam]], [[kanjira]], or [[ghatam]], the [[percussion]] is limited to physical characteristics of their structure and construction: the resonance of skin over jackfruit wood, clay shells, or clay pots. The human voice has a direct and dramatic way of expressing the percussive aspects in music directly.<ref>{{cite web\|url=http://www.konnakol.org/?p=1 \|archive-url=https://web.archive.org/web/20170215014013/http://www.konnakol.org/?p=1 \|url-status=dead \|archive-date=2017-02-15 \|title=Konnakol-The Art of South Indian Vocal Percussion \|publisher=Konnakol.org \|date= \|accessdate=2019-09-07}}</ref>

	Trichy Shri R Thayumanavar gave a rebirth to konnakol. His disciple Andankoil AVS Sundararajan, a vocal and miruthangam Vidwan, is a konnakol expert, as is Mridangam Vidwan Shri [[T S Nandakumar]].<ref>{{cite web\|url=https://www.youtube.com/watch?v=Mi9bgRiJz-4 \|title= Art of Konnakol- By T S Nandakumar\|date= \|accessdate=2004-09-07}}</ref>		Trichy Shri R Thayumanavar gave a rebirth to konnakol. His disciple Andankoil AVS Sundararajan, a vocal and miruthangam Vidwan, is a konnakol expert, as is Mridangam Vidwan Shri [[T S Nandakumar]].<ref>{{cite web \|url=https://www.youtube.com/watch?v=Mi9bgRiJz-4 \|title=Art of Konnakol- By T S Nandakumar \|date= \|accessdate=2004-09-07 \|archive-date=24 April 2020 \|archive-url=https://web.archive.org/web/20200424142842/https://www.youtube.com/watch?v=Mi9bgRiJz-4&gl=US&hl=en \|url-status=live }}</ref>
	<ref>{{cite web\|url=https://www.youtube.com/watch?v=izdz7Wgi4dU \|title= Art of Scat Singing- By T S Nandakumar\|date= \|accessdate=2004-09-07}}</ref>		<ref>{{cite web \|url=https://www.youtube.com/watch?v=izdz7Wgi4dU \|title=Art of Scat Singing- By T S Nandakumar \|date= \|accessdate=2004-09-07 \|archive-date=13 July 2021 \|archive-url=https://web.archive.org/web/20210713073353/https://www.youtube.com/watch?v=izdz7Wgi4dU \|url-status=live }}</ref>

	==Solkattu==		==Solkattu==
	Konnakol uses rhythmic solfege for different subdivisions of the beat called "Solkattu." Common ones are:<ref>{{Cite book\|url=https://books.google.com/books?id=KBSrCwAAQBAJ\|title = Applying Karnatic Rhythmical Techniques to Western Music\|isbn = 9781317180128\|last1 = Reina\|first1 = Rafael\|date = 3 March 2016}}</ref>		Konnakol uses rhythmic solfege for different subdivisions of the beat called "Solkattu." Common ones are:<ref>{{Cite book\|url = https://books.google.com/books?id=KBSrCwAAQBAJ\|title = Applying Karnatic Rhythmical Techniques to Western Music\|isbn = 9781317180128\|last1 = Reina\|first1 = Rafael\|date = 3 March 2016\|access-date = 15 September 2020\|archive-date = 13 July 2021\|archive-url = https://web.archive.org/web/20210713073227/https://books.google.com/books?id=KBSrCwAAQBAJ\|url-status = live}}</ref>
			* 2 subdivisions (Chatusra 1/2 Speed): Tha Ka
	2 subdivisions (Chatusra 1/2 Speed): Tha Ka		* 3 subdivisions (Tisra): Tha Ki Ta
			* 4 subdivisions (Chatusra): Tha Ka Dhi Mi
	3 subdivisions (Tisra): Tha Ki Ta		* 5 subdivisions (Khanda): Tha Dhi Gi Na Thom
			* 6 subdivisions (Tisra Double Speed): Tha Ka Dhi Mi Tha Ka
	4 subdivisions (Chatusra): Tha Ka Dhi Mi		* 7 subdivisions (Misra): Tha Ka Di Mi Tha Ki Ta
			* 8 subdivisions (Chatusra Double Speed): Tha Ka Dhi Mi Tha Ka Jho Nu
	5 subdivisions (Khanda): Tha Dhi Gi Na Thom		* 9 subdivisions (Sankirna): Tha Ka Dhi Mi Ta Dhi Gi Na Thom
			* 10 subdivisions (Khanda Double Speed): Tha Ka Tha Ki Ta Tha Dhi Gi Na Thom, or Tha Ki Ta Dhim†2 Tha Dhi Gi Na Thom
	6 subdivisions (Tisra Double Speed): Tha Ka Dhi Mi Tha Ka

	7 subdivisions (Misra): Tha Ka Di Mi Tha Ki Ta

	8 subdivisions (Chatusra Double Speed): Tha Ka Dhi Mi Tha Ka Jho Nu

	9 subdivisions (Sankirna): Tha Ka Dhi Mi Ta Dhi Gi Na Thom

	10 subdivisions (Khanda Double Speed): Tha Ka Tha Ki Ta Tha Dhi Gi Na Thom, or Tha Ki Ta Dhim†2 Tha Dhi Gi Na Thom

	†'2' suffix signifies solfege syllable is held twice as long.		†'2' suffix signifies solfege syllable is held twice as long.

43.247.156.122 at 05:20, 1 June 2021

2021-06-01T05:20:45Z

New page

{{Use dmy dates|date=July 2020}}
{{Use Indian English|date=July 2020}}
'''Konnakol''' (also spelled '''Konokol, Konakkol, Konnakkol''') ({{lang-ta|கொன்னக்கோல்}} koṉṉakkōl) ({{lang-ml|വായ്ത്താരി}}) is the art of performing percussion syllables vocally in [[South India]]n [[Carnatic music]]. Konnakol is the spoken component of '''solkattu''', which refers to a combination of konnakol syllables spoken while simultaneously counting the [[tala (music)|tala]] (meter) with the hand.<ref>David P. Nelson, Solkattu Manual: An Introduction to the Rhythmic Language of South Indian Music, Wesleyan University Press, 2008</ref> It is comparable{{citation needed|date=July 2012}} in some respects to '''''[[Bol (music)|bol]]''''' in [[Hindustani music]], but allows the composition, performance or communication of rhythms. A similar concept in [[Hindustani classical music]] is called [[padhant]].<ref>{{Cite web|url=https://books.google.com/books?id=4kf0AAAAMAAJ&q=pa6|title=UCLA Journal of Dance Ethnology|date=August 18, 1994|publisher=UCLA Department of Dance|via=Google Books}}</ref>

==Usage==
Musicians from a variety of traditions have found konnakol useful in their practice. Prominent among these is [[John McLaughlin (musician)|John McLaughlin]], who led the [[Mahavishnu Orchestra]] and has long used konnakol as a compositional aid.<ref>John McLaughlin and S. Ganesh Vinayakram, ''The Gateway to Rhythm''. DVD Mediastarz Monaco, 2007.</ref> [[V. Selvaganesh]], who plays alongside McLaughlin in the group [[Remember Shakti]], and [[Ranjit Barot]], who plays with McLaughlin in the group [[John McLaughlin (musician)|4th Dimension]], are other noted konnakol virtuosos.{{fact|date=July 2020}} Few of the prominent names performing konnakol are B K Chandramouli, Dr T K Murthy, B C Manjunath, Somashekhar Jois.

Danish musician [[Henrik Andersen (musician)|Henrik Andersen]] wrote the book ''Shortcut To Nirvana'' (2005) and the DVD ''Learn Konnakol'' (2014). Andersen was a student of [[Trilok Gurtu]] (India) and [[Pete Lockett]] (U.K.).{{fact|date=July 2020}}

Subash Chandran's disciple Dr Joel, who teaches konnakol in the U.K., is noted for incorporating it into rock and Western classical music, notably in a concerto commissioned in 2007 by the viola soloist [[Rivka Golani]]. The trio J G Laya (Chandran, Sri [[Thetakudi Harihara Vinayakram]], and Dr Joel) showcased the konnakol of Chandran and helped the previously fading art form return to prominence in the 1980s. Chandran released an instructional DVD on konnakol in 2007. McLaughlin and Selvaganesh also released an instructional DVD on konnakol in 2007.{{fact|date=July 2020}}

[[Jazz]] saxophonist, konnakol artist, and composer [[Arun Luthra]] incorporates konnakol and [[Carnatic music]] rhythms (as well as [[Hindustani classical music]] rhythms) in his work. More recently, drummer [[Steve Smith (musician) | Steve Smith]] has also incorporated Konnakol in his performances with Vital Information and his clinics.{{fact|date=July 2020}}

Konnakol should not be confused with the practice in [[Hindustani music]] (the classical music of northern India) of speaking [[tabla]] "[[Bol (music)|bol]]s", which indicate the finger placement to be used by a percussionist. By contrast, konnakol syllables are aimed at optimising vocal performance, and vastly outnumber any commonly used finger placements on [[mridangam]] or any other hand percussion instrument. Further, all the differences between Carnatic and north Indian rhythms apply equally to konnakol and tabla bols.{{fact|date=July 2020}}

The artist improvises within a structure that interrelates with the [[raga]] being played and within the [[tala (music)|talam]] preferred in the compositions. In [[mridangam]], [[kanjira]], or [[ghatam]], the [[percussion]] is limited to physical characteristics of their structure and construction: the resonance of skin over jackfruit wood, clay shells, or clay pots. The human voice has a direct and dramatic way of expressing the percussive aspects in music directly.<ref>{{cite web|url=http://www.konnakol.org/?p=1 |archive-url=https://web.archive.org/web/20170215014013/http://www.konnakol.org/?p=1 |url-status=dead |archive-date=2017-02-15 |title=Konnakol-The Art of South Indian Vocal Percussion |publisher=Konnakol.org |date= |accessdate=2019-09-07}}</ref>

Trichy Shri R Thayumanavar gave a rebirth to konnakol. His disciple Andankoil AVS Sundararajan, a vocal and miruthangam Vidwan, is a konnakol expert, as is Mridangam Vidwan Shri [[T S Nandakumar]].<ref>{{cite web|url=https://www.youtube.com/watch?v=Mi9bgRiJz-4 |title= Art of Konnakol- By T S Nandakumar|date= |accessdate=2004-09-07}}</ref>
<ref>{{cite web|url=https://www.youtube.com/watch?v=izdz7Wgi4dU |title= Art of Scat Singing- By T S Nandakumar|date= |accessdate=2004-09-07}}</ref>

==Solkattu==
Konnakol uses rhythmic solfege for different subdivisions of the beat called "Solkattu." Common ones are:<ref>{{Cite book|url=https://books.google.com/books?id=KBSrCwAAQBAJ|title = Applying Karnatic Rhythmical Techniques to Western Music|isbn = 9781317180128|last1 = Reina|first1 = Rafael|date = 3 March 2016}}</ref>

2 subdivisions (Chatusra 1/2 Speed): Tha Ka

3 subdivisions (Tisra): Tha Ki Ta

4 subdivisions (Chatusra): Tha Ka Dhi Mi

5 subdivisions (Khanda): Tha Dhi Gi Na Thom

6 subdivisions (Tisra Double Speed): Tha Ka Dhi Mi Tha Ka

7 subdivisions (Misra): Tha Ka Di Mi Tha Ki Ta

8 subdivisions (Chatusra Double Speed): Tha Ka Dhi Mi Tha Ka Jho Nu

9 subdivisions (Sankirna): Tha Ka Dhi Mi Ta Dhi Gi Na Thom

10 subdivisions (Khanda Double Speed): Tha Ka Tha Ki Ta Tha Dhi Gi Na Thom, or Tha Ki Ta Dhim†2 Tha Dhi Gi Na Thom

†'2' suffix signifies solfege syllable is held twice as long.

==See also==
*[[Kuchi shōga]]
*[[Bol (music)|Bol]]
*[[Counting (music)]]

==References==
{{Reflist}}

[[Category:Carnatic music]]