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South Asia: Hindustani Classical Music - EXAM 2

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Section 1

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tala, bol, konnakol

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Hindustani Languages

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Date created

Mar 1, 2020

Cards (33)

Section 1

(33 cards)

tala, bol, konnakol

Front

tala = time measurement = meter - provided by tubla (or pakhawaj) - matra (beat), vibhag (measure), avartan (cycle) & bol - many different ways to divide measures bol = vocable (sound the instrument makes) konnakol = the art of performing bol

Back

tetrachord

Front

dividing modes into groups of four notes - shows differences in raga modes

Back

sargam

Front

Hindustani solfege do = shadja = sa (S) re = rishabh = re (R) mi = gandhar = ga (G) fa = madhyam = ma (M) sol = pancham = pa (P) la = dhaivat = dha (D) ti = nishad = ni (N) do = shadja = sa (S)

Back

rasa theory

Front

rasa describes the aesthetic experience one should have when experiencing the art form (usually song) each aesthetic form associated with an emotion - each emotion associated with a deity -- each associated with a color

Back

Shruti Sadolikar

Front

raga alhaiya bilval female singer her performance shows the typical performance shape - transcription shows ornamentation - alap (no words) - bandish: addition of words, increasingly get more rhythmic - at end, climax and improv

Back

what makes a music "classical"? what assumptions come along with such a description?

Front

classical is thought of as professional, performed on stage and not commercially, trained musicians, art for arts sake Western classical music - classical music of other cultures is overshadowed by this - assumption of antiquity, notation, etc

Back

vedas & vedic chant

Front

Vedic period: 1500-500 BCE vedas are a form of scripture in Sanskrit still considered sacred and the chant/incantation is still practiced today - monophonic, nasal & distinct tambre and vocality - focused on syllables (logogenic) - similar to monotheistic islamic culture - central mitch of melody, modal

Back

listening: • Carnatic Vedic chanting • instrumental samples • Shruti Sadolikar: Raga Alhaiya Bilaval demonstration • Bhimsen Joshi & Rashid Khan: Raga Darbari • Ali Akbar Khan & Nikhil Banerjee: Raga Manj Khamaj • Ravi Shankar: Raga Ramkali • Rashid Khan & Shahid Parvez: Raga Bageshri • Shruti Sadolikar: Raga Yaman demonstration • various: Raga Yaman • Allah Rakah & Zakir Hussain: tabla demonstration • R. Shankar: Ragamala for Sitar & Orchestra • Z. Hussain: Peshkar for Tabla & Orchestra

Front

Back

British East India Company & the British Raj

Front

British EIC - 1600-1879. opened india to international trade, but also to colonialism - rebellion of 1857 against jegemony and exploitation of colonial british power British Raj - 1858-1947. british troops entered to quell rebellion and just stayed

Back

the specialization and pedagogy of raga performance

Front

this type of music is thought to be more "special" so in order to keep it a secret/exclusive, it is handed down from teacher --> student instead of being notated

Back

"classical" music

Front

typically thought of as European art music performed on a stage for an audience specific texture (orchestration, etc) assumption that all classical music is old (age, antiquity) classical performers are said to be professionals, taught in a formal setting, educated in classes and lessons, and requiring rigor and craft

Back

alap jhala bandish/gat

Front

alap = exposition. introducing the musical ideas, frequently on syllable but not words - alap (no accompaniment, slow & intro) - jor (addition of rhythm) - JHALA (repetition of pitch, drone, ^ rhythm) bandish/gat = composition. bandish is vocal and gat is instrumental. addint lyrics, notes, rhythm improv is last section, increasing intensity and climax

Back

reading: Bagchee, Sandeep. "The Raga: Evolution and Related Concepts." Nad: Understanding Raga Music. B.P.I. Publishers, 1998: 76-91. Bor, Joep. "What is a Raga?" The Raga Guide: A Survey of 74 Hindustani Ragas. Nimbus Records, 1999: 1-13

Front

Back

ornamentation

Front

- different ways to notate the ornamentation (slide, mordent, grace note, oscillation, shake) alap is open space, no ornamentation bandish/chiz adds more energy and sets rhythm improv/climax adds intensity and has lots of ornamentation

Back

monophony

Front

a texture describing one unaccompanied melody - solo melodic instruments - sitar (sometimes 2) - drone (1 or 2 pitches) - percussion (tubla)

Back

instruments

Front

tanpur(a) - looks like sitar or ruddra vina. no frets, only 3-4 open strings. DRONE sound. multiple strings plucked but creates drone/overtone sound sitar - plucked string. 20 movable frets. gourd body with curved frets to let you bend strings. sympthetic strings that resonate with overtones ruddra vina - "bass sitar" lower pitch sarod - sympathetic strings, but fretless. smaller. flatter, more metallic sound (metal board) tabla bansuri - side-blown flute. large/long. wood sound, light, not harsh santoor - strings hit by hammers. slide hammers to change tone. rain sound, smooth/higher/harsher sarangi - similar to violin, played vertically while sitting. bowed strings. fiddle/violin harmonium - mini piano lookin thing tabla - two drum set

Back

drone

Front

VERY IMPORTANT IN INDIAN MUSIC - created by the tanpura since indian music is modal, it is important that the drone plays the fixed tonic sound other instruments play other notes around the drone

Back

historical and cultural explanations for the distinctions between Hindustani and Carnatic musical traditions

Front

hindustani is north india carnatic is south india - more asian and african influence reached north india, islamic influence

Back

Hindustani classical music

Front

tradition/modernity representation/identity sex/gender/sexuality music and/as politics globalization hybridity intercultural musicking

Back

khyal

Front

The predominant vocal genre of Hindustani music today dhruped and khyal - modal, instrumental and vocal

Back

Natya shastra

Front

500 BCE end of vedic period Text - lyrics, music, gestures important to creating an aesthetic experience (rasa)

Back

the technical vs aesthetic vs cultural definitions of raga

Front

raga is a musical form in hindustani music - should evoke a rasa (emotion) - aesthetic - different raga modes contain different tetrachords - improv, pedagogical lineage, passed down from teacher-> student

Back

what makes a classical music?

Front

antiquity (old) theory (ideas) specialization (education) history (cant be understood outside of context) repertoire (canon - what is considered good) patronage (does not live in marketplace) "art for arts sake" (pointless. does not serve social function, just as transcendent art form)

Back

raga

Front

The most popular music form to emerge form Hindustani classical music modal, tonal framework - hierarchy of tones/notes - "home" note and elements are added around the note - should create a mood/emotional state. related to aesthetic theory & even time --- evokes a rasa "not a tune nor a 'modal' scale, but rather a continuum with scale and tune as its extremes" - tonal framework for composition and improvisation; fixed scale with hierarchy of tones, ornamentation, approach

Back

Hindustani vs Carnatic musics

Front

Hindustani describes the music and culture of the North Carnatic describes the music and culture of the South

Back

historical influences and perspectives on the development of classical Indian civilization and culture

Front

aryan migration - similarities in west asia, north india and eastern europe

Back

gharana

Front

pedagogical lineage stylistic "school" conceptual - "schools" associated with music education - notation & oral tradition: knowledge of Indian music is handed down by teacher --> student, protected secret

Back

Tansen (person)

Front

composed many Ragas

Back

ragamala

Front

paintings that depict scenes that illustrate the mood of the raga use the colors to depict emotions "freezeframe" way to evoke same aesthetic emotions as raga

Back

Indus Valley Civilization & the Aryan Migration

Front

Indus Valley - 3300-1300 BCE Aryan Migration - 1800-2000 BCE. two groups coming together and settling and mixing in India -- similarities among northwest india and west asia and eastern europe culture

Back

Ravi Shankar

Front

commonly known female sitar player performs Raga Yaman and other ragas concerto for sitar and orchestra "ragamala"

Back

tala meters

Front

dadra tala - 6 beats (3+3) keharwa tala - 8 beats (4+4) jhaptal - 10 beats (2+3+2+3) rupak tala - 7 beats 3+2+2) teental - 16 beats (4+4+4+4) ektat - 12 beats (4+4+4)

Back

the absence of a tradition of notation in Indian classical traditions

Front

this type of music is thought to be more "special" so in order to keep it a secret/exclusive, it is handed down from teacher --> student instead of being notated

Back