Search results
Results from the WOW.Com Content Network
Swara (Sanskrit: स्वर) or svara [1] is an Indian classical music term that connotes simultaneously a breath, a vowel, a note, the sound of a musical note corresponding to its name, and the successive steps of the octave, or saptanka. More comprehensively, it is the ancient Indian concept of the complete dimension of musical pitch.
Indian classical music is the classical music of the Indian subcontinent. [1] It is generally described using terms like Shastriya Sangeet and Marg Sangeet. [2] [3] It has two major traditions: the North Indian classical music known as Hindustani and the South Indian expression known as Carnatic. [4]
This article has an unclear citation style. The references used may be made clearer with a different or consistent style of citation and footnoting. (July 2020) (Learn how and when to remove this message) Tyagaraja, known for his extensive contributions to Carnatic music Music of India Genres Traditional Classical Carnatic Odissi Hindustani Folk Borgeet Baul Bhajan Kirtana Shyama Sangeet ...
Hindustani classical music is the classical music of the Indian subcontinent's northern regions. It may also be called North Indian classical music or Uttar Bhartiya shastriya sangeet. The term shastriya sangeet literally means classical music, and is also used to refer to Indian classical music in general. [1]
Sargam refers to singing the notes, mostly commonly used in Indian music, instead of the words of a composition, with use of various ornamentations such as meend, gamak, kan and khatka, as part of a khyal performance. This is generally done in medium-tempo as a bridge between the alap and taan portions.
It is a very fundamental svara in Classical music. Shadaj serves a critical role in maintaining the tonal framework during performances. Before transitioning from one raga to another, particularly when the ragas share the same set of svaras (notes) but differ in their chalan (movement or progression), the note "Sa" is often played.
The names of the jatis reflect regional origins, e.g. andhri (Andhra Pradesh), oudichya . (Note that many modern raga names are also after regions - e.g. Khamaj, Kanada, Gauda, Multani, Jaunpuri, etc.). Ten characteristics are mentioned for each jati, which resemble the structuring and elaboration of the contemporary raga in Hindustani music.
Arohana, Arohanam, Aroh or Aroha, in the context of Indian classical music, is the ascending scale of notes in a raga. [1] The pitch increases as we go up from Shadja (Sa) to the Taar Shadja (Sa), possibly in a crooked (vakra) manner.