Essay on Indian Music

Gamelan is thought to come form a Javenese word gamel, which means ‘ to handle’ (Sumarasam 1995 :319-320). It also refers to a type of hammer particularly appropriate for metal percussion instrument that dominate gamelan ensemble because of the way the instruments are made and played. The instruments originated probably from northern Vietnam, where visitors brought bronze object and technology in about 300 B.C and possibly rice cultivation technology as well. (Hood 1980: 122)

The rhythm is a strong and repeated pattern of sound, and is typically played by percussion instruments. In Olatunji’s “Oya (Primitive Fire)”, the rhythm varies depending on the section in the song. In the introduction of the song, the rhythm is set by the drums playing a quick and repetitive progression. Soon, the song transforms into a more complex figure where the Nigerian shekere takes over the rhythm. The rhythm is simple and consists of three counts per measure. This is the constant rhythm throughout the rest of the song as everything else is built upon it. The rhythm is similar yet not the same as western music. Olatunji realized that drums in western music plays a similar role as to what he is accustomed to. Western music still utilized drums as a primary rhythmic instrument, but the song as a whole contained more instruments built up on it, such as pianos or guitars. Although the use of the drum is similar, Olatunji was more familiar with percussion being the main instrument of the entire

Traditional music in Hawaii was not originally used for entertainment, but instead, for worship. It was not until the modern age, when Western influences began to emerge and tourists began to arrive, that the music was used as pleasure. The native music is primarily chanting accompanied by percussion. A Chant known as an oli, while a song or a piece is called a mele; there are two main types of meles. The mele oli is an unaccompanied chant sung by one person, while the mele hula is a chant which is complimented by dancing and percussion, and can be sung by multiple musicians. These songs (meles) were passed down hundreds of years through oral tradition, and Chanting in these meles can be characterized by their use of vibrato (small, rapid variations in pitch), as well as a deep vocal tone. In traditional Hawaiian culture, meles and olis

For centuries upon centuries, dance has been used as a form as expression. Whether it be religiously to please and entertain the gods, or as a form of entertainment for the townspeople, dance has brought joy to countless people. Because dance doesn’t leave a written history trail it is assumed, but not proven, to have originated over 2500 years ago. However, dance continues to evolve even today. Take for example the odissi dance from India that is almost two thousand years old versus the bachata dance from Dominican Republic that is only about 50 years old. Both of these dances originated in complete separate parts of the world at very

In the Iroquois Quiver Dance the first thing to strike the ear is what is often known as a “call and response” form. One singer announces a phrase of “lexical text,” known as the call, the other singer answers him in a vocal pattern. This continues throughout the song. In illustrating many of the musical styles among Native American music, this has another name known as the “Warrior’s Stomp Dance.” The voices in the Iroquois Quiver Dance are relatively relaxed compared with that of the Plains singing.

Irving Wardle’s scrutiny on the musical Ipi-Tombi engendered the attention that, this musical was homogenised or simplified in terms of Africa. This is conducted through Westernised societies’ beliefs of the ‘primitive’ African ways, believing that African music’s aesthetics are exceptionally simplistic and their naive reasoning of how they made music with dustbin lids and coke cans, instead, of their astonishing hand-carved traditional instruments (Wardle, 1975). The generalisation of the African community and their physical attributes in terms of Saartje Baartman are also prevalent, as well as the indistinguishable and plotless segment containing constant smiling, singing and dancing, that, Bertha Egnos signified in her so-called “Tourist

While Carnatic music is sung and performed in only one style, there are various styles of singing and performing in Hindustani music. Each style of school is called a ‘gharana’.

The official name of Madagascar is the Republic of Madagascar, and it is considered an island country that is off the east coast of Africa in the Indian Ocean. Madagascar is widely known for the traditional music that is played, and it is influenced from various horizons. Traditional music can have a sacred or celebratory value to it because it can become useful to a ritual, but can also be used to enlighten the environment of the village. The music is normally modern, but has a relation to today’s pop culture which replaces traditional musicians and the melodies that are provided. This new style of Madagascan music has an underlying ternary rhythm that is usually detected in the music.

Indian classical music is one of the oldest forms of music in the world. It is rooted in antiquity, with traces of its origin found in areas such as the ancient religious Vedic hymns, tribal chants, devotional temple music, and folk music. Indian music is melodic in nature, as opposed to Western music which is harmonic. The most important point to note is that movements in Indian classical music are on a one-note-at-a-time basis. This progression of sound patterns along time is the most significant contributor to the tune and rhythm of the presentation, and hence to the melody. Indian music can be further distinguished into two main streams of Hindustani (Northern Indian) and Carnatic (Southern Indian). The origins and fundamental concepts of both these types of music are the same, although the prime form of music here is the ancient complex patterns of melody called raga merged with Talas or rhythm that affects energy centres laying emphasis as a tool of meditation for self-realization.

Talchum is a type of Korean dance performed with a mask, miming, speaking, and singing. It is loosely choreographed in the traditional sense of a dance, and organized more towards theatre. It was a farcical caricature of its contemporary era, with a sick twist of vicarious humor, from its very roots traced back to the era of ancient Three Kingdoms of Korea (37 BC-668 AD). The leading appeal of Talchum has always been the biting satire and vicarious ridicule it pointed at apostate Buddhist monks, decadent upper classmen, and incompetent shamans. It is interesting to note that the aggressive nose-thumbing was towards the upper class, religious leaders, and generally figures higher in the social rung.

Indian melody is usually based on ragas, a type of melodic mode. Many ragas exist, and each features specific “ethical and emotional properties.” Indian music does not use the Western major and minor tonal systems, or emphasize harmony. Instead the melodies incorporate seven-note thats. Unlike Western scales, the interval pattern varies for each that. “Two of the most common thats, Asavari and Bilawal, closely approximate the Aeolian mode (natural minor scale) and Ionian mode (major scale), respectively.” Traditional Indian music is monodic, with most compositions having a single melodic line, with percussion and drone accompaniment. Most Indian classical music is not contrapuntal, instead, “The interest and complexity of this music lies in its melodies and rhythms.” Talas, the rhythmic patterns, are the basis for the complexity of rhythms accompanied within songs. Talas are long rhythmic cycles, unlike the Western practice of organizing rhythm into short measures. Vocal music is part of Indian tradition, and “vocal techniques are the basis of good instrumental technique.” In general, Indian vocalists do not use vibrato, giving a tonal quality that may sound nasal, flat, or lifeless, very foreign to the Western listener. However, in Indian music, this can be described as a "clean, clear sound" that does not mask or

The song I choose from my personal collection is, “Hua Hain Aaj Pehli Baar”, it is an Indian song. This song uses piano, and guitar as the instruments. This song also has many musical features. One of them is the homophonic texture. There is background instrument playing as well the singer singing at the same time. Also there are many vocables use throughout the song: “aah oohh nanana…”. The vocables were played with instruments in the background. This song has duple meter; just when the song starts the instrument stars playing in a pattern of (1-2-3-4).There are two different verse the first begins with different and louder instruments (Hua Hain Aaj Pehli Baar..) then when the singer sing different line the background music changes and becomes

Bangla music is well known for it's own forms and styles of music like Rabindra Shangit,Nazrul Shangit,folk(which includes Palli giti,Lalon Shangit,Moromi,Vatiali,Bhandari,Vawaiya,Gajir Geet,Gombhira,Jatra gaan,Pala gaan,kobi gaan etc),Baul Shangit etc. Earliar these forms of music were popular to the people from all sphares of life.

There are few, if any, religions that put so much emphasis on music as Hinduism. Admittedly worship stands with emphasis strongly in several religions wherein for instance gods are linked to certain musical instruments. Hindu music is, like other continents music, a product of a historical process. We can assume that Hindu civilization has had rituals where text recitation has been an important element for them.

India is doubtlessly a country with a long history and an even richer culture. Looking at their records of ancient pottery, sculpture of Gods, woven silk and temple dances, it is also no doubt that the arts have always been a major aspect of Indian culture. This essay will be focusing on the historical, cultural and dance elements of one particular temple dance called the Bharata-natyam. Bharata-natyam is one of the oldest and most iconic forms of Classical Indian Dance. When broken down, “Bha” means expression, “Ra” means melody, “Tha” means rhythm and “Natyam” means dance. True to its name, the dance is known for it’s earthy, graceful movements, rhythmic music and theatrical expressions. It originated from the temples of Tamil Nadu, particularly the Brhadeshvar temple found in Tanjore city, South of India. Today, it is one of the most popular and common dance to see practiced and performed in the South of India. (Venkataraman , 2002) (Bhaskar, 2016)