MUSIC
The two distinct styles, Hindustani and Carnatic came into vogue after
the advent of the Muslims, particularly during the reign of the Mughal Emperors
of Delhi. Both the systems of music received their nourishment from the same
original source. Whereas the Indian music of the Northern part of India assimilated
some features of the music of the Persian and Arabic musicians who adorned the
courts of the Mughal rulers of Delhi, the music of the South continued to
develop along its own original lines.
HINDUSTANI MUSIC
There are 10 main forms of styles of singing and compositions:
Dhrupad, Dhamar, Hori, Khayal, Tappa, Chaturang, Ragasagar, Tarana, Sargam and
Thumri. Nowadays Ghazals have become very popular as the 'light classical' form
of music.
·
DHRUPAD
Dhrupad is the oldest and perhaps the grandest form of Hindustani
vocal music. Dhrupad is essentially a
poetic form incorporated into an extended presentation style marked by precise
and orderly elaboration of a raga. The exposition preceding the composed verses
is called alap, and is
usually the longest portion of the performance. Dhrupad is in decline since the 18th
century.
·
KHAYAL
Khayal literally means
‘a stray thought’, ‘a lyric’ and 'an imagination'.
This is the most prominent genre of Hindustani
vocal music depicting a romantic style of singing. Khayal
is dependent to a large extent on the imagination of the performer and the
improvisations he is able to incorporate. A Khayal is also composed in a
particular raga and tala and
has a brief text. The Khayal texts range from praise of kings or seasons, description
of seasons to the pranks of Lord Krishna, divine love and sorrow of separation.
There
are six main gharanas in khayal: Delhi, Patiala,
Agra, Gwalior, Kirana and Atrauli-Jaipur. Gwalior Gharana is the oldest and is also
considered the mother of all other gharanas.
·
THUMRI
Thumri originated in the
Eastern part of Uttar Pradesh, mainly in Lucknow and Benares, around the 18th
century AD
It is believed to have been influenced by hori,
kajri and dadra. Thumri is supposed to be a
romantic and erotic style of singing and is also called
“the lyric of Indian classical music”. The song compositions are mostly of
love, separation and devotion. Its most distinct feature is the erotic subject
matter picturesquely portraying the various episodes from the lives of Lord
Krishna and Radha.
A Thumri is usually performed as the
last item of a Khayal concert. There are three main gharanas of thumri -- Benaras, Lucknow and
Patiala.
·
DADRA
Dadra bears a close resemblance to the Thumri. The texts are as
amorous as those of Thumris. The major difference is that dadras have
more than one antara and are in dadra tala.
Singers usually sing a dadra after a thumri.
·
DHAMAR-HORI
These compositions are
similar to Dhrupad but are chiefly associated with the festival of Holi. Here
the compositions are specifically in praise of Lord Krishna. This music, sung
in the dhamar tala, is chiefly used in festivals like
Janmashthami, Ramnavami and Holi. The compositions here describe the
spring season. These compositions are mainly based on the love pranks of
Radha-Krishna.
·
TAPPA
The tappa is said to have
developed in the late 18th Century AD from the folk songs of camel drivers.
Tappa literally means 'jump' in Persian. They are essentially folklore of
love and passion and are written in Punjabi.
·
RAGASAGAR
Ragasagar consists of different parts of musical
passages in different ragas as one song composition. These compositions have 8
to 12 different ragas and the lyrics indicate the change of the ragas. The
peculiarity of this style depends on how smoothly the musical passages change
along with the change of ragas.
·
TARANA
Tarana is a style consisting of peculiar
syllables woven into rhythmical patterns as a song. It is usually sung in
faster tempo.
·
CHATURANG
Chaturang denotes four colours or a composition
of a song in four parts: Fast Khayal, Tarana, Sargam and a "Paran" of
Tabla or Pakhwaj.
·
GHAZAL
The ghazal is mainly a poetic
form than a musical form, but it is more song-like than the thumri.
The ghazal is described as the "pride of Urdu
poetry". The ghazal originated in Iran in the 10th Century AD.
The ghazal never exceeds 12 shers (couplets) and on an
average, ghazals usually have about 7 shers. The ghazal found an opportunity to grow and
develop in India around 12th Century AD when the Mughal
influences came to India, and Persian gave way to Urdu as the language of
poetry and literature. It developed and evolved in the courts of Golconda and
Bijapur under the patronage of Muslim rulers. The 18th and 19th centuries are
regarded as the golden period of the ghazal with Delhi and Lucknow being its main
centres.
CARNATIC MUSIC
The Tamil classic of the 2nd century A.D. titled
the Silappadhikaram contains a vivid description of the music of that period.
The Tolkappiyam, Kalladam and the contributions of the Saivite and Vaishnavite
saints of the 7th and 8th centuries A.D. also serve as resource material for
studying musical history.
It is said, that South Indian Music, as known
today, flourished in Deogiri the capital city of the Yadavas in the middle
ages, and that after the invasion and plunder of the city by the Muslims, the
entire cultural life of the city took shelter in the Carnatic Empire of
Vijayanagar under the reign of Krishnadevaraya. Thereafter, the music of South
India came to be known as Carnatic Music.
In the field of practical music, South India had
a succession of brilliant and prolific composers who enriched the art with
thousands of compositions. After Purandaradasa, Tallapakam Annamacharya
Narayana Tirtha, Bhadra-chalam Ramdasa and Kshetranja made contributions to the
wealth of compositions
The birth of the Musical Trinity - Tyagaraja,
Muthuswami Dikshitar and Syama Sastri - at Tiruvarur between the years 1750 to
1850 A.D. ushered in an era of dynamic development in Carnatic music.
Outstanding feature of Carnatic music is its raga
system & highly developed and intricate tala system. Though clear cut
demarcations in the style of musical presentation, similar to the gharanas of
Hindustani music are not seen in Carnatic music, yet, we do come across
different styles in rendering compositions.
The ancient musical forms like Prabandhas, etc.
gradually gave away to the different musicals forms that are in use in present
day music, though the basic elements of the ancient Prabandhas are still
retained in the modern forms. The following musical forms offer interesting
study:
·
GITAM
Gitam is the simplest
type of composition. Taught to beginners of music, the gitam is very simple in
construction, with an easy and melodious flow of music.
·
SULADI
Very much like the gitam in musical structure and
arrangement, the Suladis are of a higher standard than the gitam.
·
VARNAM
The Varnam is a beautiful creation of musical
craftsmanship of a high order, combining in itself all the characteristic
features of the raga in which it is composed. Practice in Varnam singing helps
a musician to attain mastery in presentation and command over raga, tala and
bhava.
·
SVARAJATI
This is learnt after a
course in gitams. More complicated than the gitas, the Svarajati paves the way
for the learning of the Varnams. The theme
is either devotional, heroic or amorous.
·
JATISVARAM
Very similar to the
svarajati in musical structure, this form- Jatisvaram-has no sahitya or words.
The piece is sung with solfa syllables only.
·
KIRTANAM
The Kirtanam had its
birth about the latter half of the 14th century. It is valued for the
devotional content of the sahitya. Clothed in simple music, the kirtanam
abounds in Bhakti bhava. It is suited for congregational singing as well as
individual presentation.
·
KRITI
The Kriti is a
development from the Kirtana. It is an highly evolved musical form. The highest
limit of aesthetic excellence is reached in the Kriti composition. The raga
bhava is brought out in all the rich and varied colours in this form.
·
PADA
Padas are scholarly
compositions in Telegu and Tamil. Though they are composed mainly as dance
forms, they are also sung in concerts, on account of their musical excellence
and aesthetic appeal. The music is slow-moving and dignified.
·
JAVALI
A javali is a composition belonging to the
sphere of light classical music. Sung both in concert programmes and dance
concerts, the javalis are popular because of the attractive melodies in which
they are composed. In contrast to the padas which portray divine love, javalis
are songs which are sensuous in concept and spirit.
·
TILLANA
The Tillana,
corresponding to the Tarana of Hindustani music, is a short and crisp form. It
is mainly a dance form, but on account of its brisk and attractive music, it
sometimes finds a place in music concerts as a conclusion piece.
·
PALLAVI
This is the most
important branch of creative music. It is in this branch of manodharma sangeeta,
that the musician has ample opportunities of displaying his or her creative
talents, imaginative skill, and musical intelligence.
·
TANAM
This is a branch of raga alapana. It is raga alapana in
Madhyamakala or medium speed. There is perceptible rhythm in this. The
rhythmical flow of music, flowing in fascinating patterns, makes tanam singing
the most captivating part of raga exposition.
LANGUAGES
EIGHTH
SCHEDULE (ARTICLE 344(1) & 351)
Article
343-351
Assamese
|
Gujarati
|
Manipuri
|
Sindhi
|
Bengali
|
Hindi
|
Marathi
|
Tamil
|
Bodo(92 CA)
|
Kannada
|
Nepali
|
Telugu
|
Dogri(92 CA)
|
Kashmiri
|
Odia(113 CA)
|
Urdu
|
Maithali(92 CA)
|
Konkani
|
Punjabi
|
|
Santhali(92 CA)
|
Malayalam
|
Sanskrit
|
|
SAHITYA
AKADEMI
India's National Academy Of Letters- Recognised 24 including English Language
Assamese
|
Gujarati
|
Manipuri
|
Sindhi
|
Bengali
|
Hindi
|
Marathi
|
Tamil
|
Bodo(92)
|
Kannada
|
Nepali
|
Telugu
|
Dogri(92)
|
Kashmiri
|
Odia(113)
|
Urdu
|
Maithali(92)
|
Konkani
|
Punjabi
|
Rajasthani(extra)
|
Santhali(92)
|
Malayalam
|
Sanskrit
|
English(extra)
|
by Sandeep Yadav
howdy, your sites are decent. I value your work.
ReplyDelete320kbps songs mp3