South Asia Music with a Spiritual Dimension India (North & South) Pakistan © Taylor & Francis.

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Presentation transcript:

South Asia Music with a Spiritual Dimension India (North & South) Pakistan © Taylor & Francis

South Asia Map © Taylor & Francis

Background Preparation More than 16% of world’s population (1.6+ billion) Ethnic, linguistic, and religious diversity Strong British colonial influence India’s famed Taj Mahal © Taylor & Francis

India Site 1: Hindustani Raga (Instrumental) Site 2: Carnatic (Vocal) Kriti Site 3: Bhajan (Devotional Song) © Taylor & Francis

Arrival: North India Major cities: Mumbai (Bombay), New Delhi, Lucknow Independent from British in 1947 Mahatma Gandhi (1869–1948) World ’ s largest democracy Caste system Disparity of wealth Religious pluralism Mahatma Gandhi (1869–1948) © Taylor & Francis

Site 1: Hindustani Raga First Impressions “ Dreamy ” aura “Boing ” drums Aural Analysis Melody: Sarod Rhythm: Tabla Drone: Tambura © Taylor & Francis

Tambura Fretless plucked lute Four strings “ Pillar ” pitch tuning Aural “ incense ” Played by shishya or vocalist © Taylor & Francis

Sarod Fretless plucked lute Three sets of strings Melodic Drone/rhythm ( Jhala ) Sympathetic Calfskin resonator face © Taylor & Francis

Sympathetic Strings (on Sitar ) Passing beneath the metal curved frets, the “sympathetic strings” vibrate involuntarily during performance. © Taylor & Francis

Raga Performance Tuning system – 22 pitches Raga (or rag ) – “ atmosphere ” Mode: Framework for improvisation and composition Scale, ornamentations, melodic patterns, hierarchy of pitches, etc. Rasa (mood), time of day, “ magic ” © Taylor & Francis

Raga Melodic Form Alap Free rhythm, all improvised Ascending melodic range Increasing rhythmic density Jor – Jhala Gat Metered composition with improvisation Drum enters Second rising range and increasing density © Taylor & Francis

Tabla Pair of hand drums Smaller drum – tabla Tuned to central pitch Larger drum – baya Bols – drum language Theka – rhythmic patterns © Taylor & Francis

Tala Rhythmic cycle Drummer and Audience “ Keep the tal ” Drummer “ stretches ” the beat with improvisation A sixteen-beat cycle called tintal © Taylor & Francis

Cultural Considerations Oral Tradition Guru – Shishya Rasa : “ Mood ” across the arts Ragamala “ Star ” artists Ravi Shankar “ Flexible ” Time © Taylor & Francis

Arrival: South India Major cities: Hyderabad, Bangalore, Madras Carnatic culture more ancient Predominantly Hindu A snake charmer plays the punjii © Taylor & Francis

Site 2: Carnatic Classical Song Aural Analysis Melody: Vocal Imitation: Violin Rhythm: Mridangam Drone: Sruti Box First Impressions Aural “ incense ” Melismatic vocalist with imitating fiddle Note the sruti box to the vocalist’s left. © Taylor & Francis

Carnatic Instruments Violin Mridangam © Taylor & Francis

Kriti Hindu devotional poetry set to music Composed skeletal melody Increased ornamentation Complex raga and tala systems Some 36,000 possible raga 175 variations of tala © Taylor & Francis

Cultural Considerations Sri Tyagaraja ( ) Devotee of Hindu god Rama Prolific composer Aradhana Festivals A portrait of Sri Tyagaraja © Taylor & Francis

Site 3: Bhajan Devotional Song First Impressions Congregational worship Aural Analysis Harmonium Tabla, dandtal Antiphonal vocals Eight-beat tala A harmonium © Taylor & Francis

Cultural Considerations Devotional Hindu songs Sai Baba Temples Sri Sai Baba (d. 1918) Worshippers at a Sai Baba temple © Taylor & Francis

SITE 4: QAWWALI (SUFI DEVOTIONAL SONG) PAKISTAN © Taylor & Francis

ARRIVAL: PAKISTAN West and East Pakistan – 1947 Mass Migrations Bangladesh – 1971 Music pluralism © Taylor & Francis

SITE 4: QAWWALI First Impressions Kriti? Bhajan? Qawwali? Aural Analysis Harmonium Melismatic Male Vocal Dholak and tabla Group Refrain Dholak drums © Taylor & Francis

CULTURAL CONSIDERATIONS Sufi Devotional Song Communion with Allah (God) Trance state Nusrat Fateh Ali Khan Sabri Brothers © Taylor & Francis