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Chapter 13 Other Classical Genres

Chapter 13 Other Classical Genres. Global Perspectives : Musical Form. Hindustani stream Karnatak (Carnatic) stream Improvisation Rag Alap Gat. Sitar Sarod Tambura Tabla. Key Terms. Global Perspectives 3. Musical Form

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Chapter 13 Other Classical Genres

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  1. Chapter 13Other Classical Genres Global Perspectives: Musical Form

  2. Hindustani stream Karnatak (Carnatic) stream Improvisation Rag Alap Gat Sitar Sarod Tambura Tabla Key Terms

  3. Global Perspectives 3 • Musical Form • Are elaborate musical forms the natural result of an emphasis on instrumental genres? • Are statement, repetition, contrast, & variation universal building blocks? • What simple processes are used in non-Western musical forms?

  4. India • Roots of Indian classical music are 2000 years old • Derived from chanting of the Vedas • In the 13th century two traditions emerged • Hindustani music of Muslim & Hindu practitioners in north India • Carnatic music from the mainly Hindu south • Both streams share many features • Improvisation & rag most important

  5. Indian Classical Music • Centuries old with distinctive genres & practices • Relies on professional, trained musicians • Formal performances with clear separation between audience & performers • High level of difficulty • Rigorous training system • System of music notation

  6. Melody: The Rag (1) • Hundreds of rags are available • Rag similar to a scale, but much more! • A comprehensive set of guidelines for producing a melody • Each rag specifies notes of a scale, and— • Hierarchy of more & less important notes • Melodic gestures associated with those notes • Ways of ascending & descending the scale • Customary patterns of ornamentation • Snatches of melody used for improvisation

  7. Melody: The Rag (2) • Rags carry broader implications as well— • Each expresses particular emotional states • Each is associated with a specific time of day or a specific season of the year • Indian musicians study for years • To master the subtleties of technique • To learn the “character” of rags • The best musicians master dozens of rags • They can improvise complex, beautiful, appropriate melodies in any one of them

  8. Melody: The Rag (3) • In principle, Indian classical music is monophonic, but… • Ever-present drone strings accompany melody • At times the melody is played simultaneously by two instruments, resulting in heterophony • There is a complex interaction between melody & drummer

  9. A Hindustani Ensemble • Typical north Indian ensemble includes— • An instrument to play the main melody • Often a sitar, a long-necked “lute” with buzzing, resonant strings • Often a second melody instrument • Here a sarod, another long-necked “lute” sounding lower, more guitar-like • The tambura – a drone instrument • Tabla – two small, hand-beaten drums

  10. A Performance of Rag Mauj-Khammaj (1) • Musicians start from a tune (pakar) • Some rag tunes are free • Rag Mauj-Khammaj has a fixed melody • Around the tune, musicians spin out a long performance in several movements • Movements differ in style and tempo • Though improvised, movements develop according to specific expectations • A performance can last a full hour

  11. A Performance of Rag Mauj-Khammaj (2) • Skilled performers are expected to— • Adhere to characteristic features of the particular rag being performed • Elaborate the rag in virtuoso fashion • Present each movement in a gradual & skillful manner • Listen performance features two world-renowned musicians • Ravi Shankar on sitar • Ali Akbar Khan on sarod

  12. Rag Mauj-Khammaj (1) • Alap – 1st movement of a rag performance • A free, dreamy exploration of the rag’s melodic gestures – the expressive heart of a rag • No clear meter & no drums • Gradual rhythmic quickening, but still no meter • Gat – a contrasting 2nd movement • Faster tempo, clear meter • Presents fixed melody & variations on it • Drums mark the beat & add elaborate rhythmic counterpoint to melody

  13. Rag Mauj-Khammaj (2) • Excerpt 1 • Starts with the alap • Quasi-imitative interplay between sitar & sarod • Gradually quickening, but with no clear meter • Ends with beginning of first gat • Gat begins with sitar playing metrical melody • The basic tune of Mauj-Khammaj • Sarod & tabla player quickly join in • Free improvised variations on the tune follow

  14. Rag Mauj-Khammaj (3) • Excerpt 2 • Begins near the end of the 1st gat • Tempo quickens as 2nd gat begins • 2nd gat starts with faster version of the basic tune (the same one that began the 1st gat) • Improvisations especially dazzling & virtuosic at quick tempo –like a development • Often intoxicating interplay between sitar, sarod, & tabla • Tempo continues to accelerate through 2nd gat

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