Sample Material of Our IAS Mains GS Online Coaching Programme
Subject: General Studies (Paper 1 - Indian Heritage and Culture, History & Geography of the World & Society)
Culture - Art Forms (Music)
Indian music
Indus Civilisation is the live evidence of Indian Music System. Two important sites of Indus Civilisation i.e. Harappa and Mohen-Jodaro supports the presence of Indian Music. Harappa is at a distance of 100 miles to the south-west of Lahore and Mohenjodaro is at a distance of 200 miles from Karachi. Terracotta seals, vessels, images of animals,, statues, remnants of cities and forts go to prove that this was the most ancient civilisation of India.
It is considered to be at least 3,500 years old. Some regard this civilisation as pre-Vedic and some as Vedic. Among other finds, a flute, a harp with strings and percussion instruments have also been found. A bronze figurine of a dancing girl beating time to music with her foot has also been found. This shows that people in that remote age knew the use of harp, flute, percussion instruments and the art of dancing. On the basis of these scanty data, we cannot say what the music of those times was like. Seals similar to those of Mohenjodaro and Harappa have also been discovered in Sumeria. There was evidently a common civilisation in the Indus Valley and Syria, Assyria and Babylonia.
We have, however, a more detailed account of the music of the Vedic times. The date of the oldest text, i.e., Rigvedq is variously estimated by scholars from 1,500 B.C. to 1,000 B.C.
The Vedas were musically recited. Udatta (raised, Greek oxyu, sharp or acute), Anudatta (not raised, grave, Greek baryu) and Svarita (Greek oxyubaria, acute grave or circumflex) were the three pitches used in Vedic recitative. Udatta was an acute or sharp pitch, Anudatta was a grave pitch and Svarita was a pitch which combined in itself the’ characteristics of both i.e. it started with Udatta and fell down to Anudatta. In Vedic literature, Svarita is called pravana, i.e., it gradually descended from Udatta to Anudatta. It formed a link between Udatta and Anudatta. These three were not merely accents or stress on words; they were musical pitches used for simple recitative.
INDIAN CLASSICAL MUSIC
The Classical Music of India has its origins in the chanting of the Vedas dating back to several thousands of years ago. Since then, by oral tradition, it has been bequeathed through the generations to” its present form. In the course of time, it evolved into two distinct systems, namely the Carnatic (in the South) and the Hindustani (in the’North).
Indian classical music is based on melody. It can be described as contemplative and introspective. There is no intentional harmonic structure beneath the melodic lines.
Such freedom permits almost unlimited melodic possibilities.
Another attribute of Indian music is improvisation. Most of the classical music
performed is extemporaneous. Even while playing the compositions, the performer
attempts variations and embellishments which bring out a unique interpretation
of the composition and the artist’s individuality. This makes the ensuing music
spontaneous, never ceasing to amaze the listener.
It is interesting to note that the seven notes in Indian music, Sa, Re, Ga, Ma,
Pa, Dha, Ni, correspond to Do, Re, Mi, Fa, So, La, Si, in the West. What makes
Indian classical music unique is its two important characteristics: the raga and
the tola. Every piece played (adheres to the confines of raga and tala. A raga
defines the melodic aspects of the music. The raga is a melodic pattern defined
by an ascending and a descending scale and key notes and phrases that bring out
the entire character of the raga. There are numerous ragas that span an entire
spectrum of emotions, colours and characters. In fact a raga has been
personified as a divine being with character and moods just hke a mortal. The
performer, while elaborating a raga, builds up the mood(s) portrayed by the
raga.
Traditionally, most performances of Hindustani music begin with alap: an extensive solo exploration of the raga by the instrumentalist. Alap is divided into three basic parts. The first section of alap begins slowly, with an invocational and meditative approach. Within this stream like, arhythmic style the artist gradually unfolds the shape, textures and moods of the raga. Eventually, a pulse is introduced by the soloist and the second section known as jor has begun. In jor, there “is still no specific rhythmic framework to speak of.