Music of India - MAPEH 8 (Music 3rd Quarter)
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Vocal and Instrumental Music of India
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Music of India - MAPEH 8 (Music 3rd Quarter)
- 2. INDIA
- 3. FLAG
- 4. Capital: New Delhi Largest City: Mumbai Official Language: Hindi
- 6. India is the largest country in South Asia. The music of India reflects different aspects of Asian culture through its timbre, rhythm, melody, texture, form, and style.
- 8. Vocal Music of India includes Carnatic and Hindustani music, and several types of folk and popular music uses melismatic singing with nasal vocal quality
- 9. Samagana singing based on a set of pitches popular during the Vedic times
- 10. Sama Veda a sacred text, were sung as Samagana and not chanted is the third of the four Vedas of Hinduism but ranks next to Rig Veda (Rigveda) in terms of its sanctity and liturgical importance
- 11. Rig Veda is also sung in the Samagana traditional singing style is counted as first among the four canonical sacred texts of Hinduism known as Vedas
- 12. Rig Veda is an ancient Indian sacred collection of Vedic Sanskrit hymns
- 13. Characteristics of Traditional Indian Music Carnatic Music refers to music from South India directed to a Hindu god, which is why it is called “temple music” Music pieces are mainly set for the voice and with lyrics. Compositions called krti are devotional songs.
- 14. Characteristics of Traditional Indian Music Carnatic Music is unified where schools are based on the: same ragas same solo instruments (veena, flute, violin) same rhythm instruments (mridangam and ghatam)
- 15. Characteristics of Traditional Indian Music Hindustani Music goes back to Vedic period times around 1000 BC further developed in the 13th and 14th centuries AD with Persian influences and from existing religious and folk music predominantly found in the northern and central regions
- 16. Characteristics of Traditional Indian Music Hindustani Music influenced by ancient Hindu musical traditions, historical Vedic religion / Vedic philosophy, native Indian sounds and enriched by the Persian performance practices of the Mughal area nasal singing is observed in their vocal music
- 17. Characteristics of Traditional Indian Music Hindustani Music In North India, the most common style of singing is called khyal, a word which means “imagination”
- 19. Instrumental Music of India Hindustani Sangeet – instruments used in North Indian music Carnatic Sangeet – instruments used in South Indian music
- 20. Classification of Indian Musical Instruments 1. Ghan described as a non-membranous percussive instrument but with solid resonators is one of the oldest classes of instrument in India may also be a melodic instrument or instruments to keep tal
- 21. Classification of Indian Musical Instruments 1. Ghan Ghatam Kartal Manjira Nout
- 22. Classification of Indian Musical Instruments 2. Avanaddh described as a membranous percussive instrument typically comprise the drums
- 23. Classification of Indian Musical Instruments 2. Avanaddh Daf (Duf, Daphu) Tabla Dhol
- 24. Classification of Indian Musical Instruments 3. Sushir also known as blown air is characterized by the use of air to excite the various resonators
- 25. Classification of Indian Musical Instruments 3. Sushir Bansuri Shehnai Shankh Surpeti
- 26. Classification of Indian Musical Instruments 4. Tat referred to as vina during the old civilization Instruments in this class are plucked (stringed instruments)
- 27. Classification of Indian Musical Instruments 4. Tat Sitar Gottuvadyam Ektar GopichandRabab
- 28. Classification of Indian Musical Instruments 5. Vitat described as bowed stringed instruments is of the oldest classifications of instruments and yet did not occupy a place in classical Indian music until the last few centuries
- 29. Classification of Indian Musical Instruments 5. Vitat Banam Esraj Chikara Sarangi
Editor's Notes
- In general, Indian music remains fundamental to the lives of the people of India as a source of spiritual inspiration, cultural expression, and entertainment.
- When compared with the Philippine music which uses melismatic singing is only used in chanting epics and the pasyon
- RAGA – may be thought of as an acoustic method of coloring the mind of the listener with an emotion