Melharmony

Last updated

Melharmony is an avant-garde form of musical composition that explores new harmonies and voice leading anchored on melodic progression. In other words, melharmony aims to create chords and counterpoints based on the melodic rules of evolved systems across the world. Melharmony thus blends the two primary, yet diverse concepts in world music - melody and harmony. It was originally proposed and developed by musician-composer N. Ravikiran. [1] British-American composer Robert Morris [2] further developed it from the standpoint of Western theory. Melharmony is a style of music that takes into consideration the rules and aesthetics of melody-centric systems like Indian classical as well as harmony-anchored systems like Western classical and jazz but is not limited to only those.

Contents

Definition and approach

Melharmony has been defined as "harmony and vertical layers of music with an emphasis on the rules and principles of highly evolved melodic systems". [3] It was initially seen as a unique classical fusion engaging Western and Indian classical systems, [4] though it has subsequently also been a synthesis of melodic rules of India's classical music with jazz, Brazilian and other world cultures. [5]

American composer and music theorist Robert Morris notes, "Melharmony therefore suggests that voice leading should be derived from the melodic and combinational structure of a mode (raga). Further, while almost any note combination could be workable when rendered successively, only certain combinations will be palatable when rendered simultaneously, which makes melharmony all the more intricate." [6]

While a number of systems like the Raga system of Indian Carnatic Music/Hindustani classical music, Chinese Music and Makam system of Persia or have been built upon solid melodic principles dating back to thousands of years, Indian and Chinese systems, which use a twelve-tone musical system like Western classical music would be easier to "melharmonize" as opposed to Persian/Arabic systems, some of which could have as many as nine micro-tonal intervals or comma within every whole tone [7]

Morris further notes that melharmony could apply to African combinations as well and it also fits older forms of western music that evolved out the monophonic plainchant of the 10th century, CE. Until about 1550, western melodies were based on modes. [8]

Classical Western harmony and melharmony

Classical Western approach to harmony has been Triad-centric for centuries though other important tools include ostinato, contrary movements, rhythmic augmentation or diminution, imitation etc. are also vital techniques. However, extrapolating a triad-centric approach to melodic systems like Indian Carnatic classical which have intricate rules for hundreds of modes (ragas) often creates conflicting results. [9]

Melharmony shifts the focus from triad-centric harmony to fragmentation for creating multiple parts. [10] If fragmentation were to anchor harmony in close alliance with melodic rules of diverse systems, one will be able to employ triadic harmony, ostinato and other tools around it, which will result in reconciling both melodic and harmonic approaches.

Melodic principles in melharmony

Melharmony functions on a sophisticated set of principles that also take into consideration melodic rules and structure. Melodic systems in many parts of the world have tended to expand horizontally, exploring more scales and modes with specific ascending and descending sequences as opposed to the primary Major or Minor scales which form the core of harmonic systems. An instance of this would be the Carnatic music of India where each raga (mode) demands integrity to scale, sequence, key phrases (fragmentation), hierarchy of notes within its structure and so forth. [11] In other words, each raga is not merely a melodic mode or scale but a unique melodic scheme. Melharmony pays attention to these rules while creating multiple parts.

Illustration

Illustration 1 - Sequence of notes: The sequence of a raga Kadanakutoohalam is C D F A B E G C - C B A G F E D C. Even though it is using the same notes as C major, a major chord like C-E-G will not sound as appropriate in a melharmonic context as E-G-C. D-F-A would work very well but in the case of E-G-B, an inversion (B-E-G) could be a good option. F-A-C, G-B-D and A-C-E would also be non-appropriate.

Illustration 2 - Hierarchy of notes: Arabhi uses a simple sequence: C D F G A C - C B A G F E D C. But B and E are employed only fleetingly in this raga, which eliminates several chord options including C-E-G (in any permutation). However, careful choices such as F-A-D (rather than D-F-A) can make the melody come alive since all three notes are dominant in this raga.

Illustration 3 - Ornamentation of notes: Raga Shankarabharanam, (one of the "Big-6" modes in Carnatic) is the equivalent of the major scale: C D E F G A B C - C B A G F E D C. But several chords that are routinely employed in Western compositions may not sound appropriate to the raga's character, because of certain ornamentation which include oscillation of notes like D, F and A, a force imparted to B which almost pushes it to the high C and so forth. Chord triads which sound appropriate in a melharmonic context (such as diminished B-D-F ) are more exceptions to the rule.

The above illustrations do not imply that melharmony is limited in scope. Quite the converse since there are diverse harmonic options in many ragas which can be explored and employed appropriately. Similar melharmonic options can be created for any highly evolved melodic system.

Performance repertoire

Melharmonic compositions employ a diverse forms, some of which are original. They also employ musical forms of Western classical such as daprice, [12] étude and concerto for various instruments and also forms like geetam and krti (also spelt as kriti), which are used in Indian Carnatic music. They often showcase ragas [13] novel to Western audiences and often feature inventive rhythmic cadences, [14] mathematical codas and embedded sequences suggestive of melodic improvisation.

Melharmonic arrangements of traditional Indian composers including Tyagaraja, [15] Oottukkadu Venkata Kavi and Muthuswami Dikshitar [16] have been performed by various professional symphonies & chamber orchestras, [17] string orchestras, quartets and quintets [18] [19] ensembles as well as Jazz, Rock & world music groups. Melharmony plays a dynamic role in Jazz and world music concerts, when coupled with interesting rhythms. [20] [21] It has been acknowledged to have had a “profound influence on many musicians' notions of improvisation”. [22]

Melharmony festivals

Melharmony festivals featuring two master composers who were contemporaries from the diverse worlds of melody and harmony such as OVK-Bach Festival centered on the creations and contributions of Oottukkadu Venkata Kavi (1700 - 1765) from the East and Johann Sebastian Bach (1685 - 1750) from the West or Tyagaraja (1767-1847)—Mozart (1756–91) Festival [21] and Dikshitar (1775-1835)—Beethoven (1770-1827) Festival [23] [24] have pioneered a new era in world music attracting musicians, composers, orchestras, conductors, scholars, students and listeners of both cultures alike. The highlight of such festivals are performances of traditional Eastern melodic and Western harmony-centric repertoire and a climactic section of Melharmonic arrangements of pure melodic works performed by Western orchestras and ensembles. Scholarly sessions, contests, student and community music and dance events as well as skits/plays centered on the master composers also enhance the artistic and academic experience.

General Melharmony Festivals and events have been held in Göttingen, Germany, [25] the Goetheanum in Switzerland, London, Bradford, Manchester and other cities in UK and in various cities in USA including Houston and Minneapolis.

Melharmony in schools and colleges

Since melharmony gives practical perspectives in different world music systems effortlessly, it has been increasingly used to provide educative and exciting performing experience for orchestra students in schools [26] in cities such as Madison, Houston, Middleton, Round Rock, Oregon, Sun Prairie, Sacramento, Minneapolis [27] etc. in United States, from Middle School to Youth Symphony Levels. Orchestras have been part of melharmony residencies and camps and performed pieces [28] in their concerts.

Academic papers and college courses

Prof. Robert Morris' (Chair of composing, Eastman School of Music, NY) paper - 'Ravikiran's Concept of Melharmony: An Inquiry into Harmony in South Indian Ragas" [29] in the Society for Music Theory Conference in Nov 2005, Boston, USA, brought out several theoretical aspects of Melharmony that could be applied by both composers and students of Western systems. In the New York AAWM Conference (June 2016), Morris shared recent developments on two-voice frameworks and the harmonization of Indian ragas, citing melharmony. Papers, panel discussions and lectures presented in various conferences in Amsterdam, Houston, Orlando and other cities have highlighted diverse aspects of the concept. [30]

Eastman School of Music, Rochester, NY presented a college credit course on the subject in August 2015. [31] Other institutions such as the Massachusetts Institute of Technology in Boston, the University of Georgia in Columbus, the University of Colorado in Boulder, and Leeds College of Music in the UK, have presented workshops or classroom lectures on melharmony.

Related Research Articles

In music theory, the minor scale has three scale patterns – the natural minor scale, the harmonic minor scale, and the melodic minor scale – mirroring the major scale, with its harmonic and melodic forms.

<span class="mw-page-title-main">Harmony</span> Aspect of music

In music, harmony is the concept of combining different sounds together in order to create new, distinct musical ideas. Theories of harmony seek to describe or explain the effects created by distinct pitches or tones coinciding with one another; harmonic objects such as chords, textures and tonalities are identified, defined, and categorized in the development of these theories. Harmony is broadly understood to involve both a "vertical" dimension (frequency-space) and a "horizontal" dimension (time-space), and often overlaps with related musical concepts such as melody, timbre, and form.

A pentatonic scale is a musical scale with five notes per octave, in contrast to heptatonic scales, which have seven notes per octave.

Articles related to music include:

<span class="mw-page-title-main">Carnatic music</span> Music genre originating in southern India

Carnatic music, known as Karnāṭaka saṃgīta or Karnāṭaka saṅgītam in the South Indian languages, is a system of music commonly associated with South India, including the modern Indian states of Andhra Pradesh, Karnataka, Kerala, Tamil Nadu and Telangana. It is one of two main subgenres of Indian classical music that evolved from ancient Hindu texts and traditions, particularly the Samaveda. The other subgenre is 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.

<i>Raga</i> Melodic mode of improvisation in Indian music

A raga is a melodic framework for improvisation in Indian classical music akin to a melodic mode. Rāga is central to classical Indian music and a unique feature of the tradition: no equivalent concept exists in Western classical music. Each rāga consists of an array of melodic structures with musical motifs; and, from the perspective of the Indian tradition, the resulting music has the ability to "colour the mind" as it engages the emotions of the audience.

<span class="mw-page-title-main">Hanumatodi</span>

Hanumatodi, more popularly known as Todi, is a rāgam in Carnatic music. It is the 8th melakarta rāgam in the 72 melakarta rāgam system. This is sung very often in concerts. It is a difficult rāgam to perform in owing to its complexity in prayoga. It is called Janatodi in Muthuswami Dikshitar school of Carnatic music. Its Western equivalent is the Phrygian mode. Todi in Carnatic music is different from Todi (thaat) of Hindustani music. The equivalent of the Hindustani raga Todi in Carnatic music is Shubhapantuvarali. The equivalent of Carnatic Todi in Hindustani is Bhairavi thaat in terms of notes, but the two sound very different due to differing uses of gamakas.

<span class="mw-page-title-main">Heptatonic scale</span> Musical scale with seven pitches

A heptatonic scale is a musical scale that has seven pitches, or tones, per octave. Examples include:

<span class="mw-page-title-main">Harmonic major scale</span> Musical scale

In music theory, the harmonic major scale is a musical scale found in some music from the common practice era and now used occasionally, most often in jazz. In George Russell's Lydian Chromatic Concept it is the fifth mode (V) of the Lydian Diminished scale. It corresponds to the Raga Sarasangi in Indian Carnatic music, or Raag Nat Bhairav in Hindustani music.

<span class="mw-page-title-main">Madhuvanti</span> A Janya raga of Carnatic music, also used in Hindustani classical music

Madhuvanti is a raga used in Indian classical music. It is a Hindustani music raga, which is reported to have been borrowed into Carnatic music, and is structurally similar to Multani.

In music, the acoustic scale, overtone scale, Lydian dominant scale, or the Mixolydian 4 scale is a seven-note synthetic scale. It is the fourth mode of the ascending melodic minor scale.

<span class="mw-page-title-main">N. Ravikiran</span> Musical artist

Narasimhan Ravikiran is an Indian slide instrumentalist, vocalist, composer, and orator, who created the concept of melharmony. He is the son of gottuvadhyam player Chitravina Narasimhan and the grandson of Narayan Iyengar, who was also a Carnatic musician.

Gamaka refer to ornamentation that is used in the performance of North and South Indian classical music. Gamaka can be understood as embellishment done on a note or between two notes. Present-day Carnatic music uses at least fifteen different kinds of ornamentation. Gamaka is any graceful turn, curve or cornering touch given to a single note or a group of notes, which adds emphasis to each raga's individuality. Gamaka can be understood as any movement done on a note or in between two notes. The unique character of each raga is given by its gamakas, making their role essential rather than decorative in Indian music. Nearly all Indian musical treatises have a section dedicated to describing, listing and characterising gamakas.

<span class="mw-page-title-main">Natabhairavi</span>

Naṭabhairavi is a rāgam in Carnatic music. It is the 20th melakarta rāgam in the 72 melakarta rāgam system. It corresponds to the Natural minor scale of western music system.

<span class="mw-page-title-main">Vachaspati (raga)</span> Rāgam in Carnatic music

Vachaspati is a rāgam in Carnatic music. It is the 64th melakarta rāgam in the 72 melakarta rāgam system. It is known as Bhushāvati according to the Muthuswami Dikshitar school. It was borrowed into Hindustani music, like many other ragas from Carnatic rāgams.

<span class="mw-page-title-main">Kharaharapriya</span> 22nd Melakartha

Kharaharapriya is a rāga in Carnatic music. It is the 22nd melakarta rāga in the 72 melakarta rāga system. It is possible that the name of the ragam was originally Harapriya but it was changed to conform to the Katapayadi formula. Kharaharapriya has a distinct melody and brings out the Karuna rasam, invoking pathos in the listeners. The Kafi thaat of Hindustani music is the equivalent of Kharaharapriya. Its Western equivalent is the Dorian mode.

<span class="mw-page-title-main">Namanarayani</span>

Namanarayani is a rāgam in Carnatic music. It is the 50th Melakarta rāgam in the 72 melakarta rāgam system of Carnatic music. It is called Nāmadēshi in Muthuswami Dikshitar school of Carnatic music.

<span class="mw-page-title-main">Jyotsna Srikanth</span> Indian violinist

Jyotsna Srikanth is an Indian-British violinist and composer, performing Carnatic music and Western classical music.

The Hungarian major scale is a heptatonic scale subset of the octatonic scale with an omitted 2 degree. It has the following interval structure in semitones: 3, 1, 2, 1, 2, 1, 2, giving it the notes C D E F G A B in the key of C. It is, "used extensively in Hungarian gypsy music [sic]", as well as in classical music by composers including Franz Liszt and Zoltán Kodály ," as well as in Thea Musgrave's Horn Concerto (1971). As a chord scale, Hungarian Major is both a dominant and a diminished scale, with a fully diminished seventh chord composed of C, D#, F#, and A, and a dominant seventh chord composed of C, E, G, and Bb. This is an enharmonic mode of Bb Harmonic Major, along with G Harmonic Minor and E Hungarian Minor. The root note of D Aeolian Dominant is raised a semitone to D#, and the root note of B Phrygian Dominant lowered a semitone to Bb. There is also a ♮6 & ♮2 with the Bb Super Lydian Augmented scale, lowering the C# & G# to C♮ & G♮.

<span class="mw-page-title-main">Nada Kalyani</span> Raga created by Mahesh Mahadev

Nada Kalyani is a rāga in Carnatic music(musical scale of South Indian classical music) created by music composer Mahesh Mahadev who has created many ragas in classical music. Nada Kalyani is the Janya raga of 65th melakarta rāgam Mechakalyani in the 72 melakarta rāgam system of Carnatic music.

References

  1. The Hindu, 26 March 2013
  2. "Robert Morris Home Page". lulu.esm.rochester.edu.
  3. Morris, Robert and Chitravina N. Ravikiran, "Ravikiran's Concept of Melharmony: An Inquiry into Harmony in South Indian Ragas," Music Theory Spectrum, 28/2:255-76.
  4. "National : Unique classical fusion". The Hindu . 2004-07-26. Archived from the original on 2015-02-27.
  5. "%s". Whats Hot.
  6. Melharmony Music. "Prof Robert Morris - Background of Melharmony" via YouTube.
  7. Kurt Reinhard: The New Grove: Dictionary of Music and Musicians. vol. 19. ed. London: Macmillan, 1980
  8. "Where Melody Leads Harmony". Samagana Magazine, Bangalore.
  9. Melharmony Music. "Wisconsin Melharmony Camp - Conventional Western harmony in Kalyani" via YouTube.
  10. Melharmony Music. "Reconciling melodic and harmonic approaches - Melharmonic Solution" via YouTube.
  11. "Karnatak music - Indian music". Encyclopedia Britannica. 3 January 2024.
  12. Capriccio (music)
  13. "Definition of RAGA". www.merriam-webster.com. 18 December 2023.
  14. cadence (music)
  15. "Tyagaraja-Mozart Melharmony Festival". Sabhash!. 22 November 2014.
  16. Kurr, Nancy Dunn (10 September 2016). "When Dikshitar headed West". The Hindu via www.thehindu.com.
  17. "Concerts on the Square". Wisconsin Chamber Orchestra. July 27, 2016.
  18. "Melody, Harmony & Melharmony". Stoughton Opera House. 12 February 2016.
  19. "Apollo Chamber Players presents Houston Melharmony". CultureMap Houston. Retrieved 2017-06-23.
  20. Melharmony Music. "ta ki Ta Trio - Glen Velez, Chitravina N Ravikiran & Loire Cotler" via YouTube.
  21. 1 2 Worland, Gayle (11 November 2014). "Mozart meets raga in Melharmony festival Saturday in Oregon". madison.com. Retrieved 2017-06-23.
  22. "Cauvery Gurgles Alongside The Still Alps". outlookindia.com/. Retrieved 2017-06-25.
  23. "Special Performances". Wisconsin Chamber Orchestra. November 8, 2015. Retrieved 2017-06-23.
  24. "The Second annual Midwest Melharmony Festival". Wisconsin Public Radio. Retrieved 2017-06-23.
  25. https://www.pressreader.com/germany/g%C3%B6ttinger-tageblatt/20170828/281874413537610 via PressReader.{{cite web}}: Missing or empty |title= (help)
  26. Sun Prairie Star, USA 12 Feb 2016
  27. Motes, David (2017-05-25). "Wayzata's Take on Eastern Classical Music". whstrojan.com. Retrieved 2017-06-23.
  28. Melharmony Music. "Melharmony in School Orchestras" via YouTube.
  29. Ravikiran, Chitravina N.; Morris, Robert (Fall 2006). "Ravikiran's Concept of Melharmony: An Inquiry into Harmony in South Indian Ragas". Music Theory Spectrum. 28 (2): 255–276. doi:10.1525/mts.2006.28.2.255 via academic.oup.com.
  30. "Chitravina N. Ravikiran: Melody, Harmony, and Melharmony". Houstom Museum District. Archived from the original on 2015-02-26. Retrieved 2015-02-26.
  31. "Melharmony Workshop: A New Approach of Melody-Centric Harmony". Summer @ Eastman. Archived from the original on 2015-02-26. Retrieved 2015-02-26.