a. Classical Raga b. Anoushka Shankar c. India
d. Sitar, Violin, Shehnai, Tabla, Mayuri Vina
This video is an amazing performance by Anoushka Shankar. This video is based largely on improvisation by these talented musicians. The only theme that was formally composed was the main theme and the rhythmic structures. These are usually based on an eight beat model called the afaik. You can see in the video that each member of the group takes turns in the improvisation during the performance. Shankar starts off the song on the Sitar. During the course of the song, the other instruments in the ensemble take over the main melody and take things in a different direction. The feel and mood of the performance changes when each instrument solos as well.
Indian Classical music is believed to have originated from the Vedas, the oldest of scriptures of Hinduism. It evolved as an aid to self realization and its original principals were expounded in the Samaveda which is one of the four Vedas.
Indian Classical music is believed to have originated from the Vedas, the oldest of scriptures of Hinduism. It evolved as an aid to self realization and its original principals were expounded in the Samaveda which is one of the four Vedas.
It is often difficult to understand the cultural context of the Non-Western musical and rhythmic systems. Many of us in the Western hemisphere have grown up with the musical forms of classical music, jazz and rock and roll.
The musical structure is different than ours in Western music. The two major differences between the two are tuning and scales. The music of India does not emphasize harmony and does not feature counterpoint. Most Indian music features a solo voice or instrument on the melody. The melody is usually accompanied by percussion or a drone. Indian music does not contain any chord progressions as well. Instead, the complexity of this music lies in its melodies and rhythms.
The term raga, for which Indian music is based, was first discussed in the Brhaddesi which is a work from the 10th century. In the 13th century, the theorist Sarngadeva listed 264 ragas. At this time, the Islamic presence was beginning to be felt in India. Muslim rulers extended their patronage to music. In the courts of the emperors, music flourished.
The musical structure is different than ours in Western music. The two major differences between the two are tuning and scales. The music of India does not emphasize harmony and does not feature counterpoint. Most Indian music features a solo voice or instrument on the melody. The melody is usually accompanied by percussion or a drone. Indian music does not contain any chord progressions as well. Instead, the complexity of this music lies in its melodies and rhythms.
The term raga, for which Indian music is based, was first discussed in the Brhaddesi which is a work from the 10th century. In the 13th century, the theorist Sarngadeva listed 264 ragas. At this time, the Islamic presence was beginning to be felt in India. Muslim rulers extended their patronage to music. In the courts of the emperors, music flourished.
The Hindi word “rag” is derived from the Sanskrit “raga”
which means “color” It is linked to the Sanskrit word “ranj” which means “to
color”. Raga may be thought of as an acoustic method of coloring the mind of
the listener with an emotion. It is not a tune, melody, scale or mode from the
English language. It is a combination of different characteristics.
The notes of the rags are called “swar”. “Jati” are the
number of notes that are used in raga. The raga also has an ascending and
descending structure as well. All notes do not have the same level of
significance. The important notes are called “valdi” and “samavadi”.
In addition to the main characteristics of raga, there are
some others as well. For instance, rags have traditionally been attributed to
particular times in history. They have also been characterized into families of
male and female rags as well.
What an amazing video!
ReplyDeleteShe really has a great technique.
I have known the word raga for so long, and yet I never questioned its translation. Translating it as "color" totally makes sense, as you said: "Raga may be thought of as an acoustic method of coloring the mind of the listener with an emotion..". Makes me think of the raga as a special "container" that incorporates an aesthetic experience.