Transcript Indian Classical Music

Indian Classical Music
by Dr. Made Mantle Hood
MUS1100
Semester 1, 2006
Lecture Outline - India
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Part I
Part II
Part III
Part IV
Part V
Breif Histroical Background
Instruments and Music Form
Raga and Mode
Tala and Tintal Rhythm
Khyal –vocal example
Part I Brief Historical
Background
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3000BC – Civilization in the great Indus Valley
are labeled Hindus by Persians, Sindhu is a
Sanskrit word meaning ‘river’
400BC – Mahabharata and Ramayana Epics are
written down and influence the performing arts
13th Cen. AD – Northern India is overrun by
Muslims, the South maintains Hinduism
16th Cen. – Two related but distinct musical styles
emerge, Hindustani in the north, Karnatak in the
south
Northern India
Hindustani music
Southern India
Karnatak music
(from May, E. ed., Music of Many
Cultures, Berkeley 1980)
17th Cen. – British Empire takes ‘the jewel of their
colonies’
• 19th Cen. – Patronized instrumental virtuosity
begins after predominantly vocal tradition
(Druphad) Ex. Bin player Nyamat Khan
20th Cen. – Indian music goes global
• Adaptation of the European violin, clarinet, and
harmonium for classical music
• Bollywood cinema music explodes enjoyed by the
masses
• Ravi Shanker and the Beatles
• Yoga, karma and Mahatma Gandhi (peaceful
protest/non-violence)
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Music Types:
• Folk – work, festival and devotional songs
regular rhythm, simple melodies, suggests
movement and social togetherness through gang
singing, verse and chorus structure.
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Listening Example: Purna das Baul, Rough Guide to Indian Music,
Crammed Discs
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Classical – highly virtuosic instrumental and vocal
‘art music’ that emphasizes an introspective and
meditative side of music through a single line of
melody, drone and drumming.
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Listening Example: Amjad Ali Khan, Navras Records trk. 9
Part II Instruments and Forms
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Sitar – plucked lute with 7 principal strings and 10-12
sympathetic strings, moveable frets, gourd resonators
(single line melody) (from May, E. ed., Music of Many Cultures, Berkeley 1980)
Drone instrument
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Tambur – 4-stringed long neck lute, played with one hand
(melodic drone) (from May, E. ed., Music of Many Cultures, Berkeley 1980)
Drum
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Tabla – a pair of bowl-shaped tuned membranophones,
wax tuning paste, layered heads (drumming) (from May, E. ed., Music of
Many Cultures, Berkeley 1980)
Musical Form and Improvisation
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Alap, Jor/Jhala, Gat - Tripartite musical
form where sections are differentiated by
the relative emphasis on melody or rhythm
and progress on a continuum from slow,
unmetered to moderate, to fast tempo.
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Alap:
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Emphasis solely on melody through improvised expression of mode
(raga)
Gradual presentation of principal pitches in a mode
Builds climax through constantly rising pitch register
As register rises, tension is released in anticipation of regular rhythm
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Jor/Jhala:
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Pulsating rhythm from the end of the alap culminates
For example sitar plucks regular rhythm
Typically introduces melodic motive
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Gat (Druhpad):
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Tabla drum enters and provides tal (rhythm)
Gradual progression of tempo
Increasing emphasis on rhythm (tala)
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Listening Example, Ali Akbar Khan, track 1 – Rough Guide of Indian Music, BMI
Records
Part III Raga and Mode
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Raga:
A system that encompasses the given elements of a melodic
nature including:
• A hierarchy of pitches
• Distinctive melodic shape/register
• Characteristic ornamentation
• Extra-musical associations
• Time of day (night raga/morning raga)
• Seasons (time of year)
• Emotional state of mind
Rag example – Bageshri - hierarchy of pitches/mode
• Ascending (Aroha) C, Eflat, F, G, A, Bflat
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Descending (Avroha) C, Bflat, A, G, F, Eflat, D, C
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Saragam – Sa, Re, Ga, Ma, Pa, Dha, Ni, Sa
solfege syllables
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Vadi – principal pitch of the rag similar to Tonic
Samvadi – 2nd principal pitch similar to Dominant
Oranmentation
Gamak – ornamentation in terms of:
• Grace notes
• Slurs and slides
• Slight vibrato
• Wide vibrato
Listening example – D.N. South Indian traverse flute, tambur, violin and
merdangam drum. Rough Guide to Indian Music ‘Classical Karnatic
Flute’ Nimbus Records.
Part IV Tala and Tintal
Tala – a term used to describe the Indian metric system
• Refers to meters measured out in terms of specified cycles
of counts
• Ex. Western meter ¾ is a cycle of 3 counts, 4/4 a cycle of
4 counts.
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Tintal – Indian meter with 16 counts
Ektal –
“
with 12 counts
Keeping Tal
counts are subdivided to give rhythmic weighting
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Tintal: hand clap and wave integrated to ‘keep the tal’
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16
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x = soft clap
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Indian audiences will often keep the tal during
performance
Rhythmic theoretical framework that functions as the
container for improvisation
Sam is the beginning and simultaneously the end of a
phrase
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o = wave
Part IV Khyal vocal
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Listening Example: The Raga Guide, 74
Hindustani Ragas, Nimbus records, 1999.
Raga – Alhaiya Bilavel
Tala – Tintal
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Intro alap and the principal tones C, E, and G to outline
raga
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Cycles 1-12 elaboration around raga and refrain text
Kavana batariya, long sustained note end of cycles 11 and 12.
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Cycles 13-22 – gamak tana ornamentation or fast
melodic patterns in the voice are featured
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Cycles 23-32 – long gamak tana are featured until the
end of the piece.
Library Listening
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India
Shivkumar Sharma and Sakir Hussain, Raga Purya Kalyan (Classical Indian Music).
WDR Cologne 1980, CD1269
• Trk 1 Dadra Santour and Tabla
The Rough Guide of the Music of India and Pakistan, World Music Network, CD2515.
• Track 1 Ali Akbar Khan with Asha Bhosle: Guru Bandana (prayer) Composed by Ali Akbar Khan. Words
traditional P and C 1996 AMMP/BMI.
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Trk 2 Purna Das Baul: Agun Pani composed by Purna Das Baul and Subhendu Das Words Traditional
1994 Cramworld/Crammed Discs.
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Track 9 Amjad Ali Khan: Extract from Raga Bhairav. Traditional arranged by Amjad Ali Khan.
Published by Navras Records Ltd. From Navras Records Ltd.
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Track 11 Dr. N. Ramani: Ninnade Traditional arranged by Dr. N. Ramani. Copyright Control. Pub.
Nimbus Records. From the Album ‘Classical Karnatic Flute’