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 SwaraSwara z Seven basic notes called Sapta Swaras z Classified based on the increasing order of frequency Carnatic swara Western note Shadja – Sa Do - C Rishabha – Ri Re - D Gandhara – Ga Mi - E Madhyama – Ma Fa - F Panchama – Pa So - G Dhaivata – Da La - A Nishada – Ni Ti – B Sa, Pa – Prakruti Swaras – Constant Notes Ri, Ga, Ma, Da, Ni – Vikruti Swaras – Variant Notes MusicalMusical ScaleScale z Structure for the melodic entity, Raga. z Created by permutation and combination of notes z Particular sequence - ascent (Arohana) ; descent (Avarohana) z Scale alone does not become a Raga z Various combinations of swaras : - key to the Raga system in Indian Classical music MelodyMelody -- RagaRaga z A melodic entity arising out of the combination of notes (musical scale), with ornamentation (Gamaka) z Highly individualistic z Has the power to create different moods LyricalLyrical beautybeauty Sublime integration of various themes - religion, devotion, philosophy, emotions, intellect (science), entertainment, literature - languages: Sanskrit, Hindi, Bengali, Telugu, Tamil, Kannada, Malayalam, Marathi, Gujarathi, Punjabi and more.. - emotions (nava rasas) CarnaticCarnatic MusicMusic HighlightsHighlights ShubhaShubha SubbaraoSubbarao RagaRaga SystemSystem z Parent Scales - Melakartas z Seventy-two in number z Concept conceived by Venkatamakhi in the 17th century z Scientific and logical melodic set-up z Key to the 72-Melakarta Raga scheme z various possible combinations of Vikruti swaras Vikruti swaras – variant notes SwaraSwara SystemSystem Name of the Equiv. Western Swara note S C R1 C-Sharp R2/G1 D G2/R3 E-Flat G3 E M1 F M2 F-Sharp P G D1 A-Flat 16 swara system in use D2/N1 A D3/N2 B-Flat N3 B HindustaniHindustani MusicMusic HighlightsHighlights ShubhaShubha SubbaraoSubbarao HindustaniHindustani ClassicalClassical z A thaat (scale) is a 7-ladder scale z A thaat must contain all 7 notes z The 10 thaat’s in the system are - Bhilawal, Khamaj, Bhairav, Kafi, Asavari, Bhairavi, Kalyan, Marva, Poorvi, Todi RenditionRendition ofof ShudhaShudha MadhyamaMadhyama RagaRaga byby AnishaAnisha GururajGururaj inin RagaRaga –– ThodiThodi followedfollowed byby RenditionRendition ofof PrathiPrathi MadhyamaMadhyama RagaRaga byby MaheethaMaheetha BharadwajBharadwaj inin RagaRaga –– HemavathyHemavathy AudienceAudience participationparticipation timetime WhatWhat isis thethe differencedifference betweenbetween ShudhaShudha MadhyamaMadhyama RagaRaga andand PrathiPrathi MadhyamaMadhyama RagaRaga ?? WhoWho isis thethe creatorcreator ofof thethe 7272 MelakartaMelakarta RagaRaga SystemSystem inin CarnaticCarnatic ClassicalClassical MusicMusic ?? 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 RenditionRendition ofof anan EveningEvening RagaRaga HindustaniHindustani ClassicalClassical stylestyle by Sandhya Pandurangi in Raag – Yaman followedfollowed byby CarnaticCarnatic classicalclassical stylestyle by Maheetha Bharadwaj in Raga – Mohanam 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 RenditionRendition ofof WesternWestern NotesNotes inin CarnaticCarnatic ClassicalClassical by Maheetha Bharadwaj in Raga – Sankarabharanam followedfollowed byby SpecialSpecial RagasRagas Amritavarshini Raga by Ramya Vishwanathan Kathanakuthoohalam Raga by Maheetha Bharadwaj AudienceAudience participationparticipation timetime WhoWho waswas thethe legendarylegendary singersinger inin HindustaniHindustani MusicMusic whowho popularizedpopularized RaagRaag DeepakDeepak andand MeghMegh MalhaarMalhaar ?? AA ClassicalClassical MusicMusic ConcertConcert ShubhaShubha SubbaraoSubbarao LearningLearning CurveCurve inin CarnaticCarnatic ClassicalClassical z Gitam z Swarajati z Varnam z Kriti * z Padam z Jaavali z Tillana * Items marked with * will be performed today FacetsFacets ofof RenditionRendition -- CarnaticCarnatic z Varnam z Used as a concert opener z Consists of two parts - - Purvanga - consisting of three sections - pallavi, anupallavi and muktayi or chitta swara. - Uttaranga - consisting of the Charanam and the Charanaswara-s. z Kriti (Keerthana) z Established by the Trinity of composers z Pallavi, Anupallavi and Charanam z Thillana z The Hindustani counterpart is the Tarana z Consists of short lyrics and syllables FacetsFacets ofof RenditionRendition -- CarnaticCarnatic z Alapana * z Pallavi, Anupallavi and Charanam * z Nerval * z Swarakalpana /Chitta swaras * z Tani Avartanam – Taal Ensemble * z Ragam, Tanam, Pallavi z Prerequisites : z Adherence to Sruti z Strict control over laya/tala z Good choice of the composition z In-depth understanding of the Raga Items marked with * will be performed today KritiKriti StructureStructure z Alapana (improvised opening, introduces the raga) z 3 sections (no breaks): z Pallavi: opening section and “refrain” z Anupallavi: introduces secondary theme, moves towards climax z Charanam: final section (relaxed or virtuosic restatement of previous material) FacetsFacets ofof RenditionRendition -- HindustaniHindustani ¾ Includes two broad stages – - aalaap followed by bandish in the same raag ¾ Aalaap is the act of illustrating and developing the raag ¾ Bandish is a composition, i.e., rendition of lyrics in a raag ¾ The tempo of a bandish increases gradually from slow (vilambit) to medium (madhya) to fast (drut). Very slow and very fast tempos are called ati-vilambit and ati-drut respectively 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