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Music ppt
This document provides information about music in India. It discusses the two main classical music systems of India - Hindustani music of North India and Carnatic music of South India. It outlines some of the key differences between the two systems, such as Hindustani music being raga-based while Carnatic is kriti-based. It also discusses various elements and concepts in Indian classical music, including ragas, talas, musical instruments, and performance practices in Hindustani and Carnatic music.
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Music ppt
- 1. M U SI C … It is said – “Where there is humanity, there is music…” (but : what is music?)
- 2. M u si c Music is an art form whose medium is sound and silence. Its common elements are pitch (which governs melody and harmony), rhythm (an d its associated concepts tempo, meter, and articulation), dynamics, and the sonic qualities of timbre and texture. The word derives from Greek μουσική (mousike; "art of the Muses").[
- 3. . MUSICAL GENRES INPRESENT DAY INDIA ART (“CLASSICAL”) SOUTH INDIAN (“CARNATIC”) NON - ART (“LIGHT/POPULAR”) TRIBAL FOLK N O R T H I N D I A N (“HINDUSTANI”) PROVINCIAL CINEMA MUSIC THEATRE MUSIC NON-INDIAN IMPORTS RELIGIOUS OR PHILOSOPHIC •Has a highly formalized grammar, dictated by textual as well as oral tradition • Has different genres •(Vocal – Alap, Dhrupad/Dhamar, Khayal, Sadra, Thumri, Bhajan, Geet etc •Instrumental – Alap, Masidkhani, Rajakhani, Firozkhani, Amirkhani Gat etc) •Has different styles (called Geeti, Bani or Baaj) •Has regional schools of presentation (currently called Gharanas) •Has regional variations in choice of Ragas, Talas, etc. “INDUSTRIAL”
- 4. Differences • Hindustani music is raga based while Carnatic is kriti-based. • Hindustani stresses pure notes versus the gamaka-based Carnatic ragas. •Raga essays (alapanas) are elaborated from note to note in Hindustani and from phrase to phrase in Carnatic. • Hindustani has different shailey and Carnatic music has styles such as that of Madurai Mani Iyer, G.N.Balasubramaniam and so on. • Hindustani has a separate repertoire for instrumental and vocal while Carnatic instrumentalists till recently played the same kriti-based compositions as the vocalists did. • The concept of upapakkavadyam does not exist in Hindustani music. • The sarangi is a major accompaniment in Hindustani, while the violin reigns in Carnatic. • The concept of tani avaratanam is found in Carnatic music, while the tabla player intersperses the main artist’s rendering with solos. EXAMPLE OF HINDUSTANI MUSIC EXAMPLE OF CARNATIC MUSIC The Two Systems of Art Music in India CarnaticHindustani
- 5. The Notes Swara Sanskrit Expansion Meaning AnimalChakra God Sa Shadja (षड्ज) six-born peacock mūlādhāra मू लाधार (base of spine) Ganapati Re Rishabha (ऋषभ) bull skylark svādhi hānaṣṭ स्वािधष्ठान (genitals) Agni Ga Gandhara (गान्धार) sky goat ma ipūraṇ मिण पूर (solar plexus and n avel) Rudra (Shiva) Ma Madhyama (मध्यम) middle dove/heron anāhata अनाह त (heart) Vishnu Pa Panchama (पञ्चम) fifth cuckoo/nigh tingale viśuddha िवशु द्ध (throat) Naarada Dha Dhaivata (धैवत) earth horse ājñā आज्ञा (third eye) Sadasiva Ni Nishadam (िनषाद) hunter elephant sahasrāra सह स्रार (crown of the head) Surya (Sun)
- 6. Ornaments (“Alankar”) usedin Hindustani Music •In India, Alankar or Alankara means ornaments or adornments. In the context of Indian classical music, the application of an alankar is essentially to embellish or enhance the inherent beauty of the genre. •The earliest reference to the term Alankar has been found in Bharata’s Natyashastra written sometime between 200 BC and 200 AD. This treatise on dramaturgy mentions 33 types of Alankars. Subsequent musical treatises like Sharangdev’s Sangeet Ratnakar in the thirteenth century and Ahobal’s Sangeet Parijat in the seventeenth century mention 63 and 68 types of Alankars respectively. •The Shastras or ancient texts have categorized alankars into two broad groups – Alankar Varnalankar Shabdalankar
- 7. Elements of Music •Melody– notes sounded successively •Harmony – notes sounded simultaneously •Rhythm – pulses in time •Dynamics – intensity (volume)
- 8. R A GAR A G A • A raga (Sanskrit rāga राग, Tamil irāgam இராகம், Telugu Raagam రాగం, Kannada Raagaರಾಗ, Malayalam rāgam രാഗം l iterally "colour, hue" but also "beauty, melody"; also spelled raag, raaga, ragam) is one of the melodic modes used in Indian classical music. • A raga uses a series of five or more musical notes upon which a melody is constructed. However, the way the notes are approached and rendered in musical phrases and the mood they convey are more important in defining a raga than the notes themselves. • In the Indian musical tradition, rāgas are associated with different times of the day, or with seasons. Indian classical music is always set in a rāga. • Non-classical music such as popular Indian film songs and ghazals sometimes use rāgas in their compositions.
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- 10. ati-ati-drut - VeryVery Fast 640 beats-per-min ati-drut -Very Fast 320 beats-per-min Drut-Fast 160 beats-per-min Maddhya Drut- Medium Fast 120 beats-per-min Madhya- Medium 80 beats-per-min Maddhya vilambit- Medium Slow 80 beats-per-min Vilambit- Slow 40 beats-per-min ati-vilambit- Very Slow 20 beats-per-min ati-ati-vilambit- Very Very Slow 10 beats-per-min Cyclic- Tala-Yukta Linear- Tala-Heena
- 11. T A LA • 'Tāla, Taal or Tal (Sanskrit tālà, literally a "clap", also transliterated as "tala") is the term used in Indian classical music for the rhythmic pattern of any composition and for the entire subject of rhythm, roughly corresponding to metre in Western music, though closer conceptual equivalents are to be found in the older system of rhythmic mode and its relations with the "foot" of classical poetry, or with other Asian classical systems such as the notion of usul in the theory of Ottoman/Turkish music. • A tala is a regular, repeating rhythmic phrase, particularly as rendered on a percussive instrument with an ebb and flow of various intonations represented as a theka, a sequence of drum-syllables or bol.
- 12. T a la Matra T h e k a Kaharva 4 Dhage Nati Naka Dhin | | Dadra 6 Dha Tin Na | Ta Dhin Na | | Roopak 7 Tin Tin Na | Dhin Na | Dhin Na | | Jhaptal 10 Dhin Na | Dhin Dhin Na | Tin Na | Dhin Dhin Na | | Ektal 12 Dhin Dhin | Dhage Tite | Thum Na | Kat Ta | Dhage Tite | Dhin Dha | | Jhoomra 14 Dha –Dha Tirakita | Dhin Dhin Dhage Tirakita | Ta –Ta Tirakita | Dhin Dhin Dhage Tirakita | | Deepchandi 14 Dha Dhin - | Dha Dha Dhin - | Na Tin - | Dha Dha Dhin - | | Adachoutal 14 Dhin Tite | Dhin Na | Thum Na | Kat Ta | Tite Dhin | Na Dhin | Dhin Na | | Trital 16 Dha Dhin Dhin Dha | Dha Dhin Dhin Dha | Dha Tin Tin Ta | Tita Dhin Dhin Dha | | … and many more, including fractional Matras (e.g. Jhampak Tala of 8½ Matras)
- 13. Performance Practice Hindustani Recital Vocal Instrumental “Classical” “Light- Classical” Percussion Melodic Instrument Dhrupad& Dhamar Khayal Thumri Bhajan Tarana Ghazal “Classical” “Light- Classical” Gayaki Ang Tantrakari Ang Dhrupad Ang Khayal Ang Dhun
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