Page 221 - Communication Processes Volume 3 Communication Culture and Confrontation

196 Bel et al.

yielding the same type of accuracy on vocal and instrumental music,
the analysis of a wide corpus of north Indian classical music indicated
-
that the modelling of scales and tuning schemes (grama-sruti) was
.
more complex than expected after analysing a few typical perform-
- -
ances on the rudra vına (Bel and Bor 1985).
.
The main motivation of this work is that it prompts new questions
about the rhetoric of singing at the grindmill (Caelen-Haumont and
Bel 2000) as well as the perlocutory values and functions of melisma
in spontaneous speech (Caelen-Haumont 2002). These questions arise
from the observation of almost unnoticeable aspects of the perform-
ance, for instance, the emphasis put on certain words or phrases (‘man’s
left leg’, ‘don’t turn the broom’ and ‘doing a turn’) in which educated
listeners may grasp layers of meanings not explicitly conveyed by the
text. This is a domain of ‘hidden’ (domestic) knowledge that feeds back
new insights to informants/analysts on their own culture.

Notes

1. Original text: ‘Cette fiction s’informe à travers un propos que l’œuvre
musicale singulière destine à des auditoires en se produisant comme
figuration d’un monde possible tout en se projetant comme une “parole”,
qui se configure comme un “texte”, dont le type discursif (figuration,
narration, argumentation) est déterminé. Comme propos, comme quasi-
parole, l’œuvre est destinée à des auditoires; comme quasi-texte, elle se
configure, pour les besoins de cette “parole”; comme discours, enfin, dans
le but d’optimiser les effets de la destination, elle détermine ses propres
modes d’agencements textuels.’
2. See the chapters by Hema Rairkar, Kusum Sonavne and Tara Ubhe in this
volume.
3. The ‘grindmill songs’ corpus (ref. crdo000717) is available online at
http://crdo.fr.
4. This recording is available from the CRDO website (http://crdo.fr), indexed
UVS-28-07 and UVS-28-08 in the ‘Grindmill songs’ corpus. An in-depth
discussion of the song text was recorded on UVS-44 (same corpus).
5. Satva: theoretically, the first of the three qualities constitutive of created
beings, namely, that of excellence and goodness; according to Molesworth’s
dictionary of Marathi language (1986: 815), ‘[T]he principle to which are
referred light, truth, real being, wisdom, purity, piety, probity …, and all
the virtuous and amiable sentiments and affections in animated beings.’