1. INDIA PART 2

2.  Define terms:  Sam: the point where the instrumentalist and the tabla player meet together at the end of the phrase (and also the beginning of the rhythmic cycle)  Chiktari: These are side strings, or sympathetic strings, of the sitar which can drone and provide a rhythmic pulse.  Saraswati is the goddess of learning and music.  Ravi Shankar: famous player of the sitar.  Guru: Hindu teacher, Sanskrit BELLWORK

3. BAYAN IS THE LARGER DRUM IN TABLA

4. DAYAN IS THE SMALLER DRUM IN THE TABLA

5. SITAR ORCHESTRA-VIDEO 2:30

6.  The affective state generated by an aesthetic performance. In classical theory each rag (sometimes each tone) is thought to characterize, embody and generate particular emotional states. For example: love, anger or heroism.  The example to the left  portrays heroism. RASA

7.  Music comprehends a sub-culture in India that cuts across the boundaries of sex, religion, age, caste, territory, language as well as time.  It is an unequal exchange; the student forever owes a debt to his guru.  The Guru-Shishya- Parampara relationship refers to the aural transmission of musical tradition. GUIDED NOTES: GURU

8.  Is the jor more active than the alap?  Name the solo instrument:  What qualities does this music have which would attract a jinn?  Challenge: Draw a ragamala on your white board: (Ragas are sometimes represented pictorially as individual human beings in these miniature paintings) ACTIVE LISTENING EXAMPLE #2: JOR MALKAUNS

9.  The tambura simply plucks the four pitches successively throughout the raga, like aural incense.  In other words, the tambura is a drone which plays: I high V high V low V.  Jor: the second part of the instrumental alap, characterized by an increase in tempo and a rhythmic pulse.  The beat becomes steadier as the raga progresses. JUST THE FACTS, JI: LISTENING EXAMPLE #2: JOR MALKAUNS

10.  They are based on animal noises.  The first note of the scale is Sa—which corresponds to the call of the peacock  Re fever bird  Ga goat  Ma crane  Pa woodpecker  Dha frog in love  Ni elephant hit on the head ORIGINS OF INDIAN SOLFEGGE

11.  The zigzag steps in a Raga are called vakra.  Thus the form of a raga is similar to that of the Rondo, the composition alternating with the improvisations.  Tala is a rhythmic cycle  A Thata is: An impersonal scale which always has 7 notes and is used as a basic scale for classification purposes RAGA THEORY

12.  Which solo instrument begins the piece?  What time signature is this in?  What is the name of the drum? ACTIVE LISTENING EXAMPLE #3: TALA SAWARI

13. Moving from lower notes to higher notes increases tension  In each cycle the instrumental composition must be the same number of beats as the tala.  The tabla is tuned to the ragas fundamental pitch by tightening or loosening leather straps  The bayan either drops out or is played quietly during the third group called Khali (beat 9-12) allowing listeners to anticipate the return of the first phrase. JUST THE FACTS, JI: EXAMPLE #3: TALA SAWARI

14. TUNABLE DRUMS: THE MADAL, TRY IT!  When playing the madal, use your fingers instead of your whole hand.  Think of the drum surface as a reverse oreo cookie and try to hit the crème outside.  The Madal is a similar, pitched drum from Nepal. Experiment with different tones.

15.  On a small post-it write down one fact from today’s class.  When you have completed this, place it in a larger category on the board: Indian song theory and form Instrument facts Historical figures and traditions  Do a gallery walk by row and write down two additional facts from the category you chose. CFU: GALLERY WALK

16.  Films Based on:  Epic literature--namely the “Mahabharata” and the “Ramayana”.  19 th century Parsi plays  Victorian melodrama  Urdu poetry  Folk theater. BOLLYWOOD

17.  Are the actors singing?  What rasa is this song meant to portray?  What classical instruments do you hear?  Does the woman have a high or low voice range?  VIDEO EXAMPLE #4 TUJHE DEKHA TO ACTIVE LISTENING

18.  A typical film is 2 ½ hours long, storylines of epic proportions, involving the break-up and make-up of extended families.  European films tend to deal with one emotion or one problem. You can see them as short stories; whereas an Indian film is more like a novel.  “6-8” songs, intricate choreography in which the actor themselves participate, are used to emphasize the story’s emotional high points.  This film is a love story. LISTENING QUESTIONS #4 TUJHE DEKHA TO

19.  Tujhe dekha to yeh jaana sanam  I saw you and I learned this, sweetheart   Pyaar hota hai deewana sanam  That love is crazy, sweetheart   Ab yahan se kahan jaaye hum  Now where would I go from here? THE LYRICS

20.  Bharatanatyam is a dance form originating in Tamil state.  There are eight rasas associated with this dance:  love  humor  pathos  heroism  anger  fear  disgust  awe (wonder) INDIAN CLASSICAL DANCE

21.  Mudra are the hand movements associated with classical Indian dance.  Try Them! MUDRA

22. PATAKA-FLAG "THE BEGINNING OF DANCE”

23. TRIPATAKA-THREE PARTS OF THE FLAG

24. ARDHAPATAKA-HALF FLAG-

25. KARTARIMUKHA-ARROW SHAFT- SCISSORS

26. ARDHACHANDRA-HALF MOON- PROTECTING AND BLESSING

27. SIMHAMUKHA-FACE OF A LION

28. SARPASHIRSHA-HOOD OF A SNAKE

29.  Active listening:  Identify at least two Mudra you see  Which rasa do you think this dance portrays? VIDEO EXAMPLE #5 BHARATANATYAM

30.  Eye movement is called Drishthi  1. Sama: Eye kept still without any movement.  2. Alokita: Rolling your eye balls in a circular pattern.  3. Saachi: Looking through the corner of the eyes.  4. Pralokita: moving your eyes side to side.  5. Nimilita: It looks like a half shut eye. Here one tries to focus the eye ball towards the heart.  6. Ullokita: Looking upwards.  7. Anuvritta: Rapid movement of the eyes up and down.  8. Avalokita: Looking down. EYE MOVEMENT: DRISHTHI TRY IT!

31. Devadasis are dancing girls  Mudra—hand movements; from Sanskrit word meaning joy or bliss  Some traditional Indian dance performers can take all night telling their stories  The dance incorporates complex eye movement and facial expressions which further dramatize the content. VIDEO EXAMPLE #5 BHARATANATYAM LISTENING QUESTIONS

32.  Using the Mudra symbols and definitions create a story individually or with a partner.  Use at least eight mudra in your story.  Be sure to create transitions and storylines that connect one mudra to the next.  Choose a rasa that your story is meant to convey. Practice or memorize the hand movements. CFU: WRITE AND CHOREOGRAPH A MUDRA STORY

33. 1. What is a sam? 2. What are the hand movements in Indian dance called? 3. Explain what the Guru-Shishya- Parampara relationship is.  4. What are Chikari?  5. Name three specific examples of how the raga influences or is influenced by Indian life. EXIT TICKET