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Sargam (music)
Sargam refers to singing the notes, mostly commonly used in Indian music, instead of the words of a composition, with use of various ornamentations such as meend, gamak, kan and khatka, as part of a khyal performance. at the This is generally done in medium-tempo as a bridge between the and portions. As an example, one could sing PmRSnSRRSRnSPnmPgmnnPmgmRSnS in |
Swara
Svara or swara (Devanagari: स्वर, generally pronounced as ''swar'') is a Sanskrit word that connotes simultaneously a breath, a vowel, the sound of a musical note corresponding to its name, and the successive steps of the octave or ''saptaka''. More comprehensively, it is the ancient Indian concept about the complete dimension of musical pitch. Most of the time a ''svara'' is identified as both musical note and tone, but a tone is a precise substitute for sur, related to tunefulness. Traditionally, Indians have just seven ''svara''s/notes with short names, e.g. saa, re/ri, ga, ma, pa, dha, ni which Indian musicians collectively designate as ''saptak'' or ''saptaka''. It is one of the reasons why ''svara'' is considered a symbolic expression for the number seven. Origins and history Etymology The word ''swara'' or ''svara'' (Sanskrit: स्वर) is derived from the root ''svr'' which means "to sound". To be precise, the ''svara'' is defined in the Sanskrit ''nirukt ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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 tradition, and as a result has no direct translation to concepts in classical European music. Each ''rāga'' is an array of melodic structures with musical motifs, considered in the Indian tradition to have the ability to "colour the mind" and affect the emotions of the audience. Each ''rāga'' provides the musician with a musical framework within which to improvise. Improvisation by the musician involves creating sequences of notes allowed by the ''rāga'' in keeping with rules specific to the ''rāga''. ''Rāga''s range from small ''rāga''s like Bahar (raga), Bahar and Shahana that are not much more than songs to big ''rāga''s like Malkauns, Darbari and Yaman (raga), Yaman, which have great scope for improvisation and for which performances ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Hindustani 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] |
Solmization
Solmization is a system of attributing a distinct syllable to each note of a musical scale. Various forms of solmization are in use and have been used throughout the world, but solfège is the most common convention in countries of Western culture. Overview The seven syllables normally used for this practice in English-speaking countries are: do, re, mi, fa, sol, la, and ti (with sharpened notes of di, ri, fi, si, li and flattened notes of te, le, se, me, ra). The system for other Western countries is similar, though si is often used as the final syllable rather than ti. Guido of Arezzo is thought likely to have originated the modern Western system of solmization by introducing the ut–re–mi–fa–so–la syllables, which derived from the initial syllables of each of the first six half-lines of the first stanza of the hymn ''Ut queant laxis''. Giovanni Battista Doni is known for having changed the name of note "Ut" (C), renaming it "Do" (in the "Do Re Mi ..." sequence known ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Samvadi
The Samavadi is the second-most prominent (though not necessarily second-most played) note of a raga in Indian classical music. The primary note of the raga is the '' vadi''; the vadi and samvadi are in most cases a fourth or fifth apart. A ''samavadi'' is a note of special significance. It is like the ministry to the monarch. A performer will typically try to emphasize the ''samvadi'' along with the vadi when improvising on a certain raga. The ''vadi'' and ''samvadi'' can be crucial in defining the raga at hand, and in some cases two ragas with the same arohana and avrohana An Avarohana, Avarohanam or Avaroha, in the context of Indian classical music, is the descending scale of any raga.''Ragas in Carnatic music'' by Dr. S. Bhagyalekshmy, ''Glossary'' pages, Pub. 1990, CBH Publications The notes descend in pitc ... can be distinguished only by the prominence of their sonant and consonant notes. References {{reflist Hindustani music terminology Carnatic music termin ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Vadi (music)
Vadi, in both Hindustani classical music and Carnatic music, is the tonic (root) swara (musical note) of a given raga (musical scale). "Vadi is the most sonant or most important note of a Raga."Nad Understanding Raga Music, Bagchee, Sandeep It does not refer to the most played note but it rather refers to a note of special significance. It is usually the swara which is repeated the greatest number of times, and often it is the swara on which the singer can pause for a significant time. Vadi swara in a raga is like a king in a kingdom. The specialty of any raaga depends on vadi swara and because of this, the vadi swara is also called the ''Jeeva swara'' or the ''Ansha swara''. A good artist uses vadi swara in different ways like singing vaadi swara again and again, starting a raga with vadi swara, to end a raaga with vadi swara, singing vadi swara many times in important places with different swaras or sometime singing vadi swara for a longer time in one breath. ''Vadi'' swara is al ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Adana (raga)
Adana is an Indian raga. It is also called Adana Kanada. It is often sung or played in drut laya after a vilambit composition in raga Darbari Kanada, as Adana is straighter than Darbari in its chalan, thus allowing faster passages. The flow of this raga is similar to a mix of Madhyamad Saranga with Darbari. Another common vivadi some artists use sparingly is shuddha ni which enhances the Saranga mood of the raga. Aroha and avaroha Arohana: Avarohana: Vadi and samavadi * Vadi : Sa * Samvadi : Pa Organization and relationships Flat Ga is usually omitted in ascent and in descent always appears in the distinctive Kanada phrase g m R S. Flat Dha is present in descent, but one should never linger on it. In fact it is omitted by some musicians completely. Most movements are in the upper tetrachord, around high Sa. It is very common to begin the elaboration of this raga with high Sa.Bor 1997 Adana is part of the Kanada Raga group. Samay (Time) Late Night (12am-3am) Historical In ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Taan
''Taan'' (Hindi: , ur, ) is a technique used in the vocal performance of a raga in Hindustani classical music. It involves the improvisation of very rapid melodic passages using vowels, often the long "a" as in the word "far", and it targets at improvising and to expand weaving together the notes in a fast tempo. It is similar to the technique ''ahaat'', used in Arabic music. The ''murki'', a type of ornamentation, is a swift, short and taan-like movement that is heavily used in thumri. Types Taans are clustered in different types: ''Bol Taan'' : Taan can be sung by utilizing the words of the bandish. This is a difficult type of a taan as in this correct pronunciation, meaning of the composition, everything has to be taken into consideration. ''Shuddha/Sapat (Straight) Taan'' : The notes are placed in an or ...[...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
India
India, officially the Republic of India (Hindi: ), is a country in South Asia. It is the seventh-largest country by area, the second-most populous country, and the most populous democracy in the world. Bounded by the Indian Ocean on the south, the Arabian Sea on the southwest, and the Bay of Bengal on the southeast, it shares land borders with Pakistan to the west; China, Nepal, and Bhutan to the north; and Bangladesh and Myanmar to the east. In the Indian Ocean, India is in the vicinity of Sri Lanka and the Maldives; its Andaman and Nicobar Islands share a maritime border with Thailand, Myanmar, and Indonesia. Modern humans arrived on the Indian subcontinent from Africa no later than 55,000 years ago., "Y-Chromosome and Mt-DNA data support the colonization of South Asia by modern humans originating in Africa. ... Coalescence dates for most non-European populations average to between 73–55 ka.", "Modern human beings—''Homo sapiens''—originated in Africa. Then, int ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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] |
ITC Sangeet Research Academy
ITC Sangeet Research Academy is a Hindustani classical music academy run by the corporate house, ITC Ltd. It is located in Kolkata, India. Noted musicians associated with the academy include Ulhas Kashalkar, Falguni Mitra, Ajoy Chakrabarty, Ustad Rashid Khan, Mashkoor Ali Khan, Girija Devi, Subhra Guha. Satyajit Ray, was one of the trustees.http://www.indianexpress.com/old/ie/daily/19970703/18450513.html Annual festival The academy organises a classical music festival, the ITC SRA Sangeet Sammelan ITC SRA Sangeet Sammelan is an annual Indian classical music festival organised by ITC Sangeet Research Academy held by turn in various cities in India. History The first ITC Sangeet Sammelan was held in 1971. See also *List of Hindustani class ..., every year. They also organise the ITC SRA Mini Sangeet Sammelan. References External links ITC Sangeet Research Academy, Official site Hindustani music organisations Organizations established in 1978 Music archives Organisa ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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