Scribd Logo
Upload

Welcome to Scribd!

  • 250 views

    Lec-Dem: Indian Classical (Hindustani) Vocal Music: E-Mail: Phone: (714) 996-0010

    Uploaded by

    Shambhu Kumar
    The document provides an overview of North Indian classical (Hindustani) vocal music. It describes the primary genres of dhrupad and khayal, and notes that melody is captured through ragas while rhythmic foundation comes from talas. It also outlines the musical concepts of swaras or notes, thaats and ragas, nuances like meends and tans, the timing of ragas, musical forms and styles of major gharanas or lineages of singing.

    Copyright:

    Attribution Non-Commercial (BY-NC)
    Download as PDF, TXT or read online from Scribd

    Lec-Dem: Indian Classical (Hindustani) Vocal Music: E-Mail: Phone: (714) 996-0010

    Uploaded by

    Shambhu Kumar
    250 views4 pages
    The document provides an overview of North Indian classical (Hindustani) vocal music. It describes the primary genres of dhrupad and khayal, and notes that melody is captured through ragas while rhythmic foundation comes from talas. It also outlines the musical concepts of swaras or notes, thaats and ragas, nuances like meends and tans, the timing of ragas, musical forms and styles of major gharanas or lineages of singing.

    Original Title

    Classical Music

    Copyright

    © Attribution Non-Commercial (BY-NC)

    Available Formats

    PDF, TXT or read online from Scribd

    Did you find this document useful?

    Is this content inappropriate?

    The document provides an overview of North Indian classical (Hindustani) vocal music. It describes the primary genres of dhrupad and khayal, and notes that melody is captured through ragas while rhythmic foundation comes from talas. It also outlines the musical concepts of swaras or notes, thaats and ragas, nuances like meends and tans, the timing of ragas, musical forms and styles of major gharanas or lineages of singing.

    Copyright:

    Attribution Non-Commercial (BY-NC)
    Download as PDF, TXT or read online from Scribd
    Download as pdf or txt
    250 views4 pages

    Lec-Dem: Indian Classical (Hindustani) Vocal Music: E-Mail: Phone: (714) 996-0010

    Uploaded by

    Shambhu Kumar
    The document provides an overview of North Indian classical (Hindustani) vocal music. It describes the primary genres of dhrupad and khayal, and notes that melody is captured through ragas while rhythmic foundation comes from talas. It also outlines the musical concepts of swaras or notes, thaats and ragas, nuances like meends and tans, the timing of ragas, musical forms and styles of major gharanas or lineages of singing.

    Copyright:

    Attribution Non-Commercial (BY-NC)
    Download as PDF, TXT or read online from Scribd
    Download as pdf or txt
    of 4

    Lec-Dem: Indian Classical (Hindustani) Vocal Music

    By Prasad Upasani
    E-Mail: [email protected] Phone: (714) 996- 0010

    1. Introduction
    North Indian or Hindustani Classical music is an ancient form of music that has distinct spiritual overtones. This is a much more subtle form of music as compared to modern western music. The primary genres of musical composition in North Indian or Hindustani classical music are dhrupad and khayal. Dhrupad, the older of the two genres, is the ancestor to the more popular khayal that eclipses it today. The concept of the melody and rhythm, however; serves as the foundation for both khayal and dhrupad. Melody is captured in the concept of the raag, and rhythmic foundation in the taal.

    2. Swaras or Notes
    Shruti: The smallest possible distance between audio frequencies that is distinguishable to the human ear. There are 22 shrutis in an octave Swaras: o Seven Notes: Sa (Shadja), Re (Rishabh), Ga (Gandhaar), Ma (Madhyam), Pa (Pancham), Dha (Dhaivat), Ni (Nishaad). o Shuddha & Vikrit Swaras. Vikrit swaras consist of komal & teevra Relationship between Shrutis & Swaras : Sa Re Ga Ma Pa Dha Ni 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 re ga ma dha ni Octaves: Mandra (lower), Madhya (middle), Taar (upper) Aaroha: Sa Re Ga Ma Pa Dha Ni Sa & Avroha: Sa Ni Dha Pa Ma Ga Re Sa Poorvang is Sa Re Ga Ma & Uttarang is Pa Dha Ni Sa

    3. Nuances
    Kana Sur, Meend, khatka, taan, etc. are distinguishing features of Indian classical music. Due to kanas, the same note can sound different in different raags depending on the context. Alaap: Aaakar, nom-tom alaap, bol-alaap Taan: Gamak taan, Sapaat taan, Alankarik taan, aakar & bol taan, etc.

    3/3/2002

    www.upasani.org

    Page 1 of 4

    Lec-Dem on North Indian Vocal Music

    Prasad Upasani

    4. Thaat & Raag


    Thaat: Combinations of notes with one form (shuddha or vikrit) of each swara. Must be sampoorna, i.e. have one form of all 7 notes. Examples. Mathematically 72 thaats possible (Vyankatmukhi) of which 10 main ones are given names in Hindustani music: o Bilaval, Kalyaan (Yaman), Khamaj, Kaafi, Bhairav, Marwa, Poorvi, Asavari, Todi, Bhairavi Examples of different raags in same thaat (Marwa, Pooriya, Sohni), (Yaman, Kedar, Bihag) Raag Concepts : Raag may be roughly equated with the Western term mode or scale. There is a system of seven notes which are arranged in a means not unlike Western scales. Raag, in the Sanskrit dictionary, is defined as "the act of coloring or dyeing" (the mind in this context) and "any feeling or passion especially love, affection, sympathy, vehement desire, interest, joy, or delight". In music, these descriptions apply to the impressions of melodic sounds on both the artist(s) and listener(s). A raag consists of required and optional rules governing the melodic movements of notes within a performance. The rules of a raag can be defined by: The list of specific notes that can be used during playing of the raag The manner in which the notes are used, i.e. specific ways of ornamenting notes or emphasizing/de-emphasizing them Manner in which the scale is ascended or descended Optional or required musical phrases, the way in which to reveal these phrases, and/or combine them The octave or frequency range to emphasize The relative pacing between the notes The time of day and/or season when the raag may be performed so as to invoke the emotions of the raag for maximum impact on the mental and emotional state of the performer and listener Finally each raag is supposed to convey a specific kind of emotion or mood.

    5. Timing of Raags
    Logic behind time of raags: o Poorvang-pradhan (Evening) & Uttarang-pradhan (Morning) o Thaat: Sandhiprakash raags with Komal Re dawn & early evening Kalyaan & others with Shuddha Re mid- morning or mid-evening Komal Ga Raags late- morning or late- night o Seasonal Raags Malhaar, Hemant, etc.

    6. Taal

    3/3/2002

    Instruments : Tabla & Pakhawaj (used mostly in Dhrupad-Dhamar) Taals : Bol, Avartan (cycle), sam, taali, khali Laya or Tempo: Vilambit, Madhya, Drut
    www.upasani.org Page 2 of 4

    Lec-Dem on North Indian Vocal Music

    Prasad Upasani

    7. Forms of Vocal Music Types of Bandish


    Dhrupad & Dhamar: Oldest form sung with Pakhawaj in pre- mughal times Khayaal: Influence of mughal culture, this is modern form Taraana: Uses nom-tom bols instead of words Natyasangeet: Indian musical (plays) Saadra: Khayaal in Madhya Jhaptaal, sung in dhrupad style Thumri: Light form that uses romantic themes. Famous singers: Siddheshwari Devi, Girija Devi, Begum Akhtar, Nirmala Devi (Arun) Tappa: Light form that has lots of small, fast taans Dadra: Light form similar to thumri sung in taal dadra. Chaiti & Hori: Seasonal songs. Ghazal: Light form with themes similar to blues music. Trivat & Chaturang : Combination of Taraana, words or lyrics, sargam, tabla bol.

    8. Major Gharaanas
    Literally means dynasty. A style of singing, usually named after the geographical location it evolved from. Each gharaana has its own focus on presentation, its own characteristic compositions, and its own interpretation of different raags. A gharaana requires at least a 3-generation continuity before it is recognized as a major gharaana. Agra: o Characteristics: Oldest gharaana, from Mughal courts, authentic and unadulterated style, focus on correctness, laya-pradhan because of origins in Dhrupad-Dhamar gayaki. o Famous Singers: Taansen, Faiyyaz Khan (doyen), V.N.Bhatkhande, Jagannath Buva Purohit (Gunidas), S.N.Ratanjankar (Padma Bhushan), K.G.Ginde, S.C.R.Bhat. Dinkar Kaikini Kiraana : o Characteristics: Focus on purity of notes & melody. Swara-oriented. Has few taans. o Famous Singers: Abdul Karim Khan (doyen), Sawai Gandharva, RoshanAra Begum, Hirabai Barodekar, Bhimsen Joshi, Prabha Atre. Jaipur & Atrauli-Jaipur: o Characteristics: Great subtlety & complexity in presentation of swaras. Perfect interlinking of notes with a continuous rhythmic swing. o Famous Singers: Kesarbai Kerkar, Mallikarjun Mansur, Nivruttibua Sarnaik, Kishori Amonkar. Ustad Alladiya Khan started the Atrauli-Jaipur offshoot. Gwalior: o Characteristics: Taan-pradhan gayaki. Popular style that takes the best elements from other gharaanas. o Famous Singers: Vishnu Digambar Paluskar (doyen), D.V.Paluskar, Yeshwant Bua Joshi, Veena Saharabuddhe Patiala: o Characteristics: Beautiful, strong tone of voice. Known for thumris. Lots of harkats (small taans). Emotionally appealing. o Famous Singers: Kale Khan, Bade Ghulam Ali, Ajoy Chakraborty.
    www.upasani.org Page 3 of 4

    3/3/2002

    Lec-Dem on North Indian Vocal Music

    Prasad Upasani

    Gharaanas today: Today, most singers try to take the best elements from other gharaanas.

    9. Format of Presentation
    Khayaal
    Introductory alaap in Aaakar or Nom-tom style. Vilambit (Bada) Khayaal: Concept of Mukhada o Text of sthayee o Alaap and/or Bol Alaap o Antara alaap and/or bol alaap o Antara text o Upaj (layakari) o Taan and/or bol-taan Drut (Chota) Khayal (same format)

    Dhrupad
    Long nom-tom alaap: Starts with alaap without rhythm. Then the rhythm kicks in and gradually increases in tempo. Similar to alaap, jod and jhaala in instrumental music today. Text of Dhrupad: Sthayee, Antaraa, Sanchari, Abhog Layakari : Dugun, Tigun, Chaugun, & combinations. Tihai, etc.

    3/3/2002

    www.upasani.org

    Page 4 of 4

    You might also like