scholarly journals Contribution of Kramik Pustak Malika of Chatur Pandit in the field of Indian Music and its Relevance

HARIDRA ◽  
2021 ◽  
Vol 2 (07) ◽  
pp. 62-70
Author(s):  
Pooja A. Jani ◽  
Shweta Jejurkar
Keyword(s):  
General Theory ◽  
Classical Music ◽  
Short Description ◽  
Large Collection ◽  
Indian Culture ◽  
Notation System ◽  
The World ◽  
Indian Classical Music ◽  
Indian Music

Indian Classical Music is the best gift of Indian culture to the world. Indian Classical Music is of two types – उत्तर हिन्दुस्तानी संगीत पद्धति एवं दक्षिण हिन्दुस्तानी संगीत पद्धति. The roots of Indian Music are found in Vedas. Sanskrit is the ancient language and we found it in the Vedas. Many treatises related to music systems are also found in Sanskrit Language. To learn music properly, every learner has to go through two paths – 1. Theoretical music (Ancient treatises) 2. Practical Music (which follows Guru Shishya tradition). Pandit Bhatkhande has given wonderful and helpful notation system to Indian Classical Music. With the help of it he has collected many Bandish from different people and made a large collection. This collection is known as Kramik Pustak Malika. (Parts 1 -6). All these six parts are having theory of 150 ragas divided Thata-wise, with introductory chapter on the general theory of music, besides a short description of every Raga, followed by Svar-vistar. They contain about 1000 traditional compositions including Pandit Bhatkhande’s own compositions which are about 300 in notation. To know the Raga deeply, one can refer the same book and can get many Bandish, Svar-vistar, information about Ragas, their descriptions given in Sanskrit treatises, Thata (थाट), Tala, etc. Therefore, Kramik Pustak Malika of Chatur Pandit is the treasure of Indian Music.

Indian Culture and Music as a Source of Inspiration for French Opera Composers

2021 ◽  
Vol 66 (2) ◽  
pp. 99-121
Author(s):  
Noémi Karácsony ◽  
Mădălina Dana Rucsanda
Keyword(s):  
Eighteenth Century ◽  
Music Composition ◽  
Classical Music ◽  
Indian Culture ◽  
Visual Elements ◽  
French Opera ◽  
Visual Dimension ◽  
Musical Discourse ◽  
Indian Classical Music ◽  
Indian Music

"The current paper strives to discover and reveal the influences of Indian culture and classical Indian music in French operas. At first, the evocation of India was obtained through the subjects of the operas and stunning scenic designs, fulfilling the requirements of exoticism. Gradually, the composers attempted to include in their musical discourses exotic rhythmic and melodic elements, in some instances inspired by Indian classical music, thus aiming to evoke a genuine image of India. At the same time, the use of elements pertaining to Indian music (rāgas, rhythmic patterns, timbres) offered the musicians the possibility to create novel sound discourses. The analysis focuses on several operas, composed between the eighteenth century and the beginning of the twentieth century, following the evolution of Indian representations in several dimensions: dramatic (libretto), visual (scenic representations, dance), and musical (melody, rhythm, timbre). The present paper investigates the way Indian themes influenced the conception of the libretto, and at the same time the visual dimension of the works (setting, costumes), observing how these visual elements were gradually absorbed into the musical discourse (analysis of the melodic structures), through the incorporation of Indian rāgas in works conceived according to the rules of Western music composition. Keywords: exoticism, orientalism, India, French opera, rāga "

scholarly journals Theology of Music and Hindu Religion: From Divine Origins to Classical Songs

Religions ◽  
2021 ◽  
Vol 12 (8) ◽  
pp. 663
Author(s):  
Guy L. Beck
Keyword(s):  
Classical Music ◽  
Ancient Greek ◽  
World Religions ◽  
Biblical Narratives ◽  
Hindu Religion ◽  
Indian Classical Music ◽  
Indian Music ◽  
The Rich

As a subfield in the study of religion and music, the theology of music is generally understood in Western terms. Yet to fully encompass the rich heritage of music in world religions, the theology of music must welcome non-Western traditions. After introducing ancient Greek and Biblical narratives regarding the origins of music, including metaphysical concepts, narratives of music as Divine Gift, musical angels, and the sacred origin of the notes and scales, this article explores music in Hindu religion through the lens of theology. We find that Indian music is also ‘given by the gods’ (i.e., Brahmā, Vishnu, and Śiva), associated with ‘musical angels,’ and originally formed from metaphysical principles (i.e., OM and the concept of Nāda-Brahman). What is demonstrated here, representing a long continuity, is how these same ideas are viable in the performance of Indian classical music today. Citing examples of compositions of Dhrupad and Khayal from the standard repertoire, this article reveals how modern-day classical songs contain references to sacred sound principles and the divine origins of music, both in their lyrics and in the unfoldment of musical notes (Svaras) and melodic patterns (Rāgas).

scholarly journals A Reflection on the Aesthetics of Indian Music, With Special Reference to Hindustani Raga-Sangita

SAGE Open ◽  
2016 ◽  
Vol 6 (4) ◽  
pp. 215824401667451 ◽  
Author(s):  
Santosh Kumar Pudaruth
Keyword(s):  
Special Reference ◽  
Aesthetic Experience ◽  
Classical Music ◽  
Ultimate Reality ◽  
Spiritual Exercise ◽  
Art Forms ◽  
Indian Aesthetics ◽  
Indian Classical Music ◽  
Indian Music ◽  
The Aesthetic

Like in any other heteronomous art-forms, the practitioners of Indian music and dance ( Bharatiya Sangita) aim at expressing emotions and creating the aesthetic or the “beautiful.” Indian thinkers and musicologists have gone a step further in declaring that Indian classical music ( Raga-Sangita) is the most appropriate means for attaining aesthetic experience and delight, and the most suitable pathway, if not, downright, short-cut, toward self-realization or realization of the Ultimate Reality or Truth. Thus, aesthetics and spirituality make up the very woof and warp of the Indian arts, in general, and Raga-Sangita, in particular. Raga-Sangita is, thus, considered a spiritual exercise ( nada sadhana) to attain salvation ( moksha) through sound. This conceptual article reflects upon and sheds light on the Theory of Rasa, as propounded in Indian Aesthetics, and attempts to make an assessment of it in relation to Hindustani Raga-Sangita. Through this theory, the author examines and explains the different causes leading to an aesthetic experience, referred to as “out-of-this-world” ( alaukika). In doing so, he also brings to light the possible pitfalls which both the performer and the listener should avoid.

Teaching Indian Music in the West: Problems, Approaches and Possibilities

1986 ◽  
Vol 3 (3) ◽  
pp. 267-278 ◽  
Author(s):  
Gerry Farrell
Keyword(s):  
Music Education ◽  
Classical Music ◽  
Western Music ◽  
The West ◽  
Traditional Methods ◽  
Wide Range ◽  
Indian Classical Music ◽  
Indian Music

This article explores ways in which the elements of north Indian classical music may be taught in a western context. It examines traditional methods of teaching in India and points out the difficulties of transferring such methods into Western music education. The basic materials of Indian music are examined, with a view to using them to heighten awareness of music in general, but not necessarily to produce solo performers. The article suggests ways in which Indian music can be explored without compromising its inherent complexity, sense of form and aesthetic beauty; while, at the same time, making it more accessible to a wide range of people.

scholarly journals A STUDY OF MUTHUSWAMI DIKSHITAR’S EXPERTISE ON VARIOUS ELEMENTS OF MUSICOLOGY REFLECTED THROUGH HIS COMPOSITIONS

2021 ◽  
Vol 2 (2) ◽  
pp. 83-92
Author(s):  
Utpala Karanth ◽  
Dr. R Rangan
Keyword(s):  
Music Theory ◽  
Classical Music ◽  
The South ◽  
Sufficient Knowledge ◽  
South Indian ◽  
Indian Classical Music ◽  
Indian Music ◽  
Ancient Texts

Musicology is the study of scientific and intellectually handling of music. This is a colossal subject of music and inquest into the History and phenomenon of music including; life and works of Composers and performers, music theory like melody, rhythm, harmony, modes, aesthetics, form etc. The Historical evidences of Indian Classical music have been discussed in several ancient texts like Veda’s, Upanishads, epics way back 2000 years ago. The Rigveda, Yajurveda, Samaveda and Atharvaveda contains ritual hymns and incantations (vedic chants) , praising the specific dieties during the Sacrificial rituals. The South Indian music has a phlegmatic and pedagogic nature when compared with the music of other unconsecrated Hindustani traditions. This paper highlights the proficiency of Dikshitar’s knowledge of Musicology bequeathed from his father Ramaswami Dikshitar, a scholar, musician, learned musicologist, and recipient of many honours and emoluments in the knowledge of music gained sufficient knowledge in musicology who had settled down at Tiruvarur where Dikshitar was born. Tiruvarur then was a seat of learning of Sanskrit and Vedanta. Dikshitar’s compositions reflect his deep and thorough knowledge widely through the interpretation of their literature as seen in famous compositions like ‘Vatapi Ganapatim Bhaje’, ‘Amrutavarshini’ and others will be discussed with the various rasas created through the ragas as enunciated in the Natyashastra of Bharat Muni.

scholarly journals IMPACT OF VARIOUS SCIENTIFIC DIMENSIONS IN INDIAN CLASSICAL MUSIC

2015 ◽  
Vol 3 (1SE) ◽  
pp. 1-1
Author(s):  
Chetna Banawat ◽  
Anjali Gilotra
Keyword(s):  
Information Technology ◽  
Classical Music ◽  
Musical Instruments ◽  
Seasonal Effect ◽  
Scientific Instruments ◽  
Special Contribution ◽  
The World ◽  
The Gift ◽  
Indian Classical Music ◽  
Vedic Period

The tradition of Indian classical music has been ancient and continuous developing in the world. It is like a tree in which, as a result of the seasonal effect, sometimes the autumn and sometimes the Navakopal kept coming, but the root has remained the same. This long-standing tradition of classical music takes place in the Vedic period itself, but various contemporary changes have changed its condition and direction, resulting in considerable qualitative progress in the field of music. Today's era is receiving the gift of new innovators of science, with which we are all practically familiar. Our musical arts side could not remain untouched by these new scientific designs. Today, with the development of technology and technology, the music world has got a strong foundation. This technology has proved to be helpful in the preservation, promotion and continuous propagation of classical music etc. Various electronic musical instruments, scientific instruments and information technology have also influenced classical music by providing new possibilities like teaching, listening and collecting of classical music, and playing an important role in promoting its conservation and making special contribution in making it sustainable. Huh. भारतीय शास्त्रीय संगीत की परम्परा विष्व में प्राचीनतम् तथा अनवरत् विकासशील रही है। यह उस वृक्ष की भांति है, जिसमें ऋतुकालीन प्रभाव के फलस्वरूप कभी पतझड़ तो कभी नवकोपल आते रहे, किन्तु मूल यथावत् ही रहा है। शास्त्रीय संगीत की इस सुदीर्घ परम्परा के दर्शन वैदिक काल में ही हो जाते हैं, किन्तु विभिन्न समकालीन परिवर्तनों ने इसकी दशा व दिशा में परिवर्तन ला दिया है, फलतः संगीत के क्षेत्र में काफी गुणात्मक प्रगति हुई है। आज के युग को विज्ञान के नित नवीन आविष्कारों की देन प्राप्त हो रही है, जिससे हम सभी व्यवहारिक रूप से परिचित ही हैं। इन नवीन वैज्ञानिक सर्जनाओं से हमारा सांगीतिक कला पक्ष भी अछूता नहीं रह सका। आज तकनीकी व प्रौद्योगिकी के विकास से संगीत जगत् को सुदृढ़ आधार मिला है। संगीत की आदि शाखा शास्त्रीय संगीत के संरक्षण, संवर्धन एवं निरन्तर प्रचार-प्रसार में यह तकनीकी जगत् सहायक सिद्ध हुआ है। विभिन्न इलेक्ट्राॅनिक सांगीतिक वाद्यों, वैज्ञानिक उपकरणों एवं सूचना प्रौद्योगिकी ने शास्त्रीय संगीत के शिक्षण, श्रवण एवं संग्रहण जैसी नवीन सम्भावनाएं भी प्रदान कर शास्त्रीय संगीत को प्रभावित किया एवं इसके संरक्षण-संवर्धन में अहम् भूमिका निभाते हुए इसे चिरस्थायी बनाने में अपना विशेष योगदान भी दे रहे हैं।

A Subtle Novelty: Repetition, transmission and the valorisation of innovation within North Indian Classical Music

2006 ◽  
Vol 1 (3) ◽  
Author(s):  
John James Napier
Keyword(s):  
Classical Music ◽  
Indian Classical Music ◽  
Indian Music ◽  
Instrumental Accompaniment ◽  
The Individual

This paper investigates the interrelation between two aspects of North Indian classical music that at first might appear to occupy opposite poles of creativity and constraint. The first is the soloist’s actual construction of melody itself, and the interpretation of this as improvised. The second is sangat, the imitative instrumental accompaniment afforded such melodies when performed by vocalists. I argue that the conventional description of North Indian music as ‘improvised’ downplays the importance of the re-presentation of fixed materials, thus underemphasising the projection of tradition and transmission. In turn, I suggest that sangat has a homologous relationship to pedagogy, the process of transmitting traditional materials. Both melodic construction and imitative accompaniment derive aspects of their overall form and quality from, and may be understood in reference to, an ideational cluster that attempts to reconcile a socially validated and hierarchically underscored conservatism with an acceptance of individual innovation. Both practices may be seen as performed subjectivities standing at temporal interstices between tradition and contemporaneity, the broadly cultural and the individual.

Intonation in present-day North Indian classical music

1963 ◽  
Vol 26 (1) ◽  
pp. 119-132 ◽  
Author(s):  
N. A. Jairazbhoy ◽  
A. W. Stone
Keyword(s):  
Classical Music ◽  
Indian Classical Music ◽  
The Subject ◽  
Indian Music ◽  
General Opinion

Most Sanskrit texts dealing with Indian music refer to 7 svaras (notes) and 22 śrutis (intervals ? microtones ?) which are said to be the basis of Indian music. Many modern writers in Western as well as the vernacular languages consider that śrutis refer to the microtonal variations in particular notes from one rāga to another. In order to convey the general opinion on the subject of intonation, we quote from Alain Daniélou, a prominent writer on North Indian music:‘It is impossible to sing the complete scale of the shrutis accurately in succession (as some singers pretend to do), but they can all be sung with perfect accuracy when they are embodied in expressive scales’.

scholarly journals Relevance of Music in Vedic Traditions and Contemporary Context

2021 ◽  
Vol 9 (VI) ◽  
pp. 4954-4958
Author(s):  
Dr. Mrs. Tanuja Nafde
Keyword(s):  
Classical Music ◽  
Research Topic ◽  
The Core ◽  
The Earth ◽  
History Of ◽  
Indian Classical Music ◽  
Indian Music ◽  
Topic Theory ◽  
Contemporary Context

Indian classical music has a very long-accumulated heritage of centuries. The origin of Indian music can be traced back to nearly two thousand years ago. It is undisputedly believed that the sage Narada introduced the art of music to the Earth, also it is said that the sound that pervades the whole universe, i.e. Nadabrahma, itself represents divinity. Scientifically structured Indian music owes its origin to the Samaveda. The Veda scriptures describe all the seven notes of the raga karaharpriya in descending order, which is a favorite research topic theory and treatise writers to explore, how the core sound ‘Om’ gave rise to the various notes. The first evidential reference to music dates back to 500 BC by Panini and the first reference to musical theory dates back to 400 BC found in Rikpratisakhya. Bharata’s Natya Shastra dating 4th Century AD contains several chapters on music. This is the first known work that clearly elaborated the octave of its structured characteristics for various applications. There is an eternal statement about the history of Indian Music, that "classical Indian music is derived from the Vedas". Although no one can say that this statement is false, it is deceptively simplistic, when discussing the Relevance of Music in Vedic Traditions and contemporary context.

Reflecting surfaces: the use of elements from Indian music in popular music and jazz

Popular Music ◽  
1988 ◽  
Vol 7 (2) ◽  
pp. 189-205 ◽  
Author(s):  
Gerry Farrell
Keyword(s):  
Popular Music ◽  
Classical Music ◽  
Indian Subcontinent ◽  
North India ◽  
Western Music ◽  
Pop Music ◽  
The World ◽  
The Sixties ◽  
Indian Music ◽  
Reflecting Surfaces

In this article I explore the manner in which elements from a non-Western music appear in pop music and jazz. The music under discussion is that of the Indian subcontinent and the classical music of North India in particular. The essay covers references to Indian music in pop, rock and jazz from the sixties to the present day but concentrates mainly on the sixties and seventies, and, in the world of pop, on the music of the Beatles. The influence of orientalism on Western music is not a recent phenomena, as Reck (1985) notes, but its appearance in pop during the sixties meant that it reached a larger audience than ever before.

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