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Alap
The Alap (; ) is the opening section of a typical North Indian classical performance. It is a form of melodic improvisation that introduces and develops a raga. In dhrupad singing the alap is unmetered, improvised (within the raga) and unaccompanied (except for the tanpura drone), and started at a slow tempo. For people unfamiliar with the raga form, it introduces the mode (the pattern of ascending and perhaps different descending scale) to the listener. It defines the raga, its mood, and the emphasized notes and notes with a secondary role. It's like an invocation. Instead of wholly free improvisation, many musicians perform alap schematically, for example by way of ''vistar'', where the notes of the raga are introduced one at a time, so that phrases never travel further than one note above or below what has been covered before. In such cases, the first reach into a new octave can be a powerful event. In instrumental music, when a steady pulse is introduced into the alap, it is c ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Jor (music)
In Hindustani classical music, the jor (Hindi: जोर, ; also spelt jod and jhor) is a formal section of composition in the long elaboration (''alap'') of a raga that forms the beginning of a performance. It comes after ''alap'' and precedes ''jhala'', the climax. Jor is the instrumental equivalent of nomtom in the dhrupad vocal style of Indian music. Both have a simple pulse but no well-defined rhythmic cycle. Origin and terminology Jor (or jod) is an instrumental interpretation of nomtom which is an introductory style that is characterised by its modest rhythm and lack of rhythmic cycle (also known as tal).Lavezzoli. The Dawn of Indian Music in the West. Bloomsbury Academic, 2007. Jor is present in most Hindustani classical music through the raga, as an articulate and rapid pulse that the alap transitions into, followed by jhala.Napier. Structure and Proportion in Hindustani Alap. University of New South Wales, 2019. pp. 56. In Hindustani music Indian classical music is ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Alapana
In Carnatic classical music, alapana is a form of manodharmam, or improvisation, that introduces and develops a raga (musical scale). It communicates the permitted notes and phrases of the raga, setting the mood for the composition that follows. As a term that is Sanskrit in language, alapana means "to speak, address, discourse, communicate". It is the first part of Ragam Tanam Pallavi (RTP), which showcases a Carnatic musician's ability to understand a raga and improvise music set to it. Overview The flavor of the raga is outlined in the alapana by rendering the raga's permitted notes in structures and phrases unique to the raga (known as "raga lakshanam"). Alapana typically precedes a song that is going to be sung in the same raga. It demonstrates proper knowledge of the raga by highlighting key phrases common to it. Alapana is rendered in different speeds, with a gradual increase in tempo. Likewise, the complexity of the patterns increases steadily as the alapana pr ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Dhrupad
Dhrupad is a genre in Hindustani classical music from the Indian subcontinent. It is the oldest known style of major vocal styles associated with Hindustani classical music, Haveli Sangeet of Pushtimarg Sampraday and also related to the South Indian Carnatic tradition. It is a term of Sanskrit origin, derived from ''dhruva'' (ध्रुव, immovable, permanent) and ''pada'' (पद, verse). The roots of Dhrupad are ancient. It is discussed in the Hindu Sanskrit text '' Natyashastra'' (~200 BCE – 200 CE), and other ancient and medieval Sanskrit texts, such as chapter 33 of Book 10 in the ''Bhagavata Purana'' (~800–1000 CE), where the theories of music and devotional songs for Krishna are summarized. The term denotes both the verse form of the poetry and the style in which it is sung. It is spiritual, heroic, thoughtful, virtuous, embedding moral wisdom or solemn form of song-music combination. Thematic matter ranges from the religious and spiritual (mostly in praise of H ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Hindustani Classical Music
Hindustani classical music is the classical music of northern regions of the Indian subcontinent. It may also be called North Indian classical music or, in Hindustani, ''shastriya sangeet'' (). It is played in instruments like the violin, sitar and sarod. Its origins from the 12th century CE, when it diverged from Carnatic music, the classical tradition in South India. Hindustani classical music arose in the Ganga-Jamuni Tehzeeb, a period of great influence of Perso-Arabic arts in the subcontinent, especially the Northern parts. This music combines the Indian classical music tradition with Perso-Arab musical knowledge, resulting in a unique tradition of gharana system of music education. History Around the 12th century, Hindustani classical music diverged from what eventually came to be identified as Carnatic classical music.The central notion in both systems is that of a melodic musical mode or ''raga'', sung to a rhythmic cycle or ''tala''. It is melodic music, wi ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Bengal
Bengal ( ; bn, বাংলা/বঙ্গ, translit=Bānglā/Bôngô, ) is a geopolitical, cultural and historical region in South Asia, specifically in the eastern part of the Indian subcontinent at the apex of the Bay of Bengal, predominantly covering present-day Bangladesh and the Indian state of West Bengal. Geographically, it consists of the Ganges-Brahmaputra delta system, the largest river delta in the world and a section of the Himalayas up to Nepal and Bhutan. Dense woodlands, including hilly rainforests, cover Bengal's northern and eastern areas, while an elevated forested plateau covers its central area; the highest point is at Sandakphu. In the littoral southwest are the Sundarbans, the world's largest mangrove forest. The region has a monsoon climate, which the Bengali calendar divides into six seasons. Bengal, then known as Gangaridai, was a leading power in ancient South Asia, with extensive trade networks forming connections to as far away as Roman Egypt ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Thok
''Thok'' ( ठोक), in Indian classical music, is a post- jhala phase of elaboration and is replete with accents. The plectrum, etc., is actually struck on adjacent wooden or metal portion of the instrument to introduce the ‘thok’ (strike) effect. After jhala alap reaches the drut+drut phase because of the ‘thok’, stresses become important. In vocal music, more stressed, meaningless syllables such as ‘dretum’, etc., actualize the phase in a raga in Hindustani classical music. See also * Khyal * Vilambit * Madhyalaya *Hindustani classical music Hindustani classical music is the classical music of northern regions of the Indian subcontinent. It may also be called North Indian classical music or, in Hindustani, ''shastriya sangeet'' (). It is played in instruments like the violin, sit ... Hindustani music terminology {{India-music-stub ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Buka (music)
{{Refimprove, date=November 2009 The buka ( ''Javanese'' for ''"opening"'') is the short introduction to pieces of gamelan. It is also called the bubuka or bubuka opaq-opaq. Buka are generally played by a single instrument in a free rhythm, until the last few notes when the kendhang comes in to set the tempo and cue the whole gamelan, which joins on the final note, with the first gong ageng. Buka are often played by the bonang barung in the so-called "loud style." In other styles, they can be played by the rebab, gendér, or kendhang alone, or may be sung, especially by the dalang in a wayang performance. Mantle Hood emphasizes the importance of the buka in the determination of the pathet of a gamelan composition, and analyzes it as an extended elaboration on the typical cadential formulas. He compares it to the alap of Hindustani classical music Hindustani classical music is the classical music of northern regions of the Indian subcontinent. It may also be called North I ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Invocation
An invocation (from the Latin verb ''invocare'' "to call on, invoke, to give") may take the form of: *Supplication, prayer or spell. *A form of possession. * Command or conjuration. * Self-identification with certain spirits. These forms are described below, but are not mutually exclusive. See also Theurgy. Supplication or prayer As a supplication or prayer, an invocation implies calling upon God, a god, goddess, or person. When a person calls upon God, a god, or goddess to ask for something (protection, a favour, or his/her spiritual presence in a ceremony) or simply for worship, this can be done in a pre-established form or with the invoker's own words or actions. An example of a pre-established text for an invocation is the Lord's Prayer. All religions in general use invoking prayers, liturgies, or hymns; see for example the mantras in Hinduism and Buddhism, the Egyptian ''Coming Out by Day'' (aka ''Book of the Dead''), the Orphic Hymns and the many texts, still ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Jhala
Jhala (Hindi: झाला, ) is a term in Hindustani classical music which denotes the fast-paced conclusions of classical compositions or raga A ''raga'' or ''raag'' (; also ''raaga'' or ''ragam''; ) is a melodic framework for improvisation in Indian classical music akin to a melodic mode. The ''rāga'' is a unique and central feature of the classical Indian music tradition, and as a .... It is often characterized by the overwhelming of the melodic component by the rhythmic component. This is sometimes effected by the rapid striking together of the ''chikari'' between notes.Kamien, Roger, and Anita Kamien. Music: an Appreciation. McGraw-Hill Education, 2018. References Hindustani music terminology Formal sections in music analysis {{India-music-stub ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Drone (music)
In music, a drone is a harmonic or monophonic effect or accompaniment where a note or chord is continuously sounded throughout most or all of a piece. A drone may also be any part of a musical instrument used to produce this effect; an archaic term for this is ''burden'' (''bourdon'' or ''burdon'') such as a "drone ipeof a bagpipe", the pedal point in an organ, or the lowest course of a lute. Α ''burden'' is also part of a song that is repeated at the end of each stanza, such as the chorus or refrain.Brabner, John H F., ed. (1884). The national encyclopædia', Vol. V, p.99. Libr. ed. William McKenzie. . Musical effect "Of all harmonic devices, it droneis not only the simplest, but probably also the most fertile." A drone effect can be achieved through a sustained sound or through repetition of a note. It most often establishes a tonality upon which the rest of the piece is built. A drone can be instrumental, vocal or both. Drone (both instrumental and vocal) can be pla ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Raga
A ''raga'' or ''raag'' (; also ''raaga'' or ''ragam''; ) is a melodic framework for improvisation in Indian classical music akin to a melodic mode. The ''rāga'' is a unique and central feature of the classical Indian music tradition, and as a result has no direct translation to concepts in classical European music. Each ''rāga'' is an array of melodic structures with musical motifs, considered in the Indian tradition to have the ability to "colour the mind" and affect the emotions of the audience. Each ''rāga'' provides the musician with a musical framework within which to improvise. Improvisation by the musician involves creating sequences of notes allowed by the ''rāga'' in keeping with rules specific to the ''rāga''. ''Rāga''s range from small ''rāga''s like Bahar and Shahana that are not much more than songs to big ''rāga''s like Malkauns, Darbari and Yaman, which have great scope for improvisation and for which performances can last over an hour. ''Rāga''s may ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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