Indian music are certain basic components that go onto formulating the Indian classical music. These are- the devotional element, fixed composition and improvisation and the verbal syllable. Shruti is the musical pitch from which all the other notes of the Indian music are derived. Derived from the word shru, shruti mis any sound that can be distinctly picked up by the human ear. Musically speaking, shruti is the smallest interval of the pitch audible to our ears. The sounds of shruti fall within the raga and there are 22 such distinct sounds known so far. These can be classified as Tivra, Kumudwati, Manda, Chandobati, Dayabati, Ranjani, Raktika, Raudri, Krodhi, Bajrika, Prasarini, Priti, Manjari, Kshiti, Rakta, Sandi-pini, Alapini, Madanti, Rohini, Ramya, Ugra and Kshovini. It was an ancient belief that the raag should be performed only at aspecific time and season as that somehow influences the natural disposition of any individual. These raags emote different sensations at different periods of the day. The Raagas for the diurnal period are called Dinegeya or Suryamsa Raagas, whereas for the nocturnal are called Ratrigeya or the Chandramsa Raagas. This book, is a synopsis of Indian music, offering a mesmerizing trip to Indian culture to the readers.
Imraan Hassan holds a PhD degree in Musicology from the Public University of Karnataka. He specialised in the study of Indian music and its various aspects, delving into both Carnatic and Hindustani traditions. He has worked as a music instructor, teaching both vocal and instrumental techniques to students of all ages. Imraan has also conducted workshops and lecture demonstrations on Indian music, spreading awareness and knowledge about its rich cultural heritage. Imraan's research interests revolve around the exploration of different musical traditions in India. He is particularly interested in the intricate rhythmic patterns and melodic structures of Carnatic and Hindustani music. Imraan also focuses on the study of regional folk music from various states, aiming to preserve and promote the rich musical heritage of India. Imraan Hassan's contributions to the field of Indian music have been acknowledged with several awards.
Sparsh Yadav holds a Master's degree in Vocal and Instrumental Music from the Banaras Hindu University. With a specialization in Indian music, Sparsh has acquired in-depth knowledge of its various aspects, including both Carnatic and Hindustani traditions. As a musician, he has performed in numerous concerts, showcasing his expertise in vocal and instrumental music. Sparsh has also served as a music teacher, imparting his knowledge and skills to aspiring students, and has conducted workshops on Indian music to foster a deeper understanding and appreciation for the art form. Sparsh Yadav has been recognized for his contributions to the field of Indian music. He has received the Young Music Scholar Award from the Indian Music Association for his exceptional research and dedication to promoting Indian musical traditions. Sparsh was also honored with the Best Research Paper Award at the National Conference on Musicology, acknowledging his insightful research on the forms and expressions in Hindustani music.
Indian music are certain basic components that go onto formulating the Indian classical music. These are- the devotional element, fixed composition and improvisation and the verbal syllable. Shruti is the musical pitch from which all the other notes of the Indian music are derived. Derived from the word shru, shruti mis any sound that can be distinctly picked up by the human ear. Musically speaking, shruti is the smallest interval of the pitch audible to our ears. The sounds of shruti fall within the raga and there are 22 such distinct sounds known so far. These can be classified as Tivra, Kumudwati, Manda, Chandobati, Dayabati, Ranjani, Raktika, Raudri, Krodhi, Bajrika, Prasarini, Priti, Manjari, Kshiti, Rakta, Sandi-pini, Alapini, Madanti, Rohini, Ramya, Ugra and Kshovini. A deeper study reveals that shruti is the interval between two notes. This again is determined by the auditory reception. The term Shruti has also been misunderstood in certain areas. Due to inflexions in certain raagas, the listeners perceived a sharpened of flattened version of an existing note. Some scholars of music have attempted to fit perceived new tones into the non-contextual Bharata's 22 shrutis. Raag is the prime most element of a musical composition. Derived from the Sanskrit word 'Ranja', it is a combination of notes that delights and soothes the mind. There are numerous types of Raagas, like Multani, Jaunpuri, Gaud, Sorath, Maand and Pahadi, Ahiri, Gurjari, Asavari, including several others. Raaga utilizes the entire range of the octave, starting with Aroha and ending in Avaroha, where the singer culminates the recital. A Raag should always have at least 5 notes and should most necessarily always contain Sa and either from Ma and Pa. the tonal centres of Raag are called Vadi and Samvadi. The Vadi-Samvadi does not substitute for the importance of the tonal center Sa in a Raag, and do not always function the same way for each rag. Raag combines sounds with the 'varnas' or syllables. These varnas must include aroha and abroha.
It was an ancient belief that the raag should be performed only at aspecific time and season as that somehow influences the natural disposition of any individual. These raags emote different sensations at different periods of the day. The Raagas for the diurnal period are called Dinegeya or Suryamsa Raagas, whereas for the nocturnal are called Ratrigeya or the Chandramsa Raagas. And the sub-divisions are named as Sandhiprakash Raagas - the Raagas sung during the twilight, Pratah-Sandhi Rangas- the Raagas sung during the transitional period of night and morning. It is also stated that a day is divided into eight Praharas, or the quarters or watches, each lasting for three hours. And the Raagas that are sung are divided according to the importance of the notes in every one of them. Alap is the analysis of the raag. It could be the opening note of a raag or could go on for even an hour. It is typically the opening note of a North Indian classical performance. In an instrumental performance and dhrupad alap is highly emphasized. Alap is performed by the musicians in a schematic fashion with fluctuations now and then called jor and jhala. Many researchers of music have come up with defined stages of these scheems of the alap. These are- Vilambit, Madhya, Drut, Jhala, Thok, Lari, Larguthay, Larlapet, Paran, Sath, Dhuya, Matha and Paramatha- 13 stages in all. An alap can be both with words (anakshar) and without words (sakshar). Alap is invariably accompanied by a musical instrument. Alap can have various forms- with rhythm or without it. These forms are essentially Swar, Rag, Poornnag and Auchar. Most music has at least three main elements melody, rhythm and harmony. Because of its contemplative, spiritual nature, Indian classical music is a solitary pursuit that focuses mainly on melodic development. In performance, rhythm also plays an important role, giving texture, sensuality, and a sense of purpose to melody. Harmony in Indian classical music is mainly the result of the tanpura playing a combination of the tonic (sa) and the fifth (pa) or fourth (ma) in a fixed pattern in the background, somewhat like an arpeggiated chord. Harmony in the Western sense, however, is not a part of traditional Indian music, and it is important not to look for it.
This book, is a synopsis of Indian music, offering a mesmerizing trip to Indian culture to the readers.
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