From Raga To Bollywood:Developments and intercultural crossings in Indian music

Question 1

Barhat

Answer 1

Growth, specifically referring to the musical growth that occurs during the Hindustani raga performance

Question 2

Gharana

Answer 2

a musical family or lineage that preserves, cultivates, and develops a particular tradition of raga performance, often over the course of many generations

Question 3

Bhangra

Answer 3

originally a folk music tradition of the Punjab region;now more widely known in its contemporary pop style; often featured in “Bollywood” films.

Traditional bhangra fetures lively Punjabi fol songs and dances accompanied by powerful rhtyhms played on a large, barrel shaped drum called a dhol

Question 4

Qawwali

Answer 4

has a powerful, emotional singing style, combined with the compelling rhythms of the drumming and unison clapping by members of the group

Question 5

Raga

Answer 5

in indian classical music, a complete and self-contained melodic system that serves as the basis for all melodic materials in any composition or performance created in that raga. Raga definition by Ravi Shankar in CD 2-21(An introduction to Indian Music)

Question 6

Tala its components (e.g. theka)-

Answer 6

Metric cycle in indian music.

Question 7

The main formal sections of a raga performance (alap, jor, gat, jhala), and descriptions of each

Answer 7

Alap(opening section)-The slow abstract movement portion of instrumental raga performance. It is improvised by the sitar player. There is no drumming, no meter, no set compositions. The principal tones of the raga are introduced and deeply explored, each one is presented alond and dressed up in characteristic ornaments and microtonal nuances, which will be developed later. Alap is regarded as a test of the improvisatory skill in raga performance( since performers should be able to improvise)
Jor- middle section, serves as musical bridge between intro alap and the gat(std raga performance. Characterized by playing on solo melodic instrument that is rhythmically active, stead and more energetic than the alap. Despite the tempo speeding up, there is still no meter.

Gat- entry of table signals beginning of gat. Drumming establishes tala, which serves as foundational metric cycle for the remaining part of the music. As the gat unfolds, the drum part may move fluidly between accompanying the solo instrument, call and response in others, and playing complex rhythmic unison passages together with it in still others. As Gat moves forward, two general patterns: first, gradual increase in tempo; second, patterns and sections become longer and increasingly complex

Jhala- Ragas conclude with Jhala. Jhala follows the gat and ends with climactic finish. Jhala signalled in with sudden increase in tempo and continues to accelerate until the end. Musical energy also intensifies.

Ultimately, the raga strives to achieve Nada Brahma, “the Sound of God”

Question 8

Ravi Shankar¬

Answer 8

• A disciple of Baba(guru). With the aid of Baba, Shankar came to be revered as one of the master sitar players, raga performers and Indian music gurus of his generation. Shankar reached international popularity with his relationship with the quiet George Harrison of the Beatles. Inspired revolutionary changes in rock and world musics, becoming a pop culture icon of 1960s “hippie” counterculture and in Harrison’s words, became the “Godfather of World Music”

Question 9

John McLaughlin

Answer 9

• Developed into a gifted guitarist and composer. All these influences created his hybrid style. So too his passion for Indian classical music though the full impact would not be realized. He was taught by Ravi Shankar and even converted to Hinduism. He left Davis(his band) and created a new band called Shakti(meaning creative intelligence, beauty and power in Sanskrit). Took the idea of indian jazz fusion to new level. He made a special acoustic guitar with sitar-like features which made it possible for him to make microtonal inflection and imbral nuances required of the group’s heavily Indian-rooted fusion style. The unique instrument provided Mclaughlin with distinctive sound that was ideal to Shakti’s approach

Question 10

A.R. Rahman

Answer 10

-most renowned and influential indian music director in contemporary indian cinema on an international scale since Ravi Shankar. Prominent composer and music director. Has the talent of keeping what is essentially “indian music” in his music. While at the same time pushing that essential core of indianness to the outer reaches of global inclusiveness.
Rahman borrows ever so subtly from American soul or Gos- pel. He draws generously from rap, disco, folk, reggae, qawaali [qawwali], Hindustani and Carnatic in his rhythms. Likes to experiment with indian and western music.

Question 11

George Harrison

Answer 11

Was part of the Beatles. Sitar was featured in the Beatles song, Norweigan Wood (album:Rubber Soul). The sitar was a novel instrument adding “exotic color” to the song. 1966, Harrison began formal sitar studies with Ravi Shankar.

Question 12

What are the indian instruments you gotta know of?

Answer 12

Sitar-a long necked, plucked chordophone. Has a resonating body which consists of a half gourd covered over by an artistically decorated wooden “face”.

Tabla-the drum.

Tambura- has a drone-like timbre

sarangi-
shahnai-
Bansuri-wooden flute-
Sarod-

Question 13

Karnatak vs. Hindustani traditions: similarities and differences, historical events that shaped them

Answer 13

Similarities:
-Raga as basis of melody
-tala as basis of rhythm/meter
singing highest form of musical expression
-related history(especially in pre-16th century)
-related types of instruments

Differences:
-recognized as distinct traditions since 16th century

-Hindustani: Greater influence form Islamic cultures

Karnaatak:Less influence from islamic cultures

Karnaatak: status of singing more elevated relative to instrumental music

-Hindustani:Sitar, Tambura(hindustani, tabla instrumental trio common

Karnatak: Vina, tambura(karnatak), mrdgangam instrumental trio common

-The specific ragas, talas, and music technologies are different in the two traditions.

Question 14

Standard instrumental trios

Answer 14

This is standard in both Karnatak and Hindustani instrumental music. Each instrument has a responsibility of contributing one layer to the overall musical texture. Comprises, of a single line melody, a drone and rhythmic accompaniment.

Common trio(karnatak): vina(plucked chordophone as solo instrument),

tambura(another plucked chordophone as the principal drone providing instrument)

mrdangam(double headed drum, as rhythmic accompaniment instrument)