Indian music: Difference between revisions

From Xenharmonic Wiki
Jump to navigation Jump to search
← Older editNewer edit →
VisualWikitext
Naren (talk | contribs)
49 edits
Fix chandrakantha links, add Bake/Jairazbhoy digital archive link
Naren (talk | contribs)
49 edits
Rewrite page, with discussion of musical topics relevant to tuning, and references.
Line 1: Line 1:
'''Indian music''' is one of the major microtonal traditions of the world (along with the [[Arabic, Turkish, Persian music|Middle Eastern]] family of traditions). It has two main subcategories: South Indian music known as Carnatic and North Indian music known as Hindustani.
'''Indian music''' uses pitch in many distinctive ways.
There are two main traditions, Hindustani (North Indian) and Carnatic (South Indian).<ref name="clarke2024rags" /><ref name="kiran1997appreciating" />


The unit of measurement in the Indian system is the '''shruti''' (sometimes spelled śruti, sruti or shruthi), which corresponds roughly to a quarter-tone. There are 22 shrutis per octave, 13 per fifth and 9 per fourth. A size of 4 shruti 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 shruti.
== 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'']].


There is no single standardized non-ambiguous definition of the exact sizes of all shruti intervals.
== 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 one traditional derivation of the 22 shrutis is given in S. Vidyasankar's essay [http://www.carnaticcorner.com/articles/22_srutis.htm ''Derivation of the 22 Srutis''].  
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].


Another example of a compilation of the shrutis, with explicit values of the intervals, can be found in ''[[A shruti list]]''.
Andolan is a gentle oscillation in pitch within a given note.<ref name="clarke2024rags" />


The system has been approximated by [[22edo]], though the traditional tuning system is unequal, and split-shruti systems may approximated by the 22 & 34d (or 12 & 22 or even 10 & 12 generalized [[diaschismic family|diaschismic]] if simplicity or accuracy is no object) temperament.
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" />


The {{w|Shruti (music)|Wikipedia entry on shrutis}} gives a quite accurate approximation of the shruti system as a 22-note subset of [[53edo]]. (See also a discussion on the [https://yahootuninggroupsultimatebackup.github.io/tuning/topicId_104546.html#104549 Yahoo tuning list])
== The tanpura ==
The tanpura is a long necked fretless lute which provides a harmonic-rich drone.<ref name="clarke2024rags" />


Some derivations in the light of modern temperament theory: ''[[Magic22 as srutis]]''
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 ragas without a fifth (Pa), the first string may be tuned to the fourth (Ma) instead.<ref name="sambamoorthy1957drones" />
In some cases the first string may be tuned to the sixth (Dha), seventh (Ni), or third (Ga).<ref name="ghosh2019acoustic" />


== Other links ==
Sambamoorthy's [[#sambamoorthy1957drones|book on drones]] discusses the tanpura and other instruments used to provide drones.
* [http://tonalsoft.com/monzo/indian/indian.htm Article on indian tuning in Joseph Monzo's tuning encyclopedia]
 
* [http://homepage.mac.com/patrickmoutal/macmoutal/rag.html Patrick Moutal's Indian Music Page]
== The harmonium ==
* [http://www.ocf.berkeley.edu/%7Emrahaim/ Hindustani Music Resources] - downloads and links, compiled by Matt Rahaim
The harmonium is a portable reed organ.
* http://www.musicresearch.in (redirected to [http://musicresearchlibrary.net/omeka/ MusicResearchLibrary]) - an indian music research portal
It was introduced into Indian music in the 19th century.
* [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]
Its use proved controversial, leading to a ban from All India Radio (AIR) from 1940-1971.<ref name="rahaim2011bane" />
* http://22shruti.com 22shruti.com
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.
 
== 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://autrimncpa.wordpress.com Music in Motion] - Recordings synced with videos showing pitch contours
* [https://archive.org/details/intonationinnort0000mark Intonation in North Indian Music], Mark Levy - Book summarizing theories and giving measurements from recordings
* [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]
* [https://digital.library.ucla.edu/catalog/ark:/21198/zz002gcntd Bake/Jairazbhoy Digital Archive of South Asian Traditional Music and Arts]
* [http://musicresearchlibrary.net/omeka/ MusicResearchLibrary] - an Indian music research portal


{{Todo|inline=1|expand|research|cultural expertise}}
[[Category:Indian music]]
[[Category:Indian music| ]] <!-- main article -->

Revision as of 19:11, 22 June 2026

Indian music uses pitch in many distinctive ways. There are two main traditions, Hindustani (North Indian) and Carnatic (South Indian).[1][2]

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 Rāgs Around the Clock for a fuller discussion of notation in Hindustani music. There is a comparison table of Hindustani and Carnatic notation in Appreciating Carnatic Music.

Ornamentation

Ornamentation in Indian music is very striking and characteristic of the music. See Rāgs Around the Clock for a detailed discussion and audio examples.

Meend are glides between different notes.[1] You can see meend graphically in the pitch contours shown at Music in Motion.

Andolan is a gentle oscillation in pitch within a given note.[1]

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).[1]

The tanpura

The tanpura is a long necked fretless lute which provides a harmonic-rich drone.[1]

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 ragas without a fifth (Pa), the first string may be tuned to the fourth (Ma) instead.[3] In some cases the first string may be tuned to the sixth (Dha), seventh (Ni), or third (Ga).[4]

Sambamoorthy's book on drones discusses the tanpura and other instruments used to provide drones.

The 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.[5] The AIR seminar on the harmonium gives many arguments for and against the harmonium.[6] The use of equal temperament on the harmonium was one consideration; others included the inability to play meend and gamakas.

Shruti

In modern practice, shruti refer to microtonal inflections in general.[1][7]

There is a long history of specific systems of pitches called shruti, going back at least to Bharata's Natyashastra.[8] 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.[9][7][10] 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.[9][7]

References

  1. ↑ 1.0 1.1 1.2 1.3 1.4 1.5 David Clarke, Rāgs Around the Clock: A Handbook for North Indian Classical Music, with Online Recordings in the Khayāl Style. Open Book Publishers, 2024.
  2. ↑ Ravi Kiran, Appreciating Carnatic Music. Ganesh & Co, 1997.
  3. ↑ P. Sambamoorthy, Sruti Vadyas (Drones). All India Handicrafts Board, 1957.
  4. ↑ A.K. Datta, R. Sengupta, K. Banerjee, D. Ghosh, Acoustical Analysis of the Tanpura. Springer, 2019.
  5. ↑ Matt Rahaim, That Ban(e) of Indian Music: Hearing Politics in the Harmonium. The Journal of Asian Studies 70.3, 2011.
  6. ↑ AIR's seminar on the Harmonium. Sangeet Natak Akademi, 1971.
  7. ↑ 7.0 7.1 7.2 S. Rao and W. van der Meer, The Construction, Reconstruction and Deconstruction of Shruti. Hindustani music: thirteenth to twentieth centuries, 2010.
  8. ↑ Bharata-Muni, The Nāṭyaśāstra, transl. Manomohan Ghosh. The Asiatic Society, 1961.
  9. ↑ 9.0 9.1 Mark Levy, Intonation in North Indian Music. Biblia Impex, 1982.
  10. ↑ P. Sambamoorthy, South Indian Music, Book IV. The Indian Music Publishing House, 1963.

Further reading

External links

Retrieved from "https://en.xen.wiki/index.php?title=Indian_music&oldid=232597"