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Chapter 13 Other Classical Genres Global Perspectives: Musical Form Key Terms Hindustani stream Karnatak (Carnatic) stream Improvisation Rag Alap Gat Sitar Sarod Tambura Tabla 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 nonWestern musical forms? 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 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 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 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 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 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 A Performance of Rag MaujKhammaj (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 A Performance of Rag MaujKhammaj (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 worldrenowned musicians • Ravi Shankar on sitar • Ali Akbar Khan on sarod 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 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 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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