Review II Modified 14-Apr-2009

Background
Muslims and the Music of North India (begins 11th century)
  Amir Khusraw (late 13th-early 14th centuries)
 
  credited with the merger of Persian/Turkish musical materials with South Asian music
  Patronage reaches peak under Mughal emperors of the 16th-17th centuries
 
  Miya Tansen and Baz Bahadur (late 16th century)
Bilas Khan (early 17th century)
Lal Khan (early 17th century)
19th and 20th Centuries
  Sir William Jones (1799) and Captain Augustus Willard (1834)
 
  Orientalism vs. the gap between theory and practice
  Muhammad Reza (Naghmat-i-Asafi 1813)
 
  Bilaval identified as the "natural" scale
  V. N. Bhatkhande (1910), (1932), and (Kramik-Pustak-Malika 1937)
 
  Attempted to reconcile theory with practice, interviewed court musicians and collected musical examples from them, and analysed and catalogued contemporary ragas
Tradition
  Parampara
 
  gharana, qalifa , ustad—sagird
  guru - sisya, pandit, atai

Pitch, Scale, and Melody
 
Thāt: Kalyān, Bilāval, Khamāj, Kāfī, Asāvarī, Bhairavī, Bhairav, Purvi, Mārwā, and Todī
Svarasthana: acal svar, suddh svar, vikrit: komal & tivr
Jati: sampurn, sadav/khadav, audav
Sthan/saptak: madhy, tar [ati tar], mandr, ati mandr
Intonation: mind, andolan, and gamak
  Melody
 
melodic phrases: pakad, svar vistar
melodic movement
(varn):
stha'i varn, aroh (or arohi) varn, avroh (or avrohi) varn, sañcari varn, vakr varn (vakr svar)
melodic notes: vadi / amsa, samvadi, visranti svar / maqam sthan, vivadi / varji svar ("omitted note"), anuvadi
Instruments: sitar, sarod, rudra vina, sarangi, shahna'i
  Performance Time Theory
 
  Rags with vadi in purvang or emphasize the lower tetrachord: performed between noon and midnight
  Rags with vadi in uttrang or emphasize the upper tetrachord: performed between midnight and noon

Rhythm and Meter
Meter: matra, avarta / avard, vibhag
  lay: caturasra, tisra, misra, khanda, sankirna
  tal: sam, tali, and khali
  lay: vilambit, madhya, drut
Drums: pakhawaj, naqqara, and tabla
Compositions: theka, peskar, kayda, dohra, palta, and tiha'i

 
Genres
Alap and Gat-toda
  alap: alap, jor, jhala, mohara
  gat: stha'i, antara, mukhra
  tora: sawal-jawab, sath sangat, tar paran
Dhurpad
  alap: alap & nom tom
  bandis: stha'i, antara, sañcari, and abhog
  bolbanao: laykari, bol-bant, bol tan
Khayal
  aocar alap
  bada khayal: rupakalapti
  chota khayal
  Melody Parts: ciz, sthayi-antara, mukhra
  Improvisation: tan (akar tan, gamak tan, bol tan, sargam tan), bolbant, nom-tom
Thumri
  stha'i - antara
  laggi
Gazal
  gazal khwan, gazal sara
Dhun
  characteristics: folk tunes, simple rags and tals.
 
14 April, 2009