MUSIC OF INDIA. Region of world: South Asia 2 nd most populous country in world (2007: 1.12 billion) Birthplace of 4 major religions (Hinduism, Buddhism,

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Presentation transcript:

MUSIC OF INDIA

Region of world: South Asia 2 nd most populous country in world (2007: 1.12 billion) Birthplace of 4 major religions (Hinduism, Buddhism, Jainism, Sikhism) Official languages: Hindi, English and 21 other languages Was British colony until independence in 1947 Over 5,000 years of recorded history Largest film industry in the world; great source of popular music India at a glance

Indian Music Carnatic vs. Hindustani classical traditions (music and dance) Raga and Tala Improvisation and Composition

Indian Instruments SITAR SAROD TAMBURA

Indian Instruments MRIDANGAM TABLA

Indian Classical Ensemble

RAGA Series of pitches Rules for ornamentation Rules for ascending Rules for descending Associated with mood, time of day and –North India 200 ragas –South India 72 main, several secondary

Raga Basant

TALA Fixed metrical cycle consisting of shorter units, often of unequal length Basis for improvisation for soloist and drummer Hindustani audience participates by clapping tala

TALA EXAMPLES Ata tala = 14 beats / /11 12 /13 14// Clap * * * * Clap * * * * Clap Wave Clap Wave Tintal: = 16 Clap 2 3 4/ clap /wave /clap 2 3 4

Indian Music Theory 5 th cent. BC – earliest treatises on music theory Concerned SAMA VEDA (arrangements of the Rig Veda poems set to music) Theorists divided the octave into 22 intervals, including the 12 Western intervals plus additional inflections up or down

The Kriti Most well known form of Carnatic music Originally vocal with religious texts Modern kriti repertoire composed in 18 th -19 th cents. Saint Tyagaraja ( )

Kriti Structure Alapana (improvised opening, introduces the raga) 3 sections (no breaks): –Pallavi: opening section and “refrain” –Anupallavi: introduces secondary theme, moves towards climax –Caranam: final section (may be relaxed or may be virtuosic restatement of previous material)

“Banturiti” by Tyagaraja Voice, violin, mridingam Raga: Hamsanadam (c e f# g b) Adi Tala ( ) Clap / clap wave /clap wave

“Devi Niye Tunai” by Papanasam Sivan (20 th cent.) Voice, mridangam Raga: Keervani Tala: Adi Tala ( ) To the goddess Devi (with the fish- shaped/always open eyes). Text is in Tamil language.

Kriti: “Devi Niye Tunai” (Pallavi) devi neeye tunai ten madurai vaazh meena lochani (Anupallavi) devaati devan sundaresan cittam kavar bhuvana sundari-amba) (Repeaat pallavi) (Caranam) malayadhvajan maadavame kaancana maalai pudalvi mahaaraagjni alaimahal kalaimahal pani keervaani amudanaya iniya muttamizh valartta (Repeat pallavi)

“Sarasiruha” Pallavi: “O Mother who loves the lotus seat,” Anupallavi: “Save me who have taken refuge in you!” Charanam: “Complete Being, who holds a book in her hand which bestows all dominion.”

“Sarasiruha” by Pulaiyar Doraismy Ayyar (19 th cent.) Instrumental but based on song with words Vina, mridangam Raga Natai: ancient raga associated with god Shiva in form of Lord of the Dance Adi Tala Alapana/Tanam//Pallavi/Anupallavi/ Caranam

Listening Guide to “Sarasiruha” 0 – 3:15” = Alpana 3:20” – 8:15” = Tanam (rhythmic exposition of raga – no tala yet) 8:25” = Pallavi section 10:27” = Anupallavi section 12:33” = Caranam section 14:33”-15:10” motif “Saraswati” repeated 15:46” Kalpana Svaras (“imagined notes”) 18:06”s Tani Avartanam (drum improvisation)