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KARNATIC RHYTHMICAL STRUCTURES as a source for new thinking in WESTERN MUSIC PhD Thesis by Rafael Reina Abstract This thesis addresses the issues of how rhythm could be taught differently in the West, how the new methodology described here could impact the performance of rhythmically complex contemporary music as well as becoming the starting point of a new creative approach for improvisers and composers. The three main goals of
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    KARNATIC RHYTHMICAL STRUCTURES as a source for new thinking in WESTERN MUSIC PhD Thesis    by   Rafael Reina   Abstract This thesis addresses the issues of how rhythm could be taught differently in the West, how the new methodology described here could impact the performance of rhythmically complex contemporary music as well as becoming the starting point of a new creative approach for improvisers and composers. The three main goals of this research are to describe South Indian (Karnatic) rhythmical concepts which could be considered sufficiently universal to be integrated with western classical and jazz aesthetics, to show how these techniques can be utilised to analyse and perform western contemporary music with more understanding and accuracy, and to demonstrate how these concepts can be integrated within a western creative framework, be it improvised or composed.  Rafael Reina PhD Thesis Instructions for listening to audio tracks   Refer to the pdf copy of PhD thesis and open tracks from the website While reading the PhD thesis, open the website which has links to all audio tracks: http://www.rafaelreina-thesis.org/index.html Choose the heading ‘Audio recording final’. Click on the relevant section of the drop down menu for audio recordings for that section. Right click on the relevant track to open it in a new browser tab or window. The track will play automatically.   Acknowledgments This thesis is the result of over twenty years of research, teaching, composing and experimenting with the material. Try to thank everyone who has somehow supported me throughout these years would be an impossible task. Therefore I would like to acknowledge those who have actively participated in one way or another to finalise this text. In the western front, firstly I would like to thank Michiel Schuijer for fighting to get me some (highly needed) financial support for these four long years, and Peter Wiegold for being a 'golden' supervisor and for his deep and constructive tips. My deepest gratitude to Jos Zwaanenburg for his immense patience, his help with many of the recordings and audio editing, resolving many doubts about Sibelius and providing a huge amount of examples of contemporary music for the analysis of pieces in Section A of Part 2 (and for advising me to watch more 'Monty Python' when things looked a bit darker in all these years! ). I want to show my deep appreciation to David de Marez Oyens for providing a lot of jazz pieces (and corresponding audio files) for the same section. Thanks to both for proof-reading the whole thesis (not an easy task!). My thankfulness to Luis Nesvara for proof-reading this text without knowing anything about karnatic music! Thanks so much to Ere Lievone for his invaluable help with many transcriptions and Sibelius as well as to Robbert van Hulzen for his transcription of the N.G. Ravi solo. My gratitude to Andys Skordis, Hans Leeuw, Dolan Jones and Louis Aguirre for writing for this project, and to all students who performed their pieces for their enthusiasm and willingness. And last but not least, to my wife Vanessa Goad for her infinite patience with my exuberant enthusiasm regarding anything karnatic and/or South Indian, her editing work improving my non-native English and for supporting me all the time, regardless the circumstances. In the Indian front, I want to thank B.C. Manjunath for his teachings, inspiration and his recordings (many of them in very uninspiring circumstances). N.G. Ravi and A.R.A.K Sharma for transmitting so much knowledge. And to so many amazing karnatic musicians and non musicians who have, directly or indirectly, helped me to learn so much about their culture: T.S. Seshagopalan, Mysore Brothers, Karaikkuddi Mani, Dr. Balamuralikrishna, Rajakeishari, Hari, Kalavathy, Jayaprakash, Bhanu and Shri Mataji Nirmala Devi just to mention a few. This thesis is dedicated to the memory of Jahnavi Jayaprakash  , my main teacher between 1993-2002, for her knowledge, for accepting me as part of her family, for willing to go the extra mile in every demand I made and for respecting what I wanted to do with karnatic music. Meeting her changed my life and the life of many others. The research that took place between 2010-2013 and the thesis has been made possible with financial support of the AHK (  Amsterdamse Hogeschool voor de Kunsten  ) and Conservatorium van Amsterdam. The cycle of compositions by Louis Aguirre has been made possible with funds provided by the Danish Statens Kunstfond   and the Danish Composers’ Society.
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