Music ppt

M U S I C …

It is said – “Where there is humanity, there is music…”

(but : what is music?)

M u s i cMusic is an art form whose medium is sound and silence. Its common elements are pitch (which governs melody and harmony), rhythm (and its associated concepts tempo, meter, and articulation), dynamics, and the sonic qualities of timbre and texture. The word derives from Greek μουσική (mousike; "art of the Muses").[

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MUSICAL GENRES IN PRESENT DAY INDIA

ART (“CLASSICAL”)

SOUTH INDIAN

(“CARNATIC”)

NON - ART (“LIGHT/POPULAR”)

TRIBAL

FOLK

N O R T HI N D I A N

(“HINDUSTANI”)

PROVINCIALCINEMAMUSIC

THEATREMUSIC

NON-INDIANIMPORTS

RELIGIOUSOR

PHILOSOPHIC

•Has a highly formalized grammar, dictated by textual as well as oral tradition• Has different genres •(Vocal – Alap, Dhrupad/Dhamar, Khayal, Sadra, Thumri, Bhajan, Geet etc•Instrumental – Alap, Masidkhani, Rajakhani, Firozkhani, Amirkhani Gat etc)•Has different styles (called Geeti, Bani or Baaj)•Has regional schools of presentation (currently called Gharanas)•Has regional variations in choice of Ragas, Talas, etc.

“INDUSTRIAL”

Differences• Hindustani music is raga based while Carnatic is kriti-based.• Hindustani stresses pure notes versus the gamaka-based Carnatic ragas.• Raga essays (alapanas) are elaborated from note to note in Hindustani and from phrase to 

phrase in Carnatic.• Hindustani has different shailey and Carnatic music has styles such as that of Madurai 

Mani Iyer, G.N.Balasubramaniam and so on.• Hindustani has a separate repertoire for instrumental and vocal while Carnatic 

instrumentalists till recently played the same kriti-based compositions as the vocalists did.• The concept of upapakkavadyam does not exist in Hindustani music.• The sarangi is a major accompaniment in Hindustani, while the violin reigns in Carnatic.• The concept of tani avaratanam is found in Carnatic music, while the tabla player 

intersperses the main artist’s rendering with solos.

EXAMPLE OF HINDUSTANI MUSIC EXAMPLE OF CARNATIC MUSIC

The Two Systems of Art Music in India

CarnaticHindustani

The NotesSwara

Sanskrit Expansion

Meaning Animal Chakra God

Sa Shadja (षड्ज) six-born peacock

mūlādhāra मूलाधार (base

of spine)

Ganapati

ReRishabha (ऋषभ) bull skylark

svādhi hānaṣṭ स्वािधष्ठान (genitals)

Agni

GaGandhara (गान्धार) sky goat

ma ipūraṇ मिणप ूर (solar

plexus and navel)

Rudra (Shiva)

MaMadhyama (मध्यम) middle dove/heron

anāhata अनाहत (heart)

Vishnu

PaPanchama (पञ्चम) fifth

cuckoo/nightingale

viśuddha िवश ुद्ध (throat)

Naarada

DhaDhaivata (धैवत) earth horse

ājñā आज्ञा (third eye)

Sadasiva

NiNishadam (िनषाद) hunter elephant

sahasrāra सहस्रार (crown

of the head)

Surya (Sun)

Ornaments (“Alankar”) used in Hindustani Music

•In India, Alankar or Alankara means ornaments or adornments. In the context of Indian classical music, the application of an alankar is essentially to embellish or enhance the inherent beauty of the genre.

•The earliest reference to the term Alankar has been found in Bharata’s Natyashastra written sometime between 200 BC and 200 AD. This treatise on dramaturgy mentions 33 types of Alankars. Subsequent musical treatises like Sharangdev’s Sangeet Ratnakar in the thirteenth century and Ahobal’s Sangeet Parijat in the seventeenth century mention 63 and 68 types of Alankars respectively.

•The Shastras or ancient texts have categorized alankars into two broad groups –

Alankar

Varnalankar Shabdalankar

Elements of Music

•Melody – notes sounded success ively

•Harmony – notes sounded s imultaneously

•Rhythm – pulses in t ime•Dynamics – intensity (volume)•Timbre – tone colour

R A G AR A G A• A raga (Sanskrit rāga राग, Tamil irāgam இராகம், Telugu

 Raagam రాగం, Kannada Raagaರಾಗ, Malayalam rāgam രാഗം literally "colour, hue" but also "beauty, melody"; also spelled raag, raaga, ragam) is one of the melodic modes used in Indian classical music.

• A raga uses a series of five or more musical notes upon which a melody is constructed. However, the way the notes are approached and rendered in musical phrases and the mood they convey are more important in defining a raga than the notes themselves. 

• In the Indian musical tradition, rāgas are associated with different times of the day, or with seasons. Indian classical music is always set in a rāga. 

• Non-classical music such as popular Indian film songs and ghazals sometimes use rāgas in their compositions.

The Beat is the regularly occurring pattern of rhythmic stresses in music. When we count, tap or clap along with music we are experiencing the Beat. Try tapping your finger along with different types of music and see what happens.

Tempo is the speed of the Beat, usually expressed in Beats Per Minute (BPM). For example, at 120 BPM there will be 120 beats in one minute. Tempo can also be expressed verbally with such words as Slowly, Fast, Allegro, or Largo.

If you have a metronome try different settings and tap along. If you don't have a metronome find a clock that shows seconds. If you tap along with the seconds you are experiencing 60 BPM because there are 60 seconds/beats per minute.

The Beat and Tempo

ati-ati-drut - Very Very Fast 640 beats-per-min

ati-drut -Very Fast 320 beats-per-min

Drut-Fast 160 beats-per-min

Maddhya Drut- Medium Fast 120 beats-per-min

Madhya- Medium 80 beats-per-min

Maddhya vilambit- Medium Slow 80 beats-per-min

Vilambit- Slow 40 beats-per-min

ati-vilambit- Very Slow 20 beats-per-min

ati-ati-vilambit- Very Very Slow 10 beats-per-min

Cyclic- Tala-Yukta

Linear- Tala-Heena

T A L A

• 'Tāla, Taal or Tal (Sanskrit tālà, literally a "clap", also transliterated as "tala") is the term used in Indian classical music for the rhythmic pattern of any composition and for the entire subject of rhythm, roughly corresponding to metre in Western music, though closer conceptual equivalents are to be found in the older system of rhythmic mode and its relations with the "foot" of classical poetry, or with other Asian classical systems such as the notion of usul in the theory of Ottoman/Turkish music.

• A tala is a regular, repeating rhythmic phrase, particularly as rendered on a percussive instrument with an ebb and flow of various intonations represented as a theka, a sequence of drum-syllables or bol.

T a l a Matra T h e k a

Kaharva 4 Dhage Nati Naka Dhin | |

Dadra 6 Dha Tin Na | Ta Dhin Na | |

Roopak 7 Tin Tin Na | Dhin Na | Dhin Na | |

Jhaptal 10 Dhin Na | Dhin Dhin Na | Tin Na | Dhin Dhin Na | |

Ektal 12 Dhin Dhin | Dhage Tite | Thum Na | Kat Ta | Dhage Tite | Dhin Dha | |

Jhoomra 14 Dha –Dha Tirakita | Dhin Dhin Dhage Tirakita | Ta –Ta Tirakita | Dhin Dhin Dhage Tirakita | |

Deepchandi 14 Dha Dhin - | Dha Dha Dhin - | Na Tin - | Dha Dha Dhin - | |

Adachoutal 14 Dhin Tite | Dhin Na | Thum Na | Kat Ta | Tite Dhin | Na Dhin | Dhin Na | |

Trital 16 Dha Dhin Dhin Dha | Dha Dhin Dhin Dha | Dha Tin Tin Ta | Tita Dhin Dhin Dha | |

… and many more, including fractional Matras (e.g. Jhampak Tala of 8½ Matras)

Performance PracticeHindustani

Recital

Vocal Instrumental

“Classical”“Light-

Classical”

PercussionMelodic

Instrument

Dhrupad &Dhamar

Khayal

Thumri

Bhajan

Tarana Ghazal

“Classical”“Light-

Classical”

Gayaki Ang

Tantrakari Ang

Dhrupad Ang

Khayal Ang

Dhun

THANK YOU•AKASHDEEP RAMNANEY