Global Studies
Name: ______________________________
World Music: Chapter 8
Raga, Ravi Shankar, and Intercultural Crossings in Indian Music
Chapter Objectives
The life and career of Ravi Shankar
Fundamental structures of Indian music, and of Hindustani raga in particular
Instruments—both traditional Indian and Western—used in Indian music
The influence of Indian music on certain Western musical traditions (including jazz and rock)
Overview
The life, career, and influence of Ravi Shankar serve as a framework for an exploration of Indian music, its diasporic and international development, and its impact on the transformation of other music traditions (especially jazz and rock). After a brief
historical overview of the Indian subcontinent, several music traditions—most notably the Hindustani and Karnatak classical
traditions—are identified and described. Focus then turns specifically to the Hindustani raga idiom of northern India. Ravi
Shankar provides a brief lecture demonstration on features of raga, and a raga performance by Vishwa Mohan Bhatt is examined. The second part of the chapter explores Indian music’s influence on the West and on intercultural music making. The
chapter overall includes detailed discussions of a variety of styles of Indian and Indian-influenced music, from traditional devotional songs to complex works fusing styles and practices from around the globe.
Getting started: Ravi Shankar biography
The multidimensional life and work of Ravi Shankar flows through this chapter, carrying the ancient traditions of Hindustani
music to ever-newer audiences, places, and times. Students can search print and Internet resources (www.ravishankar.org) to
fill in details that lie beyond the scope of this brief introduction to Ravi Shankar and Hindustani music.
Indian Music in Context
Listen to CD ex. # 2-9 and identify sections within this bhajan excerpt. Describe the musical events within each section.
Section
Brief description
Expanded Description
0:00—0:09
Solo voice with instrumental accompaniment
0:10—0:20
Vocal group
0:20--0:25
Abbreviated repeat of 0:10-0:20
Solovoice withinstrumentalaccompaniment;extended
rangeanduseof more elaborateornamentation
Group—fades out
0:26—1:11
1:12—end
Listen to CD ex. # 2-10. Identify and describe sections within the performance.
Section
Brief Description
Expanded Description
0:00—0:06
Instrumental intro; unmetered
0:06--0:30
Solo voice over instruments; unmetered;
similar to?
0:31—0:46
Instruments begin metered performance
0:46—end
Solo voice; improvisational and highly ornamented
IM—8/1
Musical Diversity and Two Great Traditions
Use the following chart to create a comparison between Hindustani and Karnatak music similar to Table 8.1, but including more
detailed descriptions of similarities and differences.
Comparison of Karnatak and Hindustani Music Traditions
Similarities
Differences
Raga Defined
Each raga is a complete and self-contained melodic system that serves as the basis for all the melodic materials in any given
composition or performance created in that raga. Performing a raga demands strict adherence to the rules and procedures of
that raga: you cannot switch between one raga and another in midstream. After listening to the recorded lecturedemonstration (CD ex. # 2-11) and reading the information on pages 132-135, use the chart below to create a reference sheet
on the key features of a raga.
Features
Description
An identifying set of pitches
A unique repertoire of melodic ornaments and melodic
motives
A set of rules and procedures
A repertoire of set compositions
A host of extramusical associations
Tala Defined
The tala provides the rhythmic framework of a raga performance and the metric cycle within which the music is grounded.
After listening to the recorded lecture demonstration (CD ex. # 2-11) and reading the information on pages 132-135, use the
chart below to create a reference sheet on the key features of a tala.
Feature
Description
Specific number of beats
Specific pattern of stronger
and weaker beats
Theka
Sam
IM—8/2
Counting Tala
Reminders:
Beats 1, 5, and 13 are marked by a handclap. These are the tali, or “full” beats, of this metric cycle. Beat one receives
the most emphasis, since it marks the important principal beat sam.
Beat 9 (khali, meaning “empty”) is marked by a silent wave. See the following image.
All of the remaining beats in tintal are marked by finger touches, in which you touch your right thumb with the tips of
your right ring, middle, and index fingers, one after the other, on successive beats (see the following image). These
are the subordinate beats of the cycle.
Practice using the patterns in Figure 8.7 or the image below, and then “sing along” with the model of Online Musical Illustration # 23 as you mark the beats with the appropriate claps, waves, and finger touches.
Once you have mastered this stage, cue up “An Introduction to Indian Music” (CD ex. # 2-11) to the tintal musical illustration located at 1:45—2:00. Try to keep tal with Shankar’s counting of the beats!
“Raga Nat Bhairav,” Vishwa Mohan Bhatt, CD ex. # 2-12
Vishwa Mohan Bhatt is not only a consummate performer of traditional Hindustani raga, but is also recognized for his innovative efforts as a cross-cultural innovator. Bhatt’s performance of “Raga Nat Bhairav” includes all of the basic features of a fullscale raga performance (which may last up to an hour), but they are condensed into just over seven minutes. Listen to CD ex. #
2-12 and use the chart below to record observations. Refer to the analysis of the selection on pages 138-140 as a guide to
analysis and observations. Refer also to the chart on p. 135
Section
Alap
0:00—0:47
Comments/Observations
0:48—1:14
1:15—2:58
2:59—3:08
Gat
3:09—end
Tihai
7:00—end
IM—8/3
“India,” John Coltrane, CD ex. # 2-13
Listen to CD ex. # 2-13. Indicate where you think major changes occur within the excerpt and mark these as times for blocks in
the following chart.
Section
Comments/Observations
0:00 – 0:07
0:08 – 0:24
0:25 – 0:44
0:45 – 0:54
0:55 – 1:22
1:23 – 1:42
1:43 – 1:57
1:58 - end
Something Extra: “Love You To,” The Beatles, Revolver, Track # 4
George Harrison’s first use of the sitar in “Norwegian Wood” was more an instance of using the instrument for “exotic color”
than an example of true intercultural fusion. After Harrison commenced his formal studies with Ravi Shankar began a more
serious infusion of the raga tradition and other Indian influences into his compositions, including elements of instrumentation,
structure, and musical design. “Love You To,” from the 1966 album Revolver, is an example of the influence of Shankar’s teaching. Although “Love You To” is not a formal raga performance, it does contain segments paralleling raga performance practices. Listen to this selection and use the following chart to show how Harrison infused his music with Hindustani influences.
Section
Brief Description
Comments/Observations
Similar to alap; sitar establishes
0:00-0:35
raga-like opening
0:36-0:39
Tabla enters to establish meter
0:40—1:35
Interplay of voices and instruments
1:36—1:55
Sitar improvised solo
1:56—2:31
2:32—end
Voices and instruments;
Similar to 0:40—1:35
Increased tempo; More complex
sitar improvisations
“Joy,” Shakti, CD ex. # 2-14
Listen to CD ex. # 2-14, “Joy.” This is not a raga, but draws upon raga elements, combining them with jazz-derived forms and
structures. Use the following chart to record observations for use in subsequent class discussions.
Section
Comments/Observations
A section
0:00—0:12
B section
0:13—0:26
Guitar/violin melody 0:27—
0:39
Violin melody
0:40—1:02
1:03—1:38
IM—8/4
Section
A section
1:39—1:53
Tabla solo
1:54—2:05
Guitar solo
2:06—end
Comments/Observations
“Living Magic,” Trilok Gurtu, CD ex. # 2-15
“Living Magic” is a performance by an-all-star international cast of musicians. It merges Indian musical elements with jazz and
incorporates instruments, rhythms, and performance styles from many other musicultural traditions as well. High-tech musical
electronics and sophisticated techniques drawn from contemporary Western art music are present in addition. Use the following chart to record observations to serve as the basis of subsequent class discussions. Students should use both what they hear
and the analysis of the “Alap” and “Gat” sections of “Living Magic”.
Section
Comments/Observations
“Alap” section
0:00—1:08
Transitionalsection
bridging“Alap”and“Gat”sections
1:09—2:10
“Gat” section
2:11—end
Additional Resources
Visit the Online Learning Center at www.mhhe.com/bakan1 for additional learning aids, study help, and resources that supplement the content of this chapter.
Visit www.smithsonianglobalsound.org and explore other audio and video examples from the cultures and styles discussed in
this chapter.
Visit http://internationalmuzic.net and explore other audio and video examples from the cultures and styles discussed in this
chapter.
Websites
En.wikipedia.org/wiki/Norah_Jones
www.anoushkashankar.com
www.norahjones.com
Chapter 8 Journal - Part 1: Information
Key terms
en.wikipedia.org/wiki/Nusrat_Fateh_Ali_Khan
www.johncoltrane.com
www.vishwamohanbhatt.com
Definitions or explanations or comments
Hindustani
raga
Barhat
Gharana
Hindu
religion
Vedas
IM—8/5
Key terms
Definitions or explanations or comments
Bhajan
Bhangra
Karnatak
Raga
Tala
Nada
Brahma
Vina
Tambura
Mrdangam
Sitar
Tabla
Guru
Alap
Tintal
Theka
Sam
Vadi
Gat
Keeping
tala
Tihai
IM—8/6
Part 2: Reflections
Name: _________________________________ # ____
COMPLETE AND TURN IN ON DAY OF UNIT ASSESSMENT!!!
CHAPTER 8 JOURNAL
What, in this chapter, was
new to me?
What, in this chapter,
would I like to know more
about?
Of the musical examples
in this chapter, which did I
enjoy the most? Why?
Of the musical examples
in this chapter, which did I
enjoy the least? Why?
Other thoughts or comments about Chapter 8
IM—8/7