Which of the Following Statements About the Art of the Raga a
- Music- soul of whatever culture.
- Republic of india- long tradition of musical ingenuity.
- Narada Muni (sage) - introduced music to earth & taught the inhabitants about a sound that pervades the whole universe called Naada brahma.
- Musical instruments like vii-holed flute and Ravanahatha- recovered from sites of Indus Valley Civilization.
- First literary traces of music- Vedic times (2000 years ago).
- Santa Veda- lists all seven notes of the raga Kharaharapriya in descending order.
- Gandharva Veda, scientific discipline of music- Upaveda of Sama Veda.
- Aitareya Aranyaka- mentions parts of Veena.
- Jaimini Brahmana speaks of trip the light fantastic toe and music.
- Kausitaki Brahmana puts dance, vocal & instrumental music together.
- Theories country- Om is the source of all ragas and notes.
- Panini (500 BCE)- fabricated offset proper reference to the art of making music.
- Bharata's Natyashastra(200 BC and 200 ADI- offset reference to musical theory.
- Evolution in music linked with devotional sites. This type of ritualistic music was Sangama (subsequently Vedic flow)- chanting of verses, set up to musical patterns.
- Epics were set to narrative blazon of music called Jatigan.
Indian Classical Music Instruments
- Bharata'southward Natyashastra:First work to clarify & elaborate on the subject of musicology. Has several important chapters on music, including those that identified octave and elaborated on its 22 keys. These 22 keys- shrutis or srutis.Stardom- made in Dathilam, a text that endorsed the existence of 22 srutis per octave and made the proffer that may be these were the only one that a homo trunk could make.
The Bharata's Natyashastra
- Sarangadeva(13th century musicologist) who wrote classic text on music, the Sangeet Ratnakara, seconded this view.
- His text- defined 264 ragas (from North Indian & Dravidian repertoires).
- Its greatest contribution- identify & describe unlike 'microtones' & allocate them into different categories.
- Medieval texts on musicology focused on particular themes, for example:
(i)Brihaddeshi (9th century past Matanga)- definition of 'raga'.
(ii) Sangeeta Makaranda filth century by Nanda)- enumerated 93 ragas & classified them into feminine and masculine forms.
(iii) Swaramela-Kalanidhi (16th century past Ramamatya) - deals primarily with ragas.
(iv)Chaturdandi-prakasika (17th century by Venkatamakhin) - important information on musicology. - Ancient & early medieval nerind- Gurukuls existed.
- Gurukul System
(i) Known as Ashram (hermitage system)
(ii) Embodied Guru-shishya tradition
(iii)Teachers or masters were sages
(4)Students lived in hermitage for 12 years
(5)Hermitage was given patronage by kings & wealthy persons of the society.
(vi)Life in hermitage- rigorous, pensive and full of knowledge
(seven) At that place was no bigotry among students. - Influx of Islamic & Persian elements changed the face of North Indian music, for example, the Dhruvapad or devotional style of singing- transformed into Dhrupad way past 15th century & by 17th century, a new course of Hindustani music, Khayal had evolved.
- More styles of 'folk' singing emerged in this period.
Three main pillars of Indian classical music:
1.Swara
ii. Tala
3.Raga
Components of Raga:
(i) Rasa
(ii) Thaat
(iii)Samay
- Term "Swara"- associated with recitation of Vedas.
- Term- as well used to define 'notation' or 'calibration degree' in a composition.
- In Natyasastra, Bharata has divided swaras into 22 notes scale.
- Currently, Hindustani music is defined past Saptak or Sargam - Sa, re, ga, ma, pa, dha, ni.
- He listed each nitch using the post-obit names:
- Swara cutters from Shruti.
- Shruti or microtones - smallest gradation of pitch & are 22 in number out of which only 12 are audible.
- These 12 are seven Suddha Swaras & five Vikrita Swaras.
- Are rhythmic groupings of beats.
- Rhythmical cycles range from three to 108 beats.
- As per the concept of tala- musical time is divided into simple and complicated metres.
- Theory of time measurement- not similar in Hindustani and Carnatic music.
- Tala- unique point- independent of the music that accompanies it and has its own divisions.
- Laya- tempo of tala, which keeps uniformity of time bridge.
- Currently only 30 talas are known and only x to 12 talas are actually used.
- Recognized & used talas- dadra, kaharba, rupak, ektal, jhaptal, Teental and Ada chautal.
- Music composers- use teen-tal that uses 16 beats.
- Carnatic music- more rigid structure unlike Hindustani music. And Tala (thala) are made of three components- laghu, dhrutam and ami dhrutam.
- Original 35 thalas & each ane tin can be further split into v 'ghaatis'. So, there are 175 (35*5) thalas in Carnatic music.
- Comes from Sanskrit discussion ' Ranj' ways to delight or to make happy and satisfy a person.
- Ragas- basis of melody, while tala- basis of rhythm.
- Has distinct personality subject and the mood evoked by sounds.
- Basic chemical element for working of a raga is notation on which they are based.
- According to number of notes in the raga,hither are iii main jaatis or categories:
(a) Audav/Odava Raga- 'pentatonic' raga, 5 notes
(b) Shadava Raga- 'hexatonic' raga, 6 annotation
(c)Sampurna Raga: 'heptatonic' raga, 7 notes - Raga- non a scale nor a mode just a scientific, precise, subtle and aesthetic melodic form with its own peculiar ascending and descending motion, which consists of either a total octave, or a series of 5 or 6 or 7 notes.
- Three major types of Raga or Raga Bhed-
(i) Shuddha Raag- if any notes that are absent-minded from the composition are played, its nature and form does not change.
(ii) Chhayalag Raag- if any notes that are not present in the original composition are played, its nature and course changes.
(iii) Sankeerna Raag- there is a combination of two or more ragas. - Hence, every raga- should take basic five notes-
(a) 'Rex'- principal note on which raga is built- called 'Vaadi' & is used most often in limerick.
(b) 'Queen'- fourth or fifth note in relation to the principal raga. Is the second most of import note of the 'raga' & called 'Samvaadi'.
(c) All the other notes in the composition- Anuvaadi.
(d) The notes that are not present in the limerick are- Vivadi. - Ascent of notes is Aaroha, similar Sa re sa ma pa dha ni.
- Descent is Avaroha, where each note is lower than the preceding notes. For instance, ni, dha, pa, ma, ga, re, sa.
- Depending on ascension & descent of notes, ragas can be divided into iii speeds or Laya- vilambit (slow); Madhya (medium) and drut (fast).
- In that location are 72 melas or parent scales on which ragas are based.
- There are half-dozen main ragas in Hindustani music, all of which are time and flavour specific and evoke a particular type of emotion:
(i) Rasa
- Reason for creation of ragas- to evoke emotional responses.
- These emotions, that are evoked- Rasas, also chosen 'artful delight' as they are consciously made to feel an emotion through someone else's art.
- Initially- eight rasas, later one rasa called 'shanta' rasa was added to make nine rasas or 'Nauras'. These are:
- Alter 15th century- Bhakti (rasa ot devotion)- became widely accepted.
- Musicologists argue - Bhakti and Shant rasa are i & the same
- In Natyasastra, Bharata contend Madhyam- humorous instincts; Pancham- erotic feelings; Shadja-heroic feelings and Rishabh notes- wrathful instincts.
Try yourself:Consider the following statements :
1. Raga forms the basis of Rhythm.
2. Tala becomes the footing of tune.
Which of the above is/are right?
Caption
Statement 1 is incorrect - Rhythm as the fourth dimension structure of music is composed of distinct temporal components such as design, meter, and tempo.
Argument 2 is incorrect - Tala or ("clap") in the music of India a metric bike with a specific number of beats—from 3 to 128—that recur in the aforementioned design throughout a musical performance. Tala, is best described every bit time measure and information technology does non become the basis of tune.
(ii) Thaat
- Isa system of classification of ragas in dissimilar groups.
- Hindustani classical music- 10-Thaat nomenclature.
- V.N Bhatkhande (most important musicologists in the field of North Indian classical music) says-each one of the traditional ragas is based on, or is a variation of 10 basic thaats or musical scales or frameworks.
- Tin can only be sung in aaroha- as notes are equanimous in ascending lodge.
- Should have seven notes out of 12 notes (vii Suddha Swaras and five Vikrata Swaras) & should necessarily be placed in ascending order.
- 10 thaats - Bilawal, Khamaj, Kafi, Asavari, Bhairavi, Bhairav, Kalyan, Marwa, Poorvi and Todi.
- Has no emotional quality unlike raga and information technology isn't sung.
- Rasas produced from thaat are sung.
(iii) Samay
- Each raga has a specific time at which it is performed because those notes are supposed to exist more effective at that particular time.
- 24 hours can be divided into ii parts:
i. From 12 AM to 12 PM: Poorva Bhaag & poorva raga is sung.
two.From 12 PM to 12 AM: Uttar Bhaag & Uttar raga is sung. - Saptak also changes according to the period of the day.
In Poorvang period, saptak is from Sa to Ma (Sa, re, ga, ma)
In Uttarang Deriod- saptak is from Pa to Sa (pa. dha. ni. sa)
Try yourself:Consider the following statements:
1. At that place are five swaras or notes in total in Indian music.
2. Odava raga contains five notes or swaras.
Which of the above is/are correct?
Explanation
Argument 1 is incorrect - Indian music besides has an octave divided into twelve notes. These twelve notes are called swaras; they are not tuned similar the notes of the chromatic scale
Statement 2 is correct - Rāgas are placed in three categories:
- Odava or pentatonic, a composition of five notes
- Shadava or hexatonic, a composition of six notes
Sampoorna or heptatonic, a composition of seven notes
(a) Alap
- Gradual exposition of raga & emphasizes on Vaadi, Samvaadi in wearisome tempo.
- Sung in the outset of the raga at the time of performance typically in North Indian classical music.
- Usually sung in Aakaar, i.east., without pronouncing whatever syllables, only using sound 'aa' of the vowels.
(b) Composition: Divided into two parts in Hindustani classical music:
(c) Taan: Basic notes m a fast tempo; are very technical & speed is an important factor in singing them.
- Particular tans- sung in Akaar notes.
- A short taan of 3 or four notes - Murki- sung very fast.
(d) Alankara: Specific melodic presentation in succession in which a design is followed.
Example In combination of notes 'Sa re ga', 'ga ma pa', 'ma pa dha', etc. In these combinations we see an alankar in which three notes in succession are used each time.
Try yourself:Which of the post-obit is not amongst the nine rasas or emotional responses?
Explanation
The Navarasa, in the scriptures, refer to the nine expressions that humans often show. These are honey (shringaara), laughter (haasya), kind-heartedness or pity (karuna), acrimony (roudra), courage (Veera), fright (bhayaanaka), disgust (bheebhatsya), wonder or surprise (adbhutha) and peace or tranquility (shaantha).
- The classification of Indian music is equally follows:
- Ii schools of Indian classical music:
ane. Hindustani music: Northern parts of India.
two. Carnatic music: Southern parts of India.
- Historical roots of both schools belong to Bharata's Natyasastra, merely they diverged in 14th century.
- This branch- focuses more on musical structure and possibilities of improvisation.
- It adopted a scale of Shudha Swara Saptaka or the 'Octave of Natural notes'.
- It has ten master styles of singing similar- 'Dhrupad', 'Dhamar', 'Hori', 'Khayat, 'Tappa', 'Chaturang', 'Ragasagar', 'Tarana', 'Sargam' and 'Thumri'. Some major schools are:
(i) Dhrupad
- Oldest and grandest forms.
- Mentioned in Natyashastra (200 BC-200 AD).
- Owes its roots to older forms like Prabhanda & Dhruvapada.
- Proper noun derived from 'dhruva' and 'pada,' ways that it denotes both verse form of verse & fashion in which it is sung.
- Reached zenith- in Akbar's court, who patronised musical masters similar Baba Gopal Das, Swami Haridas and Tansen(was one of Navaratna or nine gems).
- Baiju Bawra sang at the court of Akbar.
- Singers who mastered Dhrupad were in the court of Raja Man Singh Tomar (Gwalior).
- Major form of singing- medieval catamenia.
- Simply fell in a state of decline -18th century
- Dhrupad- a poetic form that is incorporated into an extended presentation style that is marked by precise and overt elaboration of a raga.
- Dhruva- ways 'unmoving' and implies the return of Swara (tonal), Kala (fourth dimension) and Shabda (textual) trajectories to a fixed point.
- It starts with Alap.
- Tempo rises gradually & forms a major part of the performance.
- Is pure music without distraction of words
- After some time Dhrupad begins & Pakhawaj is played.
- Includes utilize of Sanskrit syllables & has a temple origin.
- Includes four to 5 stanzas and are performed past a duo (by and large male)
- Tanpura and Pankhawaj back-trail them.
Dhrupad singing divided into four forms on the basis of vanis or banis that they perform:
(a) Dagari Gharana
- sings in Dagar Vani.
- puts keen accent on alap.
- accept trained and performed
- are Muslims simply sing Hindu texts of Gods and Goddesses.
- Example, Gundecha Brothers from Jaipur.
(b) Darbhanga Gharana
- sing Khandar Vani and Gauhar Vani.
- emphasise on the raga alap likewise as improvised alap, fabricated by incorporating a diversity of layakari.
- exponents: Mallik family (performing members- Ram Chatur Mallik, Prem Kumar Mallik and Siyaram Tewari).
(c) Bettiah Gharana
- Nauhar and Khandar vani styles
- Exponents- the Mishras (living member who performs- Indra Kishore Mishra).
- Dhrupad prevalent in Bettiah & Darbhanga schools- Haveli style.
(d) Talwandi Gharana
- sing Khandar vani family based in Pakistan and so hard to proceed that within the organisation of Indian music.
Endeavor yourself:Consider the post-obit statements:
ane. Antara is the first part of a musical limerick.
two. Mukhada is the first line of a musical composition.
Which of the above is/are correct?
Caption
Statement 1 is incorrect and 2 statement is correct
It translates to 'face' and aptly and then, it introduces the song and sets the tone. Antara is the second paragraph, the one afterwards the mukhda. It is a continuation of the song afterward where the mukhda has left off. The song tin get-go with an Antara besides, and one song can have more than than one Antara.
➢ Gharana System
- A system of social organisation linking musicians or dancers past lineage or apprenticeship, and by adherence to a particular musical style.
- Word 'gharana ' comes from Urdu/Hindi word 'ghar', which ways 'family' or 'house'.
- Refers to the place where the musical ideology originated.
- Also indicates a comprehensive musicological ideology and differentiates ane schoolhouse from another.
- Affects the thinking, education, functioning and appreciation of music.
- Well known gharanas- for Hindustani classical music- Agra, Gwalior, Indore, Jaipur, Kirana.
(i) Khyal
- Derived from Western farsi and means "idea or imagination".
- Origin of this mode- by Amir Khusrau.
- Most pop grade among artists equally information technology provides greater scope for improvisation.
- Based on repertoire of curt songs ranging from ii to eight lines.
- Khyal composition- referred to as a 'Bandish'.
- Sultan Mohammad Sharqi- gave the biggest patronage to Khyal in 15th century.
- Unique features- use of taan in the composition and giving less room to Alap, dissimilar Dhrupad.
- A typical Khyal performance uses two songs:
Bada Khyal: sung in the tedious tempo
Chhota Khyal: sung in the fast tempo - Theme for Khyal bandish- romantic in nature, even if they are related to divine creatures.
- Khyal compositions- in praise of Lord Krishna.
The major Gharanas under Khyal music are:
(a)Gwalior Gharana
- Information technology is 1 of the oldest and the most elaborate Khyal Gharana.
- Very rigorous as there is equal emphasis on melody and rhythm.
- Singing is very complex Adopt to perform simple ragas.
- Popular expounder- Nathu Khan and Vishnu Palushkar.
(b)Kirana Gharana
- Named after town Kirana in Uttar Pradesh.
- Founded by Nayak Gopal
- Real credit for making information technology popular- Abdul Karim Khan and Abdul Wahid Khan (early
20th century). - Famous for business organization towards precise tuning and expression of notes.
- Better known for mastery over slow tempo ragas.
- Emphasise on melody of limerick and the clarity of the pronunciation of the text in the song.
- They adopt apply of traditional ragas or the Sargam.
- Most famous singers- Pandit Bhimsen Joshi and Gangubai Hangal.
- Carnatic exponents from border regions of Maharashtra and Karnataka are besides associated with this gharana.
(c) Agra Gharana
- Historians say Khuda Baksh established it in 19th century
- Musicologists say Haji Sujan Khan founded information technology.
- Revived by Faiyaz Khan.
- Renamed every bit Raneeela Gharana.
- It is a alloy of Kliyal & Dhrupad style.Artists give special emphasis to Bandish.
Major expounders- Mohsin Khan Niazi and Vijay Kichlu.
(d) Patiala Gharana
- Started by Bade Fateh Ali khan and Ali Baksh khan in 19th century.
- Received initial sponsorship by Maharaja of Patiala(Punjab).
- They gathered a reputation for ghazal, thumri & khayal.
- Stress on use of greater rhythm.
- Their compositions stress on emotions because they use ornamentation or alankaras in their music.
- They stress on intricate tanas.
- Near well known composer- Bade Ghulam Ali Khan Sahab (ane of India'southward greatest Hindustani classical vocalists who bridged the gap between vocals beingness limited to an elite audition).
- He was well known for his rendition of the Raga Darbari.
- Gharana is unique every bit information technology uses unique taans, gamak and gayaki of tarana mode.
(eastward) Bhendibazaar Gharana
- Founded by Chhajju Khan, Nazir Khan and Khadim Hussain Khan in 19th century.
- The singers were trained to control their breath for a long menstruum.
- Artists could sing long passages in a unmarried breath.
- Are unique as some Carnatic ragas in their envious repertoire.
(ii) Tarana Style
- Rhythm plays a very crucial function.
- Structure is mainly tune, usually brusk, repeated many times, with variation and elaboration at performer'south discretion.
- There is a 2d, contrasting melody with higher notes, which is introduced once earlier returning to the main tune.
- Uses words that are sung at a fast tempo.
- Singers need specialised grooming & skills in rhythmic manipulation.
- World's Fastest Tarana Vocalizer - Pandit Rattan Mohan Sharma (Mewati Gharana) - In 2011 he was given the title of "Tarana ke Baadshah" (Male monarch of Tarana).
Semi-classical Styles of Hindustani Music
- Based on swara (notation).
- Slightly deviate from standard structure of the raga because lighter version of ragas like Bhoopali or Malkaush are used.
- Employ lighter version of tala and utilise madhyam or dhrut laya, i.east., they are faster in tempo.
- Emphasize more on bhava and lyrics than alap-jod-tan-jhala.
- Prominent semi-classical styles like thumri, tappa and ghazal are discussed below:
(a)Thumri
- Based on mixed ragas.
- Considered to be semi classical Indian music.
- Compositions- either romantic or devotional.
- Inspired by Bhakti movement so text revolves around girl'southward dearest for Krishna.
- Linguistic communication of composition- Hindi or Awadhi dialect or the Braj Bhasha dialect.
- Commonly sung in a female person vocalization.
- Different from thumri and others because of its inherent sensuality.
- Allows the singer to improvise during operation so they accept greater flexibility with use of raga.
- Likewise used as generic proper name for another, even lighter, forms such every bit Dadra, Hori, Kajari, Saavan, Jhoola, and Chaiti.
Two primary types of thumri:
ane. Purbi thumri: slower tempo.
2. Punjabi thumri: fast & lively tempo.
- Its main Gharanas- Banaras and Lucknow.
- Begum Akhtar- most timeless voice of singing thumri.
(b)Tappa
- Rhythm plays a very important role.
- Originated from folk songs of camel riders of North-Westward India.
- Gained legitimacy as a semi-classical vocal speciality when brought to the Mughal courtroom of emrieror Muhammad Shah.
- Uses very quick turn of phrases.
- Was genre of option of wealthy elite besides as the classes with more modest means.
- The "baithaki" fashion- evolved under patronage of elites of zamindari classes of late 19th & early 20th centuries in their baithak-khanas (literally, baithak - assembly, khana halls or salons) and jalsaghar (literally, halls for entertainment, mujra or nautch halls)
- At present, fashion is getting extinct and no 1 is getting involved with it.
- Few expounders of this style- Mian Sodi, Pandit Laxman Rao of Gwalior and Shanno Khurana.
(c) Ghazal
- A poetic form that consists of rhyming couplets and a refrain, with each line sharing the same meter.
- Poetic expression of - pain of loss or separation and beauty of love in spite of that pain.
- Originated in Iran (tenth century AD).
- It never exceeds the 12 ashaar or couplets.
- Spread in South asia in twelfth century due to the influence of Sufi mystics & courts of new Islamic Sultanate.
- Zenith- Mughal menstruum.
- Amir Khusrau- kickoff expounders of making Ghazal
- Historical Ghazal poets were either Sufis themselves (like Rumi or Hafiz), or sympathizers with Sufi ideas.
- Ghazal deals with just i subject: love, specifically an unconditional and superior love.
- Ghazals from Indian sub-continent- an influence of Islamic Mysticism.
- Had complex lyrics which required pedagogy
- With years passed, ghazal has undergone some simplification which helps it to reach a larger audience.
- Most of the ghazals- sung in styles not limited to khyal, thumri, raga and other classical and light classical genres.
- Famous persons- Muhammad Iqbal, Mirza Ghalib, Rumi (13th century), Hafez (14th century), Kazi Nazrul Islam, etc.
Try yourself:Consider the following statements:
i. In Aaroha, each notation is higher than the preceding note.
2. In Avaroha, each note is lower than the preceding note.
Which of the higher up is/are correct?
Explanation
Argument 1 is right - Aaroha : Ascend of the notes. Here each notation is higher than the preceding note. Instance: Sa, Re, Ga, Ma, Pa, Dha, Ni Avaroha: Descend of the notes.
Statement 2 is right - n Avaroha, each note is lower than the preceding note. Example: Ni, Dha, Pa MA, Ga, Re, Sa
- Creates music that is played in traditional octave.
- The music is kriti, which focuses more than on saahitya or lyric quality of the musical piece and is a highly evolvedmusical song set to a certain raga and fixed tala or rhythmic cycle.
Every composition in the Carnatic style has several parts to it:
(a) Pallavi
- Are kickoff or second thematic lines of composition.
- This is often repeated in each stanza.
- Is considered to be 'Piece de Resistance' or the best part of the Carnatic composition chosen 'Ragam Thanam Pallavi' where the artist has corking telescopic for improvisation.
(b ) Anu Pallavi
- Are two lines that follow Pallavi or the beginning line.
- Sung in beginning & sometimes towards the end
- Not necessary to repeat it after every stanza or Charanam.
(c) Varnam
- Sung at the beginning of a recital.
- Reveals raga of the recital to the audience.
- Made upwards of ii parts: Purvanga or first half & Uttaranga or second half.
(d) Ragamalika
(i) Annamacharya-(1408-1503)
- First known composer of Carnatic Music:
- He composed sankirtanas in praise of Lord Venkateswara, a form of Lord Vishnu.
- His compositions were mainly in Telugu.
- He is widely recognised as 'Gramps of Telugu Song-writing'.
(ii) Purandara Dasa-(1484-1564)
- I of the founding proponents of Carnatic music.
- He was a devotee of Lord Krishna.
- Widely referred to an "Pitamaha or male parent/gramps of Carnatic Music".
- He is believed to exist an avatar or incarnation of sage Narada.
- His famous composition includes Dasa Sahithya.
(iii) Kshetrayya-(1600-1680)
- Telugu poet and a prominent composer of Carnatic music.
- Composed a number of Padams and Keertanas.
- His compositions were mainly based on Lord Krishna.
- He used to travel from 1 place to another.
- His Padams are fifty-fifty today sung during Bharatnatyam and Kuchipudi performances.
(iv) Bhadrachala Ramadasu-(1620-1680)
- A famous proponent of Carnatic Music and his compositions were mainly in praise of Lord Rama and mostly in Telugu language.
- He was one among the famous Vaggeyakaras (i.e., composing the lyrics also as setting them to music).
Other Vaggeyakaras in Telugu include Annamacharya, Tyagaraja, Syama Sastri, etc. (all 03 born in Tiruvarur) - Most compositions in Telugu and few in Sanskrit and in praise of Lord Rama.
A crater on planet Mercury is named Tyagaraja
Tyagraja created several new ragas.
- Each state- has its own course of music.
- Classical music- follow rules as laid in Natyashastra and cultivate a guru-shishya (student-mentor) tradition
- Folk tradition- music of people and has no difficult and fast rules.
- They are based on diverse themes & are also set on beats so that they tin can be dance oriented.
Indian Folk Music
In that location are several type of folk music associated with a particular State:
- Is not only a blazon of music, but a Bengali religious sect.
- Baul Sangeet- item type of folk song.
- Lyrics influenced by Hindu Bhakti movements and Suphi, a class of Sufi song exemplified by the songs of Kabir and called 'Baul Gaan' or Baul song.
- Represents a long heritage of preaching mysticism through songs in Bengal similar Shahebdhoni or Bolahadi sects.
- Propounders- Yotin Das, Purno Chandra Das, Lalon Phakir, Naboni Das and Sanatan Das Thakur Baul.
- State of Kashmir.
- Sung during hymeneals ceremonies.
- Based on -Mahabharata & Bhima as hero.
- Includes gayan (singing) & vadan (playing an instrument).Songs are set to rhythm of tambura.
- Most known artists- Tijanbai from Chhattisgarh- she won Padma Shri and Padma Bhushan.
- Madhya Pradesh
- Heroic ballad vocal with intricate words.
- Due southung in different languages like Braj, Awadhi and Bhojpuri.
- Also related to Mahabharata and glorify the reincarnations of pandavas.
- V Pandavas substituted here every bit Alha, Udal, Malkhan, Lakhan and Deva.
- Rajasthan
- Related to water.
- About women fetching water from well in matkas .
- About scarcity of h2o and long altitude between well and village.
- Also talk about daily concerns of village women, or chance encounter between lovers or contentious relationship between the mother in law & daughter in law.
- Maharashtra and Goa.
- Songs of women- sung by them during leisure time.
- Four small lines of poetry & are written for marriages, pregnancy and equally lullabies.
- Madhya Pradesh.
- Sung during festivals, that fall during rainy season.
- Are the songs of the farmer communities.
- Plead for a "ood monsoon and a practiced harvest '
- Saira dance is performed with information technology.
- Virtually famous folk trip the light fantastic from Maharashtra.
- Near pop genre of music in Maharashtra.
- Performed with Dholki, a percussion instrument.
- Has a powerful rhythm .
- Rajasthan.
- Developed in royal courts and hence recognised in classical circles.
- Is neither a full-fledged Raga nor is a freely rendered folk song.
- Are usually about the bards singing the glory of the Rajput rulers.
- Is about to Thumri or Ghazal.
- Song Kesariya Balam is in this mode.
- Raas or Dandiya Raas
- Traditional folk trip the light fantastic class of Gujarat
- Associated with Holi and Ida of Krishna and Radha at Vrindavan.
- Dance of Navratri evenings in Western India (Dandiya Raas - Gujarat)
- Several forms of Raas, but "Dandiya Raas"- about popular.
- Other forms of Raas
1.Dang Lila, Rajasthan- 1 large stick is used
2. Rasa lila, N India. - Raas Lila & Dandiya Raas- are like.
- Garba, a class of Raas, called "Raas Garba".
- Maharashtra.
- Ballads sung for heros of the past like Shivaji.
- Describe the events of their glorious past and their heroic deeds.
- Folk music- Manipur.
- Popular ballad genre
- Musical narration of battle of Khongjom fought between the British army and the Manipuri resistance forces in 1891.
- Emotional songs
- Very popular in Karnataka & Maharashtra.
- Very shut to Ghazals
- Sung on a slower pitch.
- Composed on themes around nature, dearest and philosophy.
- Goa
- Blend of Indian &western musical traditions.
- Instruments used- guitars, violins & ghumot drum.
Usually devotional music take elements from both classical and folk.
Some of the styles are:
- Genre of devotional music.
- Takes cue from earlier forms of music similar Prabandha Sangeet and Dhruvapada which were likewise devotional.
Sub-categories in this genre are equally follows:
(a) Bhajan
Most pop type of devotional singing present in north India.
- Originated from Bhakti motility.
- Pop subjects- stories from life of god & goddess or from Mahabharata and Ramayana.
- Accompanied by musical instruments- chimta, dholak, dhaphli and manjira.
- Major expounders (medieval period) - Mirabai, Tulsidas, Surdas, Kabir, etc.
- Famous bhajan singers- Anup Jalota & Anuradha Paudwal.
(b)Shabad
- Devotional songs sung in Gurudwaras.
- Popularised by Guru Nanak & his disciple Mardana
- Three types of Shabad singing, raga-based Shabad singing; traditional shabds (Adi Granth) & lighter ones.
- Best-known Shabad singers- Singh Bandhus-Tejpal Singh, Surinder Singh & Bhai Santa Singh
(c) Qawwali
- Sung in praise Allah or Prophet Muhammad or any major Sufi or Islamic saint.
- Composed in single raga & is written in Urdu, Punjabi or Hindi.
- Words of Brajbhasa & Awadhi are likewise used.
- Are performed in Sufi shrines.
- Sung solo or in groups of ii leads singers & a team of eight.
- Tabla, dholak and harmonium are used.
- Amir Khusrau-credited with origin of Qawwali but is severely disputed.
- Major Qawwals-Sabri Brothers, Nusrat Fateh Ali Khan, Aziz Warisi etc.
- Most famous form of composing music in Bengal.-Recreates the music of Nobel Laureate Rabindranath Tagore.
- Mixture of classical elements & Bengali folk strains.
- More than than 2000 Rabindra Sangeet exists.
- Themes include- worship of one true god, devotion to nature and its beauty, love and a celebration of life.
- Its nearly prominent emotion was strain of patriotism.
- Fusion music sung in chorus.
- Is on patriotic feelings & includes songs of protest against malpractices in the society.
- Virtually pop example of information technology: Vande Mataram,
- Developed in Rajasthan & Gujarat but as well seen in many parts of the land.
- Was sung in temple premises but now are performed exterior of temples.
- Skilful by a customs called Pushtimarg Sampradaya or community that believes in Pushtimarg as the way to salvation.
- Rock music in Indian- called Indian Rock- has elements of Indian music with mainstream rock music.
- One of the first Indian rock singers- Usha Uthup.
- Unique features of Indian stone are- Indian musicians began fusing rock with traditional Indian music from the mid-1960s onwards.
- Western music and cultural interaction have impacted Indian Stone.
- Influence of Indian classical music on 1960s rock- started with George Harrison's Ravi Shankar inspired raga rock song "Norwegian Wood (This Bird Has Flown)" in 1965 & The Beatles' very public sojourn with the Maharishi Mahesh Yogi at his ashram in Rishikesh in 1968, following the release of Sgt. Pepper'southward Lonely Hearts Society Band in 1967.
- Its origin in India- 1920s in Mumbai, when African-American jazz musicians performed in posh hotels.
- The Goan musicians took cue from them.
- 1930 -1950 -'Golden historic period of Jazz music in Bharat'.
- Black musicians who came to India to avert racial discrimination in USA- Leon Abbey, Crickett Smith, Creighton Thompson, Ken Mac, Roy Butler, Teddy Weatherford.
- Became predominant- in Bombay & centres like Taj Mahal hotel ballroom.
- Similarities between Jazz & Indian classical music- both involve improvisation.
- In 1940s- Indo jazz which consisted of jazz, classical & Indian influences, emerged.
- Pioneers of fusion of jazz & Indian music- Ravi Shankar, John Coltrane, etc.
- Indian classical music also impacted free jazz (a subgenre of jazz)
- Indian elements with Pop music- Indi-pop or Indipop or Hindipop.
- British-Indian fusion band Monsoon- used term 'Indipop' for kickoff time in their album in 1981.
- Indian pop music- popularised in early 1990s- past Alisha Chinai, in collaboration with Biddu & MTV Republic of india.
- Indipop took an interesting plow with "remixing" of onetime Indian movie songs & adding new beats to them- this attempt of reinventing IndiPop faced severe criticism & somewhen resulted in cease of IndiPop phase of music in India.
- Current pop musicians- Mohit Chauhan, Mika Singh, Raghav Sachar, Papon, etc.
- Membranophone instruments- outer membrane is beaten to take out particular musical sounds.
- Also called percussion instruments
- Have one or ii faces covered with hide or skin.
- About ancient of these- Bhumi Dundubhi or the earth pulsate.
- Information technology includes- Tabla, Pulsate, Dhol, Congo, Mridangam, etc.
- Tabla accompanies Hindustani classical vocals, Mridangam- accompanies Carnatic music performances.
- Are aerophones- includes wind instruments.
- Most common- Bansuri (flute), Shehnai, Pungi, Ninkirns, etc.
- Nearly common yet difficult to play- Shehnai, a double reeded air current instrument with a widening tube towards the terminate. It is one of the oldest current of air instruments in India.
- Ustad Bismillah Khan-'Shehnai Male monarch'
- Most common musical instrument- flute (used since Vedic catamenia) & was initially called Nadi or Tunava.
- Lord Krishna playing a Flute- an icon of Flindu imagination.
- Pandit Harinrasad Chaurasia- near famous flutist of India.
- Solid instruments- practice not require any tuning.
- Also chosen Idiophone instruments.
- Popular examples- Manjira, Jaltarang, Kanchtarang, Jhanj, Khartal, etc.
- Manjira- minor brass cymbal used in temples.
- Archaeological excavations- dated Manjira to be as old as Harappan civilisation.
- These instruments go along rhythm & time with the ong that is being sung.
- Are Chordophones or cord instruments.
Three major types:
(a) Bowed
Sound is drawn from drawing a bow beyond the strings.
Sarangi, Esraj & Violin.
(b) Plectral
Strings are plucked by fingers or by a plectrum of wire or horn.
Sitar, Veena & Tamboora.
(c) Instruments struck by pocket-size hammer or a pair of sticks.
Gotuvadyam & Swaramandal.
- Bhangash family- pioneers of Sarod (20th century).
- Gharanas playing Sitar- Jaipur, Varanasi, Etawah (Imaad Khani) Gharanas.
- Veena- one of the about ancient and revered instrument that belongs to Goddess.
- Saraswati, too belongs to this category.
It is a 100 strings instrument and is a traditional instrument of Jammu and Kashmir from ancient times. Sufiana kalam music is accompanied by Santoor.
Attempt yourself:Which of the following folk music is not correctly matched?
Caption
Alha Folk song is famous in Bundelkhand region of Madhya Pradesh. Alha and Udal were successful commanders of Rajput king Chandel king Parmal. The song is sung in glory of them.
(i) Tumbi: played during Bhangra in Punjab.
(ii) Ektara or Tun Tuna: one-stringed instrument played by wandering monks.
(iii) Dotara: two-stringed instrument used by Bauls
(iv) Chikara: bowed instrument used in Rajasthan, Uttar Pradesh and Madhya Pradesh.
(five) Dilruba or Esraj: accompanying instrument used in Punjab and during Rabindra sangeet in eastern India.
(6) Onavillu: Kerala. Fabricated of bamboo.
(vii) Sarinda: Important tribal instrument and is used by Santhals in Eastern Bharat, in Rajasthan & Assam. Information technology is like Sarangi.
2. Aerophones
(i) Pungi or Been: snake charmers use it. Fabricated of stale bottle gourd & two bamboo sticks.
(ii) Algoza: Double flute and used in North Westward India, especially Punjab.
(iii) Tangmuri: Khasi colina people of Meghalaya.
(4) Titti:like bagpiper, made of caprine animal skin. It is made in south Bharat peculiarly Kerala and Andhra Pradesh.
(v) Mashak: musical instrument of Garhwal region in Uttarakhand. Used in Rajasthan and Uttar Pradesh.
(vi) Gogona: made of bamboo & used during Bihu in Assam.
three. Membranophones
(i)Ghumot: similar a pulsate & played during Ganesh festival,Goa.
(two)Idakka: similar Damru and is from Kerala.
(three)Udukai: hour-glass shaped instrument like damru from Tamil Nadu.
(iv)Sambal: like drum & played with sticks in Konkan region, Maharashtra.
(v)Tamak: Important instrument of Santhal tribe & is two headed pulsate. Information technology is beaten with pulsate sticks.
(vi)Diggi: folk pulsate from Ghariya village of Uttar Pradesh.
4.Idiophones
(i)Chimpta: evolved from fire tongs, used in Punjab.
(ii)Gharha: are earthern pots that are used in folk music, Punjab
(iii)Andelu: used in Burra-Katha & is a pair of hollow metallic rings.
Effort yourself:Which of the following is not a Sushir vadya?
Explanation
SUSHIR VADYA. These are current of air instruments. Sound is produced primarily by causing a body of air to vibrate. The Jal Tarang is a melodic percussion instrument which originates from the Indian subcontinent. It consists of a gear up of ceramic or metal bowls filled with water. The bowls are played by striking the edge with beaters, one in each hand.
Some of the important developments are:
(i) Gandharva Mahavidyalaya
- Prepare up by V.D. Palushkar, 1901
- Purpose- teaching & transmitting cognition of Indian classical music and dance to the coming generations.
- Was initially opened in Lahore just shifted to Mumbai in 1915.
- Focuses on Flindustani & Carnatic classical forms of music.
- Have a devotional bend of listen, so opened Prayag Samiti in Allahabad.
(2) Prayag Sangeet Samiti
- Information technology was established in 1926 at Allahabad (at present Prayagraj) to impart didactics in Hindustani Classical music
Try yourself:Consider the following statements:
1. Pandit Bhimsen Joshi
ii. Gangu Bhai Hangal
3. Vishnu Palushkar
Who of the above vest to Kirana Gharana of Dhrupad style of music?
Explanation
Pandit Vishnu Digambar Paluskar (18 August 1872 – 21 Baronial 1931) was a Hindustani musician. Gharana is related to Carnatic music. So both one and two are answers.
(iii) Sangeet Natak Academy
- Start national academy ready upwardly for the Arts by Government of India in 1952.
- Major focus- creates a set up-up for music, drama and dances in India.
- Was supposed to be the primary trunk for the showcasing of performing arts in the county.
- Also promoted the enormous intangible heritage of Bharat.
- Central agency to monitor preservation of our cultural heritage but they need to collaborate with State & Matrimony Territory governments to preserve and promote their civilization on a national platform.
- Also looks later several institutions, which focus primarily on dance, music or drama.
- Similar, they administer National Schoolhouse of Drama - prepare up in 1959 for focused work on dramatics in India.
(iv) Marris College of Music
- Premier institute for studying classical music in Bharat.
- Founded by Vishnu Narayan Bhatkhande in 1926.
- He established information technology in his identify of origin, Lucknow
- Later renamed every bit Bhatkhande Music Constitute.
(v) Spic Macay
- Established past Kiran Seth in 1977.
- Total grade- ' 'Society for Promotion of Indian classical music and civilization amongst the youth."
- Voluntary youth move to showcase culture of India to the masses, specially the younger generations who are losing touch with Indian classical roots.
- Established to promote Indian classical music, trip the light fantastic toe and other aspects of Indian civilization.
- Targets- lay people and youth by holding many costless entry events.
- Grown into a behemoth organisation that has more than than 200 chapters or branches all beyond the globe.
Endeavor yourself:Consider the following statements:
1. A raga must have at to the lowest degree v notes or swaras in it.
2. Raga has only Aaroha or ascending notes.
Which of the in a higher place is/are right?
Explanation
Statement 1 is right - As prescribed in the ancient texts on Hindustani classical music, each raga must consist of at to the lowest degree five notes. The notes should include the tonic (Sa) and at least one out of (Ma) or (Pa). In a broad sense, a raga tin can exist divers by its characteristic ascent and descent (known as Aroha and Avroha respectively).
Statement two is incorrect - Thaat has only Aaroha (Ascending notes). The raag must have Aaroha (ascending notes) every bit well every bit the Avaroha (descending notes). A thaat doesn't need to be melodious as the thaats are non sung but the raag has to be melodious. Thaats do not limited a sentiment.
Chaturprahar
- Is annual Indian classical music festival held at National Centre for Performing Arts in Bombay.
- Based on the concept of clan of fourth dimension with the ragas.
To practice questions of the topic "Indian Music", you just read, effort the test given below:
- Nitin Singhania Test: Indian Music - 1
- Nitin Singhania Test: Indian Music - two
Source: https://edurev.in/studytube/Nitin-Singhania-Summary-of-Indian-Music/758030b6-1925-4d5e-9023-ce46e74e3029_t