Chapter 13Other Classical Genres

Global Perspectives:

Musical Form

Key Terms

Hindustani stream

Karnatak (Carnatic) stream

Improvisation

Rag

Alap

Gat

Sitar

Sarod

Tambura

Tabla

Global Perspectives 3

Musical FormAre elaborate musical forms the natural result of an emphasis on instrumental genres?

• Are statement, repetition, contrast, & variation universal building blocks?

• What simple processes are used in non-Western musical forms?

India

Roots of Indian classical music are 2000 years old

• Derived from chanting of the Vedas

In the 13th century two traditions emerged• Hindustani music of Muslim & Hindu

practitioners in north India• Carnatic music from the mainly Hindu south

Both streams share many features• Improvisation & rag most important

Indian Classical Music

Centuries old with distinctive genres & practices

Relies on professional, trained musicians

Formal performances with clear separation between audience & performers

High level of difficulty

Rigorous training system

System of music notation

Melody: The Rag (1)

Hundreds of rags are availableRag similar to a scale, but much more!

• A comprehensive set of guidelines for producing a melody

Each rag specifies notes of a scale, and—• Hierarchy of more & less important notes• Melodic gestures associated with those notes• Ways of ascending & descending the scale• Customary patterns of ornamentation• Snatches of melody used for improvisation

Melody: The Rag (2)

Rags carry broader implications as well—• Each expresses particular emotional states• Each is associated with a specific time of day

or a specific season of the year

Indian musicians study for years• To master the subtleties of technique• To learn the “character” of rags

The best musicians master dozens of rags• They can improvise complex, beautiful,

appropriate melodies in any one of them

Melody: The Rag (3)

In principle, Indian classical music is monophonic, but…

• Ever-present drone strings accompany melody• At times the melody is played simultaneously

by two instruments, resulting in heterophony• There is a complex interaction between melody

& drummer

A Hindustani Ensemble

Typical north Indian ensemble includes—An instrument to play the main melody

• Often a sitar, a long-necked “lute” with buzzing, resonant strings

Often a second melody instrument• Here a sarod, another long-necked “lute”

sounding lower, more guitar-like

The tambura – a drone instrument

Tabla – two small, hand-beaten drums

A Performance of Rag Mauj-Khammaj (1)

Musicians start from a tune (pakar)• Some rag tunes are free• Rag Mauj-Khammaj has a fixed melody

Around the tune, musicians spin out a long performance in several movements

• Movements differ in style and tempo• Though improvised, movements develop

according to specific expectations

A performance can last a full hour

A Performance of Rag Mauj-Khammaj (2)

Skilled performers are expected to—• Adhere to characteristic features of the

particular rag being performed• Elaborate the rag in virtuoso fashion• Present each movement in a gradual & skillful

manner

Listen performance features two world-renowned musicians

• Ravi Shankar on sitar• Ali Akbar Khan on sarod

Rag Mauj-Khammaj (1)

Alap – 1st movement of a rag performance• A free, dreamy exploration of the rag’s melodic

gestures – the expressive heart of a rag• No clear meter & no drums• Gradual rhythmic quickening, but still no meter

Gat – a contrasting 2nd movement• Faster tempo, clear meter• Presents fixed melody & variations on it• Drums mark the beat & add elaborate rhythmic

counterpoint to melody

Rag Mauj-Khammaj (2)

Excerpt 1• Starts with the alap• Quasi-imitative interplay between sitar & sarod• Gradually quickening, but with no clear meter• Ends with beginning of first gat• Gat begins with sitar playing metrical melody

The basic tune of Mauj-Khammaj

• Sarod & tabla player quickly join in• Free improvised variations on the tune follow

Rag Mauj-Khammaj (3)

Excerpt 2• Begins near the end of the 1st gat• Tempo quickens as 2nd gat begins• 2nd gat starts with faster version of the basic

tune (the same one that began the 1st gat)• Improvisations especially dazzling & virtuosic

at quick tempo –like a development• Often intoxicating interplay between sitar,

sarod, & tabla• Tempo continues to accelerate through 2nd gat