Hi yogesh, We can start a music group where we can not only discuss serious theoretical issues but can also exchange what we have in terms of recorded music and books. Since I also work on music, I would love to be a part of it. Regards
On 2/6/11, Dr. Yogesh Sharma <[email protected]> wrote: > Hello dear friends, since many friends on various lists want me to upload > something in Hindustani Classical Music, I thought I'd better give a brief > introduction to it before uploading any album. Apparently, this introduction > is meant for those friends, who need to be acquainted to Indian Classical > Music. > Dear friends, there are 2 systems of Music in India--namely, the > South Indian or Karnatak Music and the North Indian or Hindustani Music. As > is obvious from the names, the Karnatak Music is popular in South Indian > states, such as Karnataka, Tamilnadu, Andhra Pradesh and Chennai., whereas > the Hindustani Music is prevalent in the rest of India, and even Pakistan. > Although both these systems of Music follow the same basic principles, still > there is quite a bit of difference between the two. Since my field is > Hindustani Music, I would basically talk about that only. > Friends, in Indian Music, the term Rhythm is synonical to 2 > terms: > 1. Lai: the continuous or definite speed of time. > 2. Taal: the fixed circle which is meant to measure Lai and make it > interesting. for example, if you listen to the fixed Tic Tic sound of an old > fashioned clock, you may call it Lai. But you may not like to listen to it > for long. But when there is a circle of say four beats, and that circle is > repeated again and again, you would begin to like it. Now this circle is > called Taal. > > 3. Matra: this is the basic unit to measure Lai. Roughly speaking, you > may call it Beat. Mostly, different taals are based on different number of > Matras. For example, Taal Kaharva is based on a circle of 8 Matras or beats, > while Dadra has 6 beats. The most popular taal of Indian Classical Music, > the Teen Taal has 16 beats. > Thus, in Indian Music, the continuous flow of equal Matras or > beats is called Lai, and a circle based on a particular number of beats is > called talls. > > 4. Shruti: Shruti is a minute pitch or a microtone, which the human > ear is capable of recognizing. Theoretically, there are 22 Shruties in > Indian Scale of notes. > > 5. Swara: the term Swara refers to the Musical Notes. Basically, > these notes are 7 in number. As we know, in Western Music these 7 notes are > roughly known as C, D, E, F, G, A and B. Similarly, in Indian Music, they > are called Shadaj, Rishabh, Gandhar, Madhyam, Pancham, Dhaivat and Nishaad. > These 7 notes are better known by there shorter names or nick names, such as > Sa, Re, Ga, Ma, Pa, Dha and Ni. > > In Western Music, when a particular note changes its pitch slightly > on to lower side, it is called Flat Note. Likewise, when it attains slightly > higher pitch, it is called Sharp Note. The original pitch of a note is > called Natural Note. Likewise, in Indian Music, Natural Note is called > Shuddha Swara, Flat note is called Komal Swara and thee Sharp Note is called > Teevra Swara. Unlike Western Music, in Indian Music the notes Sa and Pa [C > and G] can never change their pitch, since they are regarded as the Basic > Notes. The four notes that can attain a Komal status are Re, Ga, Dha and Ni, > [D, E, A and B]. Similarly, only the note Ma [F] is allowed to attain a > slightly higher pitch in order to attain Teevra Status. > > 6. Raag or Raga: when a group of 5 to 7 notes is governed by certain rules > to make it attractive and pleasing to the ears, it is called Raga in Indian > Music. In raga, notes are governed by a definite system, and you can make > different Musical compositions in the same Raga following that system. These > compositions would then be regarded as based on the same Raga. Following the > same rules, you can improvise freely in that particular Raga. > 7. Composition: Indian Musical compositions are basically > divided in to 2 parts, out of wich the main part is called Sthaee, which is > repeated most frequently in the performance. The second part or the stanza > is called Antra. > 8. Improvisation: Indian Music provides artists with utmost > freedom to improvise and show their creativity. Indian artists are even > allowed to make any desired changes in the traditional compositions. That is > why they are not required to follow any written notation while performing. > To reproduce a particular composition, they usually rely on their memory. > Indian Musical Improvisation is basically divided in to the > following parts: > > [A] Alap: the slow improvisation of the notes of a raag is called Alap. It > can be either brief or detailed depending on the desire of the artist and > the performing time at his disposal. > > [B] Behlava: Behlava means the small and spontaneous rhythmic pieces of > improvisation, after which the artist comes back to the basic composition in > the most artistic manner. > > [C] Taan or Tora: the fast rhythmic improvisations are called Tans in > Vocal Music and Toras in Instrumental Music. They are generally performed in > a rhythmic pattern faster than the rythm of the main composition. > [D] Tihai: when one particular phrase is repeated 3 times in > succession and mostly ends up emphatically on Sum, [The first beat of the > taal] then that phrase is called Tihai. > Indian Raga performance generally starts with free Alaap > [Without any rhythm]. In shorter performances, after a brief Aalaap, the > artist generally starts the main composition, and goes on to decorate this > composition with Alaaps, Behlavas, Taans and Toras [Fast elaborations]. In > shorter performances, after brief Alaap the artist starts composition based > on middle or fast tempo, while in longer performances, after Alaap there is > a slow tempo composition before the faster one. In modern classical music, > Instrumental compositions are called Gats, while in Vocal Music, the most > popular style of compositions is called Khyaal. Ofcourse there are other > types of compositions also, but we shall discuss about those some other > time. > The instrumental performances generally end up with very fast > improvisation called Jhala, while the vocal performances generally conclude > with a simple Tihai. > Well friends, that is all for now. I hope that through this short > introduction, you will find yourself more familiar with this type of Music, > although you have never listened to it before. Indian music is basically > based on expressions of the inner emotions and feelings of the artists, and > that is why listening to it does make sense even to a first time listener. > I hope I have made myself clear enough and did not sound too > boring either. > Do revert back with any queries. > Warm regards. > Yogesh. > > e mail: [email protected] > > Mobile: 09988293833. > Get numbers right this time, help the census with correct disability info! > -- Naresh Kumar Assistant Professor Department of History Kamala Nehru College (University of Delhi) Get numbers right this time, help the census with correct disability info!
