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Prof. P. Bhaskar Reddy Sri Venkateswara University, Tirupati

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Prof. P. Bhaskar Reddy Sri Venkateswara University, Tirupati Component-I (A) – Personal details: Prof. P. Bhaskar Reddy Sri Venkateswara University, Tirupati. Prof. R Thiagarajan Presidency College, Chennai. Prof. Suneera Kasliwal Vyas Delhi University, New Delhi. Prof. Anjali Mittal Delhi University, New Delhi 1 Component-I (B) – Description of module: Subject Name Indian Culture Paper Name Indian Aesthetics and Fine Arts Module Name/Title Salient Features of Hindustani Music Module Id I C / IAFA / 19 Pre requisites An interest to know about the art of North Indian Music Objectives The module gives an outline knowledge of the various important aspects of Hindustani music, like Nada, Shruti, Swara, Saptak, Raga, Taal, Musical Forms, Musical Concerts and Musical Education Keywords Nada, Shruti, Swara, Saptak, Raga, Taal,Dhrupad,Dhamar,Masitkhani Gat, Ekal Prastuti,Jugalbandi,Guru Shishya Parampara. E-text (Quadrant-I) : 1. Introduction The classical music system of North India is called Hindustani Music. This style of music is also known as North Indian Classical Music/ Raagdari Sangeet/ Abhijatya Sangeet or Shastriya Sangeet. Vedas are the sacred scriptures of the Hindus. Studies of these vedic scriptures have revealed that music evolved from the vedic period. Amongst the four vedas namely, Rig Veda, Yajur Veda, Sama Veda and Atharva Veda, the Sama Veda was musical. The chanting of the sacred hymns of this veda were melodic. The system of Hindustani Classical Music too followed a tradition that was laid down by great musicians and composers through the ages and thus it has many unique characteristics. In this lesson, we will be studying about some salient and important features of Hindustani Music. In order to get a better understanding of this, it is necessary to learn about the basics and certain common terms that are used in this system. We will also learn about the following aspects in this lesson: 1. Sound 2. Nada ( musical sound) 3. Shruti 4. Swar (Shuddha, Vikrit, Achal ) 5. Saptak(Mandra,Madhya, Taar) 6. Raag (Vadi, Samvadi, Anuvadi, Vivadi, Aaroh,Avroh,Pakad,Time theory of ragas, Thaat) 7. Laya - (Vilambit, Madhya, Drut), Taal, Matra, Bol, Theka, Vibhag, Avartan,Sam, Khali and Tali. 2 8. Musical Forms/ Composition Styles (Anibaddha, Nibaddha ,Dhrupad, Dhamar, Khayal, Tarana, Tappa, Dadra, Masitkhani Gat and Razakhani Gat) 9. Musical Concerts/ Presentation (Alap, Sthai, Antara, Mukhda, Taan, Gamak, Khatka, Murki, Meend and Zamzama) 10. Musical Education ( Guru Shishya Parampara, Schools, Colleges, Online) 2. Nada Struck sound which is musical and pleasing to the ears is called Nada. It has three special features known as pitch, timbre and magnitude. Nada is of two types, namely ahata nada (the struck sound) and anahata nada (the unstruck sound). Sound Musical (Nada) Non Musical The former being an object of sense perception and the later a matter of mystic experience. Ahata nada or struck sounds can be termed as musical sound. This is produced by the collision of two objects thus creating a vibration. All the worldly sounds perceived by the human ear belong to this category. 3. Shruti “Shrooyatey Iti Sruti” – any sound that is heard is called Sruti. The word shruti is derived from the sanskrit word “shru” which means “that which can be heard”. These shrutis or intervals convey a distinct and definite expression to the listener.Only twenty two shrutis were accepted in music. These shrutis can be distinguished accurately and clearly from one another in different melodic figures in vocal music.Each shruti has a name depicting its character. According to ancient scholars our notes in a saptak are of three types: ● Sa Ma Pa are chaturshrutic, engaging four shrutis. ● Re Dha are trishrutic, engaging three shrutis. ● Ga Ni are dvishrutic, engaging two shrutis. 4. Swar Swar is a sanskrit word which means a note of an octave. In the ancient treatises on music, swar has been described in many ways. Out of the twenty two shrutis, seven pure sounds have been selected and placed at varied intervals in an octave. These seven shrutis are called Swar. Because of the difference in intervals between them, they are more distinctly audible and they can resonate for a longer period without disturbing the balance of vibrations for a particular note. This quality makes the notes melodious, which is an inherent and desired quality of music. Swars are the alphabets of music. 3 The chart below shows the division and placing of notes and their intervals as accepted by contemporary musicologists. Names of the seven notes are Shadaj - Sa, Rishabh - Re, Gandhar - Ga, Madhyam - Ma, Pancham - Pa, Dhaiwat - Dha, Nishad - Ni. We will be using Sa, Re, Ga, Ma, Pa, Dha,Ni in further descriptions for easy understanding. This is a normal scale of seven notes.Notes are of two types, movable or vikrit and immovable or shuddha. Shuddha Swara - Sa and Pa are immovable or static notes, i.e. Achal Swar Vikrit Swara - Re,Ga,Dha, Ni and Ma are movable notes. When the four notes, Re,Ga,Dha and Ni leave or move from their place, they are always placed lower than their respective normal notes. These notes are called komal or flat notes. In the notation system , they take the symbol of a small horizontal bar underneath the note. Eg: Re, Ga, Dha, Ni . Ma is the only movable note, which is placed higher than its normal form. Due to its sharp tone, this note is called teevra or sharp. While writing the notation, this note is indicated by a small vertical line above the note. Eg: M’a Thus we can say that a scale is made up of seven normal notes(shuddha) and five flat/sharp notes(vikrit) ie. Sa, Re , Re, Ga, Ga, Ma, M’a, Pa, Dha, Dha, Ni, Ni.The chart of swars is given below: A student of music is initially taught to sing the shuddha swaras in different tempos and combinations and permutations (Alankar) to acquire a strong voice control. Once the student is well-versed in the shuddha swaras(natural notes), the vikrit swaras(flat and sharp notes) are included in the lessons and practised well. The greater the awareness of the modulations of tones, the greater shall be the success and more sound knowledge of the swaras will follow. Aaroha - The ascending or upward movement of the swaras is called Aroha. Avroha - The descending movement of the swaras is called Avroha. 4 5. Saptak When a set of seven notes are sung or played in an order, it is called a saptak. Eg: Sa,Re,Ga,Ma,Pa,Dha,Ni sung or played in this order is a saptak. The division of saptak is based on the normal and natural range of human voice. Music develops mainly within three saptaks, low or mandra, middle or madhya, taar or high while singing/playing. There are no symbols for the middle saptak notes(madhya saptak) in the notation system. These are simply written as Sa,Re,Ga,Ma,Pa,Dha,Ni. In the notation system ,the lower saptak notes (mandra saptak) are indicated by a small dot underneath the note. Eg: S.a,R.e,G.a,M.a,P.a,D.ha,N.i while the notes of the higher saptak(taar saptak) can be recognised by a dot on top of the note Eg: S’a,R’e, G’a, M’a,P’a, D’ha, N’i. 6. Raag Raag is derived from the sanskrit word “ranj” which means to please, to delight or to satisfy. Scholars have defined raag as a special melody , embellished with different notes that has the characteristic capability to charm and delight the listener. The notes used in a raag, time of singing and playing and how it is being treated by the musician, all these things influence the mood of the raag to a great extent. Like thaats, raags are also bound by a set of rules which are: ● Raag should be produced from a scale. ● Number of notes in a raag must not be less than five. ● Raag should have an aroh and avroh. ● The note Sa is never abandoned in a raag. ● Ma and Pa notes are never omitted together in a raag. ● Raag must have vadi and samvadi. ● Raga should be melodious and pleasing to the ear. Raags have been divided into three categories or jatis on the basis of number of notes used in a raag. The three jatis are: Audav- Audav raags have five notes in both aroha and avroha. They are pentatonic raags like Bhupali. Shadav- Shadav raags have six notes in aroha and avroha. They are hexatonic raags like Jaunpuri Sampoorna- Sampoorna raags have seven notes in both aaroha and avroha. They are heptatonic raags like Bhairav. On the basis of these jatis, many raags can be produced from a scale. In the structure of raags, four types of notes play an important role. These are vadi, samvadi, anuvadi and vivadi. Vadi- The predominant note in a raag is called vadi. It plays an important role in the development of a raag and is always accentuated and bears long pauses. Samvadi- The second frequently used swara in a raag is samvadi. It reinforces the vadi swar. Anuvadi- Notes other than vadi and samvadi in a raag are called Anuvadi. Vivadi-A note not regularly used in a raag is vivadi. Some names of popular ragas are - Yaman, Bhopali, Kafi, Allhaiya Bilawal, Bihag, Khamaj etc 5 Time theory and the ragas- In India, music is closely related to the emotional aspect of life. Ragas evoke certain kind of moods depending on the particular time of the day and night. Each quarter of the day is connected to a certain emotion. This is the reason why they are sung or played at a particular time.
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