presentspresents IndianIndian ClassicalClassical MusicMusic AppreciationAppreciation DayDay
Saturday, April 5th 2008 3.00 PM to 6.30 PM Venue : Parkway North East Middle School Lord Ganesha InvocationInvocation PrayersPrayers && WelcomeWelcome
Goddess Saraswati ““SangeethaSangeetha””-- MusicallyMusically YoursYours z Forum for Indian Classical Music recitals since 1984 in St. Louis z Supported by RAC and MAC grants and corporate support z Over 200 concerts by world renowned artistes z Excellent on-going relationship - Dept. of Music in Washington University, - Univ. of Missouri, St. Louis - St. Louis University - Other music societies z Concerts arranged in Spring and Fall z Appeal to music lovers to partner with Sangeetha members and/or Friends of Sangeetha ThisThis isis aa SangeethaSangeetha PresentationPresentation
z Indian Classical Music – Brief Introduction z Carnatic Classical Music – 72 Melakarta Ragas z Hindustani Classical Music – 10 Thaats z Exclusives of Indian Classical Music z Essence of Time z Special Ragas z A Mini Concert z Concept of Taal in Indian Classical Music z The Trinity of Carnatic Music z Other great composers of Indian Classical Music SpecialSpecial ThanksThanks toto AllAll PerformingPerforming ArtistesArtistes && theirtheir GurusGurus Maheetha Bharadwaj, Anisha Gururaj, Sandhya Pandurangi, Vidya Anand, Seema Kasthuri, Amritha Krishnamoorthy, Ramya Vishwanathan
Ram Lakshmanan, Dr. Raghu Pandurangi Venkat Janardhan & Nityanand Rao
Shubha Subbarao & Balachandran IntroductionIntroduction toto IndianIndian ClassicalClassical MusicMusic
AnantharamaAnantharama BalachandranBalachandran IndianIndian ClassicalClassical MusicMusic z Based on - ancient musical traditions which have evolved through several thousand years - the concept of ‘Manodharma’ - freedom within discipline z Two styles – - Hindustani - Carnatic ThreeThree PillarsPillars ofof ClassicalClassical MusicMusic
z Melody – concept of Raga z Rhythm – concept of Tala z Lyrical beauty PitchPitch inin IndianIndian ClassicalClassical MusicMusic
•• Pitch is a reference frequency •• All other notes are relative to this •• In Indian Classical music, this reference is a variable !! - allows flexibility in choosing the reference - octave gets defined with respect to that reference - reference is called Adhara Shadja - strict adherence to this reference is demanded Swaras Swaras Dhaivata – Da La - A Shadja – Sa Do - C Rishabha – RiGandhara – GaMadhyama – Ma Fa -Panchama F – Pa So - G Re - D Mi - E Nishada – Ni Ti – B Carnatic swara note Western Sapta Sapta
Swara Swara Seven basic notes called Classified based on the increasing order of frequency Seven basic notes called Classified based on the increasing order of frequency Sa, Pa – Prakruti Swaras –Ri, Ga, Ma, Da, Ni – Constant Notes Vikruti Swaras – Notes Variant z z z z ) ) : :
Avarohana Avarohana swaras swaras ) ; descent ( Musical Scale Musical Scale ) ; descent (
Arohana Arohana key to the Raga system in Indian Classical music ascent ( key to the Raga system in Indian Classical music ascent ( Structure for the melodic entity, Raga. Created by permutation and combination of notes Particular sequence - Scale alone does not become a Raga Various combinations of - Structure for the melodic entity, Raga. Created by permutation and combination of notes Particular sequence - Scale alone does not become a Raga Various combinations of - z z z z z z z z z z ) )
Gamaka Gamaka
Raga Raga - -
Melody Melody A melodic entity arising out of the combination notes (musical scale), with ornamentation ( Highly individualistic Has the power to create different moods A melodic entity arising out of the combination notes (musical scale), with ornamentation ( Highly individualistic Has the power to create different moods z z z z z z , Punjabi and , Punjabi and Gujarathi Gujarathi ) )
rasas rasas Lyrical beauty Lyrical beauty
nava nava religion, devotion, philosophy, emotions, intellect (science), entertainment, literature languages: Sanskrit, Hindi, Bengali, Telugu, Tamil, Kannada, Malayalam, Marathi, more.. emotions ( religion, devotion, philosophy, emotions, intellect (science), entertainment, literature languages: Sanskrit, Hindi, Bengali, Telugu, Tamil, Kannada, Malayalam, Marathi, more.. emotions ( Sublime integration of various themes ------Sublime integration of various themes CarnaticCarnatic MusicMusic HighlightsHighlights
ShubhaShubha SubbaraoSubbarao swaras swaras
Vikruti Vikruti in the 17th century in the 17th century up up - -
Vikruti swaras – variant notes Venkatamakhi Venkatamakhi
Raga System Raga System
Melakartas Melakartas Melakarta Raga scheme Melakarta Raga Melakarta Raga scheme Melakarta Raga - - - - two in number two in number - - various possible combinations of various possible combinations of z z Parent Scales Seventy Concept conceived by Scientific and logical melodic set Key to the 72 Parent Scales Seventy Concept conceived by Scientific and logical melodic set Key to the 72 z z z z z z z z z z F E B C A G D note E-Flat B-Flat A-Flat F-Sharp C-Sharp Equiv. Western P S R1 G3 N3 D1 M1 M2 G2/R3 R2/G1 D3/N2 System D2/N1 System Swara Name of the
Swara Swara system in use
swara 16 HindustaniHindustani MusicMusic HighlightsHighlights
ShubhaShubha SubbaraoSubbarao , , Asavari Asavari Todi Todi - - , , , , Kafi Kafi , , Poorvi Poorvi , , ladder scale ladder scale - - Bhairav Bhairav Marva Marva , , , , in the system are in the system are s s ’ ’ Khamaj Khamaj Kalyan Kalyan , , , , (scale) is a 7 must contain all 7 notes (scale) is a 7 must contain all 7 notes thaat thaat Hindustani Classical Hindustani Classical
thaat thaat thaat thaat Bhilawal Bhairavi Bhilawal Bhairavi A A The 10 A A The 10 z z z z z z Raga Raga Raga Raga
Thodi Thodi Hemavathy Hemavathy
– – – –
Madhyama Madhyama Madhyama Madhyama in Raga in Raga
Prathi Prathi Shudha Shudha Gururaj Gururaj followed by followed by
Bharadwaj in Raga Bharadwaj in Raga
Anisha Anisha
by by
Maheetha Maheetha Rendition of Rendition of Rendition of Rendition of
by by Prathi Prathi
Melakarta Melakarta
Classical Music ? Classical Music ?
Raga ? Raga ? Raga and Raga and
Carnatic Carnatic
Madhyama Madhyama Madhyama Madhyama
What is the difference between What is the difference between Audience participation time Audience participation time
Shudha Shudha
Who is the creator of 72 Who is the creator of 72 Raga System in Raga System in IndianIndian ClassicalClassical MusicMusic ExclusivesExclusives
ShubhaShubha SubbaraoSubbarao
AnantharamaAnantharama BalachandranBalachandran TimeTime sensitivesensitive RagasRagas z Time of the day has infused Hindustani music for centuries z Vishnu Narayan Bhatkhande (1860-1936) presented the thesis on time sensitive ragas z Each Raga or Ragini is associated with a definitive mood or sentiment that nature arouses in human beings z Examples ~ z Early Morning – Raag Bhoop z Mid Morning – Raag Kalyani z Evening – Raag Yaman z Night – Raag Neelambari (preferred Raga for Lullabies) z Late night – Raag Darbari Yaman Yaman Mohanam Mohanam – – – –
Raag Raag
classical style classical style
Pandurangi in Pandurangi in followed by followed by Bharadwaj in Raga Bharadwaj in Raga
Carnatic Carnatic Hindustani Classical style Hindustani Classical style Sandhya Sandhya
Maheetha Maheetha Rendition of an Evening Raga Rendition of an Evening Raga by by
by by SpecialSpecial RagasRagas z Some Ragas reflect moods z Raga Kathanakuthoohalam reflects joy z Raga Hamsadhwani represents majesty z Raga Panthuvarali reflects sadness z Raga Sama reflects humility z Raga Revathi invokes prayer SpecialSpecial RagasRagas (Contd.)(Contd.)
HindustaniHindustani -- z Raag Deepak - generates heat energy z Raag Megh Malhar – brings rains z Raag Vasant – ushers in spring CarnaticCarnatic -- z Raga Amritavarshini – brings showers z Raga Ananda Bhairavi – peace and love z Raga Kalyani – promotes prosperity RagaRaga && MedicineMedicine RagaRaga ChikitsaChikitsa z Nada Yoga – acknowledges impact of music on body and mind z Correlation between 72 Melakarta Ragas and 72000 Nadis ( Nerves) in human body z Descending notes - creates inward oriented feelings z Ascending notes - represents upward mobility z Examples z Ahir Bhairav, Darbari, Kamaj, Pooriya - help defuse hyper tension z Punnagavarali and Sahana - prescribed for anger management
Learning vocal music helps in speech therapy Bharadwaj Bharadwaj
Sankarabharanam Sankarabharanam Vishwanathan Vishwanathan
– –
Maheetha Maheetha
Classical Classical
Raga by Raga by
followed by followed by Raga by Ramya Raga by Ramya Special Ragas Special Ragas
Carnatic Carnatic
Bharadwaj in Raga Bharadwaj in Raga
Rendition of Western Notes in Rendition of Western Notes in
Amritavarshini Amritavarshini Maheetha Maheetha
Kathanakuthoohalam Kathanakuthoohalam by by AudienceAudience participationparticipation timetime
WhoWho waswas thethe legendarylegendary singersinger inin HindustaniHindustani MusicMusic whowho popularizedpopularized RaagRaag DeepakDeepak andand MeghMegh MalhaarMalhaar ?? AA ClassicalClassical MusicMusic ConcertConcert
ShubhaShubha SubbaraoSubbarao Classical Classical
Carnatic Carnatic
* *
* *
Gitam Gitam Swarajati Swarajati Varnam Varnam Kriti Kriti Padam Padam Jaavali Jaavali Tillana Tillana z z z z z z z z z z z z z z Items marked with * will be performed today
Learning Curve in Learning Curve in , , pallavi pallavi and the and the - - . . swara swara
Tarana Tarana Carnatic Carnatic Charanam Charanam - - chitta chitta or or Charanam Charanam - - . . and and muktayi muktayi s s - - consisting of the consisting of the ) ) consisting of three sections consisting of three sections and and - - - - Anupallavi Anupallavi , , Keerthana Keerthana anupallavi Charanaswara Purvanga Uttaranga anupallavi Charanaswara Purvanga Uttaranga ( ( - - - - Used as a concert opener Consists of two parts Established by the Trinity of composers Pallavi The Hindustani counterpart is the Consists of short lyrics and syllables Facets of Rendition Facets of Rendition Used as a concert opener Consists of two parts Established by the Trinity of composers Pallavi The Hindustani counterpart is the Consists of short lyrics and syllables z z z z z z z z z z z z Varnam Kriti Thillana Varnam Kriti Thillana z z z z z z Carnatic Carnatic * - - * * *
laya/tala laya/tala Ensemble * Ensemble * Charanam Charanam swaras swaras Sruti Sruti and and Taal Taal Pallavi Pallavi – – Chitta Chitta , , / / depth understanding of the Raga depth understanding of the Raga * * - - Tanam Tanam Anupallavi Anupallavi * * , , Adherence to Strict control over Good choice of the composition In Adherence to Strict control over Good choice of the composition In , , Avartanam Avartanam z z z z z z z z
Facets of Rendition Facets of Rendition Items marked with * will be performed today Alapana Pallavi Nerval Swarakalpana Tani Ragam Prerequisites : Alapana Pallavi Nerval Swarakalpana Tani Ragam Prerequisites : z z z z z z z z z z z z z z ” ” refrain refrain “ “
Structure Structure
Kriti Kriti : introduces secondary theme, moves : final section (relaxed or virtuosic : introduces secondary theme, moves : final section (relaxed or virtuosic : opening section and : opening section and (improvised opening, introduces the raga) (improvised opening, introduces the raga) Pallavi Anupallavi Charanam towards climax restatement of previous material) Pallavi Anupallavi Charanam towards climax restatement of previous material) z z z z z z Alapana 3 sections (no breaks): Alapana 3 sections (no breaks): z z z z drut drut raag raag - -
ati ati ). Very slow ). Very slow and and raag raag
drut drut
Hindustani Hindustani vilambit vilambit - - - - ati ati in the same in the same ) to fast ( ) to fast ( – – increases gradually from slow increases gradually from slow
bandish bandish madhya madhya
bandish bandish followed by followed by ) to medium ( ) to medium ( is a composition, i.e., rendition of lyrics in is a composition, i.e., rendition of lyrics in is the act of illustrating and developing is the act of illustrating and developing
aalaap aalaap Facets of Rendition Facets of Rendition - - vilambit vilambit Includes two broad stages The tempo of a and very fast tempos are called respectively raag ( Includes two broad stages The tempo of a ( and very fast tempos are called respectively Aalaap Aalaap Bandish Bandish raag ¾ ¾ ¾ ¾ ¾ ¾ ¾ ¾ GenresGenres inin HindustaniHindustani ClassicalClassical z Dhrupad –
An ancient style often used for religious or philosophical renditions
Use of syllables like Om, Nom, Tom etc. to develop the raag
Dhrupad singing has its own special taals e.g., Chau taal
Pakhawaj used as percussion instrument (not Tabla)
Dhrupad has very few remaining practitioners GenresGenres -- Contd.Contd. z Khayaal –
Most popular style of vocal classical singing
Khayaal singing involves presenting a lyrical composition in a classical style
Khayaal is of two kinds - chhota khayaal and bada khayaal
Accompanied by Tabla as the percussion instrument GenresGenres –– Contd.Contd. z Tarana – Does not involve any lyrics but instead uses syllables like tana, deem, oder, dir, tadiyan, etc. Usually at a faster pace than Khayal or Dhrupad The percussion instrument used is Tabla z Thumri – Light classical form of singing Usually set in Deepchandi taal (14 beats) Thumri singing usually involves lyrics with sentiments of lovers, like separation, complaint, request etc. Kauns Kauns
Mal Mal
– – Hindolam Hindolam
– –
Raag Raag
followed by followed by Classical vocal recital Classical vocal recital Anand in Raga Anand in Raga
Pandurangi in Pandurangi in
Vidya Vidya
by by
Sandhya Carnatic Carnatic Sandhya Hindustani Classical vocal recital Hindustani Classical vocal recital by by AudienceAudience participationparticipation timetime
WhatWhat isis thethe creativecreative expressionexpression inin RagaRaga AlapanaAlapana calledcalled ??
WhatWhat isis thethe equivalentequivalent toto ThillanaThillana inin HindustaniHindustani ClassicalClassical ?? TheThe RhythmRhythm PerspectivePerspective ‘‘TaalTaal’’/Beats/Beats
RamRam LakshmananLakshmanan DiscipleDisciple ofof Sri.Sri. UmayalapuramUmayalapuram SivaramanSivaraman && VenkatVenkat JanardhanJanardhan DiscipleDisciple ofof Sri.Sri. ThiruvarurThiruvarur BhakthavatsalamBhakthavatsalam RhythmRhythm –– Tala/TaalTala/Taal z Rhythm pervades every aspect of life z Heart Beat, Breathing, Walking, Running, Eating, Sleeping, Talking z Not just Human life, Animal and Plant life as well z Rhythm combines with notes (swaras) – the unison creates a universal language z Laya refers to the inherent rhythm z Tala refers to time scale, which is mathematical z Characterized by internal coherency, logical rigidity and numerinumericc accuracy TheThe TaalTaal SystemSystem z Hindustani Music has a Taal System based on counts (matra) and syllables (bol) z Commonly played Taals z Teen Taal (16 counts) z Deepchandi (14 counts) z Jhap Taal (10 counts) z Keherva (8 counts ) z Rupak (7 counts) TheThe TalaTala SystemSystem z Carnatic Music has 7 basic Talas z Eka, Roopaka, Triputa, Matya, Jampa, Ata and Dhruva z Each of these 7 Talas can have five variants (Jaathi) z Thisram – 3 Beats z Chatusram – 4 Beats z Khandam – 5 Beats z Misram – 7 Beats z Sankeernam – 9 Beats z Total of 35 Talas AudienceAudience participationparticipation timetime
NameName anyany 33 popularpopular oror commoncommon TalasTalas inin CarnaticCarnatic MusicMusic ??
NameName anyany 33 PopularPopular TaalsTaals inin HindustaniHindustani MusicMusic ?? IntermissionIntermission
1515 MinutesMinutes TheThe TrinityTrinity inin CarnaticCarnatic MusicMusic
AnantharamaAnantharama BalachandranBalachandran SriSri PurandaraPurandara DasaruDasaru (1494(1494--1564)1564) z Pra-pithamaha (founder) of modern Carnatic classical music z Born in Pandarapura, Karnataka z Devotee of Vittala (Lord Krishna) z Guru: Vyaasa Raayaa z “Dasa Sahithya”- blend of sublime poetry and music emphasizing the virtues of spiritual life z Signature -"Purandara Vittala" z Composed 475,000 songs in both Kannada and Sanskrit SaintSaint ThyagarajaThyagaraja (1781(1781--1874)1874) z TiruvaiyaruTiruvaiyaru –– BirthBirth PlacePlace z GuruGuru SontiSonti VenkataramaniahVenkataramaniah z SteadfastSteadfast devotiondevotion toto LordLord RamaRama z ThyagarajaThyagaraja AradhanaAradhana –– BangaloreBangalore NagarathnammalNagarathnammal –– TheThe piouspious andand blessedblessed discipledisciple z TheThe GhanaGhana PanchaPancha RatnasRatnas (Gems)(Gems) ThyagarajaThyagaraja’’ss UniquenessUniqueness z PallaviPallavi posesposes aa questionquestion toto God,God, AnuAnu PallaviPallavi furtherfurther qualifiesqualifies thethe poser,poser, andand inin thethe CharanamCharanam seeksseeks toto findfind thethe answeranswer SriSri MuthuswamiMuthuswami DikshitharDikshithar (1775(1775-- 1835)1835)
z Born in Tiruvarur, Thanjavur z Guru: Chidambaranatha Yogi z Muttuswami Dikshithar attained mastery over the Veena, and the influence of Veena playing is evident in his compositions z "Shri naathaadi guruguho" in the raga Maayaamaalavagaula z Lord Subramanya – “Guru Guha” z Over 450 compositions UniquenessUniqueness ofof DikshitharDikshithar z Compositions in all the 72 melakarta ragas, (in his asampurna mela scheme) thereby providing a musical example for many rare and lost ragas. z Dikshithar was a master of talas and is the only composer to have krithis in all the seven basic talas of the carnatic scheme z For richness of Raga Bhava, sublimity of their philosophic contents and for the grandeur of the Sahithya, the songs of Dikshithar stand unsurpassed SriSri SyamaSyama SastriSastri (( 17621762 --1827)1827) z Born in Tiruvarur, Thanjavur z Guru Adiyaappayya z Pious devotee of Goddess Kamakshi z Over 300 compositions z Navaratnamalika on Goddess Madurai Meenakshi z Rhythmic beauties and phrases z E.g., – ‘sarasamukhi’ – ‘ta dhingi na thom’ CommonalityCommonality amongamong thethe TrinityTrinity z Signature in each of these compositions z Thyagaraja , “Guru Guha”, “Syama Krisna” z Dialogue with God leading to compositions z Common Birth Place – Thanjavur - Chennai, India z Telugu and Sanskrit Language compositions z Great Compositions – Gems z Pancha Ratna Krithis z Navagraha Krithis z Navaratnamalika Krithis Rupaka Rupaka Adhi Adhi : : : : Dikshitar Dikshitar
Sastry Sastry Tala Tala Anand Anand Gururaj Gururaj Tala:Adhi Tala Tala Tala:Adhi Kasthuri Kasthuri Vihara Vihara Thyagaraja Thyagaraja Nannu Nannu
Vidya Vidya Syama Syama Anisha Anisha Seema Seema Marubalka Marubalka Gowla Gowla Saranga Saranga Mutthuswami Mutthuswami
Paraakela Paraakela Rangapura Rangapura
Song: Song: Kedara Sriranjani Sriranjani Kedara Song: Song: Song: Song: performed by performed by Brindavana performed by performed by Brindavana Composition of Composition of performed by performed by Composition of Saint Composition of Saint Raga: Raga: Raga: Raga:
Composition of Composition of
Raga: Raga: Nada Nada
Subbaiyer Subbaiyer Adhi Adhi Dasa Dasa : :
Tishra Tishra : : Gururaj Gururaj Manege Manege Tala Tala
Venkata Venkata Sonnalum Sonnalum Tala Tala
Purandara Purandara Anisha Banda Banda Anisha Enna Enna
Yaar Yaar Ranga Ranga Oothukadu Oothukadu
Manirangu Manirangu
Song: Song: Song: Tilang Tilang Song: performed by performed by Composition of Composition of Raga: Raga: performed by Ramya Viswanathan performed by Ramya Viswanathan
Raga: Raga:
Composition of Composition of Kanaka Dasar, Tansen, Surdas, Papanasam Sivam Subramania Bharathi
Other leading composers Other leading composers Swati Tirunal Mysore Vasudevacharya Oothukadu Venkata Subbaiyer, Jayadevar, Kabir, Mirabai, Tukaram………. Adhi Adhi : : Iyer Iyer
Adhi Adhi Chapu Chapu Rao Rao : Subbaiyer Subbaiyer Tala Tala :
Tala Tala Anand Anand Kasthuri Kasthuri Vendum Vendum
Khanda Khanda Dikkevaro Dikkevaro Venkata Venkata : : Subramanya Subramanya Vidya Vidya
Seema Seema Nilava Nilava Tala Tala Asaindhadum Asaindhadum Sethumadhava Sethumadhava
Marivere Marivere Patnam Patnam Shanti Shanti
Oothukadu Oothukadu Song: Song:
Song: Song: performed by performed by Song: Song: performed by performed by Short Compositions Short Compositions Composer: Composer:
Raga:Tilang Raga:Tilang performed by Ramya Viswanathan performed by Ramya Viswanathan Composer: Composer: Raga:Lathangi Raga:Lathangi
Composer: Composer: Raga:Simhendramadhyamam Raga:Simhendramadhyamam Adhi Adhi Iyengar Iyengar : :
Adhi Adhi : Tala Tala Keharva Keharva : Dasa Dasa : :
Tala Tala Kasthuri Kasthuri Das Das Anand Anand Pandurangi Pandurangi Srinivasa Srinivasa Tala Tala Nodiro Nodiro Vittal Vittal
Kabir Kabir Vidya Vidya
Seema Seema
Vijaya Vijaya Sandhya Sandhya Thillana Thillana Shivana Shivana Bhairavi Bhairavi
Song: Song: Composer: Composer: Paras Paras Ramanathapuram Ramanathapuram Mishra Mishra performed by performed by Composer: Composer: Short Compositions Short Compositions Panthuvarali Panthuvarali performed by performed by
performed by performed by Raga: Raga:
Raga: Raga:
Raga: Raga:
Composer: Composer: AudienceAudience participationparticipation timetime
WhatWhat isis thethe SignatureSignature usedused byby thethe TrinityTrinity inin theirtheir compositionscompositions ??
WhatWhat waswas PurandaraPurandara DasaDasa beforebefore becomingbecoming aa SaintSaint composercomposer ?? ‘‘MangalamMangalam’’
Special Thanks to Melvin Cotton – Sound Parkway North East Middle School – Theater Friends of Sangeetha & Members of Sangeetha AudienceAudience participationparticipation timetime
WouldWould youyou likelike toto bebe aa FriendFriend ofof ““SangeethaSangeetha””
AnyAny QuestionsQuestions ???? ThankThank YouYou
‘Sangeeta’ Executive Committee
Anand Parthasarathy Prahalathan Cumaraswamy Anantharama Balachandran Gururaj Nagarajan Suresh Shaddarsanam Todd Mosby