The musical arts of India, like those of China, date back over three thousand years and are among the oldest traditions in the world. During the twelfth to sixteenth centuries, Indian classical music developed along two distinct lines: Carnatic music from south India and Hindustani music from Northern India and Pakistan. Carnatic music was mainly found in temples whereas Hindustani music thrived in royal courts. For our snapshot of traditional Indian music, we'll focus on the Hindustani genre.
Woman Playing Tambura (c. 1735) | Tambura is used to provide a drone background in classical Indian music | Metropolitan Museum of Art
Hindustani Beginnings
The Hindustani style appeared during the twelfth century, branching out from Carnatic classical music. Hindustani music was strongly influenced by Persian music since most northern courts were ruled by Persian nobility. After India came under British rule in the nineteenth century, Hindustani classical music continued to thrive in the nearly six hundred royal courts.
India | India is adjacent to China on the northeast and Pakistan and Iran on the northwest. | Wikimedia Commons
Post-Colonial Era
When India gained independence from Great Britain in 1947, most royal courts were abolished and thousands of classical Indian musicians were unemployed. Instead of fading into the mists, these musicians marketed their art to the general public and, eventually, to the world. The result was popularization of a once elite musical style. Today, classical Indian music has been integrated into popular Western music, film scores and concert halls around the world.
Jonah and the Whale | Folio from Jami al-Tavarikh, c. 1400 | Northern Indian art and music were influenced by Persian culture from the twelfth through nineteenth centuries. | Metropolitan Museum of Art
Elements of Style
Hindustani and Carnatic styles are based on a melodic structure for improvisation known as raga and performed within rhythmic cycles called tala. The theories behind raga and tala structures are ancient, initially codified in Indian musical treatises during the second and third centuries AD.
Indian Woman Playing Sitar (c. 1800) | The sitar is a plucked chordophone belonging to the lute family. | Metropolitan Museum of Art
Raga
The word raga is derived from a term meaning color or atmosphere. Raga is a melodic structure or pattern of notes defined by the number of notes, called swaras, and the intervals between these notes.
Like a scale, each raga has an ascending and descending form but, unlike a scale, has characteristic melodic motives and ornamentation known as alankar. Individual ragas are associated with a particular mood or feeling such as love, tranquility, seasons, times of day, etc.
Finally, the melodic material of the raga is micro-tonal, i.e., uses pitches in between Western notes. Like the Chinese, Indian musicians divide the octave into twenty-two tones called shrutis, roughly equal to a quarter tone in Western music (the Western octave is divided into only twelve tones). The smallest Western interval is the half step, double the size of a quarter tone.
Raga Maru Bihag | An example of a seventeen swaras (note) evening raga.
Tala
Tala refers to the rhythmic structure of classical Indian music, typically a repeated cycle of beats. Tala is
the Indian equivalent of Western meters, albeit more complex and numerous than meters since tala patterns are made of combinations of smaller groupings.
Tala vary in length from three to one hundred beats, with six to ten beat tala as the norm. There are hundreds of tala so each one has a unique name and organization of its beats into groups. For example, the ten-beat tala known as shultal has 4-2-4 beat groups while another ten-beat tala, jhaptal, is organized as 2-3-2-3 (used in the raga Maru Bihag video below). Like the downbeat in Western meter, the first beat of the tala is the most important, although there are secondary accents as well. While my description is simplistic, the rhythmic structure of Indian classical is complex compared to most Western music.
Similar to flamenco musicians clapping out a rhythmic cycle or compás, tala listeners often mark
the components of the tala with a series of claps and waves of the hands known as kriyas.
In the video below, Ravi Shankar, renowned Indian sitar player and composer, discusses and plays the raga and tala of Raga Maru Bihag. Many Hindustani performances begin with a meditative introduction—no tala or pulse—and build towards a very rhythmic, rapid and impassioned finish. When the tabla (drums) enter (2:24) the focus on rhythmic development and use of tala begins.
Raga Maru Bihag | Ravi Shankar, 1920-2012 (11:45)
Ravi Shankar | Life and Music (4:03)
Instruments
The most important instruments in Hindustani classical music are tabla, sitar, and tambura.
Sitar and Tambura
The sitar and tambura are plucked chordophones belonging to the lute family: the tambura provides drone accompaniment while the sitar solos. The sitar evolved from the Indian veena, modified to appeal to the tastes of India's Mughal rulers. Early versions of the sitar flourished in the sixteenth and seventeenth centuries, but developed into its present form during the eighteenth century. The sitar's distinctive sound comes from the use of sympathetic strings, high frets and an extended resonance chamber consisting of a long hollow neck and gourd-shaped chambers. Save for the frets, the sitar's appearance is similar to the tambura.
The tabla is a South Asian membranophone similar in size to bongos. Tabla are played as a set of two drums and used in traditional, classical, popular and folk music of South Asia. Pressure from the heel of the hand is used to vary the pitch of the drums. Since the eighteenth century, the tabla has played a pivotal role in Hindustani classical music.
Tabla | Nineteenth century tabla from Northern India. Players normally perform with a set of two tabla. | Metropolitan Museum of Art
Improvisation
Like jazz, improvisation is an integral aspect of the style. However, it is not a free for all because improvisation occurs within the framework of the raga and tala. The improvisation is interactive: performers respond musically to one another by tossing phrases back and forth between instruments. Listen to Anoushka Shankar, daughter of Ravi Shankar, as she and her ensemble improvise and trade licks like a jazz band:
Voice of the Moon| Anoushka Shankar (composer and sitar player) | Traditional Indian instruments intermingled with a few Western instruments (13:59)
East-West Fusion
Since the 1960s, there has been considerable collaboration between Indian and Western musicians—from Broadway to metal—with the Beatles and Ravi Shankar being the best known early collaborators. Although the details of East and West fusions are beyond the confines of this course, I would be remiss not to offer a taste of such a delightful integration of styles.
Jiya Jale (Dil Se) | A. R. Rahman | A beautiful integration of classical Indian and Western popular music. | Berkley Indian Ensemble.
Finally, here's an East-West collaboration between Norah Jones and Anoushka Shankar:
Anoushka Shankar - Traces Of You ft. Norah Jones | Anoushka Shankar and Norah Jones are half sisters, both daughters of Ravi Shankar (3:46)
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India
Instruments
Sitar and Tambura
Tabla
East-West Fusion
