North Indian Classical Music

North Indian Classical Music

1. North: Hindustani

2. South: Carnatic

3. Commonfoundation of Indian music is RAGA

   • Term raga emerged c700CE
     • The two traditions separated c1200-1300CE
     • Raga means colour, passion, melody
       • Combination of scale, mode, tune without being any of these
         • It is a framework for composition and imporv
       • based on a scale called a 'That'
         • specific order and hierarchy of notes
         • ornamentation and intonation
         • Swara scale
           • SA, RE, GA, MA, PA, DHA, Ni, SA
             • C, D, E, F, G, A, B, C
               • Shuddh - Natural
                 • Komal - Flat
                   • Tivra - Sharp
                     • only Ma can be Shuddh or Tivra
                       • Re,GA,Dha,Ni can be Shuddh or Komal
                         • Sa and Pa are immoveable
             • Written : S,R,G,M,P,D,N
             • Swara - names of the notes in the scale
           • That - Scale
         • That
           • That is usually translated as a framework
             • That is a heptatonic scale
               • Every That contains both the tonic (Sa) and the fifth (Pa)
                 • all other notes are natural or altered versions of other notes
       • ragas must have at least 5 notes
         • tonic, 4th and 5th are essential
           • the shape of the notes is descibed as aroha - avaroha
             • very often a difference between ascending and descending forms
         • Ragas can be complete, hexatonic, pentatonic or mixed
         • Two notes of significance vadi and samvadi
           • Vadi- the most emphasised note
             • (Sonant) Played and used for long durations
           • Samvadi- secondary emphasis
             • (Consonant) Theoretically this should be a perfect 4th / 5th away from Vadi
     • Melodic outline
       • Raga contains a set of phrases called CHALAN
         • not all the phrases are obliatory
         • phrases contain certain motifs called PAKAD
           • these contain the essence of the raga
             • Barhat: unfolding, the growth, expansion of the range of the notes of the raga
     • Raga is associated with the idea of rasa
       • there are 9 moods that serve as a foundation for emotion
       • Love, Comic, Sadness, Fury, Heroic, Terrible, Peace, Disgusting, Wonderment
       • A raga is meant to evoke a certain emotion and create a mood
         • E.G. Raga Shri
           • Associated with Hindu God Shiv
             • Associated with Heroic, Raga of Warrior, Majesty, seriousness
               • Time; early evening, after sunset
                 • Season: Winter
         • Puriya Dhanashri
           • After sunset
             • Sweet,colourful, deep
               • Sobriety, darkness
       • Aesthetic Element
     • Raga Form
       • The basic form constitutes a progression from unmetred to metred sections
         • Begins always with ALAP - an unmetred, imporv section
           • May then proceed to JOR - has rhythm but is usually not in a fixed cycle
             • The third section is the GAT - this has a fixed rhythmic cycle, is regarded as a composition
               • In between the JOR and the GAT there may be sections called JHALA, which are rapid rhythmic patterns

4. performed in royal courts, at temple and houses of wealthy patrons

   • perfromed by devoted court musicians
     • until 1947 (democratising)
     • music learnt through imitation and practice
     • Oral Tradition
     • Gharana System (schools)
     • Solo art
       • Solo/Melody
         • Sitar, Sarod, Voice/Sarangi
       • Drone
         • Tanpura
           • Chordal drone emphasis of 'tonic' :-Sa
             • no absolute pitch in Indian music but usually tonic is C#
       • Rhythm
         • Tabla

5. Hetrophonic texture

   • Sarangi
     • Melodic accompaniment
       • 'Sangat'
     • 1) Imitation 2) Doubling 3) Continuation
     • Imitates human voice
   • Antiphonal
   • Tala / metre
     • Tala is divided into sections( vibhag )
     • Theka - is the pattern of the tala
     • Bol - drum stroke
     • Sam - point of resolution / departure
     • Khali - empty / wave
       • unaccented beat of the tala
     • Specific number of beats matra
     • North Indian rhythmic cycle
     • 350 Talas
       • 10 in common use
         • Tintal
           • X,2,0,3

6. Dhrupad

   • one of the oldest vocal forms
     • It is sung in a strict style and is pure and elevated
       • In performance it is played with an extended alap ( 30 mins)
         • no improv in the Gat
           • Alhaiya Bilaval scale