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1010 f11 9-27
- 1. Classical Music in India
- 2. North India
- 3. Sitar
- 4. Tabla
- 5. Tanpura
- 6. Ravi Shankar (b. 1920)
- 8. What is the main melodic instrument in North Indian Classical Music? • 1) Sitar • 2) Tabla • 3) Tanpura
- 10. North Indian Raga • Alap -- introductory, free
- 11. North Indian Raga • Alap -- introductory, free • Jar -- rhythmic, still introductory
- 12. North Indian Raga • Alap -- introductory, free • Jar -- rhythmic, still introductory • Gat -- the “tune”
- 13. North Indian Raga • Alap -- introductory, free • Jar -- rhythmic, still introductory • Gat -- the “tune” • Tora -- Improvisations between Gat statements
- 14. MML Website for listening guide
- 15. T/F: All portions of a raga are composed beforehand. • 1) True • 2) False
- 17. South India
- 18. Veena
- 19. Mridangam
- 21. Kriti “Sarasiruha” • Kriti = composition • Sarasiruha = “to the goddess Saraswati” • goddess of music and learning • Music & lyrics by 19th c. composer Pulaiyur Doraisamy Ayyar
- 22. Kriti “Sarasiruha” • Kriti = composition • Sarasiruha = “to the goddess Saraswati” • goddess of music and learning • Music & lyrics by 19th c. composer Pulaiyur Doraisamy Ayyar
- 23. Kriti “Sarasiruha” • Kriti = composition • Sarasiruha = “to the goddess Saraswati” • goddess of music and learning • Music & lyrics by 19th c. composer Pulaiyur Doraisamy Ayyar
- 24. • Alapana • Tanam • Kriti (8 minutes in!) • Kalpana • Tani avartanam • Kriti return and close
- 25. What is the Southern equivalent of the Gat? • 1) Alapana • 2) Kriti • 3) Tanam
- 26. Alapana • improvisation • melodic characteristics of Natai raga • slow, low register to faster, high register • At peak, descends to conclusion
- 27. Alapana • improvisation • melodic characteristics of Natai raga • slow, low register to faster, high register • At peak, descends to conclusion
- 28. Alapana • improvisation • melodic characteristics of Natai raga • slow, low register to faster, high register • At peak, descends to conclusion
- 29. Alapana • improvisation • melodic characteristics of Natai raga • slow, low register to faster, high register • At peak, descends to conclusion
- 30. Alapana • improvisation • melodic characteristics of Natai raga • slow, low register to faster, high register • At peak, descends to conclusion
- 31. Tanam • Improvisation • Rhythmic exposition of raga • irregular but strong beat • Low to High to Low
- 32. Tanam • Improvisation • Rhythmic exposition of raga • irregular but strong beat • Low to High to Low
- 33. Tanam • Improvisation • Rhythmic exposition of raga • irregular but strong beat • Low to High to Low
- 34. Tanam • Improvisation • Rhythmic exposition of raga • irregular but strong beat • Low to High to Low
- 35. Tanam • Improvisation • Rhythmic exposition of raga • irregular but strong beat • Low to High to Low
- 36. Kriti “Sarasiruha” • Composed portion • Drum enters
- 37. Kriti “Sarasiruha” • Composed portion • Drum enters
- 38. Kriti “Sarasiruha” • Composed portion • Drum enters
- 39. Kalpana svaras • progressively longer improvisation cycles, each ending with idam • idam = “familiar island in a sea of improvisation”; progressively longer cycles
- 40. Kalpana svaras • progressively longer improvisation cycles, each ending with idam • idam = “familiar island in a sea of improvisation”; progressively longer cycles
- 41. Kalpana svaras • progressively longer improvisation cycles, each ending with idam • idam = “familiar island in a sea of improvisation”; progressively longer cycles
- 42. Tani avartanam • DRUM SOLO !!!!! • partial statement of Kriti melody • improvised close
- 43. Tani avartanam • DRUM SOLO !!!!! • partial statement of Kriti melody • improvised close
- 44. Tani avartanam • DRUM SOLO !!!!! • partial statement of Kriti melody • improvised close
- 45. Tani avartanam • DRUM SOLO !!!!! • partial statement of Kriti melody • improvised close
- 46. Tani avartanam • DRUM SOLO !!!!! • partial statement of Kriti melody • improvised close
- 47. Which popular music group used sitar prominently during the late 1960s? • 1) The Grateful Dead • 2) The Jimi Hendrix Experience • 3) The Beatles
- 48. George Harrison • “Norwegian Wood” • “Tomorrow Never Knows” • “Within You Without You”
- 49. George Harrison • “Norwegian Wood” • “Tomorrow Never Knows” • “Within You Without You”
- 50. George Harrison • “Norwegian Wood” • “Tomorrow Never Knows” • “Within You Without You”
- 51. George Harrison • “Norwegian Wood” • “Tomorrow Never Knows” • “Within You Without You”
- 52. George Harrison • “Norwegian Wood” • “Tomorrow Never Knows” • “Within You Without You”
- 53. George Harrison • “Norwegian Wood” • “Tomorrow Never Knows” • “Within You Without You”
- 54. George Harrison • “Norwegian Wood” • “Tomorrow Never Knows” • “Within You Without You”
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