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<h2>IMPORTED REVISION FROM WIKISPACES</h2>
'''Indian music''' uses pitch in many distinctive ways.
This is an imported revision from Wikispaces. The revision metadata is included below for reference:<br>
There are two main traditions, Hindustani (North Indian) and Carnatic (South Indian).<ref name="clarke2024rags" /><ref name="kiran1997appreciating" />
: This revision was by author [[User:hstraub|hstraub]] and made on <tt>2007-09-21 07:38:34 UTC</tt>.<br>
: The original revision id was <tt>8292763</tt>.<br>
: The revision comment was: <tt></tt><br>
The revision contents are below, presented both in the original Wikispaces Wikitext format, and in HTML exactly as Wikispaces rendered it.<br>
<h4>Original Wikitext content:</h4>
<div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"><pre style="margin:0px;border:none;background:none;word-wrap:break-word;white-space: pre-wrap ! important" class="old-revision-html">Indian music is one of the important microtonal music traditions (along with the [[Arabic, Turkish, Persian|arabic/turkish/persian]] tradtition).


Its measuring unit is the **shruti** (sometimes spelled šruti, sruti or shruthi), which roughly corresponds to a quartertone. There are 22 shrutis per octave, 13 per fifth and 9 per fourth. A size of 4 sruti for the major whole tone follows from that. The step sizes of the heptatonic scales ([[shadja grama]], [[madhyama grama]]) are given as sequences of 4, 3, and 2 sruti
== Sargam notation ==
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).
This gives, to begin with, a twelve note framework.
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.
There is a comparison table of Hindustani and Carnatic notation in [[#kiran1997appreciating|''Appreciating Carnatic Music'']].


It can be (and has been) approximated with [[22edo]] - the "traditional" tuning system, however, is unequal.
== Ornamentation ==
Ornamentation in Indian music is very striking and characteristic of the music.
See [[#clarke2024rags|''Rāgs Around the Clock'']] for a detailed discussion and audio examples.


An explanation about the shruti system and a traditional derivation of the 22 shrutis: http://www.carnaticcorner.com/articles/22_srutis.htm
Meend are glides between different notes.<ref name="clarke2024rags" />
You can see meend graphically in the pitch contours shown at [https://autrimncpa.wordpress.com Music in Motion].


It should be noted that there is no "official", non-ambiguous definition of the exact sizes of all the shruti intervals.
Andolan is a gentle oscillation in pitch within a given note.<ref name="clarke2024rags" />
One example for a compilation of the shrutis, with explicit values of the intervals, can be found [[A shruti list|here]].


Some derivations in the light of modern temperament theory: [[Magic22 as srutis|Magic22 and Shrutar22 as srutis]]
In Hindustani music a gamaka is a 'shake' in pitch around a series of notes
(in Carnatic terminology gamaka is the general term for an ornament).<ref name="clarke2024rags" />


==Other links==  
== The tanpura ==
[[http://tonalsoft.com/monzo/indian/indian.htm|Article on indian tuning in Joe Monzo's tuning encyclopedia]]</pre></div>
The tanpura is a long necked fretless lute which provides a harmonic-rich drone.<ref name="clarke2024rags" />
<h4>Original HTML content:</h4>
 
<div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"><pre style="margin:0px;border:none;background:none;word-wrap:break-word;width:200%;white-space: pre-wrap ! important" class="old-revision-html">&lt;html&gt;&lt;head&gt;&lt;title&gt;Indian&lt;/title&gt;&lt;/head&gt;&lt;body&gt;Indian music is one of the important microtonal music traditions (along with the &lt;a class="wiki_link" href="/Arabic%2C%20Turkish%2C%20Persian"&gt;arabic/turkish/persian&lt;/a&gt; tradtition).&lt;br /&gt;
The tanpura typically has four strings.
&lt;br /&gt;
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).
Its measuring unit is the &lt;strong&gt;shruti&lt;/strong&gt; (sometimes spelled šruti, sruti or shruthi), which roughly corresponds to a quartertone. There are 22 shrutis per octave, 13 per fifth and 9 per fourth. A size of 4 sruti for the major whole tone follows from that. The step sizes of the heptatonic scales (&lt;a class="wiki_link" href="/shadja%20grama"&gt;shadja grama&lt;/a&gt;, &lt;a class="wiki_link" href="/madhyama%20grama"&gt;madhyama grama&lt;/a&gt;) are given as sequences of 4, 3, and 2 sruti&lt;br /&gt;
In ragas without a fifth (Pa), the first string may be tuned to the fourth (Ma) instead.<ref name="sambamoorthy1957drones" />
&lt;br /&gt;
In some cases the first string may be tuned to the sixth (Dha), seventh (Ni), or third (Ga).<ref name="ghosh2019acoustic" />
It can be (and has been) approximated with &lt;a class="wiki_link" href="/22edo"&gt;22edo&lt;/a&gt; - the &amp;quot;traditional&amp;quot; tuning system, however, is unequal.&lt;br /&gt;
 
&lt;br /&gt;
Sambamoorthy's [[#sambamoorthy1957drones|book on drones]] discusses the tanpura and other instruments used to provide drones.
An explanation about the shruti system and a traditional derivation of the 22 shrutis: &lt;!-- ws:start:WikiTextUrlRule:22:http://www.carnaticcorner.com/articles/22_srutis.htm --&gt;&lt;a class="wiki_link_ext" href="http://www.carnaticcorner.com/articles/22_srutis.htm" rel="nofollow"&gt;http://www.carnaticcorner.com/articles/22_srutis.htm&lt;/a&gt;&lt;!-- ws:end:WikiTextUrlRule:22 --&gt;&lt;br /&gt;
 
&lt;br /&gt;
== The harmonium ==
It should be noted that there is no &amp;quot;official&amp;quot;, non-ambiguous definition of the exact sizes of all the shruti intervals.&lt;br /&gt;
The harmonium is a portable reed organ.
One example for a compilation of the shrutis, with explicit values of the intervals, can be found &lt;a class="wiki_link" href="/A%20shruti%20list"&gt;here&lt;/a&gt;.&lt;br /&gt;
It was introduced into Indian music in the 19th century.
&lt;br /&gt;
Its use proved controversial, leading to a ban from All India Radio (AIR) from 1940-1971.<ref name="rahaim2011bane" />
Some derivations in the light of modern temperament theory: &lt;a class="wiki_link" href="/Magic22%20as%20srutis"&gt;Magic22 and Shrutar22 as srutis&lt;/a&gt;&lt;br /&gt;
The AIR seminar on the harmonium gives many arguments for and against the harmonium.<ref name="air1971harmonium" />
&lt;br /&gt;
The use of equal temperament on the harmonium was one consideration; others included the inability to play meend and gamakas.
&lt;!-- ws:start:WikiTextHeadingRule:0:&amp;lt;h2&amp;gt; --&gt;&lt;h2 id="toc0"&gt;&lt;a name="x-Other links"&gt;&lt;/a&gt;&lt;!-- ws:end:WikiTextHeadingRule:0 --&gt;Other links&lt;/h2&gt;
 
&lt;a class="wiki_link_ext" href="http://tonalsoft.com/monzo/indian/indian.htm" rel="nofollow"&gt;Article on indian tuning in Joe Monzo's tuning encyclopedia&lt;/a&gt;&lt;/body&gt;&lt;/html&gt;</pre></div>
== Shruti ==
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.
The relationship of systems of shruti to musical practice remains contentious.<ref name="levy1982intonation" /><ref name="meer2010construction" />
 
== References ==
<references>
<ref name="clarke2024rags">
<span id="clarke2024rags" />
David Clarke, [https://doi.org/10.11647/OBP.0313 Rāgs Around the Clock: A Handbook for North Indian Classical Music, with Online Recordings in the Khayāl Style]. Open Book Publishers, 2024.
</ref>
<ref name="kiran1997appreciating">
<span id="kiran1997appreciating" />
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 name="sambamoorthy1957drones">
<span id="sambamoorthy1957drones" />
P. Sambamoorthy, [https://archive.org/details/srutivadyasdrone00samb Sruti Vadyas (Drones)]. All India Handicrafts Board, 1957.
</ref>
<ref name="rahaim2011bane">
Matt Rahaim, [https://www.jstor.org/stable/41302388 That Ban(e) of Indian Music: Hearing Politics in the Harmonium]. The Journal of Asian Studies 70.3, 2011.
</ref>
<ref name="air1971harmonium">
[https://archive.org/details/dli.ministry.09019 AIR's seminar on the Harmonium]. Sangeet Natak Akademi, 1971.
</ref>
<ref name="ghosh1961natyashastra">
Bharata-Muni, [https://archive.org/details/NatyaShastra/natya_shastra_translation_volume_2_-_bharat_muni/page/n57/ The Nāṭyaśāstra], transl. Manomohan Ghosh. The Asiatic Society, 1961.
</ref>
<ref name="levy1982intonation">
Mark Levy, [https://archive.org/details/intonationinnort0000mark Intonation in North Indian Music]. Biblia Impex, 1982.
</ref>
<ref name="meer2010construction">
S. Rao and W. van der Meer, [https://pure.uva.nl/ws/files/4133925/76993_286708.pdf The Construction, Reconstruction and Deconstruction of Shruti]. Hindustani music: thirteenth to twentieth centuries, 2010.
</ref>
<ref name="sambamoorthy1963south">
P. Sambamoorthy, [https://archive.org/details/bwb_C0-AUR-484/page/100/ South Indian Music, Book IV]. The Indian Music Publishing House, 1963.
</ref>
</references>
 
== Further reading ==
* G.K. Koduri, S. Gulati, P. Rao and X. Serra, [https://www.researchgate.net/profile/Preeti-Rao/publication/263566239_Raga_Recognition_based_on_Pitch_Distribution_Methods/ Rāga Recognition based on Pitch Distribution Methods]. Journal of New Music Research 41.4, 2012.
 
== External links ==
* [https://digital.library.ucla.edu/catalog/ark:/21198/zz002gcntd Bake/Jairazbhoy Digital Archive of South Asian Traditional Music and Arts] - Archive of recordings and images
* [https://autrimncpa.wordpress.com Music in Motion] - Recordings synced with videos showing pitch contours
* [https://chandrakantha.com/music-and-dance/i-class-music/ www.chandrakantha.com - Indian classical music] - portal on Indian music, with detailed [https://chandrakantha.com/music-and-dance/i-class-music/index-of-rags/ descriptions of a number of North Indian rags]
* [http://musicresearchlibrary.net/omeka/ MusicResearchLibrary] - an Indian music research portal
 
[[Category:Indian music]]
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