chapter 13 other classical genres global perspectives: musical form
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Chapter 13Other Classical Genres
Global Perspectives:
Musical Form
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Key Terms
Hindustani stream
Karnatak (Carnatic) stream
Improvisation
Rag
Alap
Gat
Sitar
Sarod
Tambura
Tabla
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Global Perspectives 3
Musical FormAre elaborate musical forms the natural result of an emphasis on instrumental genres?
• Are statement, repetition, contrast, & variation universal building blocks?
• What simple processes are used in non-Western musical forms?
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India
Roots of Indian classical music are 2000 years old
• Derived from chanting of the Vedas
In the 13th century two traditions emerged• Hindustani music of Muslim & Hindu
practitioners in north India• Carnatic music from the mainly Hindu south
Both streams share many features• Improvisation & rag most important
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Indian Classical Music
Centuries old with distinctive genres & practices
Relies on professional, trained musicians
Formal performances with clear separation between audience & performers
High level of difficulty
Rigorous training system
System of music notation
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Melody: The Rag (1)
Hundreds of rags are availableRag similar to a scale, but much more!
• A comprehensive set of guidelines for producing a melody
Each rag specifies notes of a scale, and—• Hierarchy of more & less important notes• Melodic gestures associated with those notes• Ways of ascending & descending the scale• Customary patterns of ornamentation• Snatches of melody used for improvisation
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Melody: The Rag (2)
Rags carry broader implications as well—• Each expresses particular emotional states• Each is associated with a specific time of day
or a specific season of the year
Indian musicians study for years• To master the subtleties of technique• To learn the “character” of rags
The best musicians master dozens of rags• They can improvise complex, beautiful,
appropriate melodies in any one of them
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Melody: The Rag (3)
In principle, Indian classical music is monophonic, but…
• Ever-present drone strings accompany melody• At times the melody is played simultaneously
by two instruments, resulting in heterophony• There is a complex interaction between melody
& drummer
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A Hindustani Ensemble
Typical north Indian ensemble includes—An instrument to play the main melody
• Often a sitar, a long-necked “lute” with buzzing, resonant strings
Often a second melody instrument• Here a sarod, another long-necked “lute”
sounding lower, more guitar-like
The tambura – a drone instrument
Tabla – two small, hand-beaten drums
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A Performance of Rag Mauj-Khammaj (1)
Musicians start from a tune (pakar)• Some rag tunes are free• Rag Mauj-Khammaj has a fixed melody
Around the tune, musicians spin out a long performance in several movements
• Movements differ in style and tempo• Though improvised, movements develop
according to specific expectations
A performance can last a full hour
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A Performance of Rag Mauj-Khammaj (2)
Skilled performers are expected to—• Adhere to characteristic features of the
particular rag being performed• Elaborate the rag in virtuoso fashion• Present each movement in a gradual & skillful
manner
Listen performance features two world-renowned musicians
• Ravi Shankar on sitar• Ali Akbar Khan on sarod
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Rag Mauj-Khammaj (1)
Alap – 1st movement of a rag performance• A free, dreamy exploration of the rag’s melodic
gestures – the expressive heart of a rag• No clear meter & no drums• Gradual rhythmic quickening, but still no meter
Gat – a contrasting 2nd movement• Faster tempo, clear meter• Presents fixed melody & variations on it• Drums mark the beat & add elaborate rhythmic
counterpoint to melody
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Rag Mauj-Khammaj (2)
Excerpt 1• Starts with the alap• Quasi-imitative interplay between sitar & sarod• Gradually quickening, but with no clear meter• Ends with beginning of first gat• Gat begins with sitar playing metrical melody
The basic tune of Mauj-Khammaj
• Sarod & tabla player quickly join in• Free improvised variations on the tune follow
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Rag Mauj-Khammaj (3)
Excerpt 2• Begins near the end of the 1st gat• Tempo quickens as 2nd gat begins• 2nd gat starts with faster version of the basic
tune (the same one that began the 1st gat)• Improvisations especially dazzling & virtuosic
at quick tempo –like a development• Often intoxicating interplay between sitar,
sarod, & tabla• Tempo continues to accelerate through 2nd gat