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The origins Shruti Swara Alankar Rga Tla of Indian classical music can be found in the Vedas, which

hich are the oldest scriptures in the Hindu tradition. Indian classical music has also been significantly influenced by, or syncretised with, Indian folk music and Persian music. The Samaveda, one of the four Vedas, describes music at length. The Samaveda was derived from the Rigveda so that its hymns could be sung as Samagana; this style evolved into jatis and eventually intoragas. Bharat's Natyashastra was the first treatise laying down fundamental principles of dance, music, and drama. Indian classical music is both elaborate and expressive. Like Western classical music, it divides the octave into 12 semitones of which the 7 basicnotes are, in ascending tonal order, Sa Re Ga Ma Pa Dha Ni Sa for Hindustani music and Sa Ri Ga Ma Pa Dha Ni Sa for Carnatic music, similar to Western music's Do Re Mi Fa Sol La Si Do. However, Indian music uses just-intonation tuning, unlike most modern Western classical music, which uses the equal-temperament tuning system. Also, unlike modern Western classical music, Indian classical music places great emphasis on improvisation. Indian classical music is monophonic in nature and based around a single melody line, which is played over a fixed drone. The performance is based melodically on particular ragas and rhythmically on talas. Because of the focus on exploring the raga, performances have traditionally been solo endeavors, but duets are gaining in popularity.

[edit]Notation system Indian music is traditionally taught via oral methods and, until the 20th century, did not employ notations as the primary media of instruction, understanding, or transmission. The rules of Indian music and compositions themselves are taught from a guru to a shishya, in person. Various Indian music schools follow notations and classifications (see Melakarta and thaat); these are generally based on a notation system created by Bhatkhande. [edit]Carnatic music Main article: Carnatic Music Carnatic music, from South India, tends to be significantly more rhythmically intensive and structured than Hindustani music. Examples of this are the logical classification of ragas into melakarthas, and the use of fixed compositions similar to Western classical music. Carnatic raga elaborations are generally much faster in tempo and shorter than their equivalents in Hindustani music. In addition, accompanists have a much larger role in Carnatic concerts than they in Hindustani concerts. The opening piece is called a varnam, and is a warm-up for the musicians. A devotion and a request for a blessing follows, then a series of interchanges between ragams (unmetered melody) and thaalams (the ornamentation, equivalent to the jor). This is intermixed withhymns called krithis. The pallavi or theme from the raga then follows. Carnatic pieces also have notated lyrical poems that are reproduced as such, possibly with embellishments and treatments according to the

performer's ideology; these pieces are called compositions. Primary themes include worship, descriptions of temples, philosophy, and nayaka-nayika (Sanskrit "hero-heroine") themes. Tyagaraja (17591847), Muthuswami Dikshitar (17761827) andSyama Sastri (17621827) are known as the Trinity of Carnatic music, while Purandara Dasa (14801564) is the father of Carnatic music. [edit]Instruments Instruments typically used in Hindustani music include the sitar, sarod, surbahar, tanpura, bansuri, shehnai, sara ngi, santoor, pakhavaj and tabla. Instruments typically used in Carnatic music include venu, gottuvadyam, harmonium, veena, mridanga m, kanjira, ghatam and violin. The fundamental authoritative work on the subject of Indian instruments, Bharatiya Sangeet Vadya, was based on years of research carried out by Dr. Lalmani Misra. Not to be confused with Ragga music. This article is about melodic modes used in Indian music. For other uses, see Raga (disambiguation).

A raga (Sanskrit rga , Tamil rgam , Kannada "Raag a" , Malayal am rgam literally

Indian music Indian classical music Carnatic music Hindustani music

"colour, hue" Core concepts but also "beauty, Shruti Swara Alankar Rga Tla melody"; also spelled raag, ra aga, ragam)[1] is one of the melodic modes used in Indian classical music. A raga uses a series of five or more musical notes upon which a melody is constructed. However, it is important to remember that the way the notes are approached and rendered in musical phrases and the mood they convey are more important in defining a raga than the notes themselves. In the Indian musical tradition, rgas are associated with different times of the day, or with seasons. Indian classical music is always set in a rga. Non-classical music such as popular Indian film songs and ghazals sometimes use rgas in their compositions.

Joep Bor of the Rotterdam Conservatory of Music defined Raga as "tonal framework for composition and improvisation."[2] Nazir Jairazbhoy, chairman ofUCLA's department of ethnomusicology, characterized ragas as separated by scale, line of ascent and descent, transilience, emphasized notes and register, and intonation and ornaments.[3]

colors one's emotions.' A figurative sense of the word as 'passion, love, desire, delight' is also found in the Mahabharata. The specialized sense of 'loveliness, beauty,' especially of voice or song, emerges in Classical Sanskrit, used by Kalidasa and in the Panchatantra.[4] The term first occurs in a technical context in the Brihaddeshi (dated ca. 5th to 8th century),[5] where it is described as "a combination of tones which, with beautiful illuminating graces, pleases the people in general". Rgin (Devanagari: ) is a term for the "feminine" counterpart or "wife" to a rga. The rga-rgini scheme from about the 14th century aligned 6 "male" rgas with 6 "wives." Tla, Taal or Tal (Sanskrit tl, literally a "clap", also transliterated as "tala") is the term used in Indian classical music for the rhythmic pattern of any composition and for the entire subject of rhythm, roughly corresponding to metre in Western music, though closer conceptual equivalents are to be found in the older system of rhythmic mode and its relations with the "foot" of classical poetry, or with other Asian classical systems such as the notion of usul in the theory of Ottoman/Turkish music. A tala is a regular, repeating rhythmic phrase, particularly as rendered on a percussive instrument with an ebb and flow of various intonations represented as a theka, a sequence of drumsyllables or bol. Indian classical music,

[edit]Terminology Look up in Wiktionary, the free dictionary. Look up raga in Wiktionary, the free dictionary. The Sanskrit word rga is defined as 'the act of colouring or dyeing' (the mind and mood/emotions in this context) and therefore metaphorically means 'any feeling or passion especially love, affection, sympathy, desire, interest, motivation, joy, or delight.' Therefore, the word is used in the literal sense of 'the act of dyeing,' and also 'color, hue, tint,' especially the color red in the Sanskrit epics, and in the figurative sense of 'something that

both northern and southern, has complex, all-embracing rules for the elaboration of possible patterns and each such pattern has its own name, though in practice a few talas are very common while others are rare. The most common instrument for keeping rhythm in Hindustani music is the tabla, while in Carnatic music it is the mridangam (also transliterated as mridang).

Examples of bol, notation and additive counting in Hindustani classical music Each repeated cycle of a tala is called an avartan. This is counted additively in sections (vibhag or anga) which roughly correspond to bars or measures but may not have the same number of beats (matra, akshara) and may be marked by accents or rests. So the Hindustani Jhoomra tal has 14 beats, counted 3+4+3+4, which differs from Dhamar tal, also of 14 beats but counted 5+2+3+4. The spacing of the vibhag accents makes them distinct, otherwise, again, since Rupak tal consists of 7 beats, two cycles of it of would be indistinguishable from one cycle of the related Dhamar tal.[1] However the most common Hindustani tala, Teental, is a regularly-divisible cycle of four measures of four beats each. The first beat of any tala, called sam (pronounced as the English word 'sum' and meaning even or equal, archaically meaning nil) is always the most important and heavily emphasised. It is the point of resolution in the rhythm where the percussionist's and soloist's phrases culminate: a soloist has to sound an important note of the raga there, and a North Indian classical dance composition must end there. However, melodies do not always begin on the first beat of the tala but may be offset, for example to suit the words of a composition so that the most accented word falls upon the sam. The term talli, literally "shift", is used to describe this offset in Tamil. A composition may also start with an anacrusis on one of the last beats of the previous cycle of the tala, called ateeta eduppu in Tamil. The tla is indicated visually by using a series of rhythmic hand gestures called kriyas that correspond to the angas or

"limbs", or vibhag of the tla. These movements define the tala in Carnatic music, and in the Hindustani tradition too, when learning and reciting the tala, the first beat of any vibhag is known as tali ("clap") and is accompanied by a clap of the hands, while an "empty" (khali) vibhag is indicated with a sideways wave of the dominant clapping hand (usually the right) or the placing of the back of the hand upon the base hand's palm instead. But northern definitions of tala rely far more upon specific drum-strokes, known as bols, each with its own name that can be vocalized as well as written. In one common notation the sam is denoted by an 'X' and the khali, which is always the first beat of a particular vibhag, denoted by '0' (zero).[2] A tala does not have a fixed tempo (laya) and can be played at different speeds. In Hindustani classical music a typical recital of a raga falls into two or three parts categorized by the quickening tempo of the music;Vilambit (slow), Madhya (medium tempo) and Drut (fast). Carnatic music adds an extra slow and fast category, categorised by divisions of the pulse; Chauka (1 stroke per beat), Vilamba (2 strokes per beat),Madhyama (4 strokes per beat), Dhuridha (8 strokes per beat) and lastly Adidhuridha (16 strokes per beat). [edit] Tla in Carnatic musicCarnatic music uses various classification systems of tlas such as the Chapu, Chanda and Melakarta. The Suladi Sapta Tla system is used here, according to which there are seven families of tla. A tla cannot exist without reference to one of five jatis, differentiated by the length in beats of the laghu, thus allowing thirty-five possible tlas. With all possible combinations of tala types and laghu lengths, there

are 5 x 7 = 35 talas having lengths ranging from 3 (Tisrajati Eka tala) to 29 (sankeerna jati dhruva tala) aksharas. The seven ttala families and the number of aksharas for each of the 35 talas are;

In practice, only a few talas have compositions set to them. The most common tala is Chaturasra-nadai Chaturasra-jaati Triputa tala, also called Adi tala (Adi meaning primordial in Sanskrit). Many kritis and around half of the varnams are set to this tala. Other common talas include:

Chaturasra-nadai Chaturasra-jaati Rupaka tala (or simply Rupaka tala).[3] A large body of krtis is set to this tala. Khanda Chapu (a 10-count) and Misra Chapu (a 14count), both of which do not fit very well into the suladi sapta tala scheme. Many padams are set to Misra Chapu, while there are also krtis set to both the above talas. Chatusra-nadai Khanda-jati Ata tala (or simply Ata tala).[3] Around half of the varnams are set to this tala. Tisra-nadai Chatusra-jati Triputa tala (Adi Tala TisraNadai).[3] A few fast-paced kritis are set to this tala. As this tala is a twenty-four beat cycle, compositions in it can be and sometimes are sung in rupak tal.

[edit] Strokes in tla The Suladi Saptha Tla system uses three of six possible angas in different arrangements;

Anudhrutam, a single beat, notated 'U', a downward clap of the open hand with the palm facing down. Dhrutam, a pattern of 2 beats, notated 'O', a downward clap with the palm facing down followed by a second downward clap with the palm facing up. Laghu, a pattern with a variable number of beats, 3, 4, 5, 7 or 9, depending on the jati. It is notated 'l' and consists of a downward clap with the palm facing down followed by counting from little finger to thumb and back, depending on the jati.

For example one cycle of khanda-jati rupaka tala comprises a 2-beat dhrutam followed by a 5-beat laghu. cycle is thus 7 aksharas long. Chaturasra jati khanda-jati Rupaka tala has 7 aksharam, each of which is 4matras long; each avartana of the tala is 4 x 7 = 28 matras long. For Misra-jati Khanda-jati Rupaka tala, it would be 7 x 7 = 49 matra. Indian musical instruments can be broadly classified into four categories, mainly classical, western and folk. See Carnatic music and Hindustani music. The instruments are further sub-classified into the type based on the science behind the same.

[edit] Plucked string instruments


[edit] Jatis Each tala can incorporate one of five jatis. (For convenience, the term 'tla' is commonly used to denote the tla-jati.) Each tala family has a default jati associated with it; the tala name mentioned without qualification refers to the default jati;

Dhruva tala is by default chaturasra jati Matya tala is chaturasra jati Rupaka tala is chaturasra jati Jhampa tala is misra jati[3] Triputa tala is thisra jati Ata tala is kanda jati Eka tala is chaturasra jati

Bulbul Tarang Dotar, Dotora, or Dotara. Ektara Getchu Vadyam or Gettuvadyam or Gethu Vadyam or Jhallari Gopichand or Gopiyantra or Khamak Gottuvadhyam or Chitravina Katho Rubab, plucked rabaab (not to be confused with bowed rebab) Santoor Sarod Sitar Surbahar

Surshringar Swarabat Swarmandal Tambura Tumbi Tuntuna Magadi Veena Mohan Veena Nakula Veena Nanduni - Two stringed lute Rudra Veena Saraswati Veena Vichitra Veena Yazh

[edit] Flute

Alghoza - double flute Bansuri Bombashi or Bommbanshi Venu (Carnatic flute) Pullanguzhal

[edit] Single reed


Pepa Pungi or Been

[edit] Double reed


[edit] Bowed string instruments


Chikara Dilruba Esraj Kamaicha Mayuri Vina or Taus Onavillu Pena or Bana Pulluvan pattu - one stringed violin Ravanahatha Folk sarangi Classical sarangi Sarinda Tar Shehnai

Kuzhal Nadaswaram Shehnai Sundari

[edit] Bagpipes

Mashak Titti Sruti upanga

[edit] Free reed


Gogona Morsing

[edit] Wind instruments

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