HINDUSTANI AND CARNATIC MUSIC

Several types of music, belonging to different categories are prevalent in the Indian sub-continent. They can be classified as under:

Hindustani Music

• Focus: Primarily concerned with musical structure and the improvisation of ragas.
• Scale: Adopts the Shudha Swara Saptaka or the Octave of Natural Notes.
• Elements: Combines the influence of:
  • Ancient Hindu tradition
  • Vedic philosophy
  • Persian tradition
• Musical Instruments:
  • Tabla, Sarangi, Sitar, Santoor, Flute, and Violin.
• Basis: The system is based on the Raga.

Styles of Hindustani Music

1.     Dhrupad:

• One of the oldest and grandest forms of Hindustani classical music.
• Its origins are found in Natya Shastra, and it reached its peak during the reign of Emperor Akbar.
• Form:
  • A poetic form with extended presentation, featuring the elaboration of ragas using Sanskrit syllables.
• Origin: Temple origin.
• Compositions: Typically have 4-5 stanzas and are performed by a duo.
• Instruments: Accompanied by Tanpura and Pakhawaj.
• Sub-Forms: Dhrupad is divided into vanis or banis based on style, with notable gharanas like:
  • Dagari Gharana
  • Darbhanga Gharana
  • Talwandi Gharana
  • Bettiah Gharana

2.     Khyal:

• Meaning: The word Khyal is derived from Persian, meaning “idea” or “imagination.”
• Origin: Attributed to Amir Khusrau.
• Basis: It is based on a repertoire of short songs ranging from two to eight lines.
• Bandish: A Khyal composition is also referred to as a bandish.
• Unique Feature: The use of taans (rapid notes) in Khyal is prominent. Due to this, the Alap (slow introduction of a raga) has less emphasis compared to Dhrupad.
• Types of Songs:
  • Bada Khyal: Sung in slow tempo.
  • Chhota Khyal: Sung in fast tempo.
• Theme: Typically romantic or devotional, often focused on praising God (e.g., Lord Krishna) or a king.
• Major Gharanas: Gwalior, Kirana, Agra, Patiala, Bhendibazaar.

3.     Tarana:

• Structure: Consists mainly of melody, with repeated short phrases that can be varied at the performer’s discretion.
• Origin and Usage: Invented by Amir Khusrau in the 13th–14th century. Guru Gobind Singh, the 10th Sikh Guru, used Tarana in his compositions.

Semi-Classical Styles of Hindustani Music

1. Difference between Semi-Classical and Classical Styles:

• Lighter Ragas: Semi-classical styles use lighter versions of ragas like Bhoopali or Malkauns.
• Lighter Talas: Employ lighter versions of rhythmic cycles (tala).
• Faster Tempo: They use madhyam or dhrut laya (medium or fast tempos).
• Emphasis: More focus is placed on bhava (emotion) and lyrics than in traditional classical forms, which focus on complex alap and jor-jhala (slow, improvised development of a raga).

1. Types of Semi-Classical Styles:

1. Thumri:

• Based on: Mixed ragas.
• Theme: Compositions are either romantic or devotional.
• Language: Primarily sung in Hindi or the Braj Bhasha dialect.
• Voice: Mostly sung in a female voice; known for its sensuality and emotional expressiveness.
• Improvisation: Allows freedom for the singer to improvise during performance, giving it flexibility.
• Link to Dance: Thumri is closely related to the classical dance form Kathak.

1. Tappa:

• Rhythm: Known for its fast, intricate, and subtle rhythmic constructions.
• Genre: Popular among the wealthy elite as well as the common people with modest means.

1. Baithaki:

• Evolved under the patronage of the elite class of the zamindari (landowners) in the 19th and early 20th centuries. It was performed in private settings like baithak-khanas (sitting halls) and jalsaghars (entertainment halls).

1. Ghazal:

• Definition: A poetic form consisting of rhyming couplets and a refrain, with each line sharing the same meter.
• Theme: Traditionally focuses on love, specifically unconditional or superior love.

Carnatic Music

• Scale: Played in the traditional octave.
• Basis: Based on Kriti, a highly evolved musical song set to a particular raga and fixed tala (rhythmic cycle).
• Focus: Emphasizes saahitya (lyrics) and the lyrical quality of the piece.
• Instrument: Primarily accompanied by the Mridangam.

Musical Forms of Carnatic Music

1. Gitam: The simplest composition, with an easy and melodious flow of raga and uniform tempo.
2. Suladi: A talamalika (tala garland), composed in different talas and of higher standard than Gitam.
3. Svarajati: More complex, with sections like Pallavi, Anupallavi, and Charanam. Themes are often devotional, heroic, or amorous.
4. Jatisvaram: Known for its rhythmic excellence using Jati patterns, without lyrics or words.
5. Varnam: The only form without a counterpart in Hindustani music. The svara group patterns called Varnas are interwoven into the texture of this form.
6. Kirtanam: Focused on devotional content or Bhakti.
7. Kriti: An evolved form of Kirtanam, highly developed in terms of music.
8. Pada: Scholarly compositions in Telugu and Tamil, often used in dance forms but also performed in concerts for their musical quality and appeal.
9. Javali: A lighter classical composition, dealing with more relaxed themes.
10. Pallavi: The most important branch of creative music, allowing for improvisation.

Difference between Hindustani and Carnatic Music

Similarities between Hindustani and Carnatic Music

• Association with Religion: Hindustani music has its origins in the Vedic period, while Carnatic music developed during the Bhakti movement.
• Sanskrit: Both forms of music evolved with Sanskrit language scripts and through Vedic traditions.
• Instruments: Flute and Violin are used in both Hindustani and Carnatic music.