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| Sadra | |
|---|---|
| Stylistic origins | Northern India |
| Typical instruments | Tabla, Tanpura |
Sadra is a vocal genre in Hindustani classical music from the Indian subcontinent. [1] The compositions that exist in the metres (tala) teevra (7 beats), sool (10 beats) and chau (12 beats) or 10-beat Jhaptal is called a Sadra. [2]
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 Karnataka, Andhra Pradesh, Telangana, Kerala and Tamil Nadu, and Sri Lanka. It is one of two main subgenres of Indian classical music that evolved from ancient Sanatana dharma sciences and traditions, particularly the Samaveda. 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.
Dhrupad is a genre in Hindustani classical music from the Indian subcontinent. It is the oldest known style of major vocal styles associated with Hindustani classical music, Haveli Sangeet of Pushtimarg Sampraday and also related to the South Indian Carnatic tradition. It is a term of Sanskrit origin, derived from dhruva and pada. The roots of Dhrupad are ancient. It is discussed in the Hindu Sanskrit text Natyashastra, and 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.
Indian classical music is the classical music of the Indian subcontinent. It has two major traditions: the North Indian classical music known as Hindustani and the South Indian expression known as Carnatic. These traditions were not distinct until about the 15th century. During the period of Mughal rule of the Indian subcontinent, the traditions separated and evolved into distinct forms. Hindustani music emphasizes improvisation and exploration of all aspects of a raga, while Carnatic performances tend to be short composition-based. However, the two systems continue to have more common features than differences.
In Hindustani classical music, the jor is a formal section of composition in the long elaboration (alap) of a raga that forms the beginning of a performance. It comes after alap and precedes jhala, the climax. Jor is the instrumental equivalent of nomtom in the dhrupad vocal style of Indian music. Both have a simple pulse but no well-defined rhythmic cycle.
Hindustani classical music is the classical music of northern regions of the Indian subcontinent. It may also be called North Indian classical music or, in Hindustani, shastriya sangeet. Its origins date from the 12th century CE, when it diverged from Carnatic music, the classical tradition of southern regions of the Indian subcontinent.
A Tala, sometimes spelled Titi or Pipi, literally means a 'clap, tapping one's hand on one's arm, a musical measure'. It is the term used in Indian classical music similar to musical meter, that is any rhythmic beat or strike that measures musical time. The measure is typically established by hand clapping, waving, touching fingers on thigh or the other hand, verbally, striking of small cymbals, or a percussion instrument in the Indian subcontinental traditions. Along with raga which forms the fabric of a melodic structure, the tala forms the life cycle and thereby constitutes one of the two foundational elements of Indian music.
Dadra is associated with the Hindustani classical music of the Indian subcontinent.
Chutney music is a fusion genre of Indian folk music, specifically Bhojpuri folk music, with local Caribbean calypso and soca music, and later on Bollywood music. This genre of music that developed in Trinidad and Tobago is popular in Trinidad and Tobago, Guyana, Suriname, Jamaica, other parts of the Caribbean, Fiji, Mauritius, and South Africa. Chutney music emerged mid-20th century and reached a peak of popularity during the 1980s. Several sub-genres have developed.
Dhamar is one of the talas used in Hindustani classical music from the Indian subcontinent. It is associated with the dhrupad style and typically played on the pakhawaj and also tabla.
Ṣadr ad-Dīn Muḥammad Shīrāzī, more commonly known as Mullā Ṣadrā, was a Persian Twelver Shi'i Islamic mystic, philosopher, theologian, and ‘Ālim who led the Iranian cultural renaissance in the 17th century. According to Oliver Leaman, Mulla Sadra is arguably the single most important and influential philosopher in the Muslim world in the last four hundred years.
In Trinidad and Tobago, Guyana, and Suriname, chutney soca music is a crossover style of music incorporating soca and calypso elements and English, Hindustani, and Hinglish lyrics, chutney music, with Western instruments such as the guitar, piano, drum set, and Indian instruments such as the dholak, harmonium, tabla, and dhantal.
Caribbean Hindustani is an Indo-Aryan language spoken by Indo-Caribbeans and the Indo-Caribbean diaspora. It is mainly based on the Bhojpuri and Awadhi dialects. These Hindustani dialects were spoken by the Indians who came as immigrants to the Caribbean from India as indentured laborers. It is closely related to Fiji Hindi and the Bhojpuri-Hindustani spoken in Mauritius and South Africa.
Begum Parveen Sultana is an Indian Hindustani classical singer of the Patiala Gharana. She was awarded the Padma Bhushan by the Government of India in 2014 and the Sangeet Natak Akademi Award by the Sangeet Natak Akademi in 1998.
Khamaj is a Hindustani classical Music raga within the Khamaj thaat which is named after it.
Drut is the concluding section, in fast tempo, between 160 and 320 beats per minute, of the performance of a vocal raga in Hindustani classical music.
Vilambit is an introductory slow tempo, or laya, between 10 and 40 beats per minute, used in the performance of a raga in Hindustani classical music. For major ragas, the vilambit portion generally takes up two-thirds or more of the performance, and is followed by a short drut to conclude the performance. Vocalists use a slower definition of time than instrumentalists.
Late Pt. Acharya Vishwanath Rao Ringe 'Tanarang' born on 6 December 1922 was a Hindustani Classical Music vocalist and composer. He belonged to Gwalior Gharana of Hindustani Classical Music. He composed more than 2000 bandishs in about 200 ragaas, for which he has been enlisted in Limca Book of Records. He wrote couple of books in past named 'Sangitanjali' and 'Swaranjali' and a recent book `Aacharya "Tanarang" ki Bandishen` was published.
A tabla is a pair of twin hand drums from the Indian subcontinent. Since the 18th century, tabla has been the principal percussion instrument in Hindustani classical music, where it may be played solo, as accompaniment with other instruments and vocals, and as a part of larger ensembles. Tabla is also frequently played in popular and folk music performances in India, Bangladesh, Pakistan, Nepal, Afghanistan and Sri Lanka. The tabla is also an important instrument in the bhakti devotional traditions of Hinduism and Sikhism, such as during bhajan and kirtan singing. It is one of the main qawali instrument used by Sufi musicians. Tabla also features in dance performances such as Kathak.
Illuminationism, also known as Ishrāqiyyun or simply Ishrāqi is a philosophical and mystical school of thought introduced by Shahab al-Din Suhrawardi in the twelfth century, established with his Kitab Hikmat al-Ishraq, a fundamental text finished in 1186. Written with influence from Avicennism, Peripateticism, and Neoplatonism, the philosophy is nevertheless distinct as a novel and holistic addition to the history of Islamic philosophy.
Gokulotsavji Maharaj is a Hindustani classical musician, specializing in Khayal, Dhrupad Dhammar, Prabandh Gayaki and various other ancient indian musical styles. He is also a singer-cum-composer, writer, poet, and musicologist.
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