How to study a music culture Indian Classical Music
Rafael Caro Repetto [email protected] Music Technology Group Universitat Pompeu Fabra
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2 In theory...
Music theory is a collection of sets of rules which describe the culturally determined practice of people who create music in a particular culture during a particular period.
3 Sven Ahlbäck, Music Theory - Why bother?, 2019 In theory...
Music theory is a collection of sets of rules which describe the culturally determined practice of people who create music in a particular culture during a particular period.
4 Sven Ahlbäck, Music Theory - Why bother?, 2019 In theory...
Music theory is a collection of sets of rules which describe the culturally determined practice of people who create music in a particular culture during a particular period.
5 Sven Ahlbäck, Music Theory - Why bother?, 2019 In theory...
Music theory is a collection of sets of rules which describe the culturally determined practice of people who create music in a particular culture during a particular period.
6 Sven Ahlbäck, Music Theory - Why bother?, 2019 Indian Classical Music
Traditional music
Classical music North HindustaniHindustani musicmusic
South CarnaticCarnatic musicmusic
7 Indian Classical Music
Format Continuous pitch ground Main melodic line Secondary melodic support Percussion rhythmic accompaniment
8 Indian Classical Music
HindustaniHindustani classicalclassical musicmusic Kaustuv K. Ganguli
CarnaticCarnatic classicalclassical musicmusic Vignesh Ishwar
9 Indian Classical Music
Format Continuous pitch ground Main melodic line Secondary melodic support Percussion rhythmic accompaniment
Musical principles rāga tāla
10 North / South division
Hindustani music Carnatic music
11 North / South division
12 https://commons.wikimedia.org/wiki/File:South_Asian_Language_Families.jpg North / South division
13 http://geacron.com/home-en/?&sid=GeaCron583915 North / South division
14 North / South division
Hindustani music Carnatic music Muslim musicians Hindu musicians court temple low castes high castes paramparā śāstra profession religion ustād-shāgird guru-śisya
particular realization of common principles
15 Essential musical concepts rāga tāla
16 Essential musical concepts rāga tāla
17 tāla
sama
18 tāla
sama mmātrātrāā akṣaraakṣara
19 tāla
sama mmātrātrāā akṣaraakṣara
vibhvibhāgāg aṅgaaṅga
20 tāla
sama mmātrātrāā akṣaraakṣara tālītālī
vibhvibhāgāg aṅgaaṅga khālīkhālī
21 tāla
sama mmātrātrāā akṣaraakṣara tālītālī
vibhvibhāgāg aṅgaaṅga khālīkhālī
22 North / South division
HindustaniHindustani classicalclassical musicmusic
tablā
khañjira ghaṭam CarnaticCarnatic classicalclassical musicmusic mr̥daṅgaṁ
23 Percussion accompaniment
tablātablā
mmr̥r̥ daṅgamṁ daṅgamṁ
24 tāla
bolbol ṭhekā solkaṭṭusolkaṭṭu
25 laya
vilambitvilambit vilambavilamba (slow)
madhyamadhya madhyamamadhyama (medium)
drutdrut dhuridhadhuridha (fast)
26 Essential musical concepts rāga tāla
27 Essential musical concepts rāga
rañj “to be coloured, to be redden” “to be afected, moved, charmed, delighted”
28 svara
sargam Niṣād Ni N Dhaivat Dha D Pañcam Pa P Madhyam Ma M Gāndhār Ga G Ṛṣabh ReRe RiRi R Ṣaḍja Sa S
29 svara
Niṣād Ni N “séptim Dhaivat Dha D “sexta nota”, “nota divina” Pañcam Pa P “quinta nota” Madhyam Ma M “que está en el medio” Gāndhār Ga G “fragancia dulce” Ṛṣabh Re Ri R “el gran uno” Ṣaḍja Sa S “that which gives birth to six”
30 ektāra
31 tānpūrā / tambūra
32 North / South division
HindustaniHindustani classicalclassical musicmusic
CarnaticCarnatic classicalclassical musicmusic
33 svara
34 svara
sa re ga ma pa dha ni S R G M P D N
35 svara
sa re re ga ga ma ma pa dha dha ni ni S r R g G M m P d D n N
36 svara
sa re re ga ga ma ma pa dha dha ni ni S r R g G m M P d D n N
37 svara
“The ornament in Karṇāṭak music is not considered an add-on to the basic note; gamaka is an integral structural part of svara”
38 Viswanathan and Allen, Music in South India, 2004: 47 rāga
● svara
● function
● āroh / avaroh
● characteristic movements
● samaya
39 rāg bhūpālī
● svara sa re re ga ga ma ma pa dha dha ni ni
● function vādī: ga saṃvādī: dha
● āroh / S R G P D Ṡ avaroh S R G P D Ṡ D P G R S
● characteristic GRG, PG, DP, ṠDPG, PGRG, GRS movements
● samaya
40 rāg bhūpālī
● svara sa re re ga ga ma ma pa dha dha ni ni
● function vādī: ga saṃvādī: dha
● āroh / S R G P D Ṡ avaroh S R G P D Ṡ D P G R S
● characteristic GRG, PG, DP, ṠDPG, PGRG, GRS, SD, DS, SR, movements RDS, RG, RGPG, PRG, PS, RPG, RGP, DGP, SRG
● samaya 9pm – midnight
41 rāg toḍī
● svara sa re re ga ga ma ma pa dha dha ni ni
● function vādī: dha saṃvādī: ga
● āroh / S r g M P d N Ṡ avaroh S r g m P d N Ṡ N d P M g r S
● characteristic d, Nsrg, Mrg, rS, Nsd, NdP, gMd, dS, gr, grS, movements Nd, PMd, rgrS, MdNS
● samaya 9am – noon
42 North / South division
HindustaniHindustani classicalclassical musicmusic
harmonium
CarnaticCarnatic classicalclassical musicmusic violin
43 Form
presentation song development (improvisation) rāga ālāp ālāpana tāla
44 Indian Classical Music
Traditional music
Classical music HindustaniHindustani musicmusic dhrupad khayāl ṭhumrī
CarnaticCarnatic musicmusic bhajan kr̥ ti varṇam padam
45 Indian Classical Music
Traditional music
Classical music HindustaniHindustani musicmusic dhrupad khayāl ṭhumrī
CarnaticCarnatic musicmusic bhajan kr̥ ti varṇam padam
46 How to study a music culture
● Which new tasks are brought in, and which existing tasks are not applicable?
● Should existing tasks be re-approached, or re-defined?
● How should the results be represented (whom is the research inteded for? in which cultural context are the results presented? accuracy – understandability)
47 Some examples
Serrà et al., “Assessing the tuning of sung indian classical music,” ISMIR, 2011 Koduri et al., "Intonation analysis of rāgas in Carnatic music,” JNMR, 2014 Ishwar, Pitch Estimation of the Predominant Vocal Melody from Heterophonic Music Audio Recordings, Master diss, 2014 Gupta et al., “Discovery of syllabic percussion patterns in tabla solo recordings,” ISMIR, 2015 Gulati el al., "Time-delayed melody surfaces for rāga recognition," ISMIR, 2016 Gulati, Computational Approaches for Melodic Description in Indian Art Music Corpora, PhD diss, 2016 Ganguli and Rao, “On the Distributional Representation of Ragas: Experiments with Allied Raga Pairs,” TISMIR, 2018
48 Some examples
Serrà et al., “Assessing the tuning of sung indian classical music,” ISMIR, 2011 Koduri et al., "Intonation analysis of rāgas in Carnatic music,” JNMR, 2014 Ishwar, Pitch Estimation of the Predominant Vocal Melody from Heterophonic Music Audio Recordings, Master diss, 2014 Gupta et al., “Discovery of syllabic percussion patterns in tabla solo recordings,” ISMIR, 2015 Gulati el al., "Time-delayed melody surfaces for rāga recognition," ISMIR, 2016 Gulati, Computational Approaches for Melodic Description in Indian Art Music Corpora, PhD diss, 2016 Ganguli and Rao, “On the Distributional Representation of Ragas: Experiments with Allied Raga Pairs,” TISMIR, 2018
49 Some examples
Serrà et al., “Assessing the tuning of sung indian classical music,” ISMIR, 2011 Koduri et al., "Intonation analysis of rāgas in Carnatic music,” JNMR, 2014 Ishwar, Pitch Estimation of the Predominant Vocal Melody from Heterophonic Music Audio Recordings, Master diss, 2014 Gupta et al., “Discovery of syllabic percussion patterns in tabla solo recordings,” ISMIR, 2015 Gulati el al., "Time-delayed melody surfaces for rāga recognition," ISMIR, 2016 Gulati, Computational Approaches for Melodic Description in Indian Art Music Corpora, PhD diss, 2016 Ganguli and Rao, “On the Distributional Representation of Ragas: Experiments with Allied Raga Pairs,” TISMIR, 2018
50 Links to the Musical Bridges tools
Tools for aiding understanding of Hindustani classical music:
● https://dunya.upf.edu/hindustani-tools/
Prototype tools for aiding understanding of Carnatic tāḷa:
● https://rafael-caro.github.io/carnatic-classroom/index.html
51 Links to example videos
Demonstration of tablā bols by Prasad Ajarekar:
● https://youtu.be/AVDupDQwkSg
Lecture on tānpūrā by Nitin Amin:
● https://youtu.be/fBah5h_u7EY
Lecture on rāga bhairav by Ajoy Chakrabarty:
● https://youtu.be/YBPVbFlijFU
52