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    Raga Sangeet: Understanding Hindustani Classical Vocal Music
    Raga Sangeet: Understanding Hindustani Classical Vocal Music
    Raga Sangeet: Understanding Hindustani Classical Vocal Music
    Ebook74 pages58 minutes

    Raga Sangeet: Understanding Hindustani Classical Vocal Music

    By Samarth Nagarkar

    3.5/5

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    About this ebook

    This book conveys some of the most complex concepts of Indian classical music articulately and in a manner that students and connoisseurs alike comfortably relate to.
    LanguageEnglish
    PublisherBookBaby
    Release dateAug 15, 2013
    ISBN9781619274952
    Raga Sangeet: Understanding Hindustani Classical Vocal Music

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      Book preview

      Raga Sangeet - Samarth Nagarkar

      clarify.

      INTRODUCTION TO INDIAN CLASSICAL MUSIC

      In the context of Indian classical music, it is important to note that the term 'classical' merely alludes to the fact that it has its roots in an ancient tradition and conforms to structural and scriptural regulation or shaastra. The Indian name for this music is therefore Shaastriya Sangeet. It is also widely known as Raga Sangeet since raga forms the core of this art form. 'Classical' therefore does not refer to any classical era or period as in Western music or art traditions. Despite the common use of the word, one must bear the above clarification in mind.

      Roots of Indian classical musical tradition date back to over two millennia. The tradition, nevertheless, witnessed several changes and developments through time. Although it is acknowledged to have its origin in the Vedic tradition, what we hear today as classical music is far removed from the early Vedic chanting or recitation. The earliest forms of classical music were a conglomeration of the Vedic tradition along with various folk traditions across the country. Saama-gaana is known to be the first form of classical performance music. This evolved in time, into successive traditions of Jaati-gaana and Prabandha-gaana.

      Jaatis were preliminary scales which scholars today regard as a precursor to the concept of Raga. The performance of these jaatis focused on creating an intense musical atmosphere around the performance as well as on the effect of musical notes on the mind. Some scholars believe that Jaati-gaana was associated with the Sanskrit language theatre of the time and went out of vogue with the decline of the latter's popularity.

      Prabandha-gaana was the popular performing genre that existed between the 11th and 16th centuries. The word Prabandha, which connotes a well-bound composition, throws light on the nature of the music itself. It comprised clearly defined compositions that included melodic, lyrical, rhythmic as well as folk and devotional elements. Each prabandha, it is said, was exhaustive and would take several years to master.

      The Prabandha tradition was followed by the gradual emergence of two allied, but distinctive styles of classical music – one that blossomed in the South of the Indian sub-continent called Carnatic music and the other in the North, widely known as Hindustani music.

      Great musician-composers such as Purandara Dasa, Sadashiv Brahmendra and Annamacharya formulated the early compositions and teaching methodology of Carnatic music. Three prolific musician saints – Tyagaraja, Muthuswami Dikshitar and Shyama Shastry, commonly regarded as The Trinity of Carnatic music further established and enriched this tradition with their remarkable contributions. The Carnatic tradition, to this day, upholds its chasteness through purity of raga, complexity of laya/tala and prolific lyrical and poetic genius.

      Following the Prabandha era, the music of North India, the Hindustani tradition, evolved into the Dhrupad tradition. Dhrupad is said to have evolved from one of the embedded parts of the prabandha that was popular around the 11th Century. This music maintained a strictness and rigidity in all aspects of presentation, note application as well as rendition of the actual composition. The name Dhrupad itself is derived from 'dhruva-pada', where dhruva connotes constant, unchanged and inflexible and pada indicates a compositional bias towards the poetic aspect that strongly compliments the melodicrhythmic progression of the music.

      While some practitioners of this form still hold fort, dhrupad gradually receded to the periphery by the late 18th century and Hindustani classical tradition came to be identified primarily with the next successive stage in its evolution called 'Khayal'. This genre, while maintaining the purity of raga structures, reduced the extent of extreme rigidity in presentation and technique that beleaguered dhrupad and brought in a fresh approach to development and exposition of raga and composition.

      Hindustani classical music has parallel thriving traditions of both vocal as well as instrumental music. No study of music can be complete without the study of allied musical traditions. Although this book exclusively focuses on the vocal tradition, the reader is strongly encouraged to make every attempt to appreciate and understand the instrumental tradition of this music in parallel. While the instrumental tradition maintains raga as its core and employs most of the fundamental aspects discussed in this book, it has several unique features of technique and presentation that are naturally different from vocal music, so as to optimize strengths and overcome limitations of an instrument. Sitar, Sarod, Sarangi, Shehnai, Been or Veena (Rudra veena, not to be confused with the Saraswati Veena of the Carnatic tradition), Pakhawaj,

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