World Music Music of India

Indian music is a classical art music tradition with many similarities to Western classical music: it appeals to and is patronized by a small, educated segment of the population it appeals to and is patronized by a small, educated segment of the population it has a body of theory and a formal system of study it has a body of theory and a formal system of study it is disseminated through public concerts in which there is an expected program order. it is disseminated through public concerts in which there is an expected program order.

There are also significant differences pieces are mixed pre-composed and improvised material pieces are mixed pre-composed and improvised material there are different levels of improvisation that occur at specific points in a piece there are different levels of improvisation that occur at specific points in a piece a performer’s skill is measured by the ability to improvise in free rhythm. a performer’s skill is measured by the ability to improvise in free rhythm.

“It’s all the same music!” Western music uses mostly the same two types of scales, major and minor. Western music uses mostly the same two types of scales, major and minor. Indian music uses about 250 different ragas. Indian music uses about 250 different ragas. Times of day Times of day Seasons Seasons

Two major musical systems exist in Indian music Karnatak (also spelled Carnatic) in the south Karnatak (also spelled Carnatic) in the south Hindustani in the north Hindustani in the north

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

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

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

Vedic chant––intoned verses of Vedas performed by Brahmin priests

Varna –– the division of society in Indian culture, sometimes translated as “caste” Brahmin or Brahman - the highest varna, or caste, in Indian society

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

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

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

Hindustani Instruments Sitar Sitar Harmonium Harmonium Tambura Tambura Tabla Tabla Pakhavaj Pakhavaj Bansuri Bansuri Sitar (Solo Instrument) Tambura (Drone Instrument) Tabla (Percussion, Membranophone) These are the most important instruments

Terms Lay – tempo Lay – tempo Tal - Meter Tal - Meter Raga – A scale associated with musical characteristics Raga – A scale associated with musical characteristics Gat-tora – The section of Hindustani inst. Performance accompanied by tabla, in which a short composed melody, the gat, is alternated with improvisational passages, the tora Gat-tora – The section of Hindustani inst. Performance accompanied by tabla, in which a short composed melody, the gat, is alternated with improvisational passages, the tora Alap – Raga improvisation at the beginning Alap – Raga improvisation at the beginning Jor – After the Alap, introduces a pulse Jor – After the Alap, introduces a pulse Jhala – The concluding section of instrumental improvisation. Following Jor, includes… Jhala – The concluding section of instrumental improvisation. Following Jor, includes… Tan – rapid and florid kind of improvisation Tan – rapid and florid kind of improvisation

This Example will take you through a typical North Indian form. The link below is to your Pearson’s music website. This Example will take you through a typical North Indian form. The link below is to your Pearson’s music website. _alg03_ch02-lg _alg03_ch02-lg _alg03_ch02-lg _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 Music

Tyagaraja –– a Karnatak musician and composer of the eighteenth century who refused an appointment to the southern court of Tanjore. He instead composed songs for the god Rama, and they were not kept as the inheritance of his family tradition. Tyagaraja –– a Karnatak musician and composer of the eighteenth century who refused an appointment to the southern court of Tanjore. He instead composed songs for the god Rama, and they were not kept as the inheritance 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 of the gods.” In South India, they were female children dedicated to the service of the temple and received intensive training in the art of dance. Being “married” to the temple deity, they were not allowed to marry any man in the usual sense. Devadasis –– translates as “servants of the gods.” In South India, they were female children dedicated to the service of the temple and received intensive training in the art of dance. Being “married” to the temple deity, they were not allowed to marry any man in the usual sense.

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

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

Membranophones –– tabla, pakhavaj, mridangam (double-headed, barrel-shaped drum)

Karnatak Terms Varnam –– a type of song with which Karnatak recitals generally begins, sometimes compared to the Western classical “etude” or “study” Varnam –– a type of song with which Karnatak recitals generally begins, sometimes compared to the Western classical “etude” or “study”

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

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

Varnam:Etude-like pieces used mainly as warm-ups. Varnam:Etude-like pieces used mainly as warm-ups. Kriti:Performed with little/no improvisation. Simple kritis consist of three sections: pallavi, anupallavi, and caranam (pronounced charanam), all accompanied by percussion in a regularized meter (tala). The first portion of the pallavi serves as a refrain, recurring at the end of all three sections. Texts are usually devotional. Kriti:Performed with little/no improvisation. Simple kritis consist of three sections: pallavi, anupallavi, and caranam (pronounced charanam), all accompanied by percussion in a regularized meter (tala). The first portion of the pallavi serves as a refrain, recurring at the end of all three sections. Texts are usually devotional. More complex kritis: More complex kritis: Preceded by ragam and tanam, and elaborated with niraval and svarakalpana. Preceded by ragam and tanam, and elaborated with niraval and svarakalpana.

Ragam-tanam-pallavi: A long, largely improvised piece that may be sung or played with augmentation/ diminution (trikala) of the pallavi theme (usually a line from a kriti). It demonstrates the musician’’s skill and requires exceptional training, confidence, and spontaneous creative ability. A long, largely improvised piece that may be sung or played with augmentation/ diminution (trikala) of the pallavi theme (usually a line from a kriti). It demonstrates the musician’’s skill and requires exceptional training, confidence, and spontaneous creative ability. Short lyrical pieces: Either from the dance repertoire (e.g., padam, javali, or a fast tempo tillanam) or from Sanskrit devotional verses. Either from the dance repertoire (e.g., padam, javali, or a fast tempo tillanam) or from Sanskrit devotional verses.

ettl6e_alg02_ch02 ettl6e_alg02_ch02 Kriti “Banturiti,” sung by Seetha Rajan, composed by Tyagaraja. Textbook CD1, track 2. Kriti “Banturiti,” sung by Seetha Rajan, composed by Tyagaraja. Textbook CD1, track 2. Raga: Hamsanadam (c-e-f#-g-b) Raga: Hamsanadam (c-e-f#-g-b) Tala: Adi ( beats) Tala: Adi ( beats)

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

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

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

Listening Skills Hearing the ayers of Musical Activity: Hearing the ayers of Musical Activity: Melody and drone –– Drone may be understood in terms of a steady repeated pattern serving as a foundation under the melody. When a tambura drones under a sitar, the two may sound like the same instrument. The drum layer is more easily recognizable due to its timbral character. Melody and drone –– Drone may be understood in terms of a steady repeated pattern serving as a foundation under the melody. When a tambura drones under a sitar, the two may sound like the same instrument. The drum layer is more easily recognizable due to its timbral character.

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

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

Counting Exercise Counting Tala: Counting Tala: Each North Indian tala has a theka, a repeated pattern of syllables (bols), used as a memory aid. Have students speak the theka of tintal ( ) while adding its hand movements to the gat-tora section the CD1 track 1. + represents a clap, a finger count, and O a wave): Each North Indian tala has a theka, a repeated pattern of syllables (bols), used as a memory aid. Have students speak the theka of tintal ( ) while adding its hand movements to the gat-tora section the CD1 track 1. + represents a clap, a finger count, and O a wave): dhadhindhindhadhadhindhindha dhadhindhindhadhadhindhindha O dhatintintatadhindhindha dhatintintatadhindhindha