The Course on Indigenous Knowledge for
Under Graduate Students
with specific reference to
INDIAN MUSIC
April 2011, Christ University, Bangalore
Expert Committee
Project Holder: Vice Chancellor Fr. Thomas C. Mathew
Project Co-ordinator: Prof. Kennedy Andrew Thomas
Internal Experts :
Chitra.s (Guest lecturer )
Asst. Professor : Prabin Villareesh
Asst. Professor : Anupama Nayar
Asst. Professor : Padmakumar M.M.
Student Committee: Ankit Aggarwal, Ashwin Kumar,Shamoon,
Akhil Scaria, Heidi Mamatha, Preeti Sondur, Bhavna Gowri.
External Experts
Dr. Priyashri Rao
Vidwan Umashankar
• Click here to see the video
• Music, to put it very simply, is a series of sounds arranged in a
pleasing sequence. But sound, and in particular musical sound is
perceived in terms of combinations of pitches.
• There are many aspects and facets of music which make for
interesting hearing, studying and appreciating.
• The main objective of this course is to orient the students on the
various fundamental concepts based on the principles of music in
a systematic and interesting manner. It is hoped that at the
conclusion of this course, the student is in a position to develop a
fascination and a taste for music by enjoying the spirit of music.
• Music like the art of dance, sculpture, painting to mention a few,
is fine art. In other words, a musical composition or piece is
performed purely with the intention to delight both the
performer(s) and the listener(s). The varying enthralling tonal
structures that music creates captures the listeners attention in
such entirety, that all thought of self is temporarily shelved, whilst
surrendering to the pleasing succession of pitches.
• The captivating tonal structures are woven to form a structure or
form integrating melody, rhythm and syllable.
• Melody is progression or movement from one pitch to the other
and to the other successively in a pleasing manner.
• Rhythm is the aspect of music which measures melody by way of
beats or claps in particular rhythmic patterns.
• Syllable manifests melody as (a) mnemonic sounds representing
fixed pitches called as ‘svara-s’ and (b) the words of a poem,
referred to as meaningful words or ‘s¡hitya’.
• The musical interplay between the three aspects of melody,
rhythm and syllable creates endless delightful strains of music.
Unit One – Indian Music
1.1 An introduction to ‘Indian Music’ with the following
sub-divisions
1.1.1 Classical Music
1.1.2 Devotional Music
1.1.3 Folk Music
1.1.4 Film Music
Unit One – Indian Music
Indian Music
• The near equivalent terms for the three aspects of music, that is
melody, rhythm and syllable are r¡ga, t¡la and pada as referred to
in Indian music. Along with the aspect of ‘bh¡va’ or emotion or
expression, the four-some make up the rudiments in the practice
and performance of Indian music.
• ‘S¡hitya’ conveys the emotions through the meaning of the words
whereas r¡ga is the vehicle which brings forth the emotion of
music as such.
Unit One – Indian Music
Classical Music
• Music particularly in India, is practiced and performed in
different forms or genres. The classical form is popular in two
modes namely, Carnatic and Hindust¡ni. Other well-liked genres
are devotional music, film music and folk music. In all forms r¡ga,
t¡la, s¡hitya and bh¡va form the fulcrum with the difference
occurring in
– (a) the emphasis on one aspect and,
– (b) strict adherence or relaxation of the rules
Unit One – Indian Music
• As stated by the famous Sitar exponent Pa¸·it Ravi Shankar, the
Indian classical forms of music are principally based on r¡ga and
t¡la and not on harmony, counterpoint, chords, modulation and
other basics of Western classical music.
• Classical music usually is practiced strictly adhering to the
grammar. Tradition or ‘samprad¡ya’ is also diligently followed.
Improvisations and creativity are given wings well within the
boundaries chalked out.
Unit One – Indian Music
• Famous Carnatic classical musicians are vocalists late Smt M S
Subbulakshmi and Shri Maharajapuram Santhanam and famous
violinist Shri Lalgudi G Jayaraman
• Well-known Hindust¡ni musicians are Smt Kishori Amonkar, the
famous sarod exponent Shri Amjad Ali Khan, tabla player Zakir
Hussein
Late Smt M S Subbulakshmi
Dr. M Balamuralikrishna
Lalgudi Shri G Jayaraman
Smt Kishori Amonkar
Pandit Amjad Ali Khan
Unit One – Indian Music
Devotional Music
• Devotional music as the name suggests has at its core the element
of ‘bhakti’ more than any other aspect. The aspects of r¡ga and t¡la
take the backseat. While the aspects of s¡hitya and bh¡va are
accorded most importance.
Unit One – Indian Music
Folk Music
• India has a very rich tradition of folk music. The cultural diversity
of the country creates endless varieties of folk styles. Each region
has its own particular style. Folk music is usually a communitybased group performance of music. The tune is very simple and
the lyrics reflect the feelings of the singer or the situation. Folk
music is sung during occasions such as harvest, marriage,
festivals etc. Folk music is more often than not accompanied by
folk dance. Some examples of folk music are Bihu of Assam and
L¡va¸i of Mah¡r¡shtra.
Unit One – Indian Music
Film Music
• Film music is music composed specifically for the films. The lyrics,
the musical score of the song and the arrangement of music of
different instruments are specially created for a particular song.
Usually a r¡ga is the base scale for a song but depending on the
mood reflected in the lyrics musical phrases not occurring in the
base r¡ga are also included. It is perhaps fair to say that film
music generously borrows from other genres of music too.
Unit Two - Indian Classical Music
2.1 An introduction to Indian Classical Music
2.2 Introduction to Carnatic and Hindust¡ni systems of classical
music with the following sub-headings
2.2.1 History
2.2.2 R¡ga Classification System
2.2.3 T¡la System
2.2.4 Compositions
2.2.5 Composers
Unit Two – Indian Classical Music
History
• The concepts of r¡ga, t¡la and pada form the core of Indian
classical music. Bh¡va or emotion and samprad¡ya or tradition are
also important to classical music.
• Indian classical music has a hoary tradition dating back to the 2nd
century BC. The N¡¶ya¿¡stra is the earliest available literature on
music dated between the 2nd BC and 2nd AD. However music is
constantly evolving and is quite differently practiced today as
against what is described in the text.
Unit Two – Indian Classical Music
There is a plethora of evidence which points to the fact that music
was a practicing art form albeit constantly evolving. The various
sources include
- written works in Tami¾, Samsk¤ta and Telugu
- commentaries on the written works
- references in sacred and secular literature
- sculptures
- coins
- inscriptions
Unit Two – Indian Classical Music
- state documents
- district gazetters
- works written by foreign travellers
- copper plates
- personal diaries
- oral tradition
- musical compositions
Unit Two – Indian Classical Music
R¡ga classification system
Similar to the other elements in music, the r¡ga classification
system has also evolved. Presently the M®lakart¡-Janya r¡ga
system of classification is followed in Carnatic music while the T¡¶
system of r¡ga classification is followed in Hindust¡ni music.
Unit Two – Indian Classical Music
T¡la System
The Sapta T¡la-s with their variations and the C¡pu T¡la-s are
most commonly used in Carnatic music.
Unit Two – Indian Classical Music
Compositions
The musical compositions performed in Carnatic music include
the Var¸am, K¤ti, Padam, J¡va½i, Till¡na, D¡sarapada, áloka,
Pallavi to mention a few.
In Hindust¡ni music the musical compositions include the
Bhakan, Khay¡l, Dhrupad, Ùhumri to mention a few.
Unit Two – Indian Classical Music
Composers
Musicians who composed the compositions are called composers.
They composed both the S¡hitya and the Svara part.
Unit Three – Fundamental Concepts
3.1 Explanation of fundamental concepts
3.1.1 Svara
3.1.2 Svarsth¡na
3.1.3 áruti
3.1.4 Sth¡yi
3.1.5 R¡ga – melodic aspect
3.1.6 T¡la – rhythmical aspect
3.1.7 Pada – verbal or lyrical aspect
3.1.8 Dh¡tu and M¡tu
3.1.9 Ëroha¸a and Avaroha¸a
3.1.10 System of music notation
3.1.11 Vilambita, Madhya and Druta laya
3.1.12 K¡lapram¡¸a
Unit Three – Fundamental Concepts
Svara
Click here to see the video
Unit Three – Fundamental Concepts
Svarasth¡na
The fixed position or place of each svara. In an octave there are
twelve positions or svarasth¡na-s.
Click here to see the video
Unit Three – Fundamental Concepts
áruti
(a) It is a small interval of sound which is taken as a unit for
measuring bigger intervals between the svarasth¡na-s.
(b) It is the pitch level on which the musician and his
accompanying musicians settle their madhyasth¡yi
sha·ja.
Unit Three – Fundamental Concepts
Sth¡yi
It is also referred to as a register or an octave. The seven svara-s
from ‘s’ to ‘n’ make an octave. There are three sth¡yi-s
Mandra sth¡yi – lower register
Madhya sth¡yi – middle register
T¡ra sth¡yi – upper register
Unit Three – Fundamental Concepts
R¡ga
The melodic aspect of music is categorized as R¡ga. The sapta
svara-s form the basis of R¡ga-s. From the various permutations
and combinations of these sapta svara-s, many simple and
complex patterns assumes a vivid personality which bears a
specific stamp of indivuduality.
Unit Three – Fundamental Concepts
T¡la
The rhythmic aspect of music is studied in terms of T¡la. T¡la is a
device employed to calculate the duration of the music or in other
words to measure the time taken to render a composition. T¡la
involves certain actions of the hand(s) which act as signals to
create a regular rhythmic pattern and to also keep the rhythm
from unintended acceleration or deceleration.
Unit Three – Fundamental Concepts
Pada
Pada is a verbal or literary aspect of music. The meaningful words
are in any language while sometimes syllables such as tana,
nadiru taki¶a or meaningless syllables are also used.
Unit Three – Fundamental Concepts
Dh¡tu
In a musical composition, the svara part is referred to as dh¡tu.
M¡tu
In a musical composition, the s¡hitya part is referred to as m¡tu.
Unit Three – Fundamental Concepts
Ëroha & Avaroha
Click here to see the video
Unit Three – Fundamental Concepts
Musical notation
Musical notation consists of the different symbols and signs used
to write or record on paper a piece of music. For instance,
|| - denotes the end of the t¡la ¡vartana
, - denotes the extension of the svara by one count
· - a dot beneath the svara ‘d’ indicates the svara
in the mandra sth¡yi
Unit Three – Fundamental Concepts
Vilambita, Madhya and Durita laya
Click here to see the video
Unit Three – Fundamental Concepts
K¡lapram¡¸a
The tempo or speed of music is referred to as k¡lapram¡¸a. Every
composition has a particular k¡lapram¡¸a. It is also important to
maintain the k¡lapram¡¸a of a song from its commencement to the
conclusion.
Unit Four – Concept of R¡ga
4.1 R¡ga classification system
4.1.1 M®lakart¡ R¡ga-s
4.1.1.1 the scheme of 72 m®lakart¡-s
4.1.1.2 names of the cakra-s
4.1.1.3 72 m®lakart¡ chart along with the
varieties of the svara-s
4.1.1.4 Ka¶apay¡di Sankhy¡
4.1.1.5 Bhuta Sankhy¡
4.1.1.6 Viv¡di R¡ga-s
4.1.2 Janya R¡ga-s
4.1.2.1 Up¡nga R¡ga-s
4.1.2.2 Bh¡sh¡nga R¡ga-s
4.1.2.3 Varja R¡ga-s
4.1.2.4 Vakra R¡ga-s
Unit Four – Concept of R¡ga
R¡ga is the basis of all melody. It consists of a sequence of
svara-s which have a relation
(a) to the basic ¿ruti or the ¡dh¡ra sha·ja
(b) to each other
For a particular r¡ga the svara-s occur in a particular
sequence. A sequence of svara-s is called a saµc¡ra. The svaras are sung in different permutations and combinations.
Unit Four – Concept of R¡ga
As Carnatic music evolved over centuries many systems of
classifying the r¡ga-s too evolved. The method classification
that is in vogue today is the M®lakart¡-janya r¡ga system.
M®lakart¡ r¡ga-s are seventy-two in number. These r¡ga-s are
also called as Janaka r¡ga or Samp£r¸a r¡ga-s.
Unit Four – Concept of R¡ga
A M®lakart¡ r¡ga is that which
(a) all the sapta svara-s occur in both the ascent
and the descent
(b) in both the ascent and the descent the
variety of the svara occurs
The M®lakart¡ r¡ga-s are arranged in twelve cakra-s.
Unit Four – Concept of R¡ga
The arrangement of the M®lakart¡ r¡ga-s is so ingenious that
the serial number and the svara-s taken by the M®lakart¡ r¡ga
can be deduced from the name of the r¡ga. This method is
called the Ka¶apay¡di sankhy¡.
Unit Four – Concept of R¡ga
There are r¡ga-s which are not M®lakart¡ r¡ga-s. These r¡ga-s are
called Janya r¡ga-s. There are four categories of Janya r¡ga-s
- Up¡nga
- Bh¡shanga
- Vakra
- Varja
Unit Five – Concept of T¡la
5.1 T¡la
5.1.1 Anga or Sha·anga-s
5.1.2 Sapta t¡la-s along with the ¿loka
5.1.3 J¡ti
5.1.4 Scheme of 35 t¡la-s
5.1.5 C¡pu t¡la-s
5.1.6 T¡lada¿apr¡¸a-s
5.1.7 Ëvartanam
Unit Five – Concept of T¡la
The rhythmic aspect of music is studied in terms of T¡la. T¡la is a
device employed to calculate the duration of the music or in other
words to measure the time taken to render a composition.
Anga and Sha·anga-s
Click here to see the video
Unit Five – Concept of T¡la
There are seven t¡la-s which are collectively referred t as the S£l¡di
Sapta t¡la-s.
Click the below links to see the video of the seven t¡la-s
• Link 1
• Link 2
• Click the below links to see the continuty
of Seven Talas
• Link 1
• Link 2
• Link 3
• Click the below links to see the continuty
of Seven talas
• Link 1
• Link 2
Unit Five – Concept of T¡la
J¡ti literally means ‘class’ and it is to do with the ‘Laghu’ anga of
the t¡la. It can also be referred to as a ‘time section’. There are five
j¡ti-s namely,
Ti¿ra – 3 counts
Catu¿ra – 4 counts
Kha¸·a – 5 counts
Mi¿ra – 7 counts
Sank¢rna – 9 counts
Unit Five – Concept of T¡la
The Sapta t¡la-s combine with the five J¡ti-s to make up the thirtyfive t¡la-s. Ti¿ra j¡ti Tripu¶a t¡la is popularly referred to by the
name Ëdi t¡la.
C¡pu t¡la-s
Click here to see the Video
Unit Five – Concept of T¡la
The T¡lada¿apr¡¸a-s are ten important elements which govern the
concept of t¡la. They are literally the life-force of t¡la. The names of
the ten elements are
1. Kala
6. J¡ti
2. M¡rga
7. Ka½a
3. K¤iya
8. Laya
4. Anga
9. Yati
5. Graha
10. Prast¡ra
Unit Five – Concept of T¡la
Ëvartana
One cycle of a tala is called an Avarthana
Unit Six – Musical Instruments
6.1 Four-fold classification of the musical instruments
examples
6.1.1 Chordophones or String instruments
6.1.2 Aerophones or Wind instruments
6.1.3 Membranophones or Skin instruments
6.1.4 Idiophones or Solid instruments
with
6.2 Pictures of the different musical instruments
with a small note indicating their use in the
different forms of music
6.3 Structure and playing technique of the
Tamb£ra
Unit Six – Musical Instruments
As described by the eminent musicologist, the late Prof
Sambamurthy, a musical instrument is
“…contrivance, mechanism, thing or apparatus
capable of producing a musical note or notes.”
Unit Six – Musical Instruments
The musical instruments can be classified into four groups,
namely,
Chordophones - String instruments – Tata v¡dya
Aerophones - Wind instruments – Sushira v¡dya
Membranophones - Skin instruments - Avanaddha
v¡dya
Idiophones - Solid instruments – Ghana v¡dya
Unit Six – Musical Instruments
In almost any form of music, there is a basic pitch which is also
called as the Ëdh¡ra ¿ruti. In Carnatic music the pitch or the level
which the musician establishes his madhya sth¡yi sha·ja is his or
her ¿ruti.
The instrument which helps the musician maintain his or her
¿ruti is the ¿ruti box or the Tamb£ra. It is also referred to as the
drone instrument. Present day musicians also use the electronic
¿ruti box or the electronic Tamb£ra.
Unit Six – Musical Instruments
The parts of the include
- Ku·am or bowl
- Belly or top plank
- Da¸·i
- neck
- peg
- string
- Bridge
- Beeds
Unit Six – Musical Instruments
- N¡gap¡sam or attachment
- J¢v¡½i
- Purfling
- Ledge
- Yedirm¢¶¶u
- Soundhole
- Connecting hole
Unit Six – Musical Instruments
Unit Seven – Musical Compositions
7.1 Introduction to the different musical compositions - Abhy¡sa g¡nam
and Sabh¡ g¡nam
7.1.1 G¢tam
7.1.2 Svarajati
7.1.3 Var¸am – Ëdi and A¶a t¡la-s
7.1.4 K¤ti and K¢rtana
7.1.5 brief note on other compositions of
Kalpita sang¢ta and the musical forms in
Manodharma sang¢ta
Unit Seven – Musical Compositions
A musical composition is a piece of music set to a r¡ga or r¡ga-s
and more often than not to a t¡la or t¡la-s. The structure of the
composition should conform to the genre of compositions to
which it belongs. It may or may not have lyrics.
Abhy¡sa G¡na is music intended for practice and is inclusive of the
different svara exercises and musical compositions such as
G¢tam, svarajati, jatisvara
Unit Seven – Musical Compositions
Sabh¡ G¡na is music intended for performance in concerts. There
a number of compositions for instance, K¤ti, Padam, J¡vali,
Ash¶padi. The Var¸am however is perhaps the only composition
which is a part of both the Abhy¡sa G¡na and the Sabh¡ G¡na.
Unit Seven – Musical Compositions
G¢tam or g¢ta is the first regular musical composition learnt by a
student of music. Every g¢tam is set to a specific r¡ga and t¡la
specified more often than not by the composer.
The first g¢ta is ‘ár¢ga¸an¡th¡’ set to Malahari r¡ga and R£paka
t¡la and is believed to have been composed by the father of
Carnatic music Purandarad¡sa.
Click here to see the video
Unit Seven – Musical Compositions
Svarajati-s are the next type of compositions to be learnt by the
student of music. The structure of the composition and the r¡ga is
more complex than that of the g¢ta.
A popular svarajati is ‘R¡ra v®¸ugop¡b¡la’ set to Bhilahari r¡ga and
Ëdi t¡la.
Click here to see the video
Unit Seven – Musical Compositions
The Var¸am is the next genre of musical composition that the
student of music encounters. There are two types of Var¸am-s
- T¡na Var¸am-s
- Pada Var¸am-s
T¡na Var¸am-s are set in a number of r¡ga-s and t¡la-s with the
Ëdi t¡la and A¶a t¡la var¸am-s being the most popular ones.
Unit Seven – Musical Compositions
The Ëdi t¡la var¸am presented in this demo is set to r¡ga S¡ranga.
Click here to see the Video
The A¶a t¡la var¸am presented in this demo is set to r¡ga Bhairavi
and is the anupallavi and the ettga or the second section of the
first half of the var¸am.
Click here to see the video
Unit Seven – Musical Compositions
Of all the types of musical compositions, the bulk of compositions
in Carnatic music are those that belong to the genre of K¤ti. The
K¤ti is a flexible type of composition for it allows for the
composer to compose in any r¡ga or t¡la.
The famous K¤ti of the v¡gg®yak¡ra Muddusv¡my D¢kshitar ‘V¡tapi’
set to Hamsadvani r¡ga and Ëdi t¡la is presented in the demo.
Click here to see the video
Unit Seven – Musical Compositions
Kalpita sang¢ta refers to music which is composed and includes
compositions such as
- Padam
- J¡vali
- Ash¶padi
- Tarangam
- R¡gam¡lika
- Till¡na
- K¡va·i cindu
Unit Seven – Musical Compositions
Manodharma sang¢ta refers to music which sung or performed
extempore. The musical forms in manodharma sang¢ta are
- kalpana svara-s
- r¡ga ¡l¡pana
- neraval
- t¡nam
- pallavi
Unit Eight – Composers
8.1 Introduction to composers or v¡gg®yak¡ra-s
8.2 Biographies of important v¡gg®yak¡ra-s
8.2.1 Purandarad¡sa
8.2.2 Saint Ty¡gar¡ja
8.2.3 Muddusv¡mi D¢kshitar
8.2.4 áy¡ma á¡stri
Unit Eight – Musical Compositions
A v¡gg®yak¡ra is a person who composes both the ‘v¡k’ or the lyrics
and the ‘g®y’ or the musical part of the composition. In other
words one who composes musical portion or only writes the lyrics
is only a music composer or a lyricist and not a v¡gg®yak¡ra. There
are many famous v¡gg®yak¡ra-s such as
- Purandarad¡sa
- Saint Ty¡gar¡ja
- Muddusv¡mi D¢kshitar
- áy¡ma á¡stri
Unit Eight – Musical Compositions
Purandarad¡sa (1484-1564) is called the Pit¡maha or the father of
Carnatic music and belongs the D¡sa k£¶a-s of Karn¡¶aka. This
immortal bard was a multi-millionaire and became overnight a
saint and later a composer. He forfeited his entire wealth without
a second thought whatsoever and set off in pursuit of the Lord. He
is believed to have composed the basic svara exercises for the
beginners of Carnatic music in M¡y¡m¡lavagau½a r¡ga.
Purandarad¡sa
Unit Eight – Musical Compositions
The three great composer Saint Ty¡gar¡ja (1767-1847),
Muddusv¡mi D¢kshitar (1776-1835) and áy¡ma á¡stri (1762-1827)
constitute the musical trinity. The musical form K¤ti which forms
the bulk of the compositions of Carnatic music was perfected by
these three great musicians. They were all born at Tiruv¡r£r and
were men of rare scholarship proficient in Samsk¤ta and Telugu
and were also well versed in V®da-s, á¡stra-s and sacred lore.
Saint Ty¡gar¡ja, Muddusv¡mi D¢kshitar and áy¡ma á¡stri
UNIT NINE - Practicals
9.1 áruti alignment
9.2 Sara½i Varisai – 1-9 – with explanatory notes
9.3 Ja¸¶a Varisai – 1-5 – with explanatory notes
9.4 Dh¡tu Varisai – 1 – with explanatory notes
9.5 T¡ra sth¡yi Varisai – with explanatory notes
9.6 Alank¡ram – with explanatory notes
9.7 G¢tam
9.7.1 ár¢ga¸an¡th¡
9.7.2 Varav¢¸¡
9.7.3 Kamalaj¡tala
9.8 K¤ti
9.8.1 ár¢ga¸an¡tam bhajar® - Ì¿amanohari –
R£paka t¡la - D¢kshitar
9.8.2 Sarasarasamar® - Kuntalavar¡½i - Ëdi Ty¡gar¡ja
Unit Nine – Practicals
áruti alignment is a fundamental requirement for music.
The basic exercises that a student of music first learns are the
Sara½i Varisai-s.
video clipping of Sara½i Varisai-s 1 and 9 and he second set of
svara exercises are the Ja¸¶a Varisai-s.
Click here to see the video
Unit Nine – Practicals
The melodic aspect of music is developed based on the
permutation and combination of svara-s. Exercises like the
Dh¡tu Varisai-s, the T¡ra sth¡yi Varisai and the Alank¡ram-s
help in singing the svara-s in various combinations.
video clipping of the R£paka t¡la Alank¡ra
Click here to see the video
Unit Nine – Practicals
The first introduction to a musical composition is through the
G¢ta.
video clipping of the G¢ta ‘Varav¢¸¡’ set in Mohana r¡ga and
r£paka t¡la.
Click here to see the Video
Unit Nine – Practicals
As mentioned before too the K¤ti type of composition is the
mainstay of the kalpita (composed) variety of music.
video clipping of the k¤ti ‘ár¢ga¸an¡tam bhajar®’ set in
Ì¿amanohari r¡ga and r£paka t¡la. This is a composition of
D¢kshitar.
Click here to see the Video
UNIT TEN - Conclusion
This is in brief is an introduction to different concepts and
elements of music. We hope that this initiation to the endless
beauty of music will serve as a spring board to delve deeper
into the intricacies and nuances of music.