Music Thesis Presentation

8/13/2019 Music Thesis Presentation

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Music Thesis PresentationSTUDENT NAME : M.S.GANESH VISWANATHAN

STUDENT ID No. : 20040BATCH NUMBER : AE- 59

MUSICAL GENRES TO BE FEATURED IN DETAIL :SOUTH INDIAN CLASSICAL MUSIC(CARNATIC MUSIC)

&NORTH INDIAN CLASSICAL MUSIC

(HINDHUSTHANI MUSIC)


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TH E ART OF M USI C

An insight into the rudiments Governing all genr es of M usic Music is the manifestation of Culture and humanness already in

man An art form reveals the innate beauty of its exponent, namely theartiste . An artiste is one who not only creates, relishes andrealizes the beauty of his creations but one who shares theinnate beauty of his creations and experiences with the

Connoisseurs of the art form. The basic factor which governs anyform of music is the Sound factor. One would be able todistinguish between what type of sound is pleasing to his earsand what type of sound is capable of creating trouble within hisear drums. Though man is endowed with the power of reasoningto distinguish between music and noise it is only a musician whois capable of producing sounds in the perfect order and create aprofound impact on his listeners that they are listening tomusical sounds which are delivered in the right proportion. A nyform of music is capable of instigating and infusing culture withinMan and Man becomes a cultured individual on account of theprofound impact created by the various forms of music.


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SOUTH INDIAN CLASSICAL MUSICAn Introduction

Music is the brightest gem adorning the crown of Indian Culture.

In the History of World Music, India was the first country to evolve a SOLFA SYSTEM . The Indian Solfa letters , sa ri ga ma pa dha niare mentioned in such an early work as the NARADAPARIVRAJAKA UPANISHAD .

They were familiar even in early times with the CYCLES OF FIFTHS AND FOURTHS ( SAMVADA DVAYA) , which is the derivation ofmusical scales by the process of MODAL SHIFT OF TONIC andthe intervals which constituted concords and dischords . Theclassification of musical instruments into TATA , SUSHIRA,

AVANADDHA , GHANA (Chordophones , aerophones ,membranophones and autophones ) mentioned in Bharata s NATYA SASTRA has been accepted as the most scientific systemof classification .

Indian Music has had a continuous development from early times.Whenever a conflict arose between LAKSHANA ( Science ) andLAKSHYA (Practice) , the former was altered or was interpretedin such a manner as to conform to the latter.


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Historical Landmarks Created by TheDevelopment of Indian Music

The Classification of Musical Instruments found in theNatyashastra ghana (solid) , avanaddha (covered vessels) or drums sushira (hollow) or wind instruments tata (stretched) or stringed

The Hornbostel and Sachs system of Musical InstrumentClassification 1. Idiophones 2. Aerophones 3. Chordophones 4. Membranophones


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Divine Interpretations onTheDevelopment of South Indian Music

Indian music has fundamentally been a spiritual aid & the vehicle forthe soul to realise & attain the Universal Soul ( Paramatman). Itlay stress on melody, harmony being secondary though vital

Satyajatam, Vaamanam, Tatpurusham, Eesanam & Aghoram whichare the five faces of Lord Siva, from which the musical notes

emanated & passed on to Posterity. Siva taught Parvati, the primeSishya & it was successively passed on to Tumburu, Narada,Nandikeswara & Saraswati.

Initial instruments were :Damaru of Siva, Flute of Krishna, Conch of Vishnu, Drum of Nandi,

Veena of Saraswati & Narada, Thambur of Thumburu. Lord Buddhareinvigorated his teachings & message with music on hisParivadini veena, made of gold, having 21 strings.

Sama Veda is well-known as musically rendered. Rig Veda too isreputed to have been chanted once musically. Thevaram by Appar,Sundarar & Sambandar and Divya Prabandam by Vaishnavite

Azhwars came up during 7-9th centuries .


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Saptha SwarasSWARADEVATHA- SHADJAM(Sa)

SHADJA : Body plump, lotus like complexion,four faces, eight hands, white attire, kumkumin forehead, has sword, sits on swan, gandarvawife, lives in Sambo island, Agni saw this

devata first.

SWARADEVATHA RISHABAM (Ri)

RISHABA : Slim body,green colour, threefaces, six hands, peethambara dress. Bluestone necklace, agaru in forehead. Kundam inhis hand. Sits on lion, kinnara wife, lives in

Saha island. Brahma saw this devatha first.


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Saptha SwarasSWARADEVATHAGANDHARAM(Ga)

GHANDARA : Fat body, goldencomplexion, two faces, four hands, redattire, diamond necklace, agaru in forehead,Dandam in hand, Ghanda Berunda bird asvehicle, Yaksha wife. Lives in Kusa island.

Moon saw this devatha first.

SWARADEVATHA

MADHYAMAM

(Ma)

MADHYAMA : Tall with four faces,eight hands, blue attire, lapislazule(vaidooryam) necklace, patharason forehead, holds chakra, sits on deer,

Kimpuru wife, lives in Kroucha island.Vishnu saw him first.


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Saptha Swaras

SWARADEVATHAPANCHAMAM (Pa)

PANCHAMA : Well proportionedbody. Complexion black, four faces,eight hands, red clothes, emaraldnecklace, Gorojanam on forhead, pindiin his hand, Naga wife, lives in Salmaliisland. Narada saw him first.

SWARADEVATHA DEIVATHAM (Dha)

DAIVATHA : Tall, blue body, three faces,six hands, pictured cloth worn by him,Gomethagam(sardonyx) necklace, sandalon forehead, holding narasam, sits onparrot, Deva wife, lives in Swetha island.

Thumburu saw him first.


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Saptha Swaras

SWARADEVATHA -NISHADHAM(Ni)

NISHADA : Very fat, five colouredcomplxion, two faces, four hands, blueattire, pushparaga(topaz) necklace,kadamba powder on his forehead,holding ankusam, sits on Mynakam,Rakshasa wife, lives in Pushkara island.

Thumburu saw this devatha too.


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Seven Swaras have twelveswara divisions:

Carnatic System Syllable Hindustani System Western

Shadja SA Shadj C

Suddha Ri R1 Komal Rishab D Flat Db

Chatusruti Ri R2 Thivra Rishab D

Sadarana GA G1 Komal GA E Flat Eb Antara GA G2 Thivra GA E

Suddha MA M1 Komal MA F

Prati MA M2 Thivra MA F Sharp

Panchama PA Pancham G

Suddha Da D1 Komal Da A Flat

Chatusruti Da D2 Thivra Da A

Kaisiki NI N1 Komal NI B Flat Bb

KakaliNI N2 Thivra NI B


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Sapta Swaras & SthanasSA & PA are constant. Others have two levels(sthanas). Thus there exist twelve swara sthanas. Four more

having shades of other swaras - Suddha Gandharam, Shatsruti Rishaba, Suddha Nishada & ShatsrutiDhaivata - make up a total of sixteen. 72 Sampoorna Ragas having all seven swaras both in ascending(arohana) & descending (avarohana) emerge as Mela ragas. Each mela has al the seven swaras butdrafts varying swarasthana formulations.

Each mela raga applied to permutations & combinations of swara sthanas gives scope to 484 janya(sub) ragas. 72 mela ragas have thus a potential to give the colossal 34776 janya ragas. Of course, thisis only an arithmetical projection & not a melodic feasibility. Of 72 melas, the first 36 have M1 & thesecond 36 have M2.

Sage Bharata defines 'Music' as the confluence or combination of Swara, Tala, & Pada - all inharmonious blend. Sage Matanga defines 'Raga' as a combination of musical notes that gives delight.a melody arrangement to project a definite mood, emotion or feeling.

Brahma was the origin of music inspired by Sama Veda. From one note, music progressed to three, thenfive & crystallized in seven notes, the Sapta Swaras. Sapta Swaras are Shadja, Rishaba, Gandhara,Madyama, Panchama, Daivata & Nishada. Swara is a musical note

Swaras are reputed to have been inspired by sounds of birds & animals such as :Shadja PeacockRishaba OxGandhara GoatMadyama --Krouncha birdPanchama CuckooDaivata HorseNishada --Elephant


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Musical Scales & InstrumentsMUSICAL SCALES IN INDIAN MUSIC

The scale of SAMAGANA is the earliest scale of India. This scale was preceded by simpler andprimitive scales. There were the Archika (Scale of one note), Gathika ( Scale of two notes) andSamika ( Scale of three Notes) , scales used in very early times. The indication of Ekasvari Gayana or

Archika Gayana simply meant that the concerned passages was substantially sung to one note ;similarly the indications for Gathino gayanti and Samino Gayanti. The Rig Veda was recited to thethree notes : udatta , anuduttaand svarita corrsesponding to ri , ni, sa of frequencies 10/9 8/9 and1 respectively, the Nishada being a note belonging to the lower octave. The stringed instruments ofthe Lute ( Vina) type and the Harp type have been in existence from vedic times. The Rigvedic lutehad only two frets. Guts were tied on to the finger-Board round the DAndi or indicate thesvarasthanas a practice which continues in th cae of Svarabaht. The open string gave the noteanudatta ( Ni / Nishada ) the first fret, the Svarita ( Sa/ Shadja) and the second fret udatta

(Rishaba) . This scale of three notes developed into a quadratonic scale by the addition of ga(32/27) , a semitone above ri. With the addition of Dhaivatha (5/6) below , the pentatonic scale g rs n d developed ; still later into a heptatonic scale with the addition of ma (4/3) and pa (3/4) below.The scale of Sama Gana was a downward scale and m g r s and s n d p were perfectly balanced andsymmetrically tetrachords , the extreme notes of each tetrachord bering the ratio 3:4.

When S n D p was sung an octave higher , the idea of an ocatve was percieved . The Sama Saptakagave birth to Shadja Grama , the primordial scale of Indian Music. The beauty of the scale of sagrama lies in the fact that it uses within it all the important and known music intervals. There wasthe Chathussruti interval (9/8) between ma and pa; Tissruti Interval 10/9 between Sa & Ri and paand Dha ; and dvisruti interval 16/15 between ri and ga and dha and ni. The Indian music scale withseven notesof defined pitch was fixed more than 3000 years ago as is evidenced by TheRikpratisakhya . Three octaves were recognized even in the distant past . It was also noticed thatthe notes in the second and third ocatves were twice in pitch compared to the frequencies of thenotes of the preceding ocatves. The notes of Sama Gana were styled the suddha svaras and theother notes which received recognitin from time to tim as Vikrata Svaras. When the note given bythe opening string of the Vina was taken as Shadja and the remaning notes of the suddha svaraSaptaka were played in ascending order of pitch the Sankharabharana scale was produced , and itsvery appropriate that this murchhana was called Ranjani.


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Musical Scales & InstrumentsMusical Instruments have played a great part in the part in the development of music of

both the orient and occident. The keyboard instrument helped to formulate theprinciples and science of Harmony in Europe. The fretted Vina served as an acousticmeter and helped to show the subtle nature and the character of the Gamakas andtheir modus perandi. It helped to analyse and study the harmonics and musicalphenomena generally . The modern Vina with 24 frets ( 12 for each octave) pavedthe way for the development of the now famous scheme of 72 Melakarthas.

Initial instruments were :Damaru of Siva, Flute of Krishna, Conch of Vishnu, Drum of Nandi, Veena of Saraswati& Narada, Thambur of Thumburu. Lord Buddha reinvigorated his teachings &message with music on his Parivadini veena, made of gold, having 21 strings.Sama Veda is well-known as musically rendered. Rig Veda too is reputed to havebeen chanted once musically. Thevaram by Appar, Sundarar & Sambandar and DivyaPrabandam by Vaishnavite Azhwars came up during 7-9th centuries.

The scheme of 72 Melakartas which we owe to Venkatamakhi is one of the proudheritages of Humanity. It is of interest to musicians and music scholarsall over the

world based at it is on the universally known 12 notes of the gamut. This schemeisone of the gifts of India to worlds musical thought and science. Venkatamakhi couldas well have stopped with the 32 Logical and non vivadi melas instead of goingfurther into it which resulted in the scheme of 72 Melakartas comprisng of 40 Vivadimelas as well. Here its again the modal shift of tonic that enabled him to get aglimpse at some of the Vivadi Melas. This eventually led him to the formulation of 72Melakartas or Heptatonic scales with perfect fifths.


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The Scheme of 72 MelakartasMELAKARTHA RAGAS -:

Melakarta is a collection of fundamental ragas (musical scales) in Carnaticmusic (South Indian classical music). Melakarta ragas are parent ragas(hence known as janaka ragas) from which other ragas may be generated.

REQUISITES FOR A MELAKARTHA RAGARagas must contain the following characteristics to be consideredMelakarta.They are sampoorna ragas - they contain all seven swaras (notes) of theoctave in both ascending and descending scaleThey are krama sampoorna ragas - that is the sequence is strictly ascendingand descending in the scales, without any jumps or zig-zag notesThe upper shadjam is included in the raga scale (ragas like Punnagavaraliand Chenchurutti are not melakarta as they end with nishadham)The ascending and descending scales must have the same notes Melakarta scaleEach melakarta raga has a different scale. This scheme envisages the lowerSa (Keezh Shadjamam), upper Sa (Mael Shadjamam) and Pa (Panchamam)as fixed swaras, with the Ma (Madhyamam) having two variants and theremaining swaras Ri (Rishabam), Ga (Gandhaaram), Dha (Dhaivatham) andNi (Nishaadham) as having three variants each. This leads to 72 seven-notecombinations (scales) referred to as the Melakarta ragas as follows.


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The Scheme of 72 MelakartasThere are twelve semitones of the octave S, R1, R2=G1, R3=G2, G3, M1,M2, P, D1, D2=N1, D3=N2, N3. A melakarta raga must necessarily have Sand P, one of the M's, one each of the R's and G's, and one each of the D'sand N's. Also, R must necessarily precede G and D must precede N (kramasampoorna raga). This gives 2 6 6 = 72 ragas. Finding melakarta ragasis a mathematical process. By following a simple set of rules we can findthe corresponding raga and the scale associated with it.

A raga which has a subset of swaras from a Melakarta raga is said to be a janya (means born or derived from) of that Melakarta raga. Every raga is

the janya of a melakarta raga. Janya ragas whose notes are found in morethan one melakarta raga are assigned (or associated) parent Melakartabased on subjective notions of similarity. This is obvious for ragas thathave less than seven notes. For such ragas it can be associated with aMelakarta which has any of the different swaras in that position. Forexample, Hindolam has Rishabam and Panchamam missing. Hence, itcould be considered a janya of Todi (also known as Hanumatodi) whichhas shuddha rishabam or with Natabhairavi which has a chathusruthirishabam. It is popularly associated with Natabhairavi.Chakras Melakarta RagasThe 72 melakarta ragas are split into 12 groups called chakras, eachcontaining 6 ragas. The ragas within the chakra differ only in thedhaivatham and nishadham notes (D and N). The name of each of the 12chakras suggest their ordinal number as well.


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Chakras Melakarta Ragas


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Types Of Chakras Melakarta Ragas


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Indu Chakra Melakarta Ragas


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Netra Chakra Melakarta Ragas


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Agni Chakra Melakarta Ragas


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Veda Chakra Melakarta Ragas


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Bana Chakra Melakarta Ragas


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Risi Chakra Melakarta Ragas


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Vasu Chakra Melakarta Ragas


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Brahma Chakra Melakarta Ragas


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Disi Chakra Melakarta Ragas


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Rudra Chakra Melakarta Ragas


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Aditya Chakra Melakarta Ragas


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Sample Audio Clips of a fewMelakarta Ragas

Source : S RajamsCarnatic MusicTreasures for the Lay

and the Learned

Raga Kanakangi

Raga Ratnangi

Raga Ganamurthi

Raga Vanaspathi

Raga Tanarupi

Raga Senavathi

Raga Hanumatodi


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Musical Forms of South Indian Classical Music 1. KRITI -: The Kriti is the most highly evolved amongst art musical forms. It is a

development from the Kirtana. The Kirtana had its birth about the latter half of thefourteenth century . The Tallapakkam compsers ( 1400-1500) were the first tocompose Kirtanas with the divisions : Pallavi , Anupallavi and Charana. Where inKirtanas , the sahithya is of primary importance and the music merely serves as avehicle to sing the devotional Sahithya , in the kriti it was the other way round. TheSahithya in the Kriti merely helps the beautiful music . In the Kriti the delineation ofthe raga in all its bright colours is the primary concern of the composer.

Saint Thyagaraja is the first composer to introduce sangatis ( musicalimprovisations) in his kritis with the object of -:

Presenting the various visages of the Raga

With the idea of emphasising the latent ideas enshrined in the Sahithya

Chitta Svaras ( Fixed Compositional Notes which are played along with the Kriti)were added by Ramaswamy Dikshitar and Kavi Matrubbaya ( 18th Century)

Svara Sahithyas were introduces by Tyagaraja in his Ghanaraga Pancharatna Krithisand also by Syama Sastri. Kritis with Vilomakrama Svara Sahithyas were firstcomposed by Ramaswamy Dikshitar.

Kritis with Samashti Charanas were first composed by Muthuswamy Dikshitar andthese compositions remind one of the earlier Ugabogas ( Musical Preludes sung inthe Kriti ).

Manipravala Kriti -: Manipravala Sahithyas have existed from early times. Slokaswith the first half in Sanskrit and the second half in Telugu have been written .

Verses in Manipravalam , in Sanskrit and Malayalam exist. Muthuswamy Dikshitarwas the first to compose a Manipravala Kriti. His Venkatachalapate (Kaapi Raga)in Sanskrit , Telugu and Tamil is a classical example of a Manipravala Kriti.


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Musical Forms of South Indian Classical MusicRagamalika -: The form Ragamalika has a colourful history . It was known as Raga

Kadambakam in medieval music. Decorative patterns in their highly artistic patternsin their highly artistic forms are seen in this jewelled type of composition.

VARNA -: This particular musical form is meant to be played or sung as the opening pieceof a concert . There are two types in this musical form , namely TANA VARNAS &

PADA VARNAS . The Tana Varnas are earlier than Pada Varnas. The First regular tana Varna to be composed was the Viriboni varna in Bhairavi Raga. The Author of this Varna , Pachchimiriyam Adiyappiah is rightly called the TANA VARNA MARGADARSI.

PADAM -: During the medieval period , the word padam was freely used to denote anydevotional song. It is in this sense that the Kannada Padas of Purandara dasar and

others are spoken of. Later on the term Padamcame to be used to denote acomposition of Madhura Bhakti. Kshetrayya ( 17th Century ) is the architect of thisform and it reached perfection in his hands. He is rightly called the father of ModernPadam. On account of its beautiful lyrics, these compositions are invariably sung inconcerts of music. The implied Bhavas underlying the Sahithyas of Padas make themideal pieces for Abhinaya in dance concerts.

JAVALI -: This form had its birth in the nineteenth century. It is a lighter type ofcomposition. There is neither the classical dignity about its music nor its sahithya of a

superior order. There are JAVALIs in Telugu and Kannada. To lend attraction to thetune, sometimes liberties are taken within the grammar of the raga.

TILLANA -: Tillana is a brisk and lively form. It is sung usually in the last phase of theconcert. It is very prominent in the concerts of dance. This form had its origin in the18th Century. Virabhadrayya is one of the earliest to compose Tillanas. Although jatishave figured in the earlier compositions like the Prabhandas , yet a compositionconsisting of fine sequences of Jatis along with sahithya and solfa passages had itsbirth only in the 18th Century.


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Musical Forms of South Indian Classical Music

SVARAJATI -: This form had its birth in the 18th Century. The earliestcomposition is the Svarajati in Huseni Raga Emayaladi . This had a passageof Jatis in the Muktayi part of the 1st Half of the compostion . Thus this form

started as a dance form . Later on it was converted into a regular music formby Shyama Sastri with the deletion of the passages of Jatis. His Svarajatis aretypical models and he is rightly called the architect of this form. In theSvarajati the charanas are of varying length and are set in different dhatus .There is a plan and order in their musical progression.

JATISVARAM -: This is a regular dance form and had its birth in the early partof the 19th Century. This entire compostion is moulded on the pattern ofsequences of Jatis. Though the pallavi and Anupallavi and parts of Charanaswere intended to be sung with Jatis , later this practice was given up andcomposition came to be sung to Solfa Syllables. The Tanjore Quartette andSwati Tirunal have composed beautiful Jatisvaras.

ABHYASA GHANAS ( Practice Pieces)-: The Svaravali and Alankaras were firstcomposed by Purandaradasar (1484 1564). Gitas existed even beforePurandara Dasa. But he is the author of the PILLARI GITAS in Malahariraga and Sanchari Gitas in other ragas. Paidala Gurumurthi Sastri ( 18thCentury) composed a number og gitas in Sanskrit.


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TALAM Concepts & Functions

The two key constituent factors that are considered to be the two eyes of Carnatic musicare ragam and thalam. The quintessence of the raga concept in Carnatic music isbased on the fluctuating nuances in the use of the different swaras within the

grammatical frame work. Similarly talam has a unique system of operation based ondifferent types of percussive syllables. It is talam which gives Carnatic music aperfect shape with totality.

The concept of talam is based on various factors such as the variations in kalapramanam, jathi and gathi. These factors are instrumental for the formationand construction of various tala scales. In the tala system, certain talas are based onangam and certain talas are based on aksharam. For example the sapta talas areconsidered to be aksharapramana talas, and the concept and existence of 108 talas isbased on Angam, thus are known as angapramana talas.

The etymological meaning of the word talam comprises of two syllables tha, whichrefers to lord Shiva, and Lam, refers to Sakthi, and the word talam thus means onein which both lord Shiva and goddess Sakthi jointly function and exist together. Thismeaning of the word talam is derived from the divine work Nandhimadham.

Talas are of various types and forms certain of these talas are still in common practiceeven today. There are various classifications within these tala systems. The SulathiSaptha talas give rise to the 35 talas, due to the multiplicative patterns and variouscombinations employed within the laghu and jathi. These 35 talas give in turn onaccount of multiplicative combinations give rise to 175 aksharapramana talas. Theangapramana tala system comprises of pancha talas 5, Navashanthi talas 9,

Apurva talas 52 and the allied 108 talas. There are references in Karnataka statesdance style Yakshagana which relate to a Ashta tala or 8 tala system.


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Talam- Structure and FrameworkEach and every talam has a structure, that is governed by the rules pertaining to it. For example, if we

take the most common tala - Chatusra Jaathi Triputa Talam (Adi Talam), we can describe theprocess of the tala thus :

1 beat of the palm of the hand on the thigh,followed by counting three fingers, then beating the palm and turning it over, then beating the palmand turning it overIf we count a number each for every beat, fingercount or turn of the palm - the number comes toeight. So the tala has eight units. The units are called Aksharams and the Adi talam has 8aksharams.

The first part of the tala which consists of the beating of the palm & counting is called Laghu. Here thenumber of units is 4 (Chatusram) and the laghu is Chatusra laghu. The Jaathi of the laghudetermines the jaathi of the tala so the tala is Chatusrajaathi Adi Tala.

The next process of beat and turning the palm is called Drtham. It is done twice, so the tala has 2drthams. Thus Chatusra Jaathi Triputa Talam(Adi) has one Chatusra Laghu and two drthams. Thesymbol for laghu is 1 and the number written beneath it represents the jaathi and the symbol fordrtham is 0 and hence, this thalam will be represented thus

1400Thus, from the above, we understand that a tala has laghu, drtham and these are called Angams (parts) of

the tala. In some cases, there may be half of drtham, i.e., just the beat of the palm without turning itand is called Anudrtham.

There are seven basic thalas :1. Dhruva talam2. Matya Talam3. Rupaka Talam4. Jampa Talam5. Triputa Talam6. Ata Talam7. Eka Talam


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Indian Musical Instruments The Indian musical instruments are classified into four major categories:Tata vadya, Sushira vadya, Avanaddha vadya & Ghana vadya.

Tata vadya - String instruments (Chordophonous)This is further classified based on the mode of playing:- by friction with a bow like the violin, sarangi, dilruba, esraj, etc(Ravanastram is one of the earliest known bowed instrument)- by plucking the string like the veena, rudra veena, gotuvadyam, sitar, sarod, guitar, mandolin, harp, (tambura, ektar-drone instruments) etc.- by striking with a hammer or a pair of sticks like gettuvadyam, swaramandala

Sushira vadya - Wind instrumentsThis section comprises hollow instruments where wind is the producer of sound. These can be further classified bymode of playing:

- those where wind is supplied by some mechanical means, commonly bellows - e.g. organ, harmonium- those where the wind is supplied by the breath of the performer, which can be further classified as mouth blown &nose blown.mouth blown* those where wind is blown through the mouth pieces in the instrument - e.g. clarinet, oboe, nadaswaram, shanainose blown* those where wind is blown through the orifices in the wall of instrument - e.g. flute

Avanaddha vadya - Membrane covered (Membranophonous)This section comprises all percussion instruments. These can be further classified by mode of playing:- those played by hand - e.g. mridangam- those played using sticks- those played partly by hand and partly by stick - e.g. tavil- self struck - e.g. damaru- those where one side is struck and the other side stroked - e.g. perumal madu drum

Ghana vadya - Solid percussion instrumentsThis covers instruments made out of metal, wood, stone or clay but those that are solid like the ghatam, kartal, gongs,cymbals, etc


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North Indian Classical Music (Hindhusthani Music)

Hindustani Classical Music is the Hindustani or erstwhile North Indian

style of Indian classical music. Originating in the Vedic period, it isa tradition that has been evolving from the 12th century AD, inwhat is now northern India, Bangladesh, and Pakistan, and alsoNepal and Afghanistan, and is today one of the two main parts ofIndian classical music, with the other one being the Carnaticmusic, which represents the music of South India.

CharacteristicsThe tradition was born out of a cultural synthesis from severalmusical streams: the vedic chant tradition dating back toapproximately one millennia BC, the equally ancient Persiantradition of Musiqi-e assil, and also existent folk traditionsprevalent in the region. The terms North Indian Classical Music orShstriya Sangeet are also occasionally used.

It is traditional for performers who have reached a distinguishedlevel of achievement, to be awarded titles of respect; Hindus areusually referred to as Pandit and Muslims as Ustad. An interestingaspect of Hindustani music going back to sufi times, is thetradition of religious neutrality: Muslim ustads singing Hindubhajans, or vice versa.

Principles of Hindustani music


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Principles of Hindustani music

The rhythmic organization is based on rhythmic patterns called Taal. Themelodic foundations are "melodic modes", or "Parent Scales", known asThaats, thaats are part of "musical personalities" called Ragas or Raags.Thaats - and so Ragas - may consist of up to seven scale degrees, or swara.

Hindustani musicians name these pitches using a system called Sargam theequivalent of Western movable do solfege: Sa = Do Re = Re Ga = Mi Ma = Fa Pa = So

Dha = La Ni = Ti Sa = Do

Both systems repeat at the octave. The difference between sargam and solfegeis that re, ga, ma, dha, and ni can refer to either "Pure" (Shuddha) or altered"Flat" (Komal) or "Sharp" (Tivra) versions of their respective scale degrees.

As with movable do solfege, the notes are heard relative to an arbitrarytonic that varies from performance to performance, rather than to fixedfrequencies, as on a xylophone.

The fine intonational differences between different instances of the same swaraare sometimes called ruti. The three primary registers of Indian classicalmusic are Mandra, Madhya and Tara. Since the octave location is not fixed,it is also possible to use provenances in mid-register (such as Madra-Madhya or Madhya-Tara) for certain ragas


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Hindhusthani Music Structure and Framework

A typical rendition of Hindustani raga involves two stages: Alap: a rhythmically free improvisation on the rules for the raag in order togive life to the raga and shape out its characteristics. The alap can befurther divided into the alap, jod and jhala.

Bandish or Gat: a fixed, melodic composition set in a specific raga,performed with rhythmic accompaniment by a tabla or pakhavaj. There aredifferent ways of systematizing the parts of a composition. For example:

Sthaayi: The initial, Rondo phrase or line of a fixed, melodic composition. Antara : The first body phrase or line of a fixed, melodic composition. Sanchaari : The third body phrase or line of a fixed, melodic composition, seenmore typically in Dhrupad Bandishes

Aabhog : The fourth and concluding body phrase or line of a fixed, melodiccomposition, seen more typically in Dhrupad Bandishes.

There are three variations of Bandish, regarding tempo:

Vilambit Bandish: A slow and steady melodic composition, usually in Largo to Adagio speeds. Madhyalaya Bandish: A medium tempo melodic competition, usually set in

Andante to Allegretto speeds. Drut Bandish: A fast tempo melodic composition, usually set to Allegretto speed,and onwards.


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Hindhusthani Music Types of Compositions

The major vocal forms-cum-styles associated with Hindustani classical music are Dhrupad, Khayal,Tarana and Thumri. Other forms include Dhamar, Trivat, Chaiti, Kajari, Tappa, Tap-Khayal,

Ashtapadis, Dadra, Ghazal and Bhajan DhrupadDhrupad is a yet older style of singing, traditionally performed by male singers. It is performed witha tanpura and a Pakhawaj as instrumental accompaniments. The lyrics, which sometimes were inSanskrit centuries ago, are presently often sung in Brajbhasha, a medieval form of Hindi that wasspoken in the Mathura area. The Rudra Veena, an ancient string instrument, is used in instrumentalmusic in the style of Dhrupad.Styles of dhrupadThere are said to be four broad stylistic variants of dhrupad the vanis (or banis): Gauri (Gohar),Khandar, Nauhar, and Dagar. These are tentatively linked to the five singing styles (geetis) knownfrom the 7th Century: Shuddha, Bhinna, Gauri, Vegswara, and Sadharani but more importantly,there are a number of dhrupad gharanas: "houses", or family styles.

KhayalKhayal is a form of vocal music in Hindustani music, adopted from medieval Persian music andbased on Dhrupad music. Khayal, literally meaning "Thought" in Hindi/Urdu originally from Arabic,Khyal, is special as it is based on improvising and expressing emotion. A Khayal is a 4 to 8 lined lyricset to tune. The lyric is of an emotional account possibly from poetic observation. Khayals are alsomore popularly depicting emotional significance between two lovers, a situation evoking intensefeeling, or situations of ethological significance in Hinduism and Islam

TappaTappa is a form of Indian classical vocal music whose specialty is its rolling pace based on fast,subtle, knotty construction. The arrangement of words, with the help of tone vibrations performedin an exquisite vocal style, create a charming atmosphere. It originated from the folk songs of thecamel riders of Punjab and developed as a form of classical music by Mian Ghulam Nabi Shori orShori Mian (1742 - 1792), a court singer of Asaf-Ud-Dowlah, Nawab of Awadh.

ThumriThumri is a semiclassical vocal form said to have begun with the court of Nawab Wajid Ali Shah,1847-1856. There are three types of thumri: Punjabi, Lucknavi and poorab ang thumri. The lyrics aretypically in a proto-Hindi language called Braj bhasha and are usually romantic.

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