Download Hindustani -Location: North Indian countries like Pakistan, Nepal

Hindustani
-Location: North Indian countries like Pakistan, Nepal, Afghanistan
-Style: Indian classical music has seven basic notes, Sa Re Ga Ma Pa Dha Ni, with five interspersed halfnotes, resulting in a 12-note scale. Unlike the 12-note scale in Western music, the base frequency of the
scale is not fixed, and intertonal gaps (temper) may also vary; however, with the gradual replacement of
the sarangi by the harmonium, an equal tempered scale is increasingly used. The performance is set to a
melodic pattern called a raga (also spelled as raag) characterized in part by specific ascent (Aroha) and
descent (Avaroha) sequences, which may not be identical. Other characteristics include King (Vadi) and
Queen (Samavadi) notes and characteristic phrases (Pakad). In addition each raga has its natural register
(Ambit) and glissando (Meend) rules, as well as features specific to different styles and compositions
within the raga structure.
-Musical terms used: The rhythmic organization is based on rhythmic patterns called Taal. The
melodic foundations are "melodic modes", or "Parent Scales", known as Thaats, under which
most ragas can be classified based on the notes they use.
Thaats may consist of up to seven scale degrees, or swara. Hindustani musicians name these
pitches using a system called Sargam, the equivalent of Western movable do solfege:
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Sa (Shadaj) = Do
Re (Rishab) = Re
Ga (Gandhar) = Mi
Ma (Madhyam) = Fa
Pa (Pancham) = So
Dha (Dhaiwat) = La
Ni (Nishad) = Ti
Sa (Shadaj) = Do

Both systems repeat at the octave. The difference between sargam and solfege is that re,
ga, ma, dha, and ni can refer to either "Natural" (Shuddha) or altered "Flat" (Komal) or
"Sharp" (Tivra) versions of their respective scale degrees. As with movable do solfege,
the notes are heard relative to an arbitrary tonic that varies from performance to
performance. Alap: a rhythmically free improvisation on the rules for the raga in order to
give life to the raga and shape out its characteristics. The alap is followed by the jod and
jhala in instrumental music.
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Bandish or Gat: a fixed, melodic composition set in a specific raga, performed with
rhythmic accompaniment by a tabla or pakhavaj. There are different ways of
systematizing the parts of a composition. For example:
o Sthaayi: The initial, Rondo phrase or line of a fixed, melodic composition.
o Antara: The first body phrase or line of a fixed, melodic composition.
o Sanchaari: The third body phrase or line of a fixed, melodic composition, seen
more typically in Dhrupad Bandishes
o
Aabhog: The fourth and concluding body phrase or line of a fixed, melodic
composition, seen more typically in Dhrupad Bandishes.
There are three variations of Bandish, regarding tempo:
o
o
o
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Vilambit Bandish: A slow and steady melodic composition, usually in Largo to
Adagio speeds.
Madhyalaya Bandish: A medium tempo melodic competition, usually set in
Andante to Allegretto speeds.
Drut Bandish: A fast tempo melodic composition, usually set to Allegretto
speed, and onwards.
The major vocal forms-cum-styles associated with Hindustani classical music are
Dhrupad, Khayal, and Tarana. Other forms include Dhamar, Trivat, Chaiti, Kajari,
Tappa, Tap-Khayal, Ashtapadis, Thumri, Dadra, Ghazal and Bhajan. Of these, some
forms fall within the crossover to folk or semi-classical or light classical music, as they
often do not adhere to the rigorous rules and regulations of classical music.
-Instruments: The veena, a string instrument, was traditionally regarded as the most
important, but few play it today and it has largely been superseded by its cousins the sitar
and the sarod, both of which owe their origin to Persian influences. Other plucked/struck
string instruments include the surbahar, sursringar, santoor, and various versions of the
slide guitar. Among bowed instruments, the sarangi, esraj (or dilruba) and violin are
popular. The bansuri (bamboo flute), shehnai and harmonium are important wind
instruments. In the percussion ensemble, the tabla and the pakhavaj are the most popular.
Carnatic
-Location: South Indian countries like Andhra Pradesh, Karnataka, Kerala, and Tamil
Nadu
-Style: 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 a singing style (known as gāyaki).[17] Like Hindustani music, Carnatic music rests on
two main elements: rāga, the modes or melodic formulæ, and tāḷa, the rhythmic cycles.
-Musical terms: There are many types/forms of compositions.
Geethams and swarajatis (which have their own peculiar composition structures) are principally
meant to serve as basic learning exercises.
Compositions more commonly associated with Indian classical dance and Indian devotional
music have also been increasingly used in the Carnatic music repertoire. The performance of the
Sanskrit sloka, Tamil viruttam and Telegu padyamu or sisapadya forms are particularly unique.
Though these forms consist of lyric-based verses, musicians improvise raga phrases in free
rhythm, like an alapana,[31] so both the sound value, and the meaning of the text, guide the
musician through elaborate melodic improvisations.[36] Forms such as the divya prabandham,
thevaram and ugabhoga are often performed similarly, however, these forms can also have a set
melody and rhythm like the devaranama, javali, padam, thillana and thiruppugazh forms. The
most common and significant forms in Carnatic music are the varnam and the kriti (or kirtanam).
Notations
Notation is not a new concept in Indian music. However, Carnatic music continued to be
transmitted orally for centuries without being written down. The disadvantage with this system
was that if one wanted to learn about a kriti composed, for example, by Purandara Dasa, it
involved the difficult task of finding a person from Purandara Dasa's lineage of students.
Written notation of Carnatic music was revived in the late 17th century and early 18th century,
which coincided with rule of Shahaji II in Tanjore. Copies of Shahaji's musical manuscripts are
still available at the Saraswati Mahal Library in Tanjore and they give us an idea of the music
and its form. They contain snippets of solfege to be used when performing the mentioned ragas.
Melody
Unlike Western music, Carnatic music is notated almost exclusively in tonic solfa notation using
either a Roman or Indic script to represent the solfa names. Past attempts to use the staff notation
have mostly failed. Indian music makes use of hundreds of ragas, many more than the church
modes in Western music. It becomes difficult to write Carnatic music using the staff notation
without the use of too many accidentals. Furthermore, the staff notation requires that the song be
played in a certain key. The notions of key and absolute pitch are deeply rooted in Western
music, whereas the Carnatic notation does not specify the key and prefers to use scale degrees
(relative pitch) to denote notes. The singer is free to choose the actual pitch of the tonic note. In
the more precise forms of Carnatic notation, there are symbols placed above the notes indicating
how the notes should be played or sung; however, informally this practice is not followed.
To show the length of a note, several devices are used. If the duration of note is to be doubled,
the letter is either capitalized (if using Roman script) or lengthened by a diacritic (in Indian
languages). For a duration of three, the letter is capitalized (or diacriticized) and followed by a
comma. For a length of four, the letter is capitalized (or diacriticized) and then followed by a
semicolon. In this way any duration can be indicated using a series of semicolons and commas.
However, a simpler notation has evolved which does not use semicolons and capitalization, but
rather indicates all extensions of notes using a corresponding number of commas. Thus, Sā
quadrupled in length would be denoted as "S,,,".
Rhythm
The notation is divided into columns, depending on the structure of the tāḷaṃ. The division
between a laghu and a dhrutam is indicated by a ।, called a ḍaṇḍā, and so is the division
between two dhrutams or a dhrutam and an anudhrutam. The end of a cycle is marked by a ॥,
called a double ḍaṇḍā, and looks like a caesura.
-Instruments: The tambura is the traditional drone instrument used in concerts. However,
tamburas are increasingly being replaced by śruti boxes, and now more commonly, the electronic
tambura. The drone itself is an integral part of performances and furnishes stability - the
equivalent of harmony in Western music.[41]
Performances can be musical or musical-dramatic. Musical recitals are either vocal, or purely
instrumental in nature, while musical-dramatic recitals refer to Harikatha.[40] But irrespective of
what type of recital it is, what is featured are compositions which form the core of this genre of
music.
In a vocal recital, a concert team may have one or more vocalists as the principal performer(s).
Instruments, such as the veena and/or flute, can be occasionally found as a rhythmic
accompaniment, but usually, a vocalist is supported by a violin player (who sits on his/her left).
The rhythm accompanist is usually a mridangam player (who sits on the other side, facing the
violin player). However, other percussion instruments such as the ghatam, kanjira and morsing
frequently also accompany the main percussion instrument and play in an almost contrapuntal
fashion along with the beats. The objective of the accompanying instruments is far more than
following the melody and keeping the beats. The accompaniments form an integral part of every
composition presented, and they closely follow and augment the melodic phrases outlined by the
lead singer. The vocalist and the violinist take turns while elaborating or while exhibiting
creativity in sections like raga, niraval and kalpanaswaram. Unlike Hindustani music concerts,
where an accompanying tabla player can keep beats without following the musical phrases at
times, in Carnatic music, the accompanists have to follow the intricacies of the composition since
there are percussion elements such as eduppu in several compositions. Some of the best concerts
feature a good bit of interaction with the lead musicians and accompanists exchanging notes, and
accompanying musicians predicting the lead singer's musical phrases.
Bollywood
-Location: The name is a portmanteau of Bombay (the former name for Mumbai) and Hollywood, the
center of the American film industry.
-Style: The dancing in Bollywood films, especially older ones, is primarily modelled on Indian
dance: classical dance styles, dances of historic northern Indian courtesans (tawaif), or folk
dances. In modern films, Indian dance elements often blend with Western dance styles (as seen
on MTV or in Broadway musicals), though it is not unusual to see Western pop and pure
classical dance numbers side by side in the same film. The hero or heroine will often perform
with a troupe of supporting dancers. Many song-and-dance routines in Indian films feature
unrealistically instantaneous shifts of location or changes of costume between verses of a song. If
the hero and heroine dance and sing a pas de deux, it is often staged in beautiful natural
surroundings or architecturally grand settings. This staging is referred to as a "picturisation".
Songs typically comment on the action taking place in the movie, in several ways. Sometimes, a
song is worked into the plot, so that a character has a reason to sing; other times, a song is an
externalisation of a character's thoughts, or presages an event that has not occurred yet in the plot
of the movie. In this case, the event is almost always two characters falling in love.
Bollywood films have always used what are now called "item numbers". A physically attractive
female character (the "item girl"), often completely unrelated to the main cast and plot of the
film, performs a catchy song and dance number in the film. In older films, the "item number"
may be performed by a courtesan (tawaif) dancing for a rich client or as part of a cabaret show.
The dancer Helen was famous for her cabaret numbers. In modern films, item numbers may be
inserted as discotheque sequences, dancing at celebrations, or as stage shows.
-Instruments:Dancing and Singing.