Indian Music

Music in India or to the Hindu is a part of divine revelation, therefore is held in high veneration. Man who had reached, through self abnegation, higher states, so as to have developed higher mentalities to see or rediscover the eternal truth which is hidden to the ignorant and known to wise. It is the result of gradual collection by wise people, who felt the power of music and dance. Music has an enormous power to concentrate human mind. With that music, they done lot of experiments and made a table of effects of different sounds at different time of the year. Further different sequence and combination of sounds was tested. They saw drastic effects of sound in nature. Nature produce some sound in a particular period of year in other sense that sound may produce some other period to cerate effect of that period. It sounds funny but it is true and Indian musician shown this several time. Although now a days such great musician are rare but who knows secret of this they may do this whenever they want.

It is same as a farmer grows crop with his previous experience. In a particular time of year he seeds, water and take care of the crop and in the end he get handful of wheat. No body sees any miracle in that he is guided by natural laws, the science of agriculture is entirely guided by the tabulated experience of part generation codified and reduced to a precise science.

So music, when made synchronization with nature, with certain season, day, hour or sub period also confirms cosmic low and produced effects, when desired. Cosmos is divided into four forms somniferous or fire, gaseous of air, liquid or water, solid or earth. In 'Surgam' all the sounds have relation with any of these four elements and produce pure or combined effect through the different combination of sounds of the Raga.

If one Raga is sung or played at a precise moment on the exact day and the place, by a fit person whose knowledge is perfect in the science of music and so on with each Raga and Ragini. The result is nothing but miracle of nature. Same as the law of Newton 'every action has equal and opposite reaction'. As nature produce it effects by different vibrations in the different period of year, same way one can produce such vibrations any time of the year and get the effects which nature shows in some particular time of the year.

It is much too sacred, beautiful almost divine for light amusement, and a thorough knowledge of it requires self-abnegation and the serious study of a lifetime. From the ancient works on music we find that music was regarded with awe and reverence. Gods were indulged in it, and men of great learning and piety, such as those who had submerged their individualities in the divine path. Sixteen thousand tunes and three hundred and sixty Taal (Rhythm cycle) are mentioned as used by them in those days, almost inconceivable to our minds and understanding. The divine Krishna was entirely intoxicated by his own music o the flute, and when he commenced to sing his sixteen thousand Gopies followed him, each producing a Raga.

The sixteen thousand tunes were reduced to six Ragas. Each Raga owns Six Ragini as his wife. From each Ragini he has eight sons and eight daughters in laws. Three hundred and sixty Taal were reduced to ninety-two Taal. In the regime of the emperor Akbar, the court musician Tansen made a thoroughly arduous and minute study of this superb science. He felt the superfluity of different ancient opinions and after long observation, determined the distinctive qualifications and characteristics of each melody, and revolutionized the musical world of India by deciding upon one opinion only, with its proper order of tunes. He dealt similarly with the Taal and concentrated the ninety-two Taal into twelve, without lessening the significance, beauty and subtlety of each tune and time.

In the south India music is of an entirely different character, the instruments also differ a good deal from the north. They have a system of their own. Instead of classifying the tunes according to different opinion and having so many Ragas and Ragini, they simply have seventy-two Ragas, otherwise scales. And each scale has a name, which signifies the notes of which it is composed. They follow the ancient system of music of 'Narada' and have their own history and traditions.

Sur-Adhaya - The part which treats of tones including semi-tones, Demi-Semi Tones, etc.
Taal-Adhaya - The Part which treats of time or Rhythm.
Raag- Adhaya - The Part which treats of tunes or melodies.
Ast-Adhaya - The part which treats of musical instruments, such as Vina, Sitar, Taoos, Nafiri, Baansuri, Sankh, etc, played either by the hand or mouth.
Nirt-Adhaya - The part which treats of dancing.
Bhao-Adhaya - The part which treats of action and movements in rhythm with singing and dancing.
Arth-adhaya - The part which treats of comprehension of tunes and times or rhythms.

The Surs (Notes) are seven in number and are named individually : Kharaj or Sharaj, Rishabha, Gandhara, Madhayama, Pancham, Dhaiwat, Nishad and collectively they are called Sargam; and to simplify their use in music, they have abbreviated names to distinguish them such as Sa, Re, Ga, Ma, Pa, Dha, Ni. These Surs have interesting biographies human and supernatural in composition.

They are human in having temperaments, costumes and colours, and like products of nature, they flourish in particular seasons. They are descended from heavenly bodies and trace their lineage from above. Certain Sur are dominant at certain stage of a man's life, they are produced from various part of the body.

Those Surs which possess hot temperaments* have the mysterious faculty of curing those afflicted with rheumatism and such ailment, and vice-versa, provided they are sung by high-minded and noble souls, and at the specified** season of the year and hour of the day, when they should be sung; then alone will the desired effect be obtained. Any violation of the prescribed law is regarded as sacrilege. The seven notes are under the protection of the seven 'Devatas' who preside over them.

Kharaj or Sa. This Sur is under the protection of Agni Deva, and like Panchama does not lend itself to change into Tivra (Sharp) or Komal (Flat), but is permanent.

It is connected with the first heaven and the planet called Kamar(Moon in Arabic)
It has a happy temperament.
Its effect it is cold and moist.
Its complexion is Pink.
It is arrayed in most beautiful white garments and lovely ornaments.
Its seasons are--- all the seasons of the year.
This note is produced from the abdomen.
Its sound has been taken from the cry of the bird Ta-oos (Peacock)
It is prevalent in the voice of the human being when he is seventy years old.
This tone is harmonious in all the Ragas and Raginis.
It has four Surats (semi-tones) or shades of tones, namely, (1)Tivra (2) Kamodvati (3) Manda and (4) Chhandovati.

Rishabha or Re, this sur is under protection of Brahamma Devta.

It is connected with the second heaven and the planet called Retarid (Mercury in Arabic).
It has happy temperament.
In effect it is cold and dry.
Its complexion is pale-green ; it is arrayed in a red costume and is decorated with beautiful ornaments.
Its season is the hot season.
This note is produced from the heart.
Its sound has been taken from the cry of the bird Papiha.
This note is prevalent in the voice of a human being when he is sixty years old.
It is harmonious in the tunes Des, Kanhara etc. and quite unpleasant in Malkaus, Hindole etc.
It has three Surats (shades of tones) (1) Dayavati (2) Ranjani and (3) Raktika

Gandhar or Ga. This sur is under the protecting divinity Sarasvati.

This changes into sharp and flat as the occasion may require.
It is connected with the third Heavens and the planet called Zuhrah (Venus in Arabic).
It is of a sad temperament.
In effect it is cold and moist.
Its complexion is orange and is arrayed in crimson garments.
Its season is the hot weather.
This note is produced from the chest.
Its sound has been taken from the cry of the animal Goos-Fund.
It is prevalent in the voice of a human being aged fifty.
It is pleasant in the tunes Kalingra, Khamach etx and is quite unpleasent in Saranga.
It has two Surats, (1) Seve and (2) Krodhi

Madhyam or Ma. This Sur is under the protection of the God Mahadev. It changes into sharp and flat.

It is connected with the fourth heaven and the planet called shams (Sun in Arabic).
It has a restless temperament.
In effect it is warm and dry.
Its cimplexion is pale pink. It is arrayed in reddish black garments and is prettly ornamented.
Its season is the rainy season.
It is produced from the throat.
Its sound has been taken from the cry of the bird Saras (Crane).
It is prevalent in the voice of a human being when he is forty years old.
This note is pleasant in Malkaus, Bhairon, etc. and is unpleasant in Kalyan.
It has four Surats : (1)Vajrika, (2)Prasarini, (3) Priti and (4) Marjini

Panchama or Pa. This note is under the protection of the Goddess Laxmi

It is connected with the fifth heaven and the planet called Marrikh (Mars in Arabic).
It has passionate temperament.
In effect it is warm and dry.
Its complexion is red and is arrayed in yellow garments.
Its season is the rainy weather.
This note is produced from the mouth.
Its sound has been taken from the cry of bird Koyal (Cuckoo)
It is prevalent in the voce of a human being when he is thirty years old.
It sounds pleasant in the tunes Todi-asaori and is quite unpleasant in Malkaus and Hindole etc.
It has four Surats : (1)Ragata, (2)Sandipani, (3) Alapni and (4) Rohiti

Dhaivata or Dha: this Sur is under the protection of Lord Ganesha.

It changes into sharp and flat.
It is connected with the sixth heaven and the planet called 'Mshtari' (Jupiter in Arabic)
It has an wquable temperament.
In effect it is warm and cold.
Its complexion is yellow, and it is arrayed in vermilion garmants with lovely ornaments.
Its season is the cold weather.
It is produced from the palate.
Its sound has been taken from the neighing of a horse.
This note is prevalent in the voice of a human being when he is twenty years old.
It is harmonious in Bilawal. Alaiya etc and inharmonious in Zeelaf, Jogiya etc.
It has three surats : (1) Mandati (2) Rohini (3) Rmya

Nishad or Ni : This Sur is protected by Surya or Sun God.

It is changeable into sharp and flat, according to the tune in which it occurs.
It is connected with the seventh heaven and the planet Zahal (Saturn in Arabic).
It has a happy and passionate temperament.
It effect is cold and dry.
Its complexion is dark: it is arrayed in black garments and is most beautifully ornamented.
Its season is cold weather.
It is produced from the nose.
Its sound has been taken from the trumpeting of an elephant.
This note is prevalent in the voice of a human being when he is ten years old.
It is pleasant in Bihag. Paraj etc and quite unpleasant in Sorath etc.
It has two Surats: (1)Ugra and (2) Shobhini

Tivra Kumudvtimandchhndovatyastu Shadjgah |
Dayavati Tu Reshrya Ranjani Raktiketyam ||
Raudri Krodhiti Gandhare Vajrikath Prasarini |
Pritishch Marjanityetah Shrutyo Madhymashritaha||
Kshiti Rakta Ch Sandipinyalapinyapi Panchme |
Mandti Rohini Ramyetyeta Stistrastu Dhaivate ||
Ugrach Kshobhiniti Dwa Nishade Vasatah Shruti ||

Note	Variant	Frequency (Indian)	Frequency (European)
SA	Tivra Kumudavati	240	240
Re (Soft)	Manda Chhandovati	256
Re (Flat)	Dayavati Ranjani	270	256
Ga (Soft)	Raktika	288
Ga (Flat)	Raudri Krodhi	300	300
Ma (Flat)	Vajrika Prasarini	320	337.5
Ma (Sharp)	Priti Manjari	337.5
Pa	Kshiti Rakta	360	360
Dha (Soft)	Sandipani Alpini	405
Dha (Flat)	Mandati Rohini	432	384
Ni (Soft)	Ramya	450
Ni (Flat)	Ugra Kshobhini	480	450

DIVISIONS OF NOTES

The portray to our minds the most exquisite harmony which the shades of Tones form in Indian music by a cut and dried theory is out of the question. There are tones, half tones, quarter- tones and eighths of tones in it. The difference in these sounds as can be well imagined is so subtle and so exquisitely fine that before one has consciousness of one sound, it has merged into the other of its own accord, forming soft modulations and unexpected cadences. It is unutterably pure, classically beautiful and sublime in expression. These shades of tones correspond with the Surats previously mentioned.

There is a certain stage in each note, which is neither Tivra (Sharp) nor Komal (flat) but a sound between two. This sound or note is called the Shudh Sur and forms the central sound of a note. There are three notes in a higher key than the Shudh: and three notes in a lower key than the Shudh: and these together form the seven tones in one tone.

Taam Tivra - 3 degree higher then Shudh Sur
Ta Tivra - 2 degree higher then Shudh Sur
Tivra - 1 degree higher then Shudh Sur
Shudha Sur
Komal - 1 degree Lower then Shudh Sur
Ati Komal - 2 degree Lower then Shudh Sur
Shikari - 3 degree Lower then Shudh Sur

Sa Chandovati
Re Raktika
Ga Krodhi
Ma Priti
Pa Alpani
Dha Mandati
Ni Ugra

SAPTAK (OCTAVES)

The seven notes in Indian Music called the Sargam form a Saptak. There are five Saptaks.

The lowest octave is called Mandra Tar Saptak

The next lowest is called Mandra Saptak - the note of this Saptak are produced from the abdomen.

The medium octave is called Madhyam Saptak. The notes of this Saptak are produced from throat.

The next highest octave is called Tar Saptak, and the note of this octave are produced from the head.

The highest octave os called Tar-Tar Saptak or Atitar Saptak.

A qualified singer must produce the three Saptaks : Mandra, Madhyam, and Tar with ease.

The ascending from the low notes to the high in a scale is termed Aaroh, and descending from the high notes to the low notes in the scale is called Avroh.

Mind and Music

Indian Theory of emotions has been usually associated with art on the base of expression of Ras. Mainly based on the Hindu psychology, which recognize the role of the unconscious and racial memory (instincts) under the comprehensive words Vaasana and Sanskara. These forces which form the core and motivation for human behavior are not only the memory of the race bur also that of the individual through his innumerable cycle of births.

The word Rasa is generally translated as emotion, relish etc. closer study would not warrant such a facile interpretation and hence it often is equated to 'aesthetic emotion'. However it is best to omit the connotation of sentiment completely and translate it as 'aesthesis'. The distinction, though very fine is yet a significant one.

Though Rasa is itself not an excited state of mind, the emotional aspects of behavior which go to from the substrate. It is not easy to find the modern Western psychological equivalents of these various factors. Indian psychologists are in many ways so different that such equations become incongruous. But garbing the ancient concepts in modern costumes makes for easier comprehension.

Bhav: by this is meant the states of mind, which are usually referred to as emotions. Bhav are considered to be of two kinds.

Sthayi Bhav are the 'permanent' emotions
Sanchari Bhav are transient moods.

Vibhav (the determination): they are the cause of emotional responses. In modern terminology we may call them the stimuli or releasers. Vibhav themselves are of two categories. (a) Alamban - The person or object or the idea of these which acts as stimulus. (b) Udeepan - The situation which is the context for such behaviour.
Anubhav (the consequent): These form the responsive reactions. Obviously, with the Indian theory of emotion being closely linked to dramaturgy, this usually refers to overt expression.
Sattvabhav (involuntary responses): They are also the bodily signs of emotion, in which are included both external and internal responses to Vibhav.

Shringar Erotic
Hasya Humorous
Karuna Pathetic
Rudra Furious
Veera Valorous
Bhayanak Fearful
Beebhats Odious
Adbhut Wonderous
Shant Peaceful

Right from the ancient days attempts have been made to relate these specified Rasa to music. Bharat said, for instance, that the ethos of a jati depended on the dominant note in it: Sa-Valorous, Re-Furious, Ma-humorous, Pa-erotic and so on.

In our own times musicians have attributed moods to Ragas. Melodies of Khamaj type, some says, are erotic, and those with ma-dha (F#_- Ab ) combinations express pathos and lassitude. Of course, there is not much doubt that the moods created do depend on the notes used and their interrelations, for the state of mind aroused by a set of consonant tones is surely different from that due to dissonant ones. But there is more to it. The highness or lowness of a tone, the nature of melodic movement (straight or meandering), the tempo and various other factors have their own part to play. Further, there is the often missed but vitally important element- 'Gamaka', for such micro variations and ornamentations of sounds contribute to a fullness and suppleness.

Very recently some experiments of current scientific lines were conducted by measuring the responses to phrases of a few Ragas. It was found that they did produce fairly similar moods in all the listeners participation in the experiment, as instanced below:

Kafi: it is very affective, humid, cool, soothing, light( not dense) deep; does not agitate.

Midhar Mand: it is pleasing, gay, refreshing, light, sweet; deep but does not agitate; has no feeling of novalty.

Pooriya Dhanashri: it is sweet, colourful, deep, heavy, weary; reflects stability; cloudy; sacred; has no vitality.

Rageshri: it is sweet, soothing, deep,weary, dark; no novalty and is inflexible; stable and calm.

Principles of Thaat

Thaat must have all notes in proper order
In Thaat Komal or Tivra Notes may come one after the other, i.e. two notes of the same denomination are allowed in Thaat.-
It is not necessary that Thaat may please the listeners.

Raga - it is a peculiar combination of sound (notes) having the property of pleasing the mind of the listeners.

Yoyam Dhwanivisheshstu Swshvanavibhushitaha |
Ranjako Jancttana S Ragah Kathyate Budhe ||

Principles for Raga

Raga must belong to some Thaat, and must have minimum 5 notes.
Two notes of the same denomination should not come one after the other as rule, which is allowed in the case of Thaat.
In a Raga two notes Pa & Ma are not allowed to be dropped together at the same time.
Raga must have fixed notes and path of the combination of the notes for ascending (Aroha) and descending (Avroha) order.
Raga must have one main dominating Note called 'Vadi' and second following note called 'Samvadi', both the notes depend upon the Thaat on which the Raga is based and the time when the particular Raga has to be performed. Raga also may have 'Anuvadi' (note help to give more stress on the Vadi ) and 'Vivadi' ( note which is used in the Raga but may a agreeable by some other tradition who consider the origin of the Raga from some other Thaat.)
Lastly Raga must appeal and please listeners.

Dhrupad

Goverhari - By Tansen
Kandhari - Samokhan Singh (Son in law of Tansen)
Dogar - Brij Chandra
Nauharbani - Shri Chandra

Hori, Dhamar & Khayal

Adarang and Sadarang
Muhammad Shah Rangila
Sultan Husain Sharik Jaounpur
Ameer Khusro

Tappa

Shori Lucknow Wale

Thumri ( combination of Khayal and Tappa)

Nawab Wajid Ali Shah

Tarana

Ameer Khusro
Tansen

Ionization of Raga and Ragini

A Raga or a Taal is, therefore, the externalization of an inner consciousness. It is a concept or a mood unfolding itself. This 'concept' has also been iconized. For every Raga is a man, a woman or a God in a particular state of mind. In effect, in effect, it is a personality " a Dhyanmurthy" a form to be meditated upon and the Dhyanmurthy helps and intensifies the inward tendency of the artist. "Let the imager establish images in temples by meditation on the deities who are the objects of his devotion. In no other way, not even by direct and immediate vision of an actual object, is it possible to be so absorbed in contemplation".

Narad, the divine singer, was boastful of his musical genius; and lord Vishnu wanted to teach him a lesson in humility. So the Lord invited the sage for a walk in the woods. As they were going along, they heard wails and moans, coming from a near by cave. Their curiosity and pity aroused, the two entered the place and found men and women, all maimed, weeping and writhing in pain. Lord Vishnu solicitously enquired as to the cause of their sorrow. Amid their sobs they said, "O Lord, how shall we describe our agony. We are the Dhyanmurthy of Raga and Ragini. There is a churl called Narad who thinks he is a great musician but he does not know a thing. See how he has sung everything wrongly and broken our arms and legs and disfigured our faces!". It was a sufficient lesson to Narad and to all musicians. It is not easy to grasp the essential form of a raga and to project it without confusion.

This iconography of Raga has produced for us the exquisite Raga-Mala miniatures of North India. The Six major Raga, their Wives, sons and daughters-in-law have all been given more or less definite situations of emotions and are depicted in such states. Ragini Todi is the beautiful maiden with a Veena on her shoulders and enchanted deer as her company; the ascetic and the snakes always portray the mood of the Ragini Awavari.

A raga of Ragini, thus, is a hero or a heroine in a given emotional condition and a musician is expected to create this affective state and the audience to participate in this creation. That is why a listener, of really fine sensitivity, is a Rasika and Sahridya ( a person who can attain to a state of Rasa and one who attains the condition of empathy).

Of course, not all music is 'contemplative' of the Force of Existence. The sensate value in human experience is not taboo in good art; and they find expression in the lyrical songs of Thumri, Tappa and Javali. These are certainly of an earthly quality like the sculpture of Konark. It is how one creates music or responds to it, that matters.

An actual performance or concert is not always or constantly a piece of high art. As Indian music is mainly improvisational, moments of great creation are rare. But then, improvisation is not the correct word, for there is no total extemporization. The Raga and Taal have been studied and practiced thoroughly before coming on to the concert platform. Even certain phrases and idioms are preset. But in the main, it is an expression of the mood of the Raga and Taal, as the performer understands it at the moment. This mood is unitary; there are neither clashes nor opposites. However, ht finer fringes and overtones of the Bhav are presented by means of delicate Gamaka, change in tempo and Rhythm. The unexpected constantly rides over the expected. It is a virtue so approach: it is not what is done that is important but how well it is done.