INDIAN ART MUSIC - srmmnes.com INDIAN ART... · MUSICAL GENRES IN PRESENT DAY INDIA ART...
Transcript of INDIAN ART MUSIC - srmmnes.com INDIAN ART... · MUSICAL GENRES IN PRESENT DAY INDIA ART...
Chandrashekhar H. Mendole
INDIAN ART MUSIC
A raga or raaga (IAST: rāga; also raagor ragam ; literally "coloring, tingeing, dyeing") is akin to a melodic mode in Indian classical music. ... Hundreds
of raga are recognized in the classical Indian tradition, of which about 30 are
common.
M U S I C …
Raag Marwa (hexatonic)
Raag Marwa is sung during the late afternoon hours up to
sunset. It is one of the major ragas in Hindustani classical
music and is sung widely and taken very seriously. One of the
interesting things about Raag Marwa is that it de-emphasizes
the root note "sa." Probably because of this, it is a somewhat
unsettling raga, and mainly evokes dark moods of foreboding
and anxiety. It can also portray compassion or resignation in
the face of some inner struggle.
M U S I CRAAG MARWA
.
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 roots
♣ Has a highly formalised grammar,
dictated by textual as well as oral tradition
♣ Has different genres
(Vocal – Alap, Dhrupad/Dhamar,
Khayal, Sadra, Thumri, Bhajan, Geet etc
Instrumental – Alap, Masidkhani,
Rajakhani, Firozkhani, Amirkhani Gat etc)
♣ Has different styles (called Geeti, Bani or
Baaj)
♣ Has regional schools of presentation
(currently called Gharanas)
♣ Has regional variations in choice of
Ragas, Talas, etc.
“INDUSTRIAL”
Raag Bhairav (heptatonic)
Bhairav is another very important raga in the Hindustani classical tradition.
It is a morning raga, and solemn peacefulness is its ideal mood. It is very
easy, however, for this scale to deteriorate from majestically peaceful to
pathetically melodramatic, and artists must watch out for that. I think it was
Pundit Vilayat Khan who once described Raag Bhairav as the music in the
mind of Lord Shiva as he meditated in the Himalayas. That made an
impression on me. Picture Shiva-the-terrible, absorbed in the deepest
meditation in a dark cave in the Himalayas. Everything is still, except for the
occasional dripping of a stalagtite. Then dawn breaks and the first rays of
sunlight penetrate into the cave. Imagine the music in the mind of this man
of terrifying passions at that time in his state of perfect peacefulness. And
that, to me, is what Raag Bhairav should be
RAAG BHAIRAV
8. Sa – Shadja – Do – Tonic
7. Ni – Nishada – Si/Ti – Leading Note
♭7. Ni – Komala Nishada
6. Dha – Dhaivata – Lah – Submediant
♭ 6. Dha – Komala Dhaivata
5. Pa – Panchama – Soh – Dominant
# 4. Ma’ – Tivra/Kari Madhyama
4. Ma – Madhyama – Fah – Subdominant
3. Ga – Gandhara – Mi – Mediant
♭ 3. Ga – Komala Gandhara
2. Re – R’shabha – Re – Supertonic
♭ 2. Re – Komala R’shabha
1. Sa – Shadja – Do – Tonic
THE GAMUT OF NOTES
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 of
ornaments, such as
Meend, Soot, Andolan,
Gamak, Krintan, etc. :
Used in performance
SOUND IN INDIAN ART MUSIC
⋆ Andolan – “oscillation” on a note
⋆ Gamak – fast Andolan. Gamak may range from the heavy and
guttural to the light and almost superficial. Again, Gamak may be of
varying speeds
⋆ Sparsha Svara, Kan or Krintan – grace note (acciaccatura)
⋆ Meend – glissando
⋆ Soot or Aansh – fast Meend from one note to another distant note
⋆ Mürki – akin to mordent
⋆ Khatka – akin to turn
⋆ Kampan – vibrato
ORNAMENTS (“ALANKAR”)
Melody – notes sounded successively
Harmony – notes sounded simultaneously
Rhythm – pulses in time
Dynamics – intensity (volume)
Timbre – tone colour
ELEMENTS OF MUSIC
Melodic Organisation:
According to the
principles codified by
the system of
- RAGAs
- TALAs and
- performance practice
Harmonic organisation:
Against a fixed system
of static notes sounded
continuously but softly
in the background
and
in unintended
counterpoint, from an
imitating accompanist
ORGANISING NOTES
a melodic concept capable of intense emotional
communication 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
R A G A
ORGANISING TIME – TEMPO (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)
T A L A
Tala → the cyclic organisation of periodic beats (Matra) = an endlessly 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:
Cycles – each 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 an Avartana, called “Theka”
TALA MATRATHEKA
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 Dha –Dha Tirakita | Dhin Dhin Dhage Tirakita | Ta –Ta Tirakita | Dhin Dhin
Dhage Tirakita | |
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. Jhampak Tala of 8½ Matras)
↠ Dügün – double speed
↠Tigün – triple speed
↠Choügün – quadruple speed
↠Panch, Chhey, Sat, Ath, Naü, etc gün – respectively 5, 6, 7, 8, 9 etc times
the original speed
↠Aad – 3/2 times the original speed
↠Aad ka Ülta – 2/3 times the original speed
↠Küad – two viewpoints: 5/4 or 9/4 times the original speed
↠Küad ka Ülta – 4/5 or 4/9 times the original speed
↠Biyad – there are several varieties of this: 7/4 or 27/8 (“Küad of Aad” =
9/4 of 3/2) times the original speed, etc.
↠Biyad ka Ülta – 4/7 or 8/27 times the original speed
↠Paun – 3/4 times the original speed
↠Paun ka Ülta – 4/3 times the original speed
RHYTHMIC IMPROVISATION (“LAYAKARI”)
PERFORMANCE PRACTICE
HindustaniRecital
Vocal
“Classical”
Dhrupad &Dhamar
Khayal
Tarana
“Light-Classical”
Thumri
Bhajan
Ghazal
Instrumental
PercussionMelodic
Instrument
“Classical”
Gayaki Ang
Dhrupad Ang
Khayal Ang
Tantrakari
“Light-Classical”
Dhun
※ Auchār-Ālāp
※ Vilambit (Bada) Khayāl
- Vistār (Badhat) ⇨ Sthāyi, Antarā
- Behlāvā
- Tān
※ Drut (Chhotā) Khayāl
⇨ developed similarly as above
KHAYAL RECITAL