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Musical instruments of the Indian subcontinent can be broadly classified according to the Hornbostel–Sachs system into four categories: chordophones (string instruments), aerophones (wind instruments), membranophones (drums) and idiophones (non-drum percussion instruments).
A modern scientific classification of instruments based on intensity, pitch, range etc. has been envisaged in the twelfth chapter. Iconic and aesthetic elements of instruments have been discussed in the thirteenth chapter. Instruments are a vehicle conveying essential nature of others to the artiste while transporting his emotions to listeners.
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The instrument is made of two metal curves, joined to form an "S" shape. [1] It may also be reassembled to form a crescent. [2] It is part of a group of curved-tube instruments that include the ransingha, the narsinga and the sringa. It may also be related to the laawaa and Tibetan dungchen, both straight tubular copper horns.
The earliest mention of the jal tarang is found in Vatsyayana's Kamasutra, as playing on musical glasses filled with water. [1] Jal tarang was also mentioned in the medieval Sangeet Parijaat text, which categorized the instrument under Ghan-Vadya (idiophonic instruments in which sound is produced by striking a surface, also called concussion idiophones.)
The typical tassa group is as follows: the lead tassa player is called the "cutter" or "cut-man". The cutter plays the main, pulsating rhythm, or taal, or hand. The second tassa player is known as the "fulley" or "fuller", as their role is to make the rhythm or "taal" sound more full. The fulley plays a steady rhythm usually a simplified ...