Indian art music_talk
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Transcript of Indian art music_talk
Indian Art MusicA 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
M U S I C …Where there is humanity, there is music…
(but : what is
music?)
M u s i cO r g a n i s e d
& emotionally expressive
s o u n d
.
MUSICAL GENRES IN PRESENT DAY INDIA
ART (“CLASSICAL”)
SOUTH INDIAN
(“CARNATIC”)
NON - ART (“LIGHT/POPULAR”)
TRIBAL
FOLK
N O R T HI N D I A N
(“HINDUSTANI”)
PROVINCIALCINEMAMUSIC
THEATREMUSIC
NON-INDIANIMPORTS
RELIGIOUSOR
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”
The Two Systems of Art Music in IndiaHindustani (North Indian) Music
Continuity back to Vedic times (6,000 BC) Codified in a large number of ancient and
medieval music treatises Developed independently of folk music,
albeit occasionally importing folk or regional elements, metamorphosing them suitably
Raga based, mostly improvised Capable of intense expression in very slow
speeds Vast range of ornaments, particularly
during slow passages Subtle use of microtones in slow passages Steady, long-held notes, mostly
approached and/or quitted by little ornamental phrases
Gradual building up of tempo from very slow to very fast
Convention of time and season Clear enunciation of rhythmic cycle by
percussion accompanist (in dominant present day forms like Khayal, Sadra, Thumri, Bhajan etc.)
True to Hindu traditions: so-called “Persian influences” fully integrated within its essential and ancient grammatical format
Carnatic (South Indian) Music Of more recent origin Codified in medieval texts written by
musicologists, 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
The Gamut of Notes 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
Sound in Indian Art Music• Static Note –
Unembellished tones: Used for teaching oranalysing musical phenomena but not (except but rarely) inperformance
• Ornamented Note –
Tones embellished by different types ofornaments, such as Meend, Soot,
Andolan,Gamak, Krintan, etc. :
Used in performance
Ornaments (“Alankar”) used in Hindustani 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
Elements of Music
•Melody – notes sounded successively
•Harmony – notes sounded simultaneously
•Rhythm – pulses in time•Dynamics – intensity (volume)•Timbre – tone colour
Organising Notes• Melodic
Organisation:
According to theprinciples codified by the system of - RAGAs - TALAs and - performance practice
• Harmonic organisation:
Against a fixed system of static notes soundedcontinuously but softlyin the background
andin unintendedcounterpoint, from an imitating accompanist
R A G AR A G A 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
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”
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 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)
Rhythmic Improvisation (“Layakari”)
↠ 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
Performance PracticeHindustani
Recital
Vocal Instrumental
“Classical” “Light-Classical”
Percussion MelodicInstrument
Dhrupad &Dhamar
Khayal
Thumri
Bhajan
Tarana Ghazal
“Classical” “Light-Classical”
Gayaki Ang
Tantrakari Ang
Dhrupad Ang
Khayal Ang
Dhun
Khayal Recital※ Auchār-Ālāp ※ Vilambit (Bada) Khayāl
- Vistār (Badhat) ⇨ Sthāyi, Antarā- Behlāvā- Tān
※ Drut (Chhotā) Khayāl ⇨ developed similarly as above
Instrumental Recital♠ Ālāp, Jod, Jhālā
♠ Masidkhāni Gat* Gat, with Uthān on Tablā* Soloist Accompanist Dialogue
♠ Razākhāni Gat⇨ developed similarly as above⇨ Jhālā