Published Paper Details:

This study explores the concept of Gati Bhedam (variations in rhythmic subdivisions) in South Indian classical music, emphasizing its historical evolution, theoretical foundations, and practical applications. It outlines the significance of rhythm (Tala) as a core element of music, tracing its origins to mythological narratives and ancient treatises. The paper examines the Sapta Talas (seven primary Talas) and their structure, highlighting how different Gati (subdivisions) - Tisra, Chatusra, Khanda, Misra, and Sankeerna - expand the 35 traditional Talas into 175 variations. Clear distinctions between Gati and Nadai are established, underscoring their unique roles in maintaining rhythmic integrity while allowing artistic flexibility. Practical examples of Korvais (rhythmic patterns) in different Gatis are provided to illustrate these concepts. The study concludes by affirming the enduring relevance of Gati Bhedam in modern musical performance and its capacity to enrich the listener's experience through dynamic rhythmic diversity.