Antara (music)

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Antarā is the equivalent of a verse in Hindustani classical music.

Verse (poetry) single metrical line in a poetic composition

In the countable sense, a verse is formally a single metrical line in a poetic composition. However, verse has come to represent any division or grouping of words in a poetic composition, with groupings traditionally having been referred to as stanzas.

Hindustani classical music form of Indian classical music originating in modern-day northern India and Pakistan

Hindustani classical music is the traditional music of northern regions of the Indian subcontinent. It may also be called North Indian classical music or Śāstriya Saṅgīt. Its origins date from the 12th century CE, when it diverged from Carnatic music, the classical tradition of southern regions of the Indian subcontinent.

In Hindustani classical music, the fixed (dhrupad/bandish) section is in four parts of which only the first two are performed regularly: Sthāyī (pallavi in Carnatic music) - the first line of the Sthāyī serves as a cadence (music), while the section itself serves as a base for the singer returns to the Sthāyī time and again after each part; Antarā (Anupallavi in Carnatic music) - the intermediate part sung in a high register focusing on the tar shadja, with a good deal of text manipulation and repeated forays into sthāyī; the third section Sanchari (charanam in Carnatic music) - created by the division of the Abhoga and it remains a free-moving section; the fourth and concluding section Abhoga (Pallavi in Carnatic music because this section is often replaced by the Sthāyī) includes notes from all three registers, and in present-day performances, may well be sung with the Sanchari, if these two sections are included.

Dhrupad is a genre in Hindustani classical music from the Indian subcontinent. It is the oldest style of music major vocal styles associated with Hindustani classical music, Haveli Sangeet and also related to the South Indian Carnatic tradition. It is a Sanskrit name, derived from the words dhruva and pad (verse), a combination that means "pillar". The roots of Dhrupad are ancient, and it is discussed in the Hindu Sanskrit text Natyashastra. It is also described in other ancient and medieval Sanskrit texts, such as chapter 33 of Book 10 in the Bhagavata Purana, where the theories of music and devotional songs for Krishna are summarized.

Carnatic music music genre originating in southern India

Carnatic music, Karnāṭaka saṃgīta, or Karnāṭaka saṅgītam, is a system of music commonly associated with southern India, including the modern Indian states of Andhra Pradesh, Telangana, Karnataka, Kerala, and Tamil Nadu, as well as Sri Lanka. It is one of two main subgenres of Indian classical music that evolved from ancient Hindu traditions, the other subgenre being Hindustani music, which emerged as a distinct form because of Persian or Islamic influences from Northern India. The main emphasis in Carnatic music is on vocal music; most compositions are written to be sung, and even when played on instruments, they are meant to be performed in gāyaki (singing) style.

See also

Sthayi

Related Research Articles

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Dadra is associated with the Hindustani classical music of the Indian subcontinent.

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Bhimpalasi is a Hindustani classical raga.

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Bhairavi (Carnatic) A Janya raga of Carnatic music

Bhairavi is a janya rāgam in Carnatic music. Though it is a sampoorna rāgam, it has two different dhaivathams in its scale making it a Bhashanga Ragam, and hence is not classified as a melakarta rāgam.

Harikambhoji 28th raga in the Melakarta

Harikambhoji is a rāgam in Carnatic music. It is the 28th Melakarta rāgam in the 72 melakarta rāgam system.

Glossary of Carnatic music

Carnatic music terms are briefly described in this page. Major terms have their own separate article pages, while minor terms are defined / described here. Most of the keerthanas/kritis used in Carnatic music is based on Telugu language.

Latangi 63rd raga in the Melakarta

Latangi is a rāgam in Carnatic music. It is the 63rd Melakarta rāgam in the 72 melakarta rāgam system of Carnatic music. It is called Geetapriya or Gitapriya in Muthuswami Dikshitar school of Carnatic music.

Suryakantam seventeenth raga in the Melakarta

Suryakantam or Sooryakantam is a rāgam in Carnatic music. It is the 17th melakarta rāgam in the 72 melakarta rāgam system of Carnatic music. It is called Chāyāvati in Muthuswami Dikshitar school of Carnatic music.

Chalanata 36th raga in the Melakarta

Chalanata is a rāgam in Carnatic music. It is the 36th Melakarta rāgam in the 72 melakarta rāgam system of Carnatic music. It is one of the few rāgams referred by the same name in Muthuswami Dikshitar school of Carnatic music.

Gamanashrama 53rd raga in the Melakarta

Gamanashrama is a rāgam in Carnatic music. It is the 53rd Melakarta rāgam in the 72 melakarta rāgam system of Carnatic music. This is the Carnatic equivalent of Marva in Hindustani Classical Music.

Carnatic raga

Carnatic raga refers to ragas used in Carnatic music. A Carnatic raga has several components - primordial sound (nāda), tonal system (swara), pitch (śruti), scale, ornaments (gamaka) and important tones.

Bandish, cheez or gat is a fixed, melodic composition in Hindustani vocal or instrumental music. It is set in a specific raga, performed with rhythmic accompaniment by a tabla or pakhawaj, a steady drone, and melodic accompaniment by a sarangi, violin or harmonium. There are different ways of systematizing the parts of a composition. A bandish provides the literature element in the music, for standard structured singing. In the past many gharanas protected their bandishes from moving out of the family with gross incoherent vocal renditions. In the realm of vocal music, it is often known as cheez.

Sthayi or Asthaayi is an initial phrase or line of a fixed, melodic composition in Hindustani music. It's a way of systematizing the parts of a composition.

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Nata (raga) A Janya raga of Carnatic music

Nata (nāṭa) is a rāgam in Carnatic music. It is a janya rāgam from the 36th melakarta scale Chalanata. It is a janya scale, as it does not have all the seven swaras in the descending scale. It is a combination of the sampurna raga scale Chalanata and the pentatonic scale Gambhiranata. It is an auspicious raga, which is mostly sung in the early part of the concert.