1. Chapter Seven
Instrumental Melody

2. Melodic Styles Vocal Melody Usually conjunct Motion Limited range
Instrumental Melody Often disjunct motion “Idiomatic” writing (for specific instruments)
Wider ranges than vocal

3. Music of India Great Tradition Little Tradition
Spread Extensively Throughout India
Common Musical Language Among People
Little Tradition
Limited Geographical Region
Folk and Religious Music

4. Great Tradition Distinctive Musical Instruments
Primary Role
Melodic-- Sitar
Secondary Roles
Rhythmic-- Tabla
Drone-- Tambura

5. Formal Process Improvistory Organization Melodic Formula
Raga
Rhythmic Formula
Tala
(Tal)

6. Instrument Classification According to Natya Shastra
Tata (Chordophones)
Avanaddha (Membranophones)
Ghana (Idiophones)
Susira (Aerophones)
Instrument Classification in India
Natya Shastra
(2nd to 5th Century B.C.E)
Tata
(Chordophones)
Avanaddha
(Membranophones)
Ghana
(Idiophones)
Susira
(Aerophones)

7. Western Instrumental Classification
Indian system adapted by Hornbostel and Sachs in 1914.
Aerophones (column of air)
Idiophones (struck)
Membranophones (struck)
Chordophones (plucked or bowed)

8. Northern Indian Instruments
Sitar––plucked stringed instrument which plays the melody

9. Northern Indian Instruments
Tambura–– (also called “tanpura) is a plucked stringed instrument and plays the drone
Same clip as previous slide—listen for continuous drone note beneath sitar.)

10. Northern Indian Instruments
Tabla––(tabla and baya)––pitched percussion instruments

11. Northern Indian Classical Music
Terms for Musical Elements
Raga––melodic formulae providing basis for improvisation
Tala (tal)––rhythmic formulae that increases in complexity as the piece is played

12. Standard Raga Format Continuous Form Music
Alap –– Opening, unmeasured section––raga pitches introduced
Jor –– Section where a feeling of pulse (beat) is established
Gat –– Section where tabla enters with the tala

13. Other Indian Instruments
Santur
Bansuri

14. Other Indian Instruments
Sarangi

15. The Harmonium
The instrument has 42 keys, corresponding to the tuning of Western music. The musician sits on the floor and plays it with the right hand while the left hand activates the bellows. This instrument poses some problem in Indian classical music, as its temper is equal, and does not match the unequal temper of Indian ragas. Therefore, it sounds “friendlier” to Western ears.
This piece, “Mishra Pahadi,” follows a raga form with the tabla entering at the gat. The harmonium is accompanied by a santur.

16. Ravi Shankar Performance Career
Studied 7 years with “Baba” Allauddin Kahn in traditional guru-shishya
Performed with dance troupe in Paris, age 10
Performances on All-India Radio,
Began to perform Indian music abroad, 1952