Nitin Singhania Summary: Indian Music- 2 | History for UPSC CSE PDF Download
| Table of contents |
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| Introduction |
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| History of Indian Music |
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| Anatomy of Indian Music |
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| Semi-classical music |
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| Important Books/Treatise on Indian Music |
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Introduction
Music is a crucial part of Indian culture, and India has a rich tradition of musical ingenuity. Legend has it that the sage Narada Muni introduced the art of music to Earth, teaching about the universal sound called Nada Brahma.
Archaeological findings include a seven-holed flute from the Indus Valley Civilization and the Ravanahatha from Sri Lanka, believed to be one of the oldest instruments.
Narada Muni
Around 2000 years ago, during the Vedic era, writings about music appeared. The Sama Veda contained all seven notes of the raga Kharaharapriya. The Gandharva Veda, a musical science, was linked to the Sama Veda. The Aitareya Aranyaka mentioned parts of the Veena instrument. The Jaiminiya Brahmana discussed dance and music together. Some musicologists suggested theories that the word "Om" is the source of all musical elements.
In the 4th century BC, Panini made the first proper reference to the art of making music. However, the first discussion on musical theory happened in Bharata’s Natyashastra, written between 200 BC and 200 AD.
History of Indian Music
Religious Roots: The deep connection between Indian music and religious practices is rooted in the belief that music has a spiritual dimension. Ritualistic music, like Sangama, performed at religious sites during the later Vedic period, was a way to invoke a divine atmosphere and connect with the sacred.
Jatigan: Jatigan, a narrative music style, played a crucial role in enhancing the storytelling aspect of epics. Through melodic patterns and expressive elements, Jatigan made the narration more engaging and emotionally resonant, contributing to the cultural tradition of combining music with storytelling.
Bharata's Natyashastra: Bharata's Natyashastra not only clarified the theoretical aspects of musicology but also served as a practical guide for musicians. The identification of the octave and the elaboration of its 22 keys (shrutis or srutis) provided a systematic framework for understanding and creating music. This laid the groundwork for the rich and intricate musical traditions in India.
Bharata's NatyashastraDattilam: Dattilam's endorsement of the idea of 22 srutis per octave emphasized the significance of these microtonal intervals. This understanding was crucial for musicians to achieve precise tuning, ensuring harmonious and resonant musical performances.
Sarangadeva and Sangeet Ratnakara: Sarangadeva's Sangeet Ratnakara in the 13th century further expanded on the concept of 22 srutis, contributing to a comprehensive understanding of music. The text's definition of about 264 ragas and exploration of 'microtones' showcased the complexity and depth of Indian classical music.
Later Texts: Subsequent works like Brihaddeshi and Swaramela-Kalanidhi delved into specific themes, such as the definition of the word 'raga,' providing more nuanced insights into musical theory and practice.
Chaturdandiprakashika: Written by Venkatamakhin in the 17th century, this text offered crucial information on Carnatic musicology, contributing to the regional diversity and development of musical traditions in India.
Gurukuls: The existence of Gurukuls during ancient and early medieval periods underscores the importance of a teacher-student relationship in mastering the art of music. This system allowed for immersive learning and the passing down of musical knowledge from generation to generation.
Influence of Persian Elements: The infusion of Persian elements brought about changes in musical styles, transforming the devotional style of singing like Dhruvapad into the more structured Dhrupad style by the 15th century. The subsequent evolution into the Khayal style in the 17th century marked a significant shift in North Indian music.
Folk Singing: The emergence of various styles of folk singing alongside these changes reflected the diversity of musical expressions across different regions and communities.
Gandharvas in SculpturesGandharvas in Sculptures: The depiction of Gandharvas in sculptures across South Asia symbolizes the cultural significance of music. These celestial musicians highlight the belief in the divine and transcendent nature of music in Indian culture.
Anatomy of Indian Music
Swara
- In the olden days, the word 'Swara' was linked to reciting the Vedas. Later on, it started meaning a 'musical note' in compositions.
- According to Bharata's Natyashastra, Swaras were divided into 22 notes. In today's Hindustani music notation, we use sa, re, ga, ma, pa, dha, ni. These seven Swaras together are called Saptak or Sargam. Each pitch is described using specific names.
- It's important to know that Swaras are different from 'Shrutis,' which are tiny pitch variations. There are 22 Shrutis, but only 12 are audible. These include seven Suddha Swaras (Sa, Re, Ga, Ma, Pa, Dha, Ni) and five Vikrit Swaras. Suddha Swaras are like natural notes, while Vikrit Swaras are modified ones.
- Swaras are the basic musical notes in Indian classical music, forming melodies and scales. They play a key role in creating the beautiful tapestry of traditional Indian music.
Raga
The term 'raga' comes from the Sanskrit word 'Ranj,' signifying delight or happiness. Ragas serve as the foundation of melody in music, with rhythm provided by 'tala.' Each raga has a unique melodic structure resembling a distinct personality, subject, and mood.
A vital element for a raga is the foundational note on which it is based. Ragas are categorized based on the number of notes:
- Audav/Odava Raga: A 'pentatonic' raga with five notes.
- Shadava Raga: A 'hexatonic' raga containing six notes.
- Sampurna Raga: A 'heptatonic' raga featuring seven notes.
It's essential to understand that a raga is not a scale or mode; rather, it is a scientific, precise, subtle, and aesthetically pleasing melodic form. Ragas play a pivotal role in creating the diverse and beautiful melodies found in Indian classical music.
There are three main types of Ragas:
- Shuddha Raag: In this raga, if any notes that are not part of its original composition are played, its character and form remain unchanged.
- Chhayalag Raag: In this raga, playing notes that were not originally included alters its nature and form.
- Sankeerna Raag: This raga is a combination of two or more ragas, creating a mix of their characteristics and forms.
So, every raga should have the basic five notes. Within these ragas:
Vaadi - The King: This is the principal note around which the raga is built. It's used most frequently in the composition.
Samvaadi - The Queen: This is the next important note, typically the fourth or fifth note in relation to the principal raga.
Anuvaadi - The Courtiers: All the notes in the composition, excluding the vaadi and samvaadi, are called anuvaadi.
Vivadi - The Dissenters: Notes that are not present in the composition are termed vivadi.
Additionally:
- The ascent of notes means each note is higher than the preceding one (sa re ga ma pa dha ni). This ascent is called aroha.
- The descent of notes, where each note is lower than the preceding ones (ni, dha, pa, ma, ga re sa), is called avaroha.
Depending on how the notes ascend and descend, ragas can be categorized into three speeds or laya: Vilambit (slow), Madhya (medium), and Drut (fast).
While Carnatic music has 72 parent scales (melas) for ragas, Hindustani music relies on six main ragas. Each raga is specific to certain times and seasons, evoking distinct emotions.
Tala/Taal
In Indian classical music, rhythmic groupings of beats are known as "tala." Tala cycles can range from 3 to 108 beats, dividing musical time into simple and complex meters. The concept of tala is unique as it is independent of the accompanying music and has its own divisions.
The tempo that maintains the uniformity of the time span is called "laya."
Hindustani Music:
- While over 100 talas are argued to exist, only around 30 are known, and only 10 to 12 are commonly used.
- Examples of recognized talas include dadra, kaharba, rupak, ektal, jhaptal, teen-tal, and chautal.
- Teen-tal, with 16 beats, is frequently used by music composers.16 Beats of Teental
Carnatic Music:
- Carnatic music has a more rigid structure compared to Hindustani music.
- Tala in Carnatic music consists of three components: laghu, dhrutam, and anu dhrutam.
- There are 35 original thalas in Carnatic music, and each can be further split into five "ghaatis," resulting in 175 thalas.
- A prominent thala in Carnatic music is "aditala."
Thaat
In Hindustani classical music, the Thaat system is a method of classifying ragas into distinct groups. The current adoption involves a 10-thaat classification.
Pandit Vishnu Narayan Bhatkhande: He was a key musicologist in north Indian classical music (1860-1936), proposed that traditional ragas are based on or variations of 10 basic thaats or musical scales.
Pandit Vishnu Narayan BhatkhandeThaat Characteristics:
- Each thaat has seven notes, selected from the available 12 (seven Suddha Swaras and five Vikrit Swaras).
- The arrangement of notes is in ascending order.
- A thaat can only be sung in aarohi as the notes are composed in ascending order.
Ten Thaats: The 10 thaats in the classification are Bilawal, Khamaj, Kafi, Asavari, Bhairavi, Bhairav, Kalyan, Marwa, Poorvi, and Todi.
Circle of 10 thaatsEmotional Quality:
- The Thaat, on its own, doesn't convey emotions; rather, it acts like a blueprint or structure.
- Emotional qualities are attributed to the ragas produced from the thaat, and it is these ragas that are sung.
Role of Thaat:
- Thaat provides the foundational structure for ragas, guiding their composition and arrangement.
- It acts as a framework for creating and understanding the diverse ragas in Hindustani classical music.
Semi-classical music
Semi-classical music is a style that follows the basic notes (swara) like traditional classical music, but it's a bit different. In this style, lighter versions of ragas such as Bhoopali or Malkaush are used. The rhythm (tala) is also lighter, and the tempo is faster, especially using the madhyam or dhrut laya. There's a technique called jor-jhala as well. Some famous semi-classical styles include thumri, tappa, and ghazal. These styles focus more on expressing emotions (bhava) and the lyrics rather than intricate musical improvisations (alap).
Thumri
Thumri is a type of music originating from Uttar Pradesh, India. It falls under the category of semi-classical music and is often based on simple ragas.
- Thumri compositions can be either romantic or devotional, influenced by the Bhakti movement and expressing love for Krishna.
- The language used in thumri is typically Hindi in the Braj Bhasha dialect.
- These songs are usually sung by women, giving thumri a distinct sensual quality.
- Thumri allows for improvisation during performances, providing flexibility with the use of ragas.
- The term "Thumri" is also used generically for even lighter forms such as Dadra, Hori, Kajari, Saavan, Jhoola, and Chaiti.
- Thumri is closely associated with the classical dance form Kathak.
- The main Gharanas (schools) of thumri are based in Varanasi and Lucknow.
- Begum Akhtar is a renowned figure in thumri, known for her husky voice and extensive singing range.
- Other notable thumri artists include Girija Devi and Chhannulal Mishra, representing the Purab Ang Thumri style.
Tappa
Tappa is a unique musical style known for its emphasis on rhythm, featuring fast, subtle, and intricate constructions in compositions.
- Its origins trace back to the folk songs of camel riders in northwest India.
- Tappa gained recognition as a semi-classical vocal form when it was introduced at the Mughal court of Emperor Muhammad Shah.
- Compositions in Tappa involve the use of very quick turns of phrases, contributing to its distinctive character.
- Tappa was favored by both the wealthy elite and individuals with more modest means.
- The 'baithaki' style of Tappa evolved with direct support from the elite classes in the late 19th and early 20th centuries, taking place in their assembly halls ('baithak khanas') and entertainment halls ('jalsaghar').
- Unfortunately, Tappa is facing the risk of extinction today, as it is rarely practiced by musicians.
- Some of the few artists preserving the Tappa style include Laxmanrao Pandit from the Gwalior Gharana and Shanno Khurana from the Rampur-Sahaswan Gharana.
Ghazal
A ghazal is a short poem made up of rhyming couplets, known as Bayt or sher. Typically, ghazals consist of 7 to 12 of these couplets, but they don't necessarily have to share a common theme.
Ghazal
- It originated in Iran in the 10th century and spread to South Asia in the 12th century due to the influence of Sufi mystics and the Islamic sultanate courts, reaching its peak during the Mughal period.
- Amir Khusrau, around 1253-1325 AD, is credited as one of the early promoters of the art of ghazal in India. Many historical ghazal poets were either Sufis or sympathetic to Sufi ideas and beliefs.
- Ghazal follows a specific form and traditionally focuses on a single subject: love, often an unconditional and superior form. The object of love is often written in a way that allows interpretation, whether it's seen as divine or human, depending on the listener's understanding. Gods are also sometimes personified in ghazals.Amir Khusrau
- Over time, ghazals have become more accessible to a wider audience globally, with some simplification in language and phrasing. Most ghazals are now sung in various styles beyond classical genres like khyal and thumri. Renowned performers associated with ghazal include Muhammad Iqbal, Mirza Ghalib, Kazi Nazrul Islam (who introduced ghazals in Bengali), and others.
Important Books/Treatise on Indian Music
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Oct 25, 2024 Last updated |
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