Indian music - Revision history

FloraC: Restore many things pre-rewrite and pre-merge. Sambamoorthy's South Indian Music seems to support 5-limit JI

2026-07-17T16:06:59Z

Restore many things pre-rewrite and pre-merge. Sambamoorthy's *South Indian Music* seems to support 5-limit JI

← Older revision		Revision as of 16:06, 17 July 2026
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	{{Wikipedia\|Shruti (music)}}		{{Wikipedia\|Shruti (music)}}

	In modern practice, shruti refer to microtonal inflections in general.<ref name="clarke2024rags"/><ref name="meer2010construction"/>		In modern practice, shruti refer to microtonal inflections in general.<ref name="clarke2024rags"/><ref name="meer2010construction"/> However, there is a long history of specific [[tuning system\|systems of pitches]] called shruti, going back at least to {{w\|Bharata (sage)\|Bharata}}'s Natyashastra, in which he discusses a system of 22 notes and describes an experiment involving two vinas.<ref name="ghosh1961natyashastra"/> It is not obvious how to interpret Bharata's discussion in terms of exact pitches, and it has given rise to a long line of analyses and proposed interpretations, with different pitches and numbers of notes. Given the complexity of the issue, it would be unwise to pick one system as ''the'' system of 22 shruti. The relationship of systems of shruti to musical practice remains contentious.<ref name="meer2010construction"/><ref name="levy1982intonation"/>

	~~There~~ is ~~a long history~~ of ~~specific systems~~ of ~~pitches called~~ shruti, ~~going back at least to Bharata's Natyashastra.<ref name="ghosh1961natyashastra"/> Bharata discusses~~ a ~~system of 22 notes and describes an experiment involving two vinas. It~~ is ~~not obvious how to interpret Bharata's discussion in terms of exact pitches, and it has given rise to~~ a ~~long line of analyses and proposed interpretations, with different pitches and numbers~~ of ~~notes~~.<ref name="~~meer2010construction~~"/><ref ~~name="levy1982intonation"~~/><ref ~~name="sambamoorthy1963south"/~~> ~~Given the complexity~~ of the ~~issue,~~ it ~~would be unwise to pick one system~~ as ''the~~'' system~~ of 22 shruti.		While there is no single standardized definition of the exact sizes of all shruti intervals, a particularly widely recognized scheme is a 22-tone subset of [[5-limit]] [[JI]].<ref name="sambamoorthy1963south"/><ref>S. Vidyasankar. [https://www.carnaticcorner.com/articles/22_srutis.htm ''Derivation of the 22 Srutis'']. </ref>
	~~The relationship of systems~~ of ~~shruti to musical practice remains contentious~~.<ref ~~name="meer2010construction"~~/><ref ~~name="levy1982intonation"/~~>
			Contemporary microtonalists nonetheless continue to creatively develop tunings for it, with various degrees of authenticity. This includes the attempt to reframe it under [[regular temperament theory]]. [[Gene Ward Smith]] has considered [[magic\|Magic[22]]] and [[srutal\|Srutal[22]]] as possible tunings, the name of the latter temperament being inspired by none else than the 22 shruti system, and [[Joseph Monzo]] has argued for the utility of [[schismic]] tunings.<ref>[https://yahootuninggroupsultimatebackup.github.io/tuning/topicId_63593.html Yahoo! tuning list \| ''Magic{{lbrack}}22{{rbrack}} as srutis'']</ref>

	== References ==		== References ==

FloraC: Group tanpura and harmonium as a instruments section; + links to Wikipedia. Sort references in increasing order

2026-07-17T13:57:12Z

Group tanpura and harmonium as a instruments section; + links to Wikipedia. Sort references in increasing order

← Older revision		Revision as of 13:57, 17 July 2026
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	* More complex ones like tones sliding into vibratos (like A sliding up to a vibrato between E and F).		* More complex ones like tones sliding into vibratos (like A sliding up to a vibrato between E and F).

	== ~~The tanpura~~ ==		== Instruments ==
			=== Tanpura ===
			{{Wikipedia\| Tanpura }}

	The tanpura is a long necked fretless lute which provides a harmonic-rich drone.<ref name="clarke2024rags"/>		The tanpura is a long necked fretless lute which provides a harmonic-rich drone.<ref name="clarke2024rags"/>

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	Sambamoorthy's [[#sambamoorthy1957drones\|book on drones]] discusses the tanpura and other instruments used to provide drones.		Sambamoorthy's [[#sambamoorthy1957drones\|book on drones]] discusses the tanpura and other instruments used to provide drones.

	== ~~The harmonium~~ ==		=== Harmonium ===
			{{Wikipedia\| Indian harmonium }}

	The harmonium is a portable reed organ. It was introduced into Indian music in the 19th century. Its use proved controversial, leading to a ban from All India Radio (AIR) from 1940–1971.<ref name="rahaim2011bane"/> The AIR seminar on the harmonium gives many arguments for and against the harmonium.<ref name="air1971harmonium"/> The use of equal temperament on the harmonium was one consideration; others included the inability to play meend and gamakas.		The harmonium is a portable reed organ. It was introduced into Indian music in the 19th century. Its use proved controversial, leading to a ban from All India Radio (AIR) from 1940–1971.<ref name="rahaim2011bane"/> The AIR seminar on the harmonium gives many arguments for and against the harmonium.<ref name="air1971harmonium"/> The use of equal temperament on the harmonium was one consideration; others included the inability to play meend and gamakas.

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	In modern practice, shruti refer to microtonal inflections in general.<ref name="clarke2024rags"/><ref name="meer2010construction"/>		In modern practice, shruti refer to microtonal inflections in general.<ref name="clarke2024rags"/><ref name="meer2010construction"/>

	There is a long history of specific systems of pitches called shruti, going back at least to Bharata's Natyashastra.<ref name="ghosh1961natyashastra"/> Bharata discusses a system of 22 notes and describes an experiment involving two vinas. It is not obvious how to interpret Bharata's discussion in terms of exact pitches, and it has given rise to a long line of analyses and proposed interpretations, with different pitches and numbers of notes.<ref name="~~levy1982intonation~~"/><ref name="~~meer2010construction~~"/><ref name="sambamoorthy1963south"/> Given the complexity of the issue, it would be unwise to pick one system as ''the'' system of 22 shruti.		There is a long history of specific systems of pitches called shruti, going back at least to Bharata's Natyashastra.<ref name="ghosh1961natyashastra"/> Bharata discusses a system of 22 notes and describes an experiment involving two vinas. It is not obvious how to interpret Bharata's discussion in terms of exact pitches, and it has given rise to a long line of analyses and proposed interpretations, with different pitches and numbers of notes.<ref name="meer2010construction"/><ref name="levy1982intonation"/><ref name="sambamoorthy1963south"/> Given the complexity of the issue, it would be unwise to pick one system as ''the'' system of 22 shruti.
	The relationship of systems of shruti to musical practice remains contentious.<ref name="~~levy1982intonation~~"/><ref name="~~meer2010construction~~"/>		The relationship of systems of shruti to musical practice remains contentious.<ref name="meer2010construction"/><ref name="levy1982intonation"/>

	== References ==		== References ==

FloraC: Style & - redundant whitespaces

2026-07-17T13:50:11Z

Style & - redundant whitespaces

Show changes

TallKite at 04:09, 17 July 2026

2026-07-17T04:09:00Z

← Older revision		Revision as of 04:09, 17 July 2026
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	Scales themselves are taken from a twelve-tone framework in both traditions, but the naming practices are a bit different. In North India, notes can be natural (shuddh), sharp (tivra), or flat (komal). The natural notes form a major scale (0 2 4 5 7 9 11). Sa and Pa are never sharp or flat; Ma can be sharp or natural; Re, Ga, Dha and Ni can be flat or natural.		Scales themselves are taken from a twelve-tone framework in both traditions, but the naming practices are a bit different. In North India, notes can be natural (shuddh), sharp (tivra), or flat (komal). The natural notes form a major scale (0 2 4 5 7 9 11). Sa and Pa are never sharp or flat; Ma can be sharp or natural; Re, Ga, Dha and Ni can be flat or natural.

	In South India, things are a bit more complex, and it's best illustrated with a table. Sa and Pa have only one ~~variation~~, Ma has two, and Re, Ga, Dha, and Ni have three each. On the surface, it would appear to make a 16-tone framework, but some names refer to the same pitch category, much like enharmonics in Western music. The names are also more fanciful in Carnatic music.		In South India, things are a bit more complex, and it's best illustrated with a table. Sa and Pa have only one version, Ma has two, and Re, Ga, Dha, and Ni have three each. On the surface, it would appear to make a 16-tone framework, but some names refer to the same pitch category, much like enharmonics in Western music. The names are also more fanciful in Carnatic music.
	{\| class="wikitable"		{\| class="wikitable"
	\|+		\|+

AthiTrydhen at 03:51, 17 July 2026

2026-07-17T03:51:48Z

← Older revision		Revision as of 03:51, 17 July 2026
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	However, in Hindustani music, notes can be 'very flat' (ati komal), indicating a microtonal inflection.		However, in Hindustani music, notes can be 'very flat' (ati komal), indicating a microtonal inflection.
	See [[#clarke2024rags\|''Rāgs Around the Clock'']] for a fuller discussion of notation in Hindustani music. In Carnatic music things are a bit different; speed and pitch profile of of ornaments, vibratos, and slides generally matter more than exact pitch in a raga ~~(see below)~~.		See [[#clarke2024rags\|''Rāgs Around the Clock'']] for a fuller discussion of notation in Hindustani music. In Carnatic music things are a bit different; speed and pitch profile of of ornaments, vibratos, and slides generally matter more than exact pitch in a raga.

	== Ornamentation ==		== Ornamentation ==
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	Andolan is a gentle oscillation in pitch within a given note.<ref name="clarke2024rags" />		Andolan is a gentle oscillation in pitch within a given note.<ref name="clarke2024rags" />

	In Hindustani music a gamaka is a 'shake' in pitch around a series of notes		In Hindustani music a gamaka is a 'shake' in pitch around a series of notes<ref name="clarke2024rags" />. In Carnatic terminology, gamaka is the general term for an ornament, and it includes various kinds such as:
	~~(in~~ Carnatic terminology gamaka is the general term for an ornament).~~<ref name="clarke2024rags" />~~
			* vibratos (both small, within a pitch class, and large, between pitch classes and possibly as wide as a minor third)
			* slides
			* quick grace notes (lower grace notes like A-G#-A or G#-A more common than upper ones like A-Bb-A or Bb-A)
			* turns (like F#-E-D#-E, the first three being grace notes)
			* more complex ones like tones sliding into vibratos (like A sliding up to a vibrato between E and F).

	== The tanpura ==		== The tanpura ==

AthiTrydhen: /* Sargam notation */

2026-07-17T03:44:11Z

Sargam notation

@@ Line 3: / Line 3: @@
 == Sargam notation ==
-The seven notes (svara) of the major scale are called Sa, Re, Ga, Ma, Pa, Dha, and Ni.
+Both Indian traditions use a solfege system based on a heptatonic (7-tone) framework: Sa, Re (Ri in the south), Ga, Ma, Pa, Dha (Da in the south), and Ni.
-Notes can be natural (shuddh), sharp (tivra), or flat (komal). Sa and Pa are always natural, Pa is never flat, and the others are never sharp. This gives, to begin with, a twelve note framework.
-However, notes can be 'very flat' (ati komal), indicating a microtonal inflection.
+Scales themselves are taken from a twelve-tone framework in both traditions, but the naming practices are a bit different. In North India, notes can be natural (shuddh), sharp (tivra), or flat (komal). The natural notes form a major scale (0 2 4 5 7 9 11). Sa and Pa are never sharp or flat; Ma can be sharp or natural; Re, Ga, Dha and Ni can be flat or natural.
 See [[#clarke2024rags|''Rāgs Around the Clock'']] for a fuller discussion of notation in Hindustani music.
-There is a comparison table of Hindustani and Carnatic notation in [[#kiran1997appreciating|''Appreciating Carnatic Music'']].
+In South India, things are a bit more complex, and it's best illustrated with a table. Sa and Pa have only one variation, Ma has two, and Re, Ga, Dha, and Ni have three each. On the surface, it would appear to make a 16-tone framework, but some names refer to the same pitch category, much like enharmonics in Western music. The names are also more fanciful in Carnatic music.
 == Ornamentation ==

TallKite: clarify no flat Pa, no sharp Re, etc.

2026-07-17T03:22:57Z

clarify no flat Pa, no sharp Re, etc.

← Older revision		Revision as of 03:22, 17 July 2026
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	== Sargam notation ==		== Sargam notation ==
	The seven notes (svara) of the major scale are called Sa, Re, Ga, Ma, Pa, Dha, and Ni.		The seven notes (svara) of the major scale are called Sa, Re, Ga, Ma, Pa, Dha, and Ni.
	Notes can be natural (shuddh), sharp (tivra), or flat (komal).		Notes can be natural (shuddh), sharp (tivra), or flat (komal). Sa and Pa are always natural, Pa is never flat, and the others are never sharp. This gives, to begin with, a twelve note framework.
	This gives, to begin with, a twelve note framework.
	However, notes can be 'very flat' (ati komal), indicating a microtonal inflection.		However, notes can be 'very flat' (ati komal), indicating a microtonal inflection.
	See [[#clarke2024rags\|''Rāgs Around the Clock'']] for a fuller discussion of notation in Hindustani music.		See [[#clarke2024rags\|''Rāgs Around the Clock'']] for a fuller discussion of notation in Hindustani music.

Fredg999: /* Shruti */ Shruti page was merged, +Wikipedia box

2026-07-16T18:53:11Z

Shruti: Shruti page was merged, +Wikipedia box

← Older revision		Revision as of 18:53, 16 July 2026
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	== Shruti ==		== Shruti ==
	{{~~Main~~\|Shruti}}		{{Wikipedia\|Shruti (music)}}
	In modern practice, shruti refer to microtonal inflections in general.<ref name="clarke2024rags" /><ref name="meer2010construction" />		In modern practice, shruti refer to microtonal inflections in general.<ref name="clarke2024rags" /><ref name="meer2010construction" />

Fredg999: /* Shruti */ Link to main article

2026-07-16T06:08:56Z

Shruti: Link to main article

← Older revision		Revision as of 06:08, 16 July 2026
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	== Shruti ==		== Shruti ==
			{{Main\|Shruti}}
	In modern practice, shruti refer to microtonal inflections in general.<ref name="clarke2024rags" /><ref name="meer2010construction" />		In modern practice, shruti refer to microtonal inflections in general.<ref name="clarke2024rags" /><ref name="meer2010construction" />

Naren: Use tanpura tuning from Sambamoorthy (and YouTube)

2026-06-24T19:08:58Z

Use tanpura tuning from Sambamoorthy (and YouTube)

← Older revision		Revision as of 19:08, 24 June 2026
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	The tanpura typically has four strings.		The tanpura typically has four strings.
	In the most common tuning, the middle two strings are tuned to the tonic, the fourth ~~string an octave below, and~~ the ~~first string a~~ fifth ~~above~~ (so Pa-Sa~~-Sa-SA, where SA is an~~ octave below ~~Sa)~~.		In the most common tuning, the middle two strings are tuned to the tonic (Sa),
	In ragas without a fifth (Pa), the first string ~~may be~~ tuned to the fourth (Ma) ~~instead.<ref name="sambamoorthy1957drones" />~~		and the first and fourth strings are tuned to the fifth (Pa) and tonic (Sa) in the octave below.<ref name="sambamoorthy1957drones" />
	~~In some cases the first string may be tuned to the sixth (Dha),~~ seventh (Ni~~), or third (Ga~~).<ref name="~~ghosh2019acoustic~~" />		In ragas without a fifth (Pa), the first string is tuned to another note instead, most commonly the fourth (Ma) or seventh (Ni).<ref name="clarke2024rags" />

	Sambamoorthy's [[#sambamoorthy1957drones\|book on drones]] discusses the tanpura and other instruments used to provide drones.		Sambamoorthy's [[#sambamoorthy1957drones\|book on drones]] discusses the tanpura and other instruments used to provide drones.
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	<span id="kiran1997appreciating" />		<span id="kiran1997appreciating" />
	Ravi Kiran, [https://archive.org/details/appreciatingcarn0000ravi/ Appreciating Carnatic Music]. Ganesh & Co, 1997.		Ravi Kiran, [https://archive.org/details/appreciatingcarn0000ravi/ Appreciating Carnatic Music]. Ganesh & Co, 1997.
	~~</ref>~~
	~~<ref name="ghosh2019acoustic">~~
	~~A.K. Datta, R. Sengupta, K. Banerjee, D. Ghosh, [https://www.scribd.com/document/711012005/Acoustical-Analysis-of-the-Tanpura Acoustical Analysis of the Tanpura]. Springer, 2019.~~
	</ref>		</ref>
	<ref name="sambamoorthy1957drones">		<ref name="sambamoorthy1957drones">