Indian classical music
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Indian classical music is the
The roots of the classical music of India are found in the
Indian classical music has two foundational elements, raga and
History
The root of music in ancient India are found in the Vedic literature of Hinduism. The earliest Indian thought combined three arts, syllabic recital (vadya), melos (gita) and dance (nrtta).[16] As these fields developed, sangeeta became a distinct genre of art, in a form equivalent to contemporary music. This likely occurred before the time of Yāska (c. 500 BCE), since he includes these terms in his nirukta studies, one of the six Vedanga of ancient Indian tradition. Some of the ancient texts of Hinduism such as the Samaveda (c. 1000 BCE) are structured entirely to melodic themes,[17][18] it is sections of Rigveda set to music.[19]
The Samaveda is organized into two formats. One part is based on the musical meter, another by the aim of the rituals.
In the ancient traditions of Hinduism, two musical genre appeared, namely Gandharva (formal, composed, ceremonial music) and Gana (informal, improvised, entertainment music).[23] The Gandharva music also implied celestial, divine associations, while the Gana also implied singing.[23] The Vedic Sanskrit musical tradition had spread widely in the Indian subcontinent, and according to Rowell, the ancient Tamil classics make it "abundantly clear that a cultivated musical tradition existed in South India as early as the last few pre-Christian centuries".[24]
The classic Sanskrit text Natya Shastra is at the foundation of the numerous classical music and dance traditions of India. Before Natyashastra was finalized, the ancient Indian traditions had classified musical instruments into four groups based on their acoustic principle (how they work, rather than the material they are made of) for example flute which works with gracious in and out flow of air.[25] These four categories are accepted as given and are four separate chapters in the Natyashastra, one each on stringed instruments (chordophones), hollow instruments (aerophones), solid instruments (idiophones), and covered instruments (membranophones).[25] Of these, states Rowell, the idiophone in the form of "small bronze cymbals" were used for tala. Almost the entire chapter of Natyashastra on idiophones, by Bharata, is a theoretical treatise on the system of tala.[26] Time keeping with idiophones was considered a separate function than that of percussion (membranophones), in the early Indian thought on music theory.[26]
The early 13th century Sanskrit text Sangitaratnakara (literally, "Ocean of Music and Dance"), by Sarngadeva patronized by King Sighana of the Yadava dynasty in Maharashtra, mentions and discusses ragas and talas.[27] He identifies seven tala families, then subdivides them into rhythmic ratios, presenting a methodology for improvization and composition that continues to inspire modern era Indian musicians.[28] Sangitaratnakara is one of the most complete historic medieval era Hindu treatises on this subject that has survived into the modern era, that relates to the structure, technique and reasoning behind ragas and talas.[29][28]
The centrality and significance of music in ancient and early medieval India is also expressed in numerous temple and shrine reliefs, in Buddhism, Hinduism and Jainism, such as through the carving of musicians with cymbals at the fifth century Pavaya temple sculpture near Gwalior,[30] and the Ellora Caves.[31][32]
Texts
The post-Vedic era historical literature relating to Indian classical music has been extensive. The ancient and medieval texts are primarily in
The most cited and influential among these texts are the Sama Veda,
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Major traditions
The classical music tradition of the ancient and medieval Indian subcontinent (modern Bangladesh, India, Pakistan) were a generally integrated system through the 14th century, after which the socio-political turmoil of the
Indian classical music has historically adopted and evolved with many regional styles, such as the Bengali classical tradition . This openness to ideas led to assimilation of regional folk innovations, as well as influences that arrived from outside the subcontinent. For example, Hindustani music assimilated Arabian and Persian influences.[43] This assimilation of ideas was upon the ancient classical foundations such as raga, tala, matras as well as the musical instruments. For example, the Persian Rāk is probably a pronunciation of Raga. According to Hormoz Farhat, Rāk has no meaning in modern Persian language, and the concept of raga is unknown in Persia.[44]
Carnatic music
If
Carnatic music, from
Primary themes include worship, descriptions of temples, philosophy, and nayaka-nayika (Sanskrit "hero-heroine") themes. Tyagaraja (1759–1847), Muthuswami Dikshitar (1776–1827) and Syama Sastri (1762–1827) have been the important historic scholars of Carnatic music. According to Eleanor Zelliot, Tyagaraja is known in the Carnatic tradition as one of its greatest composers, and he reverentially acknowledged the influence of Purandara Dasa.[47]
A common belief is that Carnatic music represents a more ancient and refined approach to classical music, whereas Hindustani music has evolved by external influences.[49]
Hindustani music
It is unclear when the process of differentiation of Hindustani music started. The process may have started in the 14th century courts of the Delhi Sultans. However, according to Jairazbhoy, the North Indian tradition likely acquired its modern form after the 14th or after the 15th century.[50] The development of Hindustani music reached a peak during the reign of Akbar. During this 16th century period, Tansen studied music and introduced musical innovations, for about the first sixty years of his life with patronage of the Hindu king Ram Chand of Gwalior, and thereafter performed at the Muslim court of Akbar.[51][52] Many musicians consider Tansen as the founder of Hindustani music.[53]
Tansen's style and innovations inspired many, and many modern gharanas (Hindustani music teaching houses) link themselves to his lineage.[54] The Muslim courts discouraged Sanskrit, and encouraged technical music. Such constraints led Hindustani music to evolve in a different way than Carnatic music.[54][55]
Hindustani music style is mainly found in North India, Pakistan and Bangladesh. It exists in four major forms: Dhrupad, Khyal (or Khayal), Tarana, and the semi-classical Thumri.[56] Dhrupad is ancient, Khyal evolved from it, Thumri evolved from Khyal.[57] There are three major schools of Thumri: Lucknow gharana, Banaras gharana and Punjabi gharana. These weave in folk music innovations.[56] Tappa is the most folksy, one which likely existed in Rajasthan and Punjab region before it was systematized and integrated into classical music structure. It became popular, with the Bengali musicians developing their own Tappa.[58]
Khyal is the modern form of Hindustani music, and the term literally means "imagination". It is significant because it was the template for
Dhrupad (or Dhruvapad), the ancient form described in the Hindu text Natyashastra,[60] is one of the core forms of classical music found all over the Indian subcontinent. The word comes from Dhruva which means immovable and permanent.[61][57]
A Dhrupad has at least four stanzas, called Sthayi (or Asthayi), Antara, Sanchari and Abhoga. The Sthayi part is a melody that uses the middle octave's first tetrachord and the lower octave notes.[57] The Antara part uses the middle octave's second tetrachord and the higher octave notes.[57] The Sanchari part is the development phase, which builds using parts of Sthayi and Antara already played, and it uses melodic material built with all the three octave notes.[57] The Abhoga is the concluding section, that brings the listener back to the familiar starting point of Sthayi, albeit with rhythmic variations, with diminished notes like a gentle goodbye, that are ideally mathematical fractions such as dagun (half), tigun (third) or chaugun (fourth).[62] Sometimes a fifth stanza called Bhoga is included. Though usually related to philosophical or Bhakti (emotional devotion to a god or goddess) themes, some Dhrupads were composed to praise kings.[61][62]
Improvisation is of central importance to Hindustani music, and each gharana (school tradition) has developed its own techniques. At its core, it starts with a standard composition (bandish), then expands it in a process called vistar. The improvisation methods have ancient roots, and one of the more common techniques is called Alap, which is followed by the Jor and Jhala. The Alap explores possible tonal combinations among other things, Jor explores speed or tempo (faster), while Jhala explores complex combinations like a fishnet of strokes while keeping the beat patterns.[63] As with Carnatic music, Hindustani music has assimilated various folk tunes. For example, ragas such as Kafi and Jaijaiwanti are based on folk tunes.[citation needed]
Persian and Arab influences
Hindustani music has had Arab and Persian music influences, including the creation of new ragas and the development of instruments such as the sitar and sarod.
One of the earliest known discussions of Persian maqam and Indian ragas is by the late 16th century scholar Pundarika Vittala. He states that Persian maqams in use in his times had been derived from older Indian ragas (or mela), and he specifically maps over a dozen maqam. For example, Vittala states that the Hijaz maqam was derived from the Asaveri raga, and Jangula was derived from the Bangal.[66][67] In 1941, Haidar Rizvi questioned this and stated that influence was in the other direction, Middle Eastern maqams were turned into Indian ragas, such as Zangulah maqam becoming Jangla raga.[68] According to John Baily – a professor of ethnomusicology, there is evidence that the traffic of musical ideas were both ways, because Persian records confirm that Indian musicians were a part of the Qajar court in Tehran,[69] an interaction that continued through the 20th century with import of Indian musical instruments in cities such as Herat near Afghanistan-Iran border.[70]
Odissi music
The traditional ritual music for the service of
The various aspects of Odissi music include odissi prabandha, chaupadi, chhānda, champu, chautisa, janāna, mālasri, bhajana, sarimāna, jhulā, kuduka, koili, poi, boli, and more. Presentation dynamics are roughly classified into four: raganga, bhabanga, natyanga and dhrubapadanga. Some great composer-poets of the Odissi tradition are the 12th-century poet Jayadeva, Balarama Dasa, Atibadi Jagannatha Dasa, Dinakrusna Dasa, Kabi Samrata Upendra Bhanja, Banamali Dasa, Kabisurjya Baladeba Ratha, Abhimanyu Samanta Singhara and Kabikalahansa Gopalakrusna Pattanayaka.
Features
Classical Indian music is a genre of South Asian music, the other being film, various varieties of pop, regional folk, religious and devotional music.[1]
In Indian classical music, the raga and the tala are two foundational elements. The raga forms the fabric of a melodic structure, and the tala keeps the time cycle.[9] Both raga and tala are open frameworks for creativity and allow a very large number of possibilities, however, the tradition considers a few hundred ragas and talas as basic.[71] Raga is intimately related to tala or guidance about "division of time", with each unit called a matra (beat, and duration between beats).[72]
Raga
A raga is a central concept of Indian music, predominant in its expression. According to Walter Kaufmann, though a remarkable and prominent feature of Indian music, a definition of raga cannot be offered in one or two sentences.[73] Raga may be roughly described as a musical entity that includes note intonation, relative duration and order, in a manner similar to how words flexibly form phrases to create an atmosphere of expression.[74] In some cases, certain rules are considered obligatory, in others optional. The raga allows flexibility, where the artist may rely on simple expression, or may add ornamentations yet express the same essential message but evoke a different intensity of mood.[74]
A raga has a given set of notes, on a scale, ordered in melodies with musical motifs.[10] A musician playing a raga, states Bruno Nettl, may traditionally use just these notes, but is free to emphasize or improvise certain degrees of the scale.[10] The Indian tradition suggests a certain sequencing of how the musician moves from note to note for each raga, in order for the performance to create a rasa (mood, atmosphere, essence, inner feeling) that is unique to each raga. A raga can be written on a scale. Theoretically, thousands of raga are possible given 5 or more notes, but in practical use, the classical Indian tradition has refined and typically relies on several hundred.[10] For most artists, their basic perfected repertoire has some forty to fifty ragas.[75] Raga in Indian classical music is intimately related to tala or guidance about "division of time", with each unit called a matra (beat, and duration between beats).[72]
A raga is not a tune, because the same raga can yield a very large number of tunes.
Tala
According to David Nelson – an Ethnomusicology scholar specializing in Carnatic music, a tala in Indian music covers "the whole subject of musical meter".[79] Indian music is composed and performed in a metrical framework, a structure of beats that is a tala. A tala measures musical time in Indian music. However, it does not imply a regular repeating accent pattern, instead its hierarchical arrangement depends on how the musical piece is supposed to be performed.[79]
The tala forms the metrical structure that repeats, in a cyclical harmony, from the start to end of any particular song or dance segment, making it conceptually analogous to meters in Western music.[79] However, talas have certain qualitative features that classical European musical meters do not. For example, some talas are much longer than any classical Western meter, such as a framework based on 29 beats whose cycle takes about 45 seconds to complete when performed. Another sophistication in talas is the lack of "strong, weak" beat composition typical of the traditional European meter. In classical Indian traditions, the tala is not restricted to permutations of strong and weak beats, but its flexibility permits the accent of a beat to be decided by the shape of musical phrase.[79]
The most widely used tala in the South Indian system is adi tala.[80] In the North Indian system, the most common tala is teental.[81] In the two major systems of classical Indian music, the first count of any tala is called sam.[81]
Instruments
Instruments typically used in Hindustani music include the
Players of the
Note system
Indian classical music is both elaborate and expressive. Like
The underlying scale may have
तत्र स्वराः –
षड्जश्च ऋषभश्चैव गान्धारो मध्यमस्तथा ।
पञ्चमो धैवतश्चैव सप्तमोऽथ निषादवान् ॥ २१॥
These seven degrees are shared by both major raga systems, that is the North Indian (Hindustani) and South Indian (Carnatic) systems.
Contemporary Indian music schools follow notations and classifications (see melakarta and thaat). Thaat, used in Hindustani, is generally based on a flawed but still useful notation system created by Vishnu Narayan Bhatkhande.[citation needed]
Reception outside India
According to Yukteshwar Kumar, elements of Indian music arrived in China in the 3rd century, such as in the works of Chinese lyricist Li Yannian.[90] In 1958, Ravi Shankar came to the US and started making albums. These started a 1960s penchant for Indian classical music in the States. By 1967 Shankar and other artists were performing at rock music festivals alongside Western rock, blues, and soul acts. This lasted until the mid-1970s. Ravi Shankar performed at Woodstock for an audience of over 500,000 in 1969. In the 1980s, 1990s and particularly the 2000s onwards, Indian Classical Music has seen rapid growth in reception and development around the globe, particularly in North America, where immigrant communities have preserved and passed on classical music traditions to subsequent generations through the establishment of local festivals and music schools.[91] Numerous musicians of American origin, including Ramakrishnan Murthy, Sandeep Narayan, Pandit Vikash Maharaj, Sandeep Narayan, Abby V, and Mahesh Kale have taken professionally to Indian Classical Music with great success. In his 2020 released video, Canadian singer Abby V demonstrated 73 different Indian Classical ragas in a live rendering, which went viral on the internet; further establishing the growing prominence of Indian Classical Music around the globe.[92]
Organizations
Sangeet Natak Akademi, is an Indian national-level academy for performance arts. It awards the Sangeet Natak Akademi Award, the highest Indian recognition given to people in the field of performance arts.
SPIC MACAY, established in 1977, has more than 500 chapters in India and abroad. It claims to hold around 5000 events every year related to Indian classical music and dance.[93] Organizations like Prayag Sangeet Samiti, among others, award certification and courses in Indian classical music.[94]
See also
- List of Indian classical music festivals
- List of rāgas in Indian classical music
- List of composers who created ragas
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External links
- Rajan Parrikar Music Archive includes detailed articles on Indian classical music with analyses and audio extracts from rare recordings.
- Vijaya Parrikar Library of Indian Classical Music Library contains recorded music of India's great music masters of yesteryear, excerpts of old, hard-to-find or unpublished recordings.
- Hindustani Rag Sangeet Online – more than 800 audio and video archives
- Raag Hindustani – Explanations and examples of Indian Classical (Hindustani) music
- Classical Indian music, SPIC MACAY