Musicians Hindi Meaning – Indian classical music is one of several art music forms that have roots in specific regional cultures. For other “classical” and art music traditions, see List of classical and art music traditions.
It has two main traditions: North Indian classical music known as Hindustani and South Indian expression known as Carnatic.
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These traditions did not diverge until the 15th century. During Mughal rule in the Indian subcontinent, traditions diverged and evolved into different forms. Hindustani music emphasizes improvisation and exploration of all aspects of a raga, while Carnatic performances are short composition oriented.
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Another unique classical musical tradition from the eastern part of India, viz. e. Odissi music developed two thousand years ago.
The origins of classical music in India are found in the Vedic literature of Hinduism and the Natyashastra, a classical Sanskrit treatise on the performance of Bharata Muni.
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Indian classical music has two basic elements, raga and talam. A raga, based on the different repertoire of the swara (notes including microtones), forms the fabric of a deeply complex melodic structure, while the tala measures the kalachakra.
A raga gives an artist a palette to construct a melody from sounds, while a tala gives them a creative framework for rhythmic improvisation over time.
In Indian classical music, the space between notes is more important than the notes themselves and eschews traditional Western classical concepts such as harmony, counterpoint, chords or modulation.
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The origins of music in India can be found in the Vedic literature of Hinduism. Early Indian thought combined three arts, syllabic recital (Vadya), melodious (Gita) and dance (Nritta).
As these fields developed, music became a distinctly gray art form, similar to contemporary music. It may have happened before the Yaska period (
500 BC Some inspired texts of Hinduism such as Samaveda (
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Samaveda is organized in two formats. One part is based on musical meter, the other is based on rituals.
The text is written with embedded encoding, where swaras (octave notes) are displayed above or within the text, or the poem is written as parvans (mudi or members); Simply put, this code of embedded voices is like the skeleton of a song. Swaras have about 12 different forms and different combinations of these swaras consist of different raga names. The specific code of a song tells you exactly what the combination of notes in a particular song is. The lyrical part of a song is called the “lyrics” and the lyrics are like singing the song entirely, but using the lyrics of the song. A code in the form of tones indicates which note should be sung higher and which should be sung lower. The hymns of the Samaveda have a melodic edge, form, rhythm and metrical organization.
But this structure is not limited to the Samaveda. The Rigveda also incorporates the musical meter without explanation in the Samaveda. For example, the Gayatri Mantra consists of three metrical lines of exactly eight syllables, with an incorporated third rhythm.
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Century BC The Gandharvas are discussed in the literature of the Vedic age.
In the earlier traditions of Hinduism, two musical genres were found: Gandharva (formal, composed, ceremonial music) and Gana (informal, improvised, tertainmut music).
The Vedic Sanskrit musical tradition was widespread in the Indian subcontinent, and according to Rowell the Tamil classics “show very clearly the existence of a cultivated musical tradition in South India from the last pre-Christian centuries”.
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The classical Sanskrit text Natya Shastra forms the foundation of many classical music and dance traditions in India. Before Natyashastra was finalized, Indian traditions classified musical instruments into four groups based on their sound principle (how they function, rather than the material they are made of) like the flute flowing in and out of the wind.
These four categories are accepted as given in four separate chapters in the Natyashastra, one each for strings (cordophone), hollow instruments (aerophone), solid instruments (idiophones) and covered instruments (membranophone).
Among these, states Rowell, used an idiophone in the form of “small bronze cymbals” for tala. Bal tires chapter of Natyashastra on Idiophone of Bharat is a theoretical treatise on Tala system.
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In early Indian thought on music theory, timing with idiophones was considered a separate function of percussion (membranophone).
The early 13th century Sanskrit text Sangeetaratnakara (literally “ocean of music and dance”), written by Sarangadeva, who was patronized by King Sighana of the Yadava dynasty of Maharashtra, discusses and debates ragas and talas.
He identifies seva tala families, breaks them down into rhythmic proportions, and creates a methodology for improvisation and composition that continues to inspire modern Indian musicians.
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The Sangeetaratnakara is one of the most complete historical medieval Hindu texts that have survived into the modern age on the subject of structure, technique and reasoning behind ragas and talas.
The importance and significance of music in early and early medieval India is also expressed in the reliefs of many temples and shrines in Buddhism, Hinduism and Jainism, such as the carvings of musicians with cymbals in the Pavaya temple sculpture of the fifth century near Gwalior.
The post-Vedic historical literature on Indian classical music is extensive. Ancient and medieval texts are mainly in Sanskrit (Hinduism), but major treatises on music theory, instruments and practice were also produced in regional languages such as Braj, Kannada, Odia, Pali (Buddhism), Prakrit (Jainism), Tamil and Telugu. .
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Although many manuscripts have survived into the modern era, many original works on Indian music are believed to be lost and are known to exist only because they are cited and discussed in other manuscripts on classical Indian music.
Many cyclopedic Puranas include large chapters on musical theory and instruments, such as the Bhagavata Purana, the Markandeya Purana, the Vayu Purana, the Linga Purana, and the Vishnudharmottara Purana.
Among these texts, the most cited and influential are Samaveda, Natya Shastra (classical treatise on music theory, Gandharva), Dattilam, Brihaddesi (treatise on regional classical musical forms), and Sangeetha Ratnakara (definitive treatise on Carnatic and Hindustani traditions).
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Most of the historical treatises on musical theory are by Hindu scholars. Some classical music texts were composed by Buddhist and Jain scholars and Muslim scholars in the 16th century. These are indicated in the attached table.
The classical music tradition of the ancient and medieval Indian subcontinent (modern Bangladesh, India, Pakistan) was a completely unified system in the 14th. The musical traditions of northern and southern India were not considered until the 16th century, but after that the traditions took different forms accepted.
North Indian classical music is known as Hindustani, while the South Indian expression is known as Carnatic (sometimes spelled Carnatic). According to Nazir Ali Jairajbhoi, the North Indian tradition took its modern form after the 14th or 15th century.
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Indian classical music has historically adopted and evolved from many regional styles, such as the Bagali classical tradition. This openness to ideas led to regional folk innovations, as well as the assimilation of influences from outside the subcontinent. For example, Hindustani music assimilates Arabic and Persian influences.
This combination of ideas is based on classical foundations like raga, talam, tamala as well as musical instruments. For example, the Persian rock is probably an articulation of a raga. According to Hormoz Farhat, the word rock has no meaning in modern Persian and the concept of raga was unknown in Persia.
He is considered the Pitamaha (literally “grandfather”) of Carnatic music. Purandara Dasa was an ascetic and a devotee of the Hindu god Krishna (Vishnu, an avatar of Vittal).
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He systematized classical Indian music theory and developed exercises for musicians to learn and perfect their art. He traveled widely to share and teach his ideas and influenced many South Indian and Maharashtrian Bhakti movement musicians.
These exercises, his teachings on raga, and his systematic methodology known as Suladi Sapta Talas (literally “primary service talas”) remain in use in contemporary times.
Carnatic music, from South India, tends to be more rhythmic and structured than Hindustani music. Examples of this are the logical classification of ragas and melakartas and the use of fixed compositions similar to western classical music. Carnatic raga elaborations are much faster in tempo and shorter than their equivalents in Hindustani music. Additionally, the role of accompaniment is much greater in Carnatic music concerts than in Hindustani concerts. Today’s typical concert production is arranged by singer Ariyakudi Ramanuja Ayyagar. The opening piece is called varnam and is a preparation for the musicians. A
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