| Review II |
Modified
14-Apr-2009
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| Background |
| Muslims and the Music of North India (begins 11th century) |
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Amir Khusraw (late 13th-early 14th centuries) |
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credited with the merger of Persian/Turkish musical materials with South Asian music |
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Patronage reaches peak under Mughal emperors of the 16th-17th centuries |
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Miya Tansen and Baz Bahadur (late 16th century)
Bilas Khan (early 17th century)
Lal Khan (early 17th century) |
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| 19th and 20th Centuries |
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Sir William Jones (1799) and Captain Augustus Willard (1834) |
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Orientalism vs. the gap between theory and practice |
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Muhammad Reza (Naghmat-i-Asafi 1813) |
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Bilaval identified as the "natural" scale |
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V. N. Bhatkhande (1910), (1932), and (Kramik-Pustak-Malika 1937) |
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Attempted to reconcile theory with practice, interviewed court musicians and collected musical examples from them, and analysed and catalogued contemporary ragas |
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| Tradition |
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Parampara |
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gharana, qalifa , ustad—sagird |
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guru - sisya, pandit, atai |
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| Pitch, Scale, and Melody |
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| 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 |
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Melody |
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| 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 |
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Performance Time Theory |
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Rags with vadi in purvang or emphasize
the lower tetrachord: performed between noon and midnight |
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Rags with vadi in uttrang or emphasize
the upper tetrachord: performed between midnight and noon |
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| Rhythm and Meter |
| Meter: |
matra, avarta / avard, vibhag |
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lay: caturasra, tisra, misra, khanda, sankirna |
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tal: sam, tali, and khali |
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lay: vilambit, madhya, drut |
| Drums: |
pakhawaj, naqqara, and tabla |
| Compositions: |
theka, peskar, kayda, dohra, palta,
and tiha'i |
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| Genres |
| Alap and Gat-toda |
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alap: alap, jor, jhala, mohara |
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gat: stha'i, antara, mukhra |
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tora: sawal-jawab, sath sangat, tar paran |
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| Dhurpad |
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alap: alap & nom tom |
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bandis: stha'i, antara, sañcari,
and abhog |
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bolbanao: laykari, bol-bant, bol tan |
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| Khayal |
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aocar alap |
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bada khayal: rupakalapti |
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chota khayal |
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Melody Parts: ciz, sthayi-antara, mukhra |
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Improvisation: tan (akar tan, gamak tan, bol tan, sargam tan), bolbant, nom-tom |
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| Thumri |
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| Gazal |
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| Dhun |
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characteristics: folk tunes, simple rags and tals. |
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14 April, 2009
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