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| Foreword | |
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| Preface | |
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| CD Track List | |
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| Song in South India | |
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| Bhajan (Devotional Song) | |
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| Songs and Singing | |
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| Meaning of the Text: Devotion, Love, and Praise | |
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| Celebrating Tyagaraja in the United States and in South India | |
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| Languages of the Region | |
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| Kriti | |
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| Evolution of Kriti | |
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| Text and Context--a Continuum of Performance from Devotion to Virtuosity | |
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| Music, Language, and Politics | |
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| The Tamil Music Movement | |
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| Muttuttandavar (Seventeenth Century) | |
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| The Text of "I Trusted You/Unnai Nambinen" (CD track 3) | |
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| The Musical Setting of "I Trusted You/Unnai Nambinen" (CD track 3) | |
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| The Group's Progress Through the Kriti | |
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| The Ensemble | |
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| The Instruments | |
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| Violin (Chordophone) | |
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| Mridangam (Membranophone) | |
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| Tambura (Chordophone) and Its Sruti, Drone, Function | |
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| Summary | |
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| Key Concepts in Karnatak Music | |
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| Tala: Meter and Rhythm in Karnatak Music | |
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| The Five "Families" of Rhythm and Drummers' Thinking | |
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| Hand Gestures and Vocalized Syllable Sequences for Commonly Used Talas | |
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| Tala Exercises in Three Speeds | |
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| Raga: Melody in Karnatak Music | |
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| Scale | |
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| Note (Svara) and Solfege Syllable Names | |
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| Kiravani and Kapi Ragas: Raga as a "Vast Ocean" | |
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| Ornamentation (Gamaka) | |
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| Phrase (Sancara or Prayoga) | |
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| Phrases in Kiravani and Kapi Ragas | |
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| Functional Notes--Svaras Holding Particular Functions | |
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| Integrated Melodic-Rhythmic Training | |
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| Summary | |
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| The Karnatak Concert Today | |
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| Presentation and Discussion of the "Main Piece" of a Concert | |
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| The Setting | |
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| Tuning Up | |
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| Beginning | |
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| Kriti as an Orally Transmitted Composed Case of a Performance | |
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| Brief Guide to the Performance | |
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| Composition and Improvisation: Fixity and Fluidity | |
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| Kiravani Raga Alapana | |
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| Aesthetics and Dynamics of Accompaniment | |
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| Kriti: The Core Component | |
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| The Pallavi | |
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| The Anupallavi and Pallavi reprise | |
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| The Caranam and Pallavi Reprise | |
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| Niraval | |
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| Svara Kalpana | |
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| Different Ways to Improvise: A Comparison of Niraval and Svara Kalpana | |
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| Tani Avarttanam--Drum Solo | |
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| Summary | |
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| Contextualizing South Indian Performance, Socially and Historically | |
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| Women and Music: The Devadasi and Her Community | |
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| Women's Public Performance Circa 1900 | |
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| Loss and Recovery of a Woman's Work | |
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| "Now We Women Have a Platform to Commence Singing"--Bangalore Nagarathnammal and the Tyagaraja Festival | |
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| Bangalore Nagarathnammal as a Performer | |
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| Sringara Bhakti: Being in Love with God | |
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| Listening through the Static: The Rise of Audio Recording | |
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| Men and Music: From Temple and Court to Public and State Patronage | |
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| Men's Performance in Precolonial South India | |
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| The Hereditary Male Temple Service Musician | |
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| The "Emperor of Nagasvaram": T. N. Rajarattinam Pillai | |
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| "The Audience Would Not Be Satisfied If He Did Not Play This Raga" | |
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| Alapana in Todi Raga | |
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| A New World of Performance: Concert Halls, Media, and Audiences in the Urban Environment | |
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| The Development of Radio | |
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| The Recording Industry: Commodification and Resistance | |
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| "The Effect of the Performance Should Be Such As to Keep the Listeners Spell-Bound" | |
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| Men Scripting and Singing Women's Inner Feelings | |
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| A Hereditary Music Family | |
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| A Dual Musical Enculturation and Education | |
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| "I Am Going to Snub These Male Chauvinists" | |
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| Music and Gender Today | |
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| Summary: An Ancient and Modern Tradition of Musical-Social Behavior | |
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| Regional and Modern Traditions: Contemporary Music Making in South India and Beyond | |
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| Music in Kerala | |
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| Idakka, a Pressure Drum from Kerala | |
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| Kathakali Dance Drama | |
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| Character Types, Costume, and Makeup | |
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| Changes in the Twentieth Century | |
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| The Kathakali Music Ensemble | |
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| Kathakali Songs: Slokam and Padam | |
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| Performance of Padam from Nala Caritam | |
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| Music of the Cinema in South India | |
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| The "Company Drama" and the Silent Cinema | |
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| Early Sound Films: The "Mythological" | |
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| The "Social" | |
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| The Playback Singer | |
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| The Cinema and Karnatak Music: A Parting of Ways | |
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| "When I Say Come/Ba Ennalu" | |
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| Cross-Cultural Composition and Collaboration | |
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| "Can There Be Release/Moksamu Galada?" | |
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| Tatva, a Regional Performance Tradition in Karnataka State | |
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| The Deccan Plateau: Meeting of North and South India | |
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| The Kannada Tatva Composer Sharif Saheb | |
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| Hindu-Muslim Relations in Karnataka State | |
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| Katha Performers of the Kinnari Jogi Community | |
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| "Why Do You Worry/Yake Cinti?" | |
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| A Circle Completed | |
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| Summary | |
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| Glossary | |
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| Resources | |
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| Index | |