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How to Study a Music Culture Indian Classical Music How to study a music culture Indian Classical Music Rafael Caro Repetto [email protected] Music Technology Group Universitat Pompeu Fabra This work is licensed under a Creative Commons Attribution 4.0 International License. What’s this? 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.
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