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AN UNDERGRADUATE TRADITION OF INDIAN CLASSICAL MUSIC

What is Indian Classical Music?

An Introduction to Indian Classical Music

Indian classical music has an aged history that dates back nearly two thousand years to the times of the first Indus valley civilizations. It has experienced a controlled evolution over the passage of time and exists today as one of the richest and most pristine musical traditions in the world.  Indian classical music is classified broadly into two styles, Hindustani and Carnatic. The differences between these two styles manifest in various forms. To mention only a few, the two forms differ in structure, and whereas the content of compositions in Hindustani music is largely secular, Carnatic music compositions are devotional. However, the basic elements of Hindustani and Carnatic music are shared, and an understanding of them will lead to a better appreciation of both these forms.

 

THE YALE RĀGĀ SOCIETY

AN UNDERGRADUATE TRADITION OF INDIAN CLASSICAL MUSIC

Raga:

The raga is arguably the centerpiece of an Indian classical music performance. By definition, “a raga is a scientific, precise, subtle and aesthetic melodic form with its own ascending and descending movement consisting of either a full seven-note octave or a series of six or five notes.”¹ That is, the performer may not touch those notes not specified in the raga, nor may he deviate from the specified order of the ascent and descent of the raga. As an example, the aroha and avraho (ascent and descent) of the raag sohini, as it is known in the Hindustani mode, are provided below. The base of the scale is C in this case.

Raga Sohini/Hamsanandi

C, E, F^#, A, B, C || Sa Ga₂ Ma₂ Dha₂ Ni₂ Sa

C, C^#, C, B, A, F^#, E, F^#, E, C^#, C || Sa Re₁ Sa Ni₂ Dha₂ Ma₂ Ga₂ Ma₂ Ga₂ Re₁ Sa

 

In the Hindustani mode, certain ragas are closely connected with particular times of day, seasons, and emotions. The raga system allows for a thoughtful analysis and exploration of a given set of notes. Specifically, the alaap, the portion of a Hindustani or Carnatic music concert without rhythmic accompaniment where an artist takes his time to craft his interpretation of a raga and bring forth its nuances, is where this directed exploration takes place.

Tala:

If raga is the mother of Indian classical music than tala is undoubtedly the father. It occupies an equally important seat in theory as well as performance. One of the major differences between Indian and Western classical traditions is that while the former utilizes “…written scores, an Indian classical performance is based on improvisation, and anywhere from 10% to 90% of the performance could be extempore, depending on the creative imagination of the artist.”¹ Tala, in this context, plays an extremely important role. For example, in a given composition the artist must ensure that his experiments with the swaras (syllabic notes) or lyrics of the composition fit correctly within the framework of the rhythmic cycle. The exercise of calculating elaborate swara patterns that land correctly on the sum, or beginning of the rhythmic cycle, especially in Carnatic music, is exacting and extremely complex.

The two primary Indian percussion instruments, the tabla and mridangam, have their own traditions of solo performance yet each is popularly seen as an accompanying instrument to instrumental and vocal performances. The tabla is comprised of two drums. The dayan produces a sharp, sustained sound when struck and is tuned to a specific note. The bayan is a larger drum that provides a rounded bass sound when struck. Together, the two drums produce a range of tones and modulations. The mridangam, kanjira, ghatam, and morsing are percussion instruments used to accompany Carnatic vocal and instrumental performances as well as South Indian dance performances.

Please see the “Related links” page of this website for a listing of online resources related to Indian classical music.

1. “Literature.” Indian Classical Music Circle.  2 Jan. 2008

<http:www.icmcdfw.org/‌literature.aspx>.

 

 

1. “Literature.” Indian Classical Music Circle.  2 Jan. 2008 <http://www.icmcdfw.org/‌literature.aspx>.

A historical painting portraying a  woman playing the sitar

A Ragmala Painting of Raga Yaman/Ragini, Mushirabad 1765. It is known to be very sweet and romantic and is typically  sung in the early evening.

From left to right, a dayan, a bayan and a mridangam.