1. Indian Classical Music by Dr. Made Mantle Hood MUS1100 Semester 1, 2006

2. Lecture Outline - India Part I Breif Histroical Background Part IIInstruments and Music Form Part IIIRaga and Mode Part IVTala and Tintal Rhythm Part VKhyal –vocal example

3. Part I Brief Historical Background 3000BC – Civilization in the great Indus Valley are labeled Hindus by Persians, Sindhu is a Sanskrit word meaning ‘river’ 400BC – Mahabharata and Ramayana Epics are written down and influence the performing arts 13 th Cen. AD – Northern India is overrun by Muslims, the South maintains Hinduism 16 th Cen. – Two related but distinct musical styles emerge, Hindustani in the north, Karnatak in the south

4. Northern India Hindustani music Southern India Karnatak music (from May, E. ed., Music of Many Cultures, Berkeley 1980)

5. 17 th Cen. – British Empire takes ‘the jewel of their colonies’ 19 th Cen. – Patronized instrumental virtuosity begins after predominantly vocal tradition (Druphad) Ex. Bin player Nyamat Khan 20 th Cen. – Indian music goes global Adaptation of the European violin, clarinet, and harmonium for classical music Bollywood cinema music explodes enjoyed by the masses Ravi Shanker and the Beatles Yoga, karma and Mahatma Gandhi (peaceful protest/non-violence)

6. Music Types: Folk – work, festival and devotional songs regular rhythm, simple melodies, suggests movement and social togetherness through gang singing, verse and chorus structure. Listening Example: Purna das Baul, Rough Guide to Indian Music, Crammed Discs Classical – highly virtuosic instrumental and vocal ‘art music’ that emphasizes an introspective and meditative side of music through a single line of melody, drone and drumming. Listening Example: Amjad Ali Khan, Navras Records trk. 9

7. Part II Instruments and Forms Sitar – plucked lute with 7 principal strings and 10-12 sympathetic strings, moveable frets, gourd resonators (single line melody) (from May, E. ed., Music of Many Cultures, Berkeley 1980)

8. Drone instrument Tambur – 4-stringed long neck lute, played with one hand (melodic drone) (from May, E. ed., Music of Many Cultures, Berkeley 1980)

9. Drum Tabla – a pair of bowl-shaped tuned membranophones, wax tuning paste, layered heads (drumming) (from May, E. ed., Music of Many Cultures, Berkeley 1980)

10. Musical Form and Improvisation Alap, Jor/Jhala, Gat - Tripartite musical form where sections are differentiated by the relative emphasis on melody or rhythm and progress on a continuum from slow, unmetered to moderate, to fast tempo.

11. Alap: Emphasis solely on melody through improvised expression of mode (raga) Gradual presentation of principal pitches in a mode Builds climax through constantly rising pitch register As register rises, tension is released in anticipation of regular rhythm Jor/Jhala : Pulsating rhythm from the end of the alap culminates For example sitar plucks regular rhythm Typically introduces melodic motive Gat (Druhpad): Tabla drum enters and provides tal (rhythm) Gradual progression of tempo Increasing emphasis on rhythm (tala) Listening Example, Ali Akbar Khan, track 1 – Rough Guide of Indian Music, BMI Records

12. Part III Raga and Mode Raga: A system that encompasses the given elements of a melodic nature including: A hierarchy of pitches Distinctive melodic shape/register Characteristic ornamentation Extra-musical associations Time of day (night raga/morning raga) Seasons (time of year) Emotional state of mind

13. Rag example – Bageshri - hierarchy of pitches/mode Ascending (Aroha) C, E flat, F, G, A, B flat Descending (Avroha) C, B flat, A, G, F, E flat, D, C Saragam – Sa, Re, Ga, Ma, Pa, Dha, Ni, Sa solfege syllables Vadi – principal pitch of the rag similar to Tonic Samvadi – 2 nd principal pitch similar to Dominant

14. Oranmentation Gamak – ornamentation in terms of: Grace notes Slurs and slides Slight vibrato Wide vibrato Listening example – D.N. South Indian traverse flute, tambur, violin and merdangam drum. Rough Guide to Indian Music ‘Classical Karnatic Flute’ Nimbus Records.

15. Part IV Tala and Tintal Tala – a term used to describe the Indian metric system Refers to meters measured out in terms of specified cycles of counts Ex. Western meter ¾ is a cycle of 3 counts, 4/4 a cycle of 4 counts. Tintal – Indian meter with 16 counts Ektal – “ with 12 counts

16. Keeping Tal counts are subdivided to give rhythmic weighting Tintal: hand clap and wave integrated to ‘keep the tal’ 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 x x o x x = soft clapo = wave Indian audiences will often keep the tal during performance Rhythmic theoretical framework that functions as the container for improvisation Sam is the beginning and simultaneously the end of a phrase

17. Part IV Khyal vocal Listening Example: The Raga Guide, 74 Hindustani Ragas, Nimbus records, 1999. Raga – Alhaiya Bilavel Tala – Tintal 1.Intro alap and the principal tones C, E, and G to outline raga 2.Cycles 1-12 elaboration around raga and refrain text Kavana batariya, long sustained note end of cycles 11 and 12. 3.Cycles 13-22 – gamak tana ornamentation or fast melodic patterns in the voice are featured 4.Cycles 23-32 – long gamak tana are featured until the end of the piece.

18. Library Listening India Shivkumar Sharma and Sakir Hussain, Raga Purya Kalyan (Classical Indian Music). WDR Cologne 1980, CD1269 Trk 1 Dadra Santour and Tabla The Rough Guide of the Music of India and Pakistan, World Music Network, CD2515. Track 1 Ali Akbar Khan with Asha Bhosle: Guru Bandana (prayer) Composed by Ali Akbar Khan. Words traditional P and C 1996 AMMP/BMI. Trk 2 Purna Das Baul: Agun Pani composed by Purna Das Baul and Subhendu Das Words Traditional 1994 Cramworld/Crammed Discs. Track 9 Amjad Ali Khan: Extract from Raga Bhairav. Traditional arranged by Amjad Ali Khan. Published by Navras Records Ltd. From Navras Records Ltd. Track 11 Dr. N. Ramani: Ninnade Traditional arranged by Dr. N. Ramani. Copyright Control. Pub. Nimbus Records. From the Album ‘Classical Karnatic Flute’