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Alap
The Alap (; ) is the opening section of a typical North Indian classical performance. It is a form of melodic improvisation that introduces and develops a raga. In dhrupad singing the alap is unmetered, improvised (within the raga) and unaccompanied (except for the tanpura drone), and started at a slow tempo. For people unfamiliar with the raga form, it introduces the mode (the pattern of ascending and perhaps different descending scale) to the listener. It defines the raga, its mood, and the emphasized notes and notes with a secondary role. It's like an invocation. Instead of wholly free improvisation, many musicians perform alap schematically, for example by way of ''vistar'', where the notes of the raga are introduced one at a time, so that phrases never travel further than one note above or below what has been covered before. In such cases, the first reach into a new octave can be a powerful event. In instrumental music, when a steady pulse is introduced into the alap, it is c ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Nomtom
In Hindustani classical music, the jor (Hindi: जोर, ; also spelt jod and jhor) is a formal section of composition in the long elaboration (''alap'') of a raga that forms the beginning of a performance. It comes after ''alap'' and precedes ''jhala'', the climax. Jor is the instrumental equivalent of nomtom in the dhrupad vocal style of Indian music. Both have a simple pulse but no well-defined rhythmic cycle. Origin and terminology Jor (or jod) is an instrumental interpretation of nomtom which is an introductory style that is characterised by its modest rhythm and lack of rhythmic cycle (also known as tal).Lavezzoli. The Dawn of Indian Music in the West. Bloomsbury Academic, 2007. Jor is present in most Hindustani classical music through the raga, as an articulate and rapid pulse that the alap transitions into, followed by jhala.Napier. Structure and Proportion in Hindustani Alap. University of New South Wales, 2019. pp. 56. In Hindustani music Indian classical music is ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Jor (music)
In Hindustani classical music, the jor (Hindi: जोर, ; also spelt jod and jhor) is a formal section of composition in the long elaboration (''alap'') of a raga that forms the beginning of a performance. It comes after ''alap'' and precedes ''jhala'', the climax. Jor is the instrumental equivalent of nomtom in the dhrupad vocal style of Indian music. Both have a simple pulse but no well-defined rhythmic cycle. Origin and terminology Jor (or jod) is an instrumental interpretation of nomtom which is an introductory style that is characterised by its modest rhythm and lack of rhythmic cycle (also known as tal).Lavezzoli. The Dawn of Indian Music in the West. Bloomsbury Academic, 2007. Jor is present in most Hindustani classical music through the raga, as an articulate and rapid pulse that the alap transitions into, followed by jhala.Napier. Structure and Proportion in Hindustani Alap. University of New South Wales, 2019. pp. 56. In Hindustani music Indian classical music is ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Alapana
In Carnatic classical music, alapana is a form of manodharmam, or improvisation, that introduces and develops a raga (musical scale). It communicates the permitted notes and phrases of the raga, setting the mood for the composition that follows. As a term that is Sanskrit in language, alapana means "to speak, address, discourse, communicate". It is the first part of Ragam Tanam Pallavi (RTP), which showcases a Carnatic musician's ability to understand a raga and improvise music set to it. Overview The flavor of the raga is outlined in the alapana by rendering the raga's permitted notes in structures and phrases unique to the raga (known as "raga lakshanam"). Alapana typically precedes a song that is going to be sung in the same raga. It demonstrates proper knowledge of the raga by highlighting key phrases common to it. Alapana is rendered in different speeds, with a gradual increase in tempo. Likewise, the complexity of the patterns increases steadily as the alapana prog ... [...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] |
Madhya Laya
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] |
Buka (music)
{{Refimprove, date=November 2009 The buka ( ''Javanese'' for ''"opening"'') is the short introduction to pieces of gamelan. It is also called the bubuka or bubuka opaq-opaq. Buka are generally played by a single instrument in a free rhythm, until the last few notes when the kendhang comes in to set the tempo and cue the whole gamelan, which joins on the final note, with the first gong ageng. Buka are often played by the bonang barung in the so-called "loud style." In other styles, they can be played by the rebab, gendér, or kendhang alone, or may be sung, especially by the dalang in a wayang performance. Mantle Hood emphasizes the importance of the buka in the determination of the pathet of a gamelan composition, and analyzes it as an extended elaboration on the typical cadential formulas. He compares it to the alap of Hindustani classical music Hindustani classical music is the classical music of northern regions of the Indian subcontinent. It may also be called North I ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Lari/Ladi
Lari/Ladi ( लड़ी; also called ''Lari/Ladi'') is more or less confined to instrumental music. A nucleus of notes (of sound-syllables in case of Pakhawaj music, etc.) is formed and patterns are woven around the nucleus, which is thus repeated in varied contexts. Ladi means series. For example, in Mridang-music, to include syllables such as ‘tak dhum kit’ and then to elaborate them as ‘tak tak dhum kit, kit tak tak tak dhum kit’ is to prepare a Ladi. Ladi-s can be presented in a similar fashion on other instrument in Hindustani classical music. See also *Khyal *Vilambit *Madhyalaya *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, sita ... References *Music Context: A Concise Dictionary of Hindusthani Music - Ashoke Damodar Ranade Hindustani musi ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Thok
''Thok'' ( ठोक), in Indian classical music, is a post-jhala phase of elaboration and is replete with accents. The plectrum, etc., is actually struck on adjacent wooden or metal portion of the instrument to introduce the ‘thok’ (strike) effect. After jhala alap reaches the drut+drut phase because of the ‘thok’, stresses become important. In vocal music, more stressed, meaningless syllables such as ‘dretum’, etc., actualize the phase in a raga in Hindustani classical music. See also *Khyal *Vilambit *Madhyalaya *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, sita ... Hindustani music terminology {{India-music-stub ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Jhala
Jhala (Hindi: झाला, ) is a term in Hindustani classical music which denotes the fast-paced conclusions of classical compositions or raga A ''raga'' or ''raag'' (; also ''raaga'' or ''ragam''; ) is a melodic framework for improvisation in Indian classical music akin to a musical mode, melodic mode. The ''rāga'' is a unique and central feature of the classical Indian music tradit .... It is often characterized by the overwhelming of the melodic component by the rhythmic component. This is sometimes effected by the rapid striking together of the ''chikari'' between notes.Kamien, Roger, and Anita Kamien. Music: an Appreciation. McGraw-Hill Education, 2018. References Hindustani music terminology Formal sections in music analysis {{India-music-stub ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Drut
''Drut'' ( द्रुत; also called ''drut laya'') is the concluding section, in fast tempo (or ''laya''), between 160 and 320 beats per minute, of the performance of a vocal raga in Hindustani classical music. See also *Khyal *Vilambit *Madhyalaya *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, sita ... Hindustani music terminology {{India-music-stub ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Bengal
Bengal ( ; bn, বাংলা/বঙ্গ, translit=Bānglā/Bôngô, ) is a geopolitical, cultural and historical region in South Asia, specifically in the eastern part of the Indian subcontinent at the apex of the Bay of Bengal, predominantly covering present-day Bangladesh and the Indian state of West Bengal. Geographically, it consists of the Ganges-Brahmaputra delta system, the largest river delta in the world and a section of the Himalayas up to Nepal and Bhutan. Dense woodlands, including hilly rainforests, cover Bengal's northern and eastern areas, while an elevated forested plateau covers its central area; the highest point is at Sandakphu. In the littoral southwest are the Sundarbans, the world's largest mangrove forest. The region has a monsoon climate, which the Bengali calendar divides into six seasons. Bengal, then known as Gangaridai, was a leading power in ancient South Asia, with extensive trade networks forming connections to as far away as Roman Egypt. ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Vilambit
''Vilambit'' (Hindi: ; also called ''vilambit laya'') is an introductory slow tempo, or ''laya'', between 10 and 40 beats per minute, used in the performance of a raga in Hindustani classical music. For major ragas, the vilambit portion generally takes up two-thirds or more of the performance, and is followed by a short drut to conclude the performance. Vocalists use a slower definition of time than instrumentalists (Gottlieb 1977a:41). See also *Khyal *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. ... Hindustani music terminology Formal sections in music analysis {{India-music-stub ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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