1. Music Of IndiaMusic Of India
The Hindustani and KarnaticThe Hindustani and Karnatic
Musical TraditionsMusical Traditions

2. Indian Classical Music
 The music of India can be divided into two unique
traditions, the Karnatic (folk) and the Hindustani
Vedic (religious). The Hindustani tradition which
dominates the northern half of the IndianIndian
subcontinentsubcontinent largely developed in the courts of the
major centers for Indian music such as Delhi,
Lucknow, Benares, Calcutta, Varanasi and
Farrukhabad. This tradition has been heavily
influenced by Aryan peoples from the middle east
and neighboring countries such as Pakistan and
Afghanistan.

3. Indian Classical Music (cont.)Indian Classical Music (cont.)
 The Karnatic tradition with its main musical
center located in Chennai (previously named
Madras) can be found in the southern part of the
country. It is considered by many to be a more
pure form of Indian music with less influence
from the migrating peoples the north, however it
has integrated many European musical
concepts and instruments into its practice largely
due to the British occupation of India for over
100 years.

4. SangeetSangeet
The basis for Indian musicThe basis for Indian music
is "sangeet". Sangeet is a combination ofis "sangeet". Sangeet is a combination of
three art forms: vocal music, instrumentalthree art forms: vocal music, instrumental
music and dance. Although these threemusic and dance. Although these three
art forms were originally derived from theart forms were originally derived from the
single field of stagecraft. Today thesesingle field of stagecraft. Today these
three forms have differentiated intothree forms have differentiated into
complex and highly refined individualcomplex and highly refined individual
art forms.art forms.

5. Musical ElementsMusical Elements
These two distinct traditions do however
share some similarities when comparing
basic musical elements:
Medium Both traditions commonly
use small ensembles consisting of one or
two melodic instruments and one or two
percussion instruments.

6.  Rhythm
Both traditions share one of the most complex
rhythmic systems in the world. The Indian word for
rhythm is TALA.
 Melody
Compositions are based on 72 types of scales,
many of them similar. The Indian word for
scale/melody is RAGA. The literal translation of the
word Raga is "that which colors the mind." The
raga is much more than a scale;it is both a
technical collection of notes and can depict
aesthetic qualities such as emotions, colors,
deities, seasons, time of day, festival events, and
can also convey magical properties.

7.  Harmony
Chord structure in the Western sense does not exist.
The drone sound (audio)drone sound (audio) supplied by the string instrument
called the tambura or the electronic equivalent called a sruti
box provide background harmony.
 Texture
The music is organized into 3 layers or functions:
A. Melodic soloist/accompaniment
B. Drum accompaniment
C. Drone-static accompaniment

8. Selected Instruments & Their
Classifications
North/Hindustani
Percussion - Rhythmic layer
tablatabla - pair of drums- pair of drums
Strings - Melodic layer
sitarsitar (guitar-type)
sarodsarod (guitar-type)

9. Winds- Melodic Layer
bansuribansuri (bamboo flute)
shennai (oboe-like)

10. South/KarnaticSouth/Karnatic
Percussion - Rhythmic layer
mridangam – conical doublemridangam – conical double
headed drumheaded drum
Strings - Melodic layer
vinavina (guitar-type)
violinviolin (western violin)

11. Karnatic Inst. (cont.)
Winds- Melodic Layer
nagasvaramnagasvaram (long oboe-like inst.)
SaxophoneSaxophone (western sax)
Vocal - Melodic Layer

12. Three Important Musical Elements:
 The Drone/ Harmony
Since Indian music is modal music, based on the relations
between a permanent fixed sound, the tonic, and successive
notes, it is the independent relationship that each note has
with the tonic that determines the meaning of the particular
note. The tonic, therefore, needs to be repeated and
constantly heard, as is done in a vocal or instrumental
recital, where the tamboura provides the tonic note in the
background. Thus, the sounding of a constant melodic pitch
that provides the basis for the notes, the melody and the
melodic improvisations, is important in Indian music. It
provides for tonality by providing a basis for comparison and
contrast for the different notes in the piece. Although the ear
unconsciously analyzes the notes being sung or played into
its constituent partials, even without accompaniment, it is the
sustained accompaniment by the tonic that makes this
analysis a conscious exercise and allows the singer to check
the voice to avoid dissonance.

13.  Raga/Melody
Raga refers to a “scale” or collection of notes and is the
discernable melodic form underlying all classical Indian music.
These raga , which are based on the ancient Vedas ( religious
chants), are highly ornamented by intricate glissandi or slides
called Gamaka.
This practice of sliding between notes in a Raga is what gives
Indian music its unique sound. Many musicologists have
described Indian music as being “micro tonal.” In fact, these
scales that both Hindustani and Karnatic Ragas use are
comprised of smaller intervals (22 steps to an octave) when
compared to the12 step octave of a western scale. Since each
note is, in terms of frequency, either higher or lower than
another, movement from one note to the other in any melody
involves either ascent or descent. The movement which results
when one ascends from one note to the next is known as
aroha, while a descending motion is known as avaroha. While
we can conceive of other types of melodic movement, the
aroha and avaroha are of great importance as they provide the
basis for the raga form.

14. Raga(cont.)
Every raga, in fact, consists of a fixed and
unchangeable set of notes, presented in the
form of an ascending or descending scale. At
the simplest level, this defines the raga as a
melodic form and tells us that there are
specific notes, also called “pillar tones”
forming a particular raga and the basic
shape of the raga is determined by their inter
se arrangement within the ascending or
descending order.

15. Raga (cont.)
The term Raga is also however much more
than a technical collection of notes. Its literal
translation which means “that which colors
the mind”implies that the raga itself has
some metaphysical and non-musical
attributes as well. It is the intent of these
ragas to invoke certain feelings and
emotions from the listener. These emotions
can range from amorous love and happiness
to great sadness and melancholy.

16. Raga (cont.)
A raga can also describe a certain part of
the day such as with a morning ragamorning raga or an
evening raga or be intended to be
performed only during certain seasons of
the year such as the spring or summer.
There are devotional ragas as well which
are used to praise various deities in the
Hindu pantheon of gods such as Brahma,
Vishnu, and Shiva.

17. Tala/RhythmTala/Rhythm
 Tala is the rhythmic time cycle of India. Tempo/Laya may vary
from
 fast – druta
 Medium – madhya
 Slow - vilambitaIn
 dadrataladadratala (6 beats)(6 beats)
rythmic subdivision: 3+3rythmic subdivision: 3+3
used in:used in: thumrithumri,, bhajanbhajan
XX OO - stress- stress
II II II II II II – beat– beat
Dhin Dhin Dha Dha Tin NaDhin Dhin Dha Dha Tin Na - bol- bol
1 2 3 4 5 61 2 3 4 5 6 - beat-counter- beat-counter

18. X - samX - sam,, the main stress of the tala,the main stress of the tala,
showing by clapping handshowing by clapping hand
O - khaliO - khali,, "empty" beat, showing by waving"empty" beat, showing by waving
handhand