World MusicWorld Music

Music of IndiaMusic of India

Indian music is a classical Indian music is a classical art music tradition with art music tradition with

many similarities to many similarities to Western classical music: Western classical music: it appeals to and is patronized by a it appeals to and is patronized by a small, educated segment of the small, educated segment of the population population

it has a body of theory and a formal it has a body of theory and a formal system of study system of study

it is disseminated through public it is disseminated through public concerts in which there is an concerts in which there is an expected program order. expected program order.

There are also significant There are also significant differences differences

pieces are mixed pre-composed and pieces are mixed pre-composed and improvised material improvised material

there are different levels of there are different levels of improvisation that occur at specific improvisation that occur at specific points in a piece points in a piece

a performer’s skill is measured by a performer’s skill is measured by the ability to improvise in free the ability to improvise in free rhythm.rhythm.

““It’s all the same music!”It’s all the same music!”

Western music uses mostly the same Western music uses mostly the same two types of scales, major and two types of scales, major and minor.minor.

Indian music uses about 250 Indian music uses about 250 different ragas.different ragas. Times of dayTimes of day Seasons Seasons

Two major musical systems Two major musical systems exist in Indian music exist in Indian music

Karnatak (also Karnatak (also spelled Carnatic) spelled Carnatic) in the south in the south

Hindustani in the Hindustani in the north north

Karnatak is the older Hindu tradition Karnatak is the older Hindu tradition

Hindustani has been influenced by the Hindustani has been influenced by the later arriving Islamic culture. Hindustan later arriving Islamic culture. Hindustan is the region of North India. is the region of North India.

Roots of Indian MusicRoots of Indian Music

The Vedas –– a corpus of texts The Vedas –– a corpus of texts originating in Ancient India; the originating in Ancient India; the oldest scriptural texts of Hinduism oldest scriptural texts of Hinduism

Vedic chant––Vedic chant–– intoned intoned verses of Vedas performed verses of Vedas performed

by Brahmin priests by Brahmin priests

http://www.youtube.com/v/A0tQt2CS9P4?version=3&hl=en_US&rel=0

Varna –– the division of Varna –– the division of society in Indian culture, society in Indian culture, sometimes translated as sometimes translated as

“caste” “caste” Brahmin or Brahman - the Brahmin or Brahman - the highest varna, or caste, in highest varna, or caste, in

Indian societyIndian societyhttp://www.youtube.com/v/Oh_xvKLhZHg?version=3&hl=en_US&rel=0

North Indian “Hindustani” North Indian “Hindustani” musicmusic

Hindustani musicHindustani music The Hindustani tradition encompasses The Hindustani tradition encompasses

Indo-Aryan-speaking areas of North India Indo-Aryan-speaking areas of North India (including Pakistan, Bangladesh, and (including Pakistan, Bangladesh, and Sinhalese areas of Sri Lanka). The musician Sinhalese areas of Sri Lanka). The musician Tansen was brought to the Mughal court of Tansen was brought to the Mughal court of the Emperor Akbar in Delhi. The Mughals the Emperor Akbar in Delhi. The Mughals were Muslims, as were the Hindustani were Muslims, as were the Hindustani musicians, so musician families passed their musicians, so musician families passed their profession through inheritance by tradition profession through inheritance by tradition while maintaining a low social status. The while maintaining a low social status. The dissolution of the Mughal court in the 18th dissolution of the Mughal court in the 18th century led to a dispersal of musicians to century led to a dispersal of musicians to other centers of patronage.other centers of patronage.

From the thirteenth century, the From the thirteenth century, the influence of the Persian and Turkish influence of the Persian and Turkish cultures of Islam became of singular cultures of Islam became of singular importance for North India when the importance for North India when the foreigners established political foreigners established political control over the area from the city of control over the area from the city of Delhi.Delhi.

Gharanas –– a school of professional Gharanas –– a school of professional musicians in North India who originally musicians in North India who originally traced their heritage to a family traced their heritage to a family tradition but which now includes non-tradition but which now includes non-biological descendants as well. An ustad biological descendants as well. An ustad is a master; a shagird is a student. The is a master; a shagird is a student. The gharanas extend from the famous gharanas extend from the famous sixteenth-century musician Tansen, who sixteenth-century musician Tansen, who was brought to the imperial court near was brought to the imperial court near Delhi by the Mughal Akbar.Delhi by the Mughal Akbar.

Hindustani InstrumentsHindustani Instruments SitarSitar HarmoniuHarmoniu

mm TamburaTambura TablaTabla PakhavajPakhavaj BansuriBansuri

Sitar (Solo Instrument)Sitar (Solo Instrument) Tambura (Drone Instrument)Tambura (Drone Instrument) Tabla (Percussion, Membranophone) Tabla (Percussion, Membranophone)

These are the most important instruments

TermsTerms Lay – tempoLay – tempo Tal - MeterTal - Meter Raga – A scale associated with musical Raga – A scale associated with musical

characteristicscharacteristics Gat-tora – The section of Hindustani inst. Gat-tora – The section of Hindustani inst.

Performance accompanied by tabla, in which a Performance accompanied by tabla, in which a short composed melody, the gat, is alternated short composed melody, the gat, is alternated with improvisational passages, the torawith improvisational passages, the tora

Alap – Raga improvisation at the beginningAlap – Raga improvisation at the beginning Jor – After the Alap, introduces a pulseJor – After the Alap, introduces a pulse Jhala – The concluding section of instrumental Jhala – The concluding section of instrumental

improvisation. Following Jor, includes…improvisation. Following Jor, includes… Tan – rapid and florid kind of improvisationTan – rapid and florid kind of improvisation

This Example will take you through a typical North Indian This Example will take you through a typical North Indian form. The link below is to your Pearson’s music website. form. The link below is to your Pearson’s music website.

http://media.pearsoncmg.com/ph/hss/hss_nettl_worldmusic_6e/active_listening_guidhttp://media.pearsoncmg.com/ph/hss/hss_nettl_worldmusic_6e/active_listening_guides/index.html#nettl6e_alg03_ch02-lges/index.html#nettl6e_alg03_ch02-lg

Ghazal, Bat Karane Mujhe Mushkil, by Zasar. Textbook CD1, track 3.

Rag: Pahari, a scale similar to the major scale but with occasional accidentals Tala: Keharwa (8 beat)

Karnatac MusicKarnatac Music

Tyagaraja –– a Karnatak musician and Tyagaraja –– a Karnatak musician and composer of the eighteenth century composer of the eighteenth century who refused an appointment to the who refused an appointment to the southern court of Tanjore. He instead southern court of Tanjore. He instead composed songs for the god Rama, and composed songs for the god Rama, and they were not kept as the inheritance they were not kept as the inheritance of his family tradition.of his family tradition.

Guru –– in Karnatak music, teacher Guru –– in Karnatak music, teacher Shishya –– in Karnatak music, a student Shishya –– in Karnatak music, a student

Devadasis –– translates as “servants Devadasis –– translates as “servants of the gods.” In South India, they of the gods.” In South India, they were female children dedicated to were female children dedicated to the service of the temple and the service of the temple and received intensive training in the art received intensive training in the art of dance. Being “married” to the of dance. Being “married” to the temple deity, they were not allowed temple deity, they were not allowed to marry any man in the usual sense. to marry any man in the usual sense.

Karnatak instrumentsKarnatak instruments Chordophones Chordophones –– sitar, tambura, vina (stick –– sitar, tambura, vina (stick zither of Karnatak music), sarod (fretless lute zither of Karnatak music), sarod (fretless lute of Hindustani music), violin, guitar (played of Hindustani music), violin, guitar (played slide-guitar style) This video is of Sarodslide-guitar style) This video is of Sarod

Aerophones Aerophones –– harmonium (free –– harmonium (free reed), shehnai (double reed), bansuri reed), shehnai (double reed), bansuri (flute) This video is of Shehnai.(flute) This video is of Shehnai.

Membranophones Membranophones –– tabla, pakhavaj, –– tabla, pakhavaj, mridangam (double-headed, barrel-mridangam (double-headed, barrel-

shaped drum)shaped drum)

Karnatak TermsKarnatak Terms Varnam –– a type of song with which Varnam –– a type of song with which

Karnatak recitals generally begins, Karnatak recitals generally begins, sometimes compared to the Western sometimes compared to the Western classical “etude” or “study”classical “etude” or “study”

Kriti –– the major song type of Kriti –– the major song type of Karnatak music, divided into three Karnatak music, divided into three parts: pallavi, anupallavi, and caranamparts: pallavi, anupallavi, and caranam

Typical Karnatak recitalTypical Karnatak recital

Karnatak recitals include Karnatak recitals include several items starting with simple, several items starting with simple, pre-composed pieces with little pre-composed pieces with little elaboration, moving to more elaboration, moving to more complex improvisatory structures, complex improvisatory structures, then concluding with short fixed then concluding with short fixed compositions. A typical performance compositions. A typical performance might include one or more of the might include one or more of the following:following:

Varnam:Varnam: Etude-like pieces used mainly as Etude-like pieces used mainly as warm-ups.warm-ups.

Kriti:Kriti: Performed with little/no Performed with little/no improvisation. Simple kritis consist of three improvisation. Simple kritis consist of three sections: pallavi, anupallavi, and caranam sections: pallavi, anupallavi, and caranam (pronounced charanam), all accompanied by (pronounced charanam), all accompanied by percussion in a regularized meter (tala). The percussion in a regularized meter (tala). The first portion of the pallavi serves as a first portion of the pallavi serves as a refrain, recurring at the end of all three refrain, recurring at the end of all three sections. Texts are usually devotional.sections. Texts are usually devotional.

More complex kritis:More complex kritis: Preceded by ragam and tanam, and Preceded by ragam and tanam, and

elaborated with niraval and svarakalpana.elaborated with niraval and svarakalpana.

Ragam-tanam-pallavi:Ragam-tanam-pallavi: A long, largely improvised piece that may A long, largely improvised piece that may

be sung or played with augmentation/ be sung or played with augmentation/ diminution (trikala) of the pallavi theme diminution (trikala) of the pallavi theme (usually a line from a kriti). It (usually a line from a kriti). It demonstrates the musician’’s skill and demonstrates the musician’’s skill and requires exceptional training, confidence, requires exceptional training, confidence, and spontaneous creative ability.and spontaneous creative ability.

Short lyrical pieces:Short lyrical pieces: Either from the dance repertoire (e.g., Either from the dance repertoire (e.g.,

padam, javali, or a fast tempo tillanam) or padam, javali, or a fast tempo tillanam) or from Sanskrit devotional verses.from Sanskrit devotional verses.

http://media.pearsoncmg.com/ph/hss/hss_nettl_worldmusic_6e/active_listening_http://media.pearsoncmg.com/ph/hss/hss_nettl_worldmusic_6e/active_listening_guides/index.html#nettl6e_alg02_ch02guides/index.html#nettl6e_alg02_ch02

Kriti “BanturitiKriti “Banturiti,” sung by Seetha ,” sung by Seetha Rajan, composed by Tyagaraja. Rajan, composed by Tyagaraja. Textbook CD1, track 2 .Textbook CD1, track 2 .

Raga: Hamsanadam (c-e-f#-g-b) Raga: Hamsanadam (c-e-f#-g-b) Tala: Adi (4 + 2 + 2 beats)Tala: Adi (4 + 2 + 2 beats)

Key Concepts for the Key Concepts for the UnitUnit

Layers of Musical Activity:Layers of Musical Activity: Indian music performance, Karnatak Indian music performance, Karnatak

and Hindustani, is triple-textured, for and Hindustani, is triple-textured, for there are always three layers of musical there are always three layers of musical activity: a melodic soloist (ex. the sitar activity: a melodic soloist (ex. the sitar or singer), an accompanying drummer or singer), an accompanying drummer (ex. the tabla or mridangam), and a (ex. the tabla or mridangam), and a drone instrument (tambura). If the drone instrument (tambura). If the ensemble is large, there may be ensemble is large, there may be secondary melodic and/or percussion secondary melodic and/or percussion instruments.instruments.

Raga (ragam in South India) is a way of Raga (ragam in South India) is a way of making melodic music. A raga has a making melodic music. A raga has a scale, a typical order of tones, a scale, a typical order of tones, a character that musicians agree on, some character that musicians agree on, some non-musical ideas with which it is non-musical ideas with which it is connected, and a typical time of day and connected, and a typical time of day and season for performance. In North India season for performance. In North India there are some 200 ragas. In South there are some 200 ragas. In South India there are 72 main ragas and many India there are 72 main ragas and many secondary ones.secondary ones.

Tala (talam in South India) is a way Tala (talam in South India) is a way of organizing meter. It is a fixed, of organizing meter. It is a fixed, cyclically repeating time span in cyclically repeating time span in which beats are arranged in an which beats are arranged in an abstract hierarchy. In South India abstract hierarchy. In South India there are seven main talas and four there are seven main talas and four secondary ones. In North India there secondary ones. In North India there are many more.are many more.

Listening SkillsListening Skills

Hearing the ayers of Musical Activity:Hearing the ayers of Musical Activity: Melody and drone –– Drone may be Melody and drone –– Drone may be

understood in terms of a steady understood in terms of a steady repeated pattern serving as a repeated pattern serving as a foundation under the melody. When a foundation under the melody. When a tambura drones under a sitar, the two tambura drones under a sitar, the two may sound like the same instrument. may sound like the same instrument. The drum layer is more easily The drum layer is more easily recognizable due to its timbral recognizable due to its timbral character.character.

Differentiating between North and Differentiating between North and South Indian Forms:South Indian Forms:

The simplest way to do this is by The simplest way to do this is by comparing a South Indian kriti with comparing a South Indian kriti with a North Indian gat-tora, a North Indian gat-tora, demonstrating the greater demonstrating the greater structured nature of the kriti and structured nature of the kriti and improvisational freedom of the gat- improvisational freedom of the gat- tora.tora.

Differentiating between Composed and Differentiating between Composed and Improvised Material:Improvised Material:

This can be clearly demonstrated in a This can be clearly demonstrated in a South Indian kriti in which a vocalist is South Indian kriti in which a vocalist is accompanied by a violinist. In accompanied by a violinist. In improvised sections, the violinist improvised sections, the violinist doesn’’t know what the vocalist will do, doesn’’t know what the vocalist will do, so he lags slightly behind. In composed so he lags slightly behind. In composed sections, the tune is known to both sections, the tune is known to both performers, so they play together.performers, so they play together.

Counting ExerciseCounting Exercise Counting Tala:Counting Tala: Each North Indian tala has a theka, a repeated Each North Indian tala has a theka, a repeated

pattern of syllables (bols), used as a memory aid. pattern of syllables (bols), used as a memory aid. Have students speak the theka of tintal (4 + 4 + Have students speak the theka of tintal (4 + 4 + 4 + 4) while adding its hand movements to the 4 + 4) while adding its hand movements to the gat-tora section the CD1 track 1. + represents a gat-tora section the CD1 track 1. + represents a clap, • a finger count, and O a wave):clap, • a finger count, and O a wave):

++ •• 11 22 33 44 55 66 77 88 dhadha dhindhin dhindhin dhadha dhadha dhindhin dhindhin dhadha OO 99 1010 1111 1212 1313 1414 1515 1616 dhadha tintin tintin tata tata dhindhin dhindhin dhadha