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South Asia (India)

South Asia (India) Presentation by: Greg Johnson and Nicole Ester Introduction 1. Comparison of Indian to Western Music 2. Vocal and Instrumental Music 3. Raga Structure 4. Instruments 5. Methods of Learning Western Music Combination of rhythm and melody Emphasis on harmony/chordal

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South Asia (India)

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  1. South Asia (India) Presentation by: Greg Johnson and Nicole Ester

  2. Introduction 1. Comparison of Indian to Western Music 2. Vocal and Instrumental Music 3. Raga Structure 4. Instruments 5. Methods of Learning

  3. Western Music Combination of rhythm and melody Emphasis on harmony/chordal Counterpoint Based on many contrasting moods and colors Emphasis on simultaneous motion of two or more melodies-tension and relaxation of progressions Smallest pitch interval is semitone (octave= 12 semitones) Indian Music Combination of rhythm and melody-highly defined subtleties No system of harmony No counterpoint Concentrates on one principle mood or emotion-elaborating Emphasis on improvisation, expansion and elaboration-rooted from deep musical tradition Octave=22 intervals or “microtones”- crucial to Indian musical characteristics Compare and Contrast

  4. Vocal Especially strong tradition Most ancient form of music Most music is devotional (Bahkti-geet) Many genre Dhrupad (Oldest in use) Tarana (Meaningless syllables) Kheyal (Modern, improvised) Bhajan (Especially religious) Gazal (Rich poetry and romantic) Lakshangeet (Educational) Instrumental Called Vadhya Sangeet Styles follow vocal styles Ornamentation is used Four major styles Alap(Slow,no rhythm,elaboration) Jor (Has rhythm, no developed rhythmic cycle) Gat (Fully developed piece) Jhala (fast rhythmic interplay between drone and strings) Vocal and Instrumental Music

  5. Structural Elements of Raga Raga:Melodic Basis of Indian classical music on which musicians improvise. Each raga has definite melodic qualities that distinguish it from all other ragas. • Not a scale, mode, key, or melody • A raga is the melodic framework • Each raga must belong to a scale-only those notes are found • Number of ragas are endless-only several hundred used • “The beauty of the raga leads the listener to a serene and peaceful frame of mind and brings him joy. In other words, the raga must create a forceful effect on the listener.” -Shankar

  6. South Asian Instruments Instrument Categories 1. Stringed Instruments 2. Wind Instruments 3. Drum Family 4. Small Percussion Family (metal, wood, porcelain)

  7. Strings: Largest and most important group Vary in size and shape Resonating strings/Fretted Played with bow or plectrum (worn on fingers) Veena Sitar Surbahar Tamboura Sarangi Sarod Winds: Includes flutes and oboe-like instr. Made of bamboo Varying sizes/numbers of holes Associated with Lord Krishna Often found in Indian Art Murali (Flute-like) Shahnai (Oboe-like) String and Wind Instruments

  8. Drum Family Tabla • Most popular variety in Northern India • 2 Drums each with one skin stretched across the top • Smaller played with right hand • Larger played by the left hand Pakhawaj • Accompanies more heavy/serious music • One piece drum made of clay with two heads • Heads tuned to different pitches • Today body made of wood

  9. Percussion Family Separate from “Drum Family” Includes: • Bells • Gongs • Cymbals • Castanets • Jaltarang (Porcelain bowels filled with water and struck with sticks)

  10. Methods of Learning Three words from the heart of musical tradition • Guru: master, spiritual teacher, or preceptor • Vinaya: humility; complete surrendering of the self on the part of the shishya (student) to the guru • Sadhana: practice and discipline eventually leading to self-realization

  11. Methods of Learning (cont.) Process 1. Choose a Guru 2. Learn basic techniques on voice or instrument -Practice on one note until breathing, voice, and pitch control are mastered 3. Learn scales and paltas (short sequential melodic figures) 4. Learn sargams (various fixed compositions-sung to note names) 5. Learn bandishes (fixed compositions in different styles with text) These steps should last 5 years or longer Should practice every day for 8 hours Student learns everything from guru-rarely from textbook Slowly learns to improvise until confidently plays a raga 20 years of constant work makes a proficient performer

  12. Conclusion “Our tradition teaches us that sound is God... That is, musical sound and the musical experience are steps to the realization of the self. We view music as a kind of spiritual discipline that raises one’s inner being to divine peacefulness and bliss. The highest aim of our music is to reveal the essence of the universe it reflects…Thus, through music, one can reach God.” -Ravi Shankar

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