Melodic Styles
Vocal Melody Usually conjunct Motion
Limited range
Instrumental Melody Often disjunct motion “Idiomatic” writing (for specific instruments)
Wider ranges than vocal
Music of India
Great TraditionSpread Extensively Throughout IndiaCommon Musical Language
Among People
Little TraditionLimited Geographical RegionFolk and Religious Music
Great TraditionDistinctive Musical Instruments
Primary RoleMelodic-- Sitar
Secondary RolesRhythmic-- TablaDrone-- Tambura
Instrument Classification According to Natya Shastra
Tata (Chordophones)
Avanaddha (Membranophones)
Ghana (Idiophones)
Susira (Aerophones)
Western Instrumental Classification
Indian system adapted by Hornbostel and Sachs in 1914.
Aerophones (column of air)
Idiophones (struck)
Membranophones (struck)
Chordophones (plucked or bowed)
Northern Indian Instruments
Tambura–– (also called “tanpura) is a plucked stringed instrument and plays the drone
Same clip as previous slide—listen for continuous drone note beneath sitar.)
Northern Indian Classical Music
Terms for Musical Elements Raga––melodic formulae providing
basis for improvisation
Tala (tal)––rhythmic formulae that increases in complexity as the piece is played
Standard Raga Format
Continuous Form Music
Alap –– Opening, unmeasured section––raga pitches introduced
Jor –– Section where a feeling of pulse (beat) is established
Gat –– Section where tabla enters with the tala
The Harmonium The instrument has 42 keys, corresponding to the tuning of
Western music. The musician sits on the floor and plays it with the right hand while the left hand activates the bellows. This instrument poses some problem in Indian classical music, as its temper is equal, and does not match the unequal temper of Indian ragas. Therefore, it sounds “friendlier” to Western ears.
This piece, “Mishra Pahadi,” follows a raga form with the tabla entering at the gat. The harmonium is accompanied by a santur.