INDIAN MUSIC

Introduction
Indian music is one of the oldest living musical traditions in the world, with roots tracing back to the Stone Age. Archaeological findings, Vedic literature, inscriptions, coins, and literary works clearly show that music evolved continuously alongside Indian civilization. From ritual chanting in the Vedic period to highly systematised classical traditions and vibrant folk forms, Indian music reflects spiritual, social, and cultural life.

Vedic and Ancient Foundations

• The Sama Veda is the earliest textual source of Indian music, where hymns are arranged melodically.
• All seven notes of raga Kharaharapriya are found in descending order in the Sama Veda.
• Gandharva Veda, the Upaveda of Sama Veda, deals exclusively with music.
• Bharata Muni’s Natya Shastra is the most authoritative ancient text on music, dance, and drama.
• Music and dance scenes in Bhimbetka cave paintings indicate the presence of rhythmic movement in Mesolithic times.
• Harappan seals from Lothal depict harp-like instruments, showing awareness of musical instruments.
• Samudragupta’s coins depict him playing the veena, highlighting royal patronage of music.
• Ilango Adigal’s Silappadikaram (1st century AD) records early Tamil musical concepts.
• Mahendravarman I’s Kudumiyamalai inscriptions mention Carnatic musical principles.

Fundamental Elements of Indian Music

Shruti

• Shruti refers to pitch and is the smallest audible interval perceptible to the human ear.
• It forms the foundation of Indian music.
• According to Natya Shastra, there are 22 shrutis.

Swara

• Swara refers to musical notes.
• Originally linked to Vedic recitation.
• Seven basic swaras are Sa, Re, Ga, Ma, Pa, Dha, Ni.
• These swaras form the basis of melodic structure.

Raga

• Derived from the Sanskrit word Ranj, meaning to delight.
• Raga is the melodic framework of Indian music.
• It prescribes specific ascending and descending patterns, emphasized notes, and mood.

Classification based on number of notes

• Audava Raga – five notes
• Shadava Raga – six notes
• Sampurna Raga – seven notes

Classification based on originality

• Shuddha Raga – retains original nature
• Chhayalag Raga – changes form with influence of another raga
• Sankeerna Raga – combination of two or more ragas

Tala

• Tala refers to rhythm and time cycle.
• It is expressed through claps, finger counts, and hand gestures.
• Adi Tala is the most common tala in Carnatic music.
• Tala is linked with the concept of Lasya (rhythmic repetition).

Rasa

• Rasa refers to aesthetic emotion evoked in the performer and audience.
• Originally eight rasas, later Shanta was added, making nine rasas.
• Music aims to evoke emotional experience through rasa.

Development of Music in Medieval Period

Delhi Sultanate Period

• Amir Khusrau played a crucial role in Indo-Persian musical synthesis.
• He popularised Khayal, Tarana, and Qawwali.
• He is traditionally credited with the development of Tabla and Sitar.
• Ragdarpan was translated into Persian during Firoz Shah Tughlaq’s reign.
• Lahjat-i-Sikandari was written under Sikander Lodi.
• Ghunyat-ul-Munya was compiled under Malik Shamsuddin Abu Raja.
• Sufi saint Pir Bodhan was a renowned musician.

Mughal Period

• Akbar was a great patron of music.
• Tansen was one of the Navaratnas and is associated with Raga Megh and Raga Deepak.
• Kathak dance flourished under Mughal patronage.
• Aurangzeb banned vocal music but allowed instrumental music.
• Sadarang and Adarang were prominent musicians during Muhammad Shah’s reign.

Regional Contributions

• Sharangadev wrote Sangeet Ratnakar under Yadava ruler Singhana.
• Lochan Kavi authored Raag Tarangini.
• Haripal Dev composed Sangeet Sudhakar.
• Raja Man Singh Tomar wrote Man Kautuhal.
• Ramamatya authored Svaramela Kalanidhi in South India.
• Vijaya Vittala Temple at Hampi has musical pillars.
• Somanatha wrote Ragavibhoda in 1609 AD.

Folk Music Traditions

• Rasiya Geet – Uttar Pradesh, associated with Krishna leelas.
• Lotia – Rajasthan, sung during Chaitra month.
• Pandavani – Chhattisgarh, ballads from Mahabharata.
• Mando – Goa, reflects Portuguese-era society.
• Chhakri – Kashmir, group singing with instruments.
• Qawwali – devotional Sufi music, group performance.
• Harikatha – musical narration of religious stories.
• Tappa – Punjab, inspired by camel riders.
• Powada – Maharashtra, heroic ballads.
• Burrakatha – Andhra Pradesh, dramatic storytelling.
• Daskathia – Odisha, devotional ballad singing.
• Bihu Songs – Assam, fertility and New Year blessings.
• Chai Hia – Mizoram, sung during Chapchar Kut.
• Teej Songs – Rajasthan, associated with monsoon and Parvati-Shiva theme.

Indian Classical Music Systems

Hindustani Classical Music

• Developed around the 13th century with Persian influence.
• Emphasises raga and improvisation.
• Time theory of ragas strictly followed.
• Major instruments include Tabla, Sitar, Sarangi, Santoor, Flute, Violin.
• Major forms include Dhrupad, Khayal, Thumri, Tappa, Ghazal, Tarana.

Dhrupad

• Oldest vocal form.
• Emphasis on purity of raga.
• Mridang used instead of Tabla.
• Major exponents include Swami Haridas and Tansen.

Khayal

• Evolved from Qawwali.
• Flexible and allows improvisation.
• Patronised by Muhammad Shah Rangeela.

Thumri

• Romantic and devotional.
• Associated with Krishna bhakti.
• Awadhi and Braj Bhasha used.

Carnatic Classical Music

• Indigenous and kriti-based.
• Equal emphasis on raga, tala, and shruti.
• Strong devotional content.
• Important compositions include Gitam, Jatiswaram, Varnam, Kriti, Pallavi.

Varnam

• Complete composition highlighting raga features.
• Usually performed at the beginning of concerts.

Ragam Thanam Pallavi

• Most advanced form of Carnatic improvisation.
• Demonstrates musician’s creativity and mastery.

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Subject: Art and Culture

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