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Dhrupad is a genre in Hindustani classical music from the Indian subcontinent. It is the oldest style of 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 pada (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.
A raga or raag is a melodic framework for improvisation akin to a melodic mode in Indian classical music. While the rāga is a remarkable and central feature of the classical music tradition, it has no direct translation to concepts in the classical European music tradition. Each rāga is an array of melodic structures with musical motifs, considered in the Indian tradition to have the ability to "colour the mind" and affect the emotions of the audience.
Indian classical music is the classical music of the Indian subcontinent, this includes India, Pakistan, Bangladesh, Sri Lanka and Nepal. It has two major traditions: the North Indian classical music tradition is called Hindustani, while the South Indian and Sri Lankan expression is called Carnatic. These traditions were not distinct until about the 16th century. During the period of Mughal rule of the Indian subcontinent, the traditions separated and evolved into distinct forms. Hindustani music emphasizes improvisation and exploring all aspects of a raga, while Carnatic performances tend to be short and composition-based. However, the two systems continue to have more common features than differences.
A devotional song is a hymn which accompanies religious observances and rituals. Traditionally devotional music has been a part of Christian music, Hindu music, Sufi music, Buddhist music, Islamic music and Jewish music
A bansuri is a side blown flute originating from the Indian subcontinent. It is an aerophone produced from bamboo, used in Hindustani classical music. It is referred to as nadi and tunava in the Rigveda and other Vedic texts of Hinduism. Its importance and operation is discussed in the Sanskrit text Natya Shastra.
Shruti or śruti[ɕrʊtɪ] is a Sanskrit word, found in the Vedic texts of Hinduism where it means lyrics and "what is heard" in general. It is also an important concept in Indian music, where it means the smallest interval of pitch that the human ear can detect and a singer or musical instrument can produce. The musical shruti concept is found in ancient and medieval Sanskrit texts such as the Natya Shastra, the Dattilam, the Brihaddeshi, and the Sangita Ratnakara. Chandogya Upanishad speaks of the division of the octave in 22 parts.
The Nāṭya Śāstra is a Sanskrit treatise on the performing arts. The text is attributed to sage Bharata Muni, and its first complete compilation is dated to between 200 BCE and 200 CE, but estimates vary between 800 BCE and 500 CE.
The venu is one of the ancient transverse flutes of Indian classical music. It is an aerophone typically made from bamboo, that is a side blown wind instrument. It continues to be in use in the South Indian Carnatic music tradition. In Northern Indian music, a similar flute is called bansuri. In the South, it is also called by various other names such as pullankuzhal (புல்லாங்குழல்) in Tamil, പുല്ലാങ്കുഴല് in Malayalam, and ಕೊಳಲು (koḷalu) in Kannada. It is known as pillana grōvi or Vēṇuvu (వేణువు) in Telugu. It is also called as Carnatic Flute.
The Sangita-Ratnakara, सङ्गीतरत्नाकर,, literally "Ocean of Music and Dance", is one of the most important Sanskrit musicological texts from India. Composed by Śārṅgadeva (शार्ङ्गदेव) in the 13th century, both Hindustani music and Carnatic music traditions of Indian classical music regard it as a definitive text. The author was a part of the court of King Singhana II (1210–1247) of the Yādava dynasty whose capital was Devagiri, Maharashtra.
Svara or swara is a Sanskrit word that connotes a note in the successive steps of the octave. More comprehensively, it is the ancient Indian concept about the complete dimension of musical pitch.
Śārṅgadeva (1175–1247), also spelled Sharngadeva or Sarnga Deva, was the 13th-century Indian musicologist who authored Sangita Ratnakara – the classical Sanskrit text on music and drama. It is considered to be the authoritative treatise in Indian classical music by both the Hindustani music and the Carnatic music traditions.
Gandharva Mahavidyalaya New Delhi is an institution established in 1939 to popularize Indian classical music and dance. The Mahavidyalaya (school) came into being to perpetuate the memory of Pandit Vishnu Digambar Paluskar, the great reviver of Hindustani classical music, and to keep up the ideals set down by him. The first Gandharva Mahavidyalaya was established by him on 5 May 1901 at Lahore. The New Delhi school follows the syllabi set by the Akhil Bharatiya Gandharva Mahavidyalaya Mandal.
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. The Sthayi part of a Dhrupad is the first of four stanzas and uses the middle octave's first tetrachord and the lower octave notes.
Alankara, also referred to as palta or alankaram, is a concept in Indian classical music and literally means "ornament, decoration". An alankara is any pattern of musical decoration a musician or vocalist creates within or across tones, based on ancient musical theories or driven by personal creative choices, in a progression of svaras. The term alankara is standard in Carnatic music, while the same concept is referred to as palta or alankara in Hindustani music.
The veena comprises a family of chordophone instruments from the Indian subcontinent. Ancient musical instruments evolved into many variations, such as lutes, zithers and arched harps. The many regional designs have different names such as the Rudra veena, the Saraswati veena, the Vichitra veena and others.
The Mānasollāsa, also known as Abhilashitartha Chintamani, is an early 12th-century Sanskrit text composed by the Kalyani Chalukya king Someshvara III, who ruled in present-day South India. It is an encyclopedic work covering topics such as polity, governance, ethics, economics, astronomy, astrology, rhetoric, veterinary medicine, horticulture, perfumes, food, architecture, sports, painting, poetry and music. The text is a valuable source of socio-cultural information on 11th- and 12th-century India.
Sangita, also spelled Samgita or Sangeeta, refers to "music and associated performance arts" in the Indian traditions. According to Guy Beck, the root "saṃ-" implies "combining, coming together, convergent wholesome blending, unison" in the context of musical arts. Sangita connotes any form of singing with music, harmonious recitation or chorus singing in particular. In some medieval era literary genre such as the Puranas and poetic texts such as Kathasaritsagar, a related term Sangita-shastra and Sangita-vidya mean the "art, science or knowledge of singing and dancing with music". According to Alison Arnold and Bruno Nettl, the modern term music fails to capture the historic sense of "Sanskrit sangita and Greek mousike". In the Indian tradition, the term sangita includes melodious singing, rhythmic dancing, instrumental music, classical, provincial, ritual chanting and incidental forms of music-related performance arts.
A Theka literally means "support, prop". The term also refers to a musical composition in classical Indian music for percussion instruments that establish a rhythm (Chanda), beats (Matras) and the metric cycle of beats (Tala) in a performance.
Vadya, also called Vadyaka or Atodya, is one of the three components of sangita, and refers to "instrumental music" in the Indian traditions. The other two components of sangita are gita and nrtya. In the general sense, Vadya means an instrument and the characteristic music they produce, sound or play out.
Emmie te Nijenhuis is a Dutch ethnomusicologist of the music of India. She was an associate professor of Indian musicology at Utrecht University between 1964 and 1988.
References
- ↑ Emmie te Nijenhuis (1976). The Rāgas of Somanātha: Musical exemples. Part 2. Brill Archive. pp. 3–. ISBN 978-90-04-04873-7 . Retrieved 14 July 2013.
- ↑ Jan Laurens Hartong (2006). Musical Terms World Wide: A Companion for the Musical Explorer. Semar Publishers Srl. p. 165. ISBN 978-88-7778-090-4 . Retrieved 14 July 2013.
- ↑ Emmie te Nijenhuis. Indian Music: History and Structure. BRILL. pp. 97–. ISBN 978-90-04-03978-0 . Retrieved 14 July 2013.
- ↑ Murki ITC Sangeet Research Academy.
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