music of india. region of world: south asia 2 nd most populous country in world (2007: 1.12 billion)...
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MUSIC OF INDIA
• Region of world: South Asia• 2nd most populous country in world (2007: 1.12
billion)• Birthplace of 4 major religions (Hinduism,
Buddhism, Jainism, Sikhism)• Official languages: Hindi, English and 21 other
languages• Was British colony until independence in 1947• Over 5,000 years of recorded history• Largest film industry in the world; great source of
popular music
India at a glance
Indian Music
• Carnatic vs. Hindustani classical traditions
(music and dance)
• Raga and Tala
• Improvisation and Composition
Indian InstrumentsSITAR
SAROD
TAMBURA
Indian Instruments
MRIDANGAM
TABLA
Indian Classical Ensemble
RAGA
• Series of pitches• Rules for ornamentation• Rules for ascending• Rules for descending• Associated with mood, time of day and
– North India 200 ragas– South India 72 main, several secondary
Raga Basant
TALA
• Fixed metrical cycle consisting of shorter units, often of unequal length
• Basis for improvisation for soloist and drummer
• Hindustani audience participates by clapping tala
TALA EXAMPLES
Ata tala 5 + 5 + 2 + 2 = 14 beats
1 2 3 4 5 /6 7 8 9 10/11 12 /13 14//Clap * * * * Clap * * * * Clap Wave Clap Wave
Tintal: 4 + 4 + 4 + 4 = 16
Clap 2 3 4/ clap 2 3 4 /wave 2 3 4 /clap 2 3 4
Indian Music Theory
• 5th cent. BC – earliest treatises on music theory
• Concerned SAMA VEDA (arrangements of the Rig Veda poems set to music)
• Theorists divided the octave into 22 intervals, including the 12 Western intervals plus additional inflections up or down
The Kriti
• Most well known form of Carnatic music• Originally vocal with religious texts• Modern kriti repertoire composed in 18th-19th
cents.
Saint Tyagaraja (1757-1847)
Kriti Structure• Alapana (improvised opening, introduces
the raga)• 3 sections (no breaks):
– Pallavi: opening section and “refrain”– Anupallavi: introduces secondary theme,
moves towards climax– Caranam: final section (may be relaxed or
may be virtuosic restatement of previous material)
“Banturiti” by Tyagaraja
• Voice, violin, mridingam• Raga: Hamsanadam (c e f# g b)• Adi Tala (4 + 2 + 2)
• Clap 2 3 4 / clap wave /clap wave
“Devi Niye Tunai” by Papanasam Sivan (20th cent.)
• Voice, mridangam• Raga: Keervani• Tala: Adi Tala (4 + 2 + 2)• To the goddess Devi (with the fish-
shaped/always open eyes). Text is in Tamil language.
Kriti: “Devi Niye Tunai”
• (Pallavi) devi neeye tunai ten madurai vaazh meena lochani
• (Anupallavi) devaati devan sundaresan cittam kavar bhuvana sundari-amba)
• (Repeaat pallavi)• (Caranam) malayadhvajan maadavame
kaancana maalai pudalvi mahaaraagjni alaimahal kalaimahal pani keervaani amudanaya iniya muttamizh valartta
• (Repeat pallavi)
“Sarasiruha”
Pallavi: “O Mother who loves the lotus seat,”Anupallavi: “Save me who have taken refuge in you!”Charanam: “Complete Being, who holds a book in her hand which bestows all dominion.”
“Sarasiruha” by Pulaiyar Doraismy Ayyar (19th cent.)
• Instrumental but based on song with words
• Vina, mridangam• Raga Natai: ancient raga associated with
god Shiva in form of Lord of the Dance• Adi Tala• Alapana/Tanam//Pallavi/Anupallavi/
Caranam
Listening Guide to “Sarasiruha”
0 – 3:15” = Alpana
3:20” – 8:15” = Tanam (rhythmic exposition of raga – no tala yet)
8:25” = Pallavi section
10:27” = Anupallavi section
12:33” = Caranam section• 14:33”-15:10” motif “Saraswati” repeated• 15:46” Kalpana Svaras (“imagined notes”)• 18:06”s Tani Avartanam (drum improvisation)
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