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Khayal Dzhaniev
Khyal or Khayal (ख़याल / خیال) is a major form of Hindustani classical music in the Indian subcontinent. Its name comes from a Persian/ Arabic word meaning "imagination". Khyal is associated with romantic poetry, and allows the performer greater freedom of expression than dhrupad. In khyal, ragas are extensively ornamented, and the style calls for more technical virtuosity than intellectual rigour. Etymology (خیال) is an Urdu word of Arabic origin which means "imagination, thought, ideation, meditation, reflection". Hence khyal connotes the idea of a song that is imaginative and creative in either its nature or execution. The word entered India through the medium of the Persian language. Just as the word reflects ideas of imagination and imaginative composition, the musical form is imaginative in conception, artistic and decorative in execution and romantic in appeal.Francis Joseph Steingassخیال A Comprehensive Persian-English Dictionary Character ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Hindustani Classical Music
Hindustani classical music is the classical music of northern regions of the Indian subcontinent. It may also be called North Indian classical music or, in Hindustani, ''shastriya sangeet'' (). It is played in instruments like the violin, sitar and sarod. Its origins from the 12th century CE, when it diverged from Carnatic music, the classical tradition in South India. Hindustani classical music arose in the Ganga-Jamuni Tehzeeb, a period of great influence of Perso-Arabic arts in the subcontinent, especially the Northern parts. This music combines the Indian classical music tradition with Perso-Arab musical knowledge, resulting in a unique tradition of gharana system of music education. History Around the 12th century, Hindustani classical music diverged from what eventually came to be identified as Carnatic classical music.The central notion in both systems is that of a melodic musical mode or '' raga'', sung to a rhythmic cycle or '' tala''. It is melodic music, with no ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Madhyalaya
Madhya laya or Madhyalaya is a medium tempo of a rhythm in Indian classical music. Medium tempo, a speed between 80 and 160 mātrās per minute. While Madhya laya is sometimes confused with Vilambit and vice versa, it is about two beats per second. According to some scholars like Subhajit Mandal, Madhya laya is visible in three phase: Madhya + Vilambit, Madhya + Madhya, Madhya + Drut. It could be said that what is characterized as Chhanda in first felt in Madhya tempo. Chhanda can be defined as generations of a definite, repetitive line of recognizable duration that bestows a definite length on the concerned tonal phase. Madhya + Vilamvit = Known as ‘Dagur ki badhat’ consists of embellishments and chikari works. Madhaya + Madhya = Also known as ‘Madhya Jod’ or ‘Barabar ki jod’ abundantly consists of musical embellishment known as ‘Gamaka’. In ‘tata’ instruments, fretwork is on the increase in the phase. Madhya + Drut= The phase is also known as ‘Ladi ki jod ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Marathi Language
Marathi (; ''Marāṭhī'', ) is an Indo-Aryan languages, Indo-Aryan language predominantly spoken by Marathi people in the Indian state of Maharashtra. It is the official language of Maharashtra, and additional official language in the state of Goa. It is one of the 22 scheduled languages of India, with 83 million speakers as of 2011. Marathi ranks 11th in the List of languages by number of native speakers, list of languages with most native speakers in the world. Marathi has the List of languages by number of native speakers in India, third largest number of native speakers in India, after Hindi Language, Hindi and Bengali language, Bengali. The language has some of the oldest literature of all modern Indian languages. The major dialects of Marathi are Standard Marathi and the Varhadi dialect. Marathi distinguishes Clusivity, inclusive and exclusive forms of 'we' and possesses a three-way Grammatical gender, gender system, that features the neuter in addition to the masculine ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Rajasthani Language
Rajasthani (Devanagari: ) refers to a group of Indo-Aryan languages and dialects spoken primarily in the state of Rajasthan and adjacent areas of Haryana, Gujarat, and Madhya Pradesh in India. There are also speakers in the Pakistani provinces of Punjab and Sindh. Rajasthani varieties are closely related to and partially intelligible with their sister languages Gujarati and Sindhi. It is spoken by 65.04% of the population of Rajasthan. The comprehensibility between Rajasthani and Gujarati goes from 60 to 85% depending on the geographical extent of its dialects. The term ''Rajasthani'' is also used to refer to a literary language mostly based on Marwari, which is being promoted as a standard language for the state of Rajasthan. History Rajasthani has a literary tradition going back approximately 1500 years. The Vasantgadh Inscription from modern day Sirohi that has been dated to the 7th century AD uses the term Rajasthaniaditya in reference to the official or maybe for a poe ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Punjabi Language
Punjabi (; ; , ), sometimes spelled Panjabi, is an Indo-Aryan language of the Punjab region of Pakistan and India. It has approximately 113 million native speakers. Punjabi is the most widely-spoken first language in Pakistan, with 80.5 million native speakers as per the 2017 census, and the 11th most widely-spoken in India, with 31.1 million native speakers, as per the 2011 census. The language is spoken among a significant overseas diaspora, particularly in Canada, the United States, and the United Kingdom. In Pakistan, Punjabi is written using the Shahmukhi alphabet, based on the Perso-Arabic script; in India, it is written using the Gurmukhi alphabet, based on the Indic scripts. Punjabi is unusual among the Indo-Aryan languages and the broader Indo-European language family in its usage of lexical tone. History Etymology The word ''Punjabi'' (sometimes spelled ''Panjabi'') has been derived from the word ''Panj-āb'', Persian for 'Five Waters', referring to the ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Bhojpuri Language
Bhojpuri (;Bhojpuri entry, Oxford Dictionaries , Oxford University Press ) is an native to the Bhojpur- region of and the region of |
Dari
Dari (, , ), also known as Dari Persian (, ), is the variety of the Persian language spoken in Afghanistan. Dari is the term officially recognised and promoted since 1964 by the Afghan government for the Persian language,Lazard, G.Darī – The New Persian Literary Language", in ''Encyclopædia Iranica'', Online Edition 2006. hence it is known as Afghan Persian or Eastern Persian in many Western sources. As Professor Nile Green remarks "the impulses behind renaming of Afghan Persian as Dari were more nationalistic than linguistic" in order to create an Afghan state narrative. Apart from a few basics of vocabulary, there is little difference between formal written Persian of Afghanistan and Iran. The term "Dari" is officially used for the characteristic spoken Persian of Afghanistan, but is best restricted to formal spoken registers. Persian-speakers in Afghanistan prefer to still call their language “Farsi,” while Pashto-speakers may sometimes refer to it as "Parsi." Fa ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Hindustani Language
Hindustani (; Devanagari: , * * * * ; Perso-Arabic: , , ) is the '' lingua franca'' of Northern and Central India and Pakistan. Hindustani is a pluricentric language with two standard registers, known as Hindi and Urdu. Thus, the language is sometimes called Hindi–Urdu. Despite these standard registers, colloquial speech in Hindustani often exists on a spectrum between these standards. Ancestors of the language were known as ''Hindui'', ''Hindavi'', ''Zabān-e Hind'' (), ''Zabān-e Hindustan'' (), ''Hindustan ki boli'' (), Rekhta, and Hindi. Its regional dialects became known as ''Zabān-e Dakhani'' in southern India, ''Zabān-e Gujari'' () in Gujarat, and as ''Zabān-e Dehlavi'' or Urdu around Delhi. It is an Indo-Aryan language, deriving its base primarily from the Western Hindi dialect of Delhi, also known as Khariboli. Hindustani is a pluricentric language, best characterised as a continuum between two standardised registers: Modern Standard Hindi and Modern ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Bandish
Bandish, cheez or gat is a fixed, melodic composition in Hindustani vocal or instrumental music. It is set in a specific raga, performed with rhythmic accompaniment by a tabla or pakhawaj, a steady drone, and melodic accompaniment by a sarangi, violin or harmonium. There are different ways of systematizing the parts of a composition. A bandish provides the literature element in the music, for standard structured singing. In the past many gharanas protected their bandishes from moving out of the family with gross incoherent vocal renditions. In the realm of vocal music, it is often known as ''cheez''. Etymology The word ''bandish'' is derived from the Hindi language Hindi (Devanāgarī: or , ), or more precisely Modern Standard Hindi (Devanagari: ), is an Indo-Aryan language spoken chiefly in the Hindi Belt region encompassing parts of northern, central, eastern, and western India. Hindi has been de ..., and literally means "binding together". Sections '' Sthāyī'' or ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Jhaptal
Jhaptal is a tala of Hindustani music. It presents quite a different rhythmical structure from Teental, unlike which it is not symmetrical. It is used in madhyalay (medium-tempo) Khyal. Arrangement Jhaptal is a 10-beat pattern used in raga exposition. It has ten beats in four divisions (vibhag), of 2-3-2-3, the third of which is the khali, or open division. To follow the tal the audience clap on the appropriate beat, which in jhaptal is beats 1, 3 and 8 (the first beat in each full division). A wave of the hand indicates beat 6, the first beat of the khali section. Series of Claps and Waves: clap, 2, clap, 2, 3, wave, 2, clap, 2, 3 Theka The split for Jhaptaal : 2+3+2+3 che 4. In Devanagari : धी ना - धी धी ना -- ती ना - धी धी ना . It has a characteristic pattern of bols Bols may refer to: * Bol (music), an element of Indian rhythm * Lucas Bols, a Dutch distilling company * Bols (brand), a beverage brand name used by Lucas Bols * Bols ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Ektal
Ektal or Ektaal is a tala in Indian music. It is commonly used in classical music like kheyal, and semi-classical forms like Rabindra Sangeet. In ''ektal'' the 12 matras are divided into 6 vibhags of two matras each. Ektal is played in Drut gatti ( fast speed ). This tala is mostly played by the use of tabla. One more tala similar to Ektal is Chowtal which is played with the use of Pakhavaj,Ektaal is the tabla counterpart of Chowtaal. Many beautiful Kaida are played in Ektal. But Ektal is mostly played for Vilambit (slow pace of any Tal) . Basic information on tal Ektal : Name - Ektal Sum - 1st matra Tali (claps) - 1, 5, 9, 11 matras Khali (wave) - 3, 7 matras Similar talas - Chowtal, Dadra, Garba (tal) Related instruments - Tabla Related to - Hindustani music The form of Ektal is as follows: clap, tap, wave, tap, clap, tap, wave, tap, clap, tap, clap, tap It has a characteri ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Rupak Tala
Rupak Tala (rupak taal) or also known as Roopak Taal is a popular tala in Hindustani music that is common in Bhajans and Geets.Ram Avatar 'Vir' 2002, p. 33 It has seven matras (beats) in three vibhags (divisions). Unlike the popular Tintal, the vibhags of Rupak Tala are not of equal length. Also, both the khali and sam of Rupak Tala fall on the first matra. Aavartan The aavaratan (cycle) of Rupak Tala has three vibhags (divisions). The first vibhag has three matras and both the second and third vibhags have two matras. Sam is on the first matra of the first vibhag. The aavaratan of Rupak Taal may be written as follows: Examples There are numerous examples of Rupak Tala that differ based upon the instrument used. The following examples apply for the tabla. Theka The most common theka for Rupak tala contains the bols 'Tin', 'Na', and 'Dhin' (the transliteration of these bols may differ quite a lot among individuals). This theka is composed in the following manner Tin T ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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