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8/13/2019 Indian Art Music Talk
1/18
Indian Art Music
A n I l l u s t r a t e d T a l k
by
Dr. Chintamani Rath Ph.D. (Indian Music)
www.ragaculture.com
8/13/2019 Indian Art Music Talk
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M U S I C Where there is humanity,
there is music
(but : what is music?)
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M u s i c
O r g a n i s e d&
emotionally expressives o u n d
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.
MUSICAL GENRES IN PRESENT DAY INDIA
ART
(CLASSICAL)
SOUTH
INDIAN
(CARNATIC)
NON - ART(LIGHT/POPULAR)
TRIBAL
FOLK
N O R T H
I N D I A N
(HINDUSTANI)
PROVINCIALCINEMA
MUSIC
THEATRE
MUSIC
NON-INDIAN
IMPORTS
RELIGIOUS
OR
PHILOSOPHIC
Has religious/philosophic rootsHas a highly formalised grammar,dictated by textual as well as oral tradition
Has different genres(VocalAlap, Dhrupad /Dhamar,
Kh ayal, Sadra, Thum ri, Bhajan, GeetetcInstrumentalAlap, Masidkh ani,
Rajakhani, Firozkhani, Amir khani Gatetc)
Has different styles (called Geeti, BaniorBaaj)
Has regional schools of presentation(currently called Gharanas)
Has regional variations in choice of
Ragas , Talas, etc.
INDUSTRIAL
8/13/2019 Indian Art Music Talk
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The Two Systems of Art Music in India
Hindustani (North Indian) Music
Continuity back to Vedic times (6,000 BC)
Codified in a large number of ancient andmedieval music treatises
Developed independently of folk music,albeit occasionally importing folk orregional elements, metamorphosing themsuitably
Raga based, mostly improvised
Capable of intense expression in very slowspeeds
Vast range of ornaments, particularlyduring slow passages
Subtle use of microtones in slow passages
Steady, long-held notes, mostly approachedand/or quitted by little ornamental phrases
Gradual building up of tempo from veryslow to very fast
Convention of time and season
Clear enunciation of rhythmic cycle bypercussion accompanist (in dominantpresent day forms like Khayal, Sadra,Thumri, Bhajan etc.)
True to Hindu traditions: so-called Persianinfluences fully integrated within itsessential and ancient grammatical format
Carnatic (South Indian) Music
Of more recent origin
Codified in medieval texts written bymusicologists, the influential ones among
whom studied in North India and thereafter
returned to South India to fashion Carnatic
music out of the prevalent regional musical
forms to be found in South India
Composition based, mostly fixed
A fairly quick tempo from the start, so lacks
the intensity, introspection, microtones and
several ornaments found in Hindustani
music
Notes are not held for long and are mostly
quitted by a characteristic oscillation using
indeterminate pitch
Constant and fairly fast tempo throughout
No convention of time or season
Percussion accompanist does not
enunciate rhythmic cycle clearly, so a
second percussionist and/or a timekeeper
showing and/or clapping out beats (in
which the audience joins) is necessary
Contrary to advocated argument, has
Muslim influences
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The Gamut of Notes
8. SaShadjaDoTonic
7. NiNishadaSi/TiLeading Note
7. NiKomala Nishada6. DhaDhaivataLahSubmediant
6. DhaKomala Dhaivata5. PaPanchamaSohDominant
# 4. Ma Tivra/Kari Madhyama
4. MaMadhyamaFahSubdominant
3. GaGandharaMiMediant3. GaKomala Gandhara
2. ReRshabha ReSupertonic
2. ReKomala Rshabha
1. SaShadjaDoTonic
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Sound in Indian Art Music
Static Note
Unembellished tones:
Used for teaching or
analysing musical
phenomena but not
(except but rarely) in
performance
Ornamented Note
Tones embellished by
different types ofornaments, such as
Meend, Soot, Andolan,
Gamak, Krintan, etc. :
Used in performance
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Ornaments (Alankar) used in Hindustani Music
Andolanoscillation on a noteGamakfastAndolan. Gamak may range from the heavyand guttural to the light and almost superficial. Again,
Gamakmay be of varying speeds
Sparsha Svara, Kan or Krintangrace note(acciaccatura)
Meend glissando
Sootor Aanshfast Meendfrom one note to another
distant noteMrkiakin to mordent
Khatkaakin to turn
Kampanvibrato
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Elements of MusicMelody notes sounded successivelyHarmony notes sounded simultaneouslyRhythm pulses in timeDynamics intensity volume)Timbre tone colour
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Organising Notes
Melodic Organisation:
According to the
principles codified bythe system of
- RAGAs
-TALAs and
- performance practice
Harmonic organisation:
Against a fixed system
of static notes soundedcontinuously but softly
in the background
and
in unintended
counterpoint, from an
imitating accompanist
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R A G A
a melodic concept capable of intense emotionalcommunication and comprising:
- a given set of notes, ascending and descending
- characteristic microtones
- characteristic phrases
- relative importance of the notes
- characteristic ornaments or lack thereof
- the general speed to be adopted
- the register to be used (low or high pitch)
- an accepted time of performance
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Organising TimeTempo (Laya, Gati)
Tempo (Laya)
Slow
(Vilambita)
Very Slow
(Ati
Vilambita)
Slow
(Vilambita)
Medium
Slow(Maddhya
Vilambita)
Very Fast
(Ati
Druta)
Fast
(Druta)
Medium
Fast
(Maddhya
Druta)
Medium
(Maddhya)
Fast
(Druta)
Cyclic
(Tala-Yukta)
Linear
(Tala-Heena)
8/13/2019 Indian Art Music Talk
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T L
Tala the cyclic organisation of periodic beats (Matra) = anendlessly repeated series of ordered rhythmic syllables in time
Rhythmic syllables Names of sounds on percussion instruments
(Dha, Na, Dhin, Tin, Thum, Kat, Tita, Tirakita, Ghe, Dhita, etc.)
A Tala has:
Cycleseach cycle is called an Avartana
Divisions into bars, which may be equal or unequal
Accent points, which may be beaten (Tali) or unbeaten(Khali)
A primary accent point (Sama) the point of rhythmic resolution
A vocal enunciation of the ordered rhythmic syllables in anAvartana,called Theka
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T a l a Matra T h e k a
Kaharva 4 Dhage Nati Naka Dhin | |
Dadra 6 Dha Tin Na | Ta Dhin Na | |
Roopak 7 Tin Tin Na | Dhin Na | Dhin Na | |
Jhaptal 10 Dhin Na | Dhin Dhin Na | Tin Na | Dhin Dhin Na | |
Ektal 12 Dhin Dhin | Dhage Tite | Thum Na | Kat Ta | Dhage Tite | Dhin Dha | |
Jhoomra 14 DhaDha Tirakita | Dhin Dhin Dhage Tirakita | TaTa Tirakita | Dhin Dhin DhageTirakita | |
Deepchandi 14 Dha Dhin - | Dha Dha Dhin - | Na Tin - | Dha Dha Dhin - | |
Adachoutal 14 Dhin Tite | Dhin Na | Thum Na | Kat Ta | Tite Dhin | Na Dhin | Dhin Na | |
Trital 16 Dha Dhin Dhin Dha | Dha Dhin Dhin Dha | Dha Tin Tin Ta | Tita Dhin Dhin Dha | |
and many more, including fractional Matras (e.g. Jh ampak Tala of 8 Matr as)
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Rhythmic Improvisation (Layakari)
Dgndouble speed Tigntriple speed
Chognquadruple speed
Panch, Chhey, Sat, Ath, Na, etcgnrespectively 5, 6, 7, 8, 9 etc timesthe original speed
Aad3/2 times the original speed Aad ka lta2/3 times the original speed
Kadtwo viewpoints: 5/4 or 9/4 times the original speed
Kad ka lta4/5 or 4/9 times the original speed
Biyadthere are several varieties of this: 7/4 or 27/8 (Kad of Aad = 9/4of 3/2) times the original speed, etc.
Biyad ka lta4/7 or 8/27 times the original speed
Paun3/4 times the original speed
Paun ka lta4/3 times the original speed
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Performance Practice
Hindustani
Recital
VocalInstrumental
ClassicalLight-
Classical
Percussion MelodicInstrument
Dhrupad &
Dhamar
Khayal
Thumri
Bhajan
Tarana Ghazal
ClassicalLight-
Classical
Gayaki Ang
Tantrakari Ang
Dhrupad Ang
Khayal Ang
Dhun
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Khayal Recital
Auchr-lp
Vilambit (Bada) Khayl
- Vistr (Badhat)
Sthyi, Antar- Behlv
- Tn
Drut (Chhot) Khayldeveloped similarly as above
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nstrumental Recitallp, Jod, Jhl
Masidkhni Gat
* Gat, with Uthn on Tabl
* Soloist Accompanist Dialogue
Razkhni Gat
developed similarly as above
Jhl