Write shirt notes on the two styles of indian classical music
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Carnatic : The form of classical music developed and mainly practiced and performed in southern regions of India is known as Carnatic music. The word “Carnatic” has been derived from the word“Karnatak”(a southern Indian state). Carnatic music is believed to be one of the oldest forms of music in the world.The concept is similar to Hindustani music but it does not have any Muslim influence in it. Also the musical instruments used inthis type music differ from Hindustani music. It is based on 72 fundamental ragaas.This music mainly consists of devotional music and many times concerts are held in temples.Main instruments used in Carnatic music are,
Ghatam (a clay pot played like a hand drum)
Veena (a stringed instrument)
Violin
Mridangam (a two sided hand drum)
Kanjira (a small hand drum)
Hindustani: North Indian classical music, popularly known as ‘Hindustani music’ was developed and is mostly practiced and performed in northern part of India. Hindustani music is based on seven ragaas (melodic scale). There are two main types of compositions in Hindustani music, namely Dhrupad and Khayal. Out of these, Dhrupad is older and considered more difficult as it needs a lot of riyaz(rigorous training in rhythm control). Khayal is relatively new and mainly consists of lively compositions. Hindustani music also has a typical type of instruments used in it, which is one of the factors that differentiates it from Carnatic music. Some of the main instruments used in Hindustani music are,
Sarod (type pf string instrument)
Flute
Shehnai (a wooden wind instrument,with a metal bell at the end)
Pakhwaj (a cylinder-shaped two handed drum)
Sitar (type pf string instrument)
Veena (type pf string instrument)
Tabla (type of hand drum)
Sarangi (type of string instrument)
Ghatam (a clay pot played like a hand drum)
Veena (a stringed instrument)
Violin
Mridangam (a two sided hand drum)
Kanjira (a small hand drum)
Hindustani: North Indian classical music, popularly known as ‘Hindustani music’ was developed and is mostly practiced and performed in northern part of India. Hindustani music is based on seven ragaas (melodic scale). There are two main types of compositions in Hindustani music, namely Dhrupad and Khayal. Out of these, Dhrupad is older and considered more difficult as it needs a lot of riyaz(rigorous training in rhythm control). Khayal is relatively new and mainly consists of lively compositions. Hindustani music also has a typical type of instruments used in it, which is one of the factors that differentiates it from Carnatic music. Some of the main instruments used in Hindustani music are,
Sarod (type pf string instrument)
Flute
Shehnai (a wooden wind instrument,with a metal bell at the end)
Pakhwaj (a cylinder-shaped two handed drum)
Sitar (type pf string instrument)
Veena (type pf string instrument)
Tabla (type of hand drum)
Sarangi (type of string instrument)
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Hindustani Music :
It is unclear when the process of differentiation of Hindustani music started. The process may have started in 14th century courts of the Delhi Sultans. However, according to Jairazbhoy, the North Indian tradition likely acquired its modern form after the 14th or after the 15th century.[45] The Hindustani music development reached a peak in the Indian subcontinent during the reign of Akbar. During this 16th century period, Tansen studied music and introduced musical innovations, for about the first sixty years of his life with patronage of the Hindu king Ram Chand of Gwalior, and thereafter performed at the Muslim court of Akbar.[46][47] Many musicians in northern Indian subcontinent consider the 16th century Tansen as the founder of Hindustani classical music.[48]
Tansen's style and innovations inspired many, and many modern gharanas (Hindustani music teaching houses) link themselves to his lineage.[49] The Muslim courts discouraged Sanskrit and Hindu religious words, and encouraged technical music. Such constraints led Hindustani music to evolve in a different way than the Carnatic music.[49][50]
Hindustani music style is mainly found in North India, Pakistan and Bangladesh. It exists in four major forms: Dhrupad, Khyal (or Khayal), Thumri and Tappa.[51] Dhrupad is ancient, Khyal evolved from it, Thumri evolved from Khyal.[52] Dhrupad is solemn music, uplifting and heroic, pure and spiritual. Khyal adds ornamental notes, shorter, moody and celebratory.[51] Thumri go one step further in their brevity, and are graceful songs. There are three major schools of Thumri: Lucknow gharana, Banaras gharana and Punjabi gharana. These weave in folk music innovations.[51] Tappa is the most folksy, one which likely existed in Rajasthan and Punjab region before it was systematized and integrated into classical music structure. It became popular, with the Bengali musicians developing their own Tappa.[53]
Khayal are an important Hindustani musical form, and the term literally means "frolicsome imagination". They are significant because it was the template for Sufi musicians among the Islamic community of India, and Qawwals sang their folk songs in the Khayal format. Khayal form of music has historically attracted numerous South Asian music artists, and is sometimes referred to as Qawwali.[54]
Dhrupada (or Dhruvapada), the ancient form and described in the Hindu text Natyashastra,[55] is one of the core forms of classical music found all over the Indian subcontinent. The word comes from Dhruva which means immovable and permanent. It is spiritual, heroic, thoughtful, virtuous, embedding moral wisdom or solemn form of song-music combination.[56][52]
A Dhrupada has at least four stanzas, called Sthayi (or Asthayi), Antara, Sancari and Abhoga. The Sthayi part is a melody that uses the middle octave's first tetrachord and the lower octave notes.[52] The Antara part uses the middle octave's second tetrachord and the higher octave notes.[52] The Samcari part is the development phase, which holistically builds using parts of Sthayi and Antara already played, and it uses melodic material built with all the three octave notes.[52] The Abhoga is the concluding section, that brings the listener back to the familiar starting point of Sthayi, albeit with rhythmic variations, with diminished notes like a gentle goodbye, that are ideally mathematical fractions such as dagun (half), tigun (third) or caugun (fourth).[57] Sometimes a fifth stanza called Bhoga is included. Though usually related to philosophical or Bhakti (emotional devotion to a god or goddess) themes, some Dhrupadas were composed to praise kings.[56][57]
Improvisation is of central importance to Hindustani music, and a complex topic. Each school tradition or gharana has developed its own techniques. At its core, it starts with a standard composition (gat), then expands it in a process called gat vistar. The improvisation methods have ancient roots, and one of the more common techniques.
Carnatic music:
It is found predominantly in the peninsular regions, and Hindustani music, which is found in the northern, eastern and central regions. The basic concepts of this music includes shruti (microtones), swaras (notes), alankar (ornamentations), raga (melodies improvised from basic grammars), and tala (rhythmic patterns used in percussion). Its tonal system divides the octave into 22 segments called shrutis, not all equal but each roughly equal to a quarter of a whole tone of the Western music.
It is unclear when the process of differentiation of Hindustani music started. The process may have started in 14th century courts of the Delhi Sultans. However, according to Jairazbhoy, the North Indian tradition likely acquired its modern form after the 14th or after the 15th century.[45] The Hindustani music development reached a peak in the Indian subcontinent during the reign of Akbar. During this 16th century period, Tansen studied music and introduced musical innovations, for about the first sixty years of his life with patronage of the Hindu king Ram Chand of Gwalior, and thereafter performed at the Muslim court of Akbar.[46][47] Many musicians in northern Indian subcontinent consider the 16th century Tansen as the founder of Hindustani classical music.[48]
Tansen's style and innovations inspired many, and many modern gharanas (Hindustani music teaching houses) link themselves to his lineage.[49] The Muslim courts discouraged Sanskrit and Hindu religious words, and encouraged technical music. Such constraints led Hindustani music to evolve in a different way than the Carnatic music.[49][50]
Hindustani music style is mainly found in North India, Pakistan and Bangladesh. It exists in four major forms: Dhrupad, Khyal (or Khayal), Thumri and Tappa.[51] Dhrupad is ancient, Khyal evolved from it, Thumri evolved from Khyal.[52] Dhrupad is solemn music, uplifting and heroic, pure and spiritual. Khyal adds ornamental notes, shorter, moody and celebratory.[51] Thumri go one step further in their brevity, and are graceful songs. There are three major schools of Thumri: Lucknow gharana, Banaras gharana and Punjabi gharana. These weave in folk music innovations.[51] Tappa is the most folksy, one which likely existed in Rajasthan and Punjab region before it was systematized and integrated into classical music structure. It became popular, with the Bengali musicians developing their own Tappa.[53]
Khayal are an important Hindustani musical form, and the term literally means "frolicsome imagination". They are significant because it was the template for Sufi musicians among the Islamic community of India, and Qawwals sang their folk songs in the Khayal format. Khayal form of music has historically attracted numerous South Asian music artists, and is sometimes referred to as Qawwali.[54]
Dhrupada (or Dhruvapada), the ancient form and described in the Hindu text Natyashastra,[55] is one of the core forms of classical music found all over the Indian subcontinent. The word comes from Dhruva which means immovable and permanent. It is spiritual, heroic, thoughtful, virtuous, embedding moral wisdom or solemn form of song-music combination.[56][52]
A Dhrupada has at least four stanzas, called Sthayi (or Asthayi), Antara, Sancari and Abhoga. The Sthayi part is a melody that uses the middle octave's first tetrachord and the lower octave notes.[52] The Antara part uses the middle octave's second tetrachord and the higher octave notes.[52] The Samcari part is the development phase, which holistically builds using parts of Sthayi and Antara already played, and it uses melodic material built with all the three octave notes.[52] The Abhoga is the concluding section, that brings the listener back to the familiar starting point of Sthayi, albeit with rhythmic variations, with diminished notes like a gentle goodbye, that are ideally mathematical fractions such as dagun (half), tigun (third) or caugun (fourth).[57] Sometimes a fifth stanza called Bhoga is included. Though usually related to philosophical or Bhakti (emotional devotion to a god or goddess) themes, some Dhrupadas were composed to praise kings.[56][57]
Improvisation is of central importance to Hindustani music, and a complex topic. Each school tradition or gharana has developed its own techniques. At its core, it starts with a standard composition (gat), then expands it in a process called gat vistar. The improvisation methods have ancient roots, and one of the more common techniques.
Carnatic music:
It is found predominantly in the peninsular regions, and Hindustani music, which is found in the northern, eastern and central regions. The basic concepts of this music includes shruti (microtones), swaras (notes), alankar (ornamentations), raga (melodies improvised from basic grammars), and tala (rhythmic patterns used in percussion). Its tonal system divides the octave into 22 segments called shrutis, not all equal but each roughly equal to a quarter of a whole tone of the Western music.
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