South Asia India

1
South Asia (India)

• Presentation by
• Greg Johnson and Nicole Ester

2
Introduction

• 1. Comparison of Indian to Western Music
• 2. Vocal and Instrumental Music
• 3. Raga Structure
• 4. Instruments
• 5. Methods of Learning

3
Compare and Contrast

• Western Music
• Combination of rhythm and melody
• Emphasis on harmony/chordal
• Counterpoint
• Based on many contrasting moods and colors
• Emphasis on simultaneous motion of two or more
  melodies-tension and relaxation of progressions
• Smallest pitch interval is semitone (octave 12
  semitones)

• Indian Music
• Combination of rhythm and melody-highly defined
  subtleties
• No system of harmony
• No counterpoint
• Concentrates on one principle mood or
  emotion-elaborating
• Emphasis on improvisation, expansion and
  elaboration-rooted from deep musical tradition
• Octave22 intervals or microtones- crucial to
  Indian musical characteristics

4
Vocal and Instrumental Music

• Vocal
• Especially strong tradition
• Most ancient form of music
• Most music is devotional
• (Bahkti-geet)
• Many genre
• Dhrupad (Oldest in use)
• Tarana (Meaningless syllables)
• Kheyal (Modern, improvised)
• Bhajan (Especially religious)
• Gazal (Rich poetry and romantic)
• Lakshangeet (Educational)

• Instrumental
• Called Vadhya Sangeet
• Styles follow vocal styles
• Ornamentation is used
• Four major styles
• Alap(Slow,no rhythm,elaboration)
• Jor (Has rhythm, no developed rhythmic cycle)
• Gat (Fully developed piece)
• Jhala (fast rhythmic interplay between drone
  and strings)

5
Structural Elements of Raga

• Raga Melodic Basis of Indian classical music on
  which musicians improvise. Each raga has
  definite melodic qualities that distinguish it
  from all other ragas.
• Not a scale, mode, key, or melody
• A raga is the melodic framework
• Each raga must belong to a scale-only those notes
  are found
• Number of ragas are endless-only several hundred
  used
• The beauty of the raga leads the listener to a
  serene and peaceful frame of mind and brings him
  joy. In other words, the raga must create a
  forceful effect on the listener. -Shankar

6
South Asian Instruments

• Instrument Categories
• 1. Stringed Instruments
• 2. Wind Instruments
• 3. Drum Family
• 4. Small Percussion Family (metal, wood,
  porcelain)

7
String and Wind Instruments

• Strings
• Largest and most important group
• Vary in size and shape
• Resonating strings/Fretted
• Played with bow or plectrum (worn on fingers)
• Veena
• Sitar
• Surbahar
• Tamboura
• Sarangi
• Sarod

• Winds
• Includes flutes and oboe-like instr.
• Made of bamboo
• Varying sizes/numbers of holes
• Associated with Lord Krishna
• Often found in Indian Art
• Murali (Flute-like)
• Shahnai (Oboe-like)

8
Drum Family

• Tabla
• Most popular variety in Northern India
• 2 Drums each with one skin stretched across the
  top
• Smaller played with right hand
• Larger played by the left hand
• Pakhawaj
• Accompanies more heavy/serious music
• One piece drum made of clay with two heads
• Heads tuned to different pitches
• Today body made of wood

9
Percussion Family

• Separate from Drum Family
• Includes
• Bells
• Gongs
• Cymbals
• Castanets
• Jaltarang (Porcelain bowels filled with water and
  struck with sticks)

10
Methods of Learning

• Three words from the heart of musical tradition
• Guru master, spiritual teacher, or preceptor
• Vinaya humility complete surrendering of the
  self on the part of the shishya (student) to the
  guru
• Sadhana practice and discipline eventually
  leading to self-realization

11
Methods of Learning (cont.)

• Process
• 1. Choose a Guru
• 2. Learn basic techniques on voice or instrument
• -Practice on one note until breathing, voice,
  and pitch control are mastered
• 3. Learn scales and paltas (short sequential
  melodic figures)
• 4. Learn sargams (various fixed compositions-sung
  to note names)
• 5. Learn bandishes (fixed compositions in
  different styles with text)
• These steps should last 5 years or longer
• Should practice every day for 8 hours
• Student learns everything from guru-rarely from
  textbook
• Slowly learns to improvise until confidently
  plays a raga
• 20 years of constant work makes a proficient
  performer

12
Conclusion

• Our tradition teaches us that sound is God...
  That is, musical sound and the musical experience
  are steps to the realization of the self. We view
  music as a kind of spiritual discipline that
  raises ones inner being to divine peacefulness
  and bliss. The highest aim of our music is to
  reveal the essence of the universe it
  reflectsThus, through music, one can reach God.
  
• -Ravi Shankar