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North Indian Classical Music
Descripción
MU 130 music clture Mapa Mental sobre North Indian Classical Music, creado por datislavage el 06/05/2013.
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mu 130 music clture
mu 130 music clture
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datislavage
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Resumen del Recurso
North Indian Classical Music
North: Hindustani
South: Carnatic
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
performed in royal courts, at temple and houses of wealthy patrons
perfromed by devoted court musicians
Nota:
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
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
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
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