| QUICK NAVIGATION The Rag (Raga) – Theoretical discussion of the melodic form variously known as rag, raag, or raga Index of Rags – Index of descriptions of a number of common North Indian rags The Tal (Tala) – Theoretical discussion of the North Indian system of rhythm known variously as Tal, Taal, Tala, or Taala Index of Tals – Common rhythmic patterns Rhythmic Forms – The various rhythmic forms in North Indian Music Film Songs (by rag) – North Indian classical rags as they appear in popular films Film Songs (by tal) – North Indian classical tals as they appear in popular films Notation – The North Indian approaches to musical notation Drones – The importance and function of the drone in Indian classical music Modes & Scales – Modes and Scales in Indian Music. |
Introduction
India has two systems of classical music. There is the Hindustani Sangeet of the north and the Carnatic Sangeet of the south.
What Is a Classical Music?
A population is told that a particular music is “classical”, and no one ever questions this. However, if one looks very carefully, there are specific characteristics which make an art-form classical. Curiously, none of them are actually musical.
ANTIQUITY – Both Hindustani Sangeet and Carnatic Sangeet can claim a significant antiquity.
Although Indian classical music has a tradition of antiquity, it is not to the extent that is commonly believed. The imagined connection to the period of the Natya Shastra is purely that, imaginary. Any attempt to trace from contemporary forms to this ancient musical treatise, will be faced with so many gaps that there is no way to justify this commonly held view.
Never-the-less, both Hindustani Sangeet and Carnatic Sangeet can trace their linage back several centuries. This clearly fulfils this requirement.
CLASS ASSOCIATION – Societies divide themselves into upper and lower classes. Classical art-forms ally themselves with the upper classes. Both Hindustani and Carnatic Sangeet fulfil this requirement.
CULTURAL TRANSCENDENCE – There is a tendency for the upper classes to form an umbrella over a multitude of smaller folk traditions. For instance the upper classes of South India have more in common with each other, than to the villagers of the same locality. In ta similar manner, the aristocracy of the pre-independence principalities of North India had more of a connection with each other, than to the common people of their realm.
This is reflected in the classical music. In the North, a classical musician could move with easy to perform in Calcutta, Delhi, or Lahore. The same could not be said for folk musicians from these areas
FORMALISATION – For an art-form to be considered to be classical, it has to be highly formalised. Both the Hindustani and the Carnatic Sangeets fulfil this requirement. They both have well developed theoretical foundations, and highly demanding systems of pedagogy.
Relationship Between Hindustani and Carnatic Sangeet
The reasons for the differentiation between North, and South Indian music is not clear. The generally held belief is that North Indian music evolved along different lines due to an increased exposure to the Islamic world. This results from nearly 800 years of Islamic rule over northern India.
Unfortunately, evidence suggests that this answer is a gross over-simplification. For instance, Kerala has an extremely large Muslim population, but virtually no identification with north Indian music. By the same token, the Islamic influence over Orissa was negligible, yet the artistic forms are clearly identifiable as Hindustani. Although there is a poor correlation between the geographical distribution of Hindus / Muslims and the two musical systems; there is an almost exact correlation between the Indo-European/Dravidian cultures and the two musical systems.
Therefore, we come to the politically uncomfortable, yet inescapable conclusion that the differences between North and South Indian music does not represent a differentiation caused by Islamic influence, but instead represents a continuation of fundamental cultural differences.