Brief Historical Survey of Indian Music

Vedic Period:
This period of the history of Indian music rather begins with the inception of music as
an art. There are various theories about the origin of music. According to the ancient
Hindu belief God Brahma, the creator of the universe is the father of Indian Music.
Vedas were created by the great Rishies (sages). The practice of chanting of Vedic
hymns in a highly "codified manner became an integral part of many types of ritual
ceremonies. This practice is known as Samagana.

Ancient period:
Music in India was used predominantly for religious purposes in this period. The hymns
of Samaveda were recited at the time of Yajnas (the Vedic worship). Musical
instruments such as Veena (Lute), Pushkar (a kind of drum), Vanshee or Bansuree (a
flute) and Dundubhi (a sort of large kettle drum) were generally used.
In this period there was a great development started taking place in Indian music.
Different terms of music and the Naatya Shastra of Bharatmuni were written.
Moorchhana System
Maargee and Desi Sangeet
Raga system
Prabandha- gaana
Dhruvapad styles

Medieval Period:
There was remarkable progress in Indian Music during the medieval period. But the
spiritual piety and fervor, which are the very soul of Indian music, suffered a great
Setback. Over the centuries it turned only to be a means of sensual pleasure in the
Palaces and harems. There was immense progress in all the three branches of music. ,
Vocal "" Instrumental
And Dance Music
Scholars and artistes carried the experiments in every field of music. The Raga-Ragini
System got firmer hold in the realm of music.
New ragas were invented, various musical instruments were manufactured.
Time theory of presentation of ragas was developed.

Modern Period:
In the modern time two great Indian's have done a Yeoman's service to Indian Music by
reconstructing its damaged framework. Pandit Vishnu Narayan Bhatkhande and Pandit
Vishnu Digambar Paluskar are the two doyens of Indian Music, who made extensive
tours of the country, met different scholars of music, maestros, Rajahs and
Nawabs and collected valuable material on both, practical and theoretical branches of
Music. They introduced music in the educational institutions.
The music systems and styles in this country have been undergoing changes from
Jatigayan to Prabandha gayan and then to Dhruapad gayan. In the modern times in the
field of entire north Indian classical music, Khayal style of music is in vogue. In

Addition to Khayal semi classical styles, namely Thumari, Tappa, Bhajan, Qawwali and
Gazal are very popular in the present era.
In the instrumental music Veena, Sitar, Sarod, Santur (Santoor), Violin, Shahnaaee,
Harmonium, Tabla, Mridanga, Dholak etc. have formed great public appeal. Tanpura
serves giving the base notes in the vocal and instrumental music.
All the three branches of music, i.e. vocal, instrumental and dancing have made great
advances in the modern time. Many a teacher and a great maestro have enriched the
cultural heritage of India in the modem period. Institutions to impart training in Indian
music have come up in some countries. This is a good. Sign of developing interest of
this great performing art of India.
Fundamentals of Indian Classical Music

1. NAAD: Sound
A: - Ahat Naad
B: Anahat Naad

.2. SHRUTI: The word "Shruti" is derived from. Sanskrit language Shru means hearing.
Shruti means of expression. An exact frequency of SW AR (note) and between two swar
it shows the ratio of frequencies. These. Shruties are 22 in number and all 22 shruties
are present in one "SAPT AK" or Octave. Musical performances are conducted on the
basis of the 12 SWARAS.

3. SW ARA: There are 22 microtones (shruties) in the Indian music. Our music has 7
pure
And 5 unnatural notes.
7: Pure notes (shudha swaras) are Sa, Re, Ga, Ma, Pa, Dha, and Ni.
4: Flat notes (Komal swaras) are Re, Ga, Dha, and Ni
1: Sharp note (Teevra swar) is Ma
Out of the 22 Shruties, seven Swara have been selected and placed at varied intervals
in an octave. SA- 4 Shruties, RE- 3, GA- 2, MA- 4, PA- 4, DHA- 3, NI- 2.

4. MEL OR THAAT:
The name Mel or Thaat is group of 7 Swaras, which produces ragas. Naad produces
Swar, Swar produces Octave and Octave produces Thaat. There are Seventy-two Mel or
Thaat in Southern Indian Classical music (KARNATAK-SANGEET) and Ten Thaat in North
Indian Classical music (HINDUSTHANI- SANGEET).

5. RAGA:
All knowledge was imported orally in ancient time in India. The Vedas, puranas,
Shastras etc. were composed in hymns, in verses and these verses were taught and
memorized in musical chants.
The word Raga is derived from the Sanskrit root "RANJA" meaning to please, to be
agreeable. Literally the sound that pleases, that soothes the mind, would be a Raga.
Technically Raga means a sweet combination of musical tones coming one after
another in succession. The raga is made of that sound in which there is a specific swar
construction, which increases its beauty, entertains human spirit and minds of the
listeners.

6. Technical terms to present Raga:

A raga is a musical scale, but it has to follow certain stringent conditions. These
conditions are:
1. Raga has to have minimum of five or maximum of seven notes.
2. Vadi Swar - Dominant note of a raga.
3. Samvadi Swar - Subdominant note of a raga.
4. Vivadi swar- the note that should not be used in the Raga.
5. Anuvadi swar - In addition to Vadi and Samvadi, the notes that are used in
Raga.
6. Aroha and Avaroha- Ascending and descending notes.
7. The Jati of Raga- Classification of the ragas is recognized according to
Number of swaras used in Aroha and Avaroha.

7. Ragas and its Time Theory:

In North Indian classical (Hindustani) music, the time of day dictates when the different
Ragas 'should be sung and played. Each- raga is connected with a special mood or
emotion (Rasa) and it is therefore fitting that each should have a special time
Appropriate to it. The time theory of Hindustani music has developed and has been
codified over the last about three centuries. Apart from the fixed timing for the ragas,
some ragas are limited to certain seasons. These ragas are sung or played in a
particular season suited to them. Raga evokes greater emotions and more appealing
sound.

8. Forms and styles of classical music:

1. Dhrupad - or Dhruvapad, which is popular vocal style of Hindustani music.
Dhruva means fixed and Pada means song.
2. Dhamar - Dhamar is a lighter form of Dhrupad sung invariably in Dhamar
Taal.
3. Khayal - khayal a Persian word, which means a thought or imagination.
When a song is adorned with various techniques and sung creating diverse
Melodic patterns it is called a Khayal.
4. Tarana - Tarana does not have any poetical words, it is sung with different syllables,
which has no meaning. Taranas are sung in a very fast tempo. This
Style involves a great skill and technique with rhythm.
There is other singing styles like: Thumree, Bhajan, Gazal etc.

9. TAALA (METER) and THE FUNCTION OF RHYTHM.

The major framework of the broad rhythmic conception is known as taala, a word that
is usually used to refer to a rhythmic cycle. The beats set in time cycle and divided into
bars gets a name i.e. Teen Taal, Jhap Taal, Rupak Taal, and so on. Every Taal has
different ~umbers of beats (Matra). The divisions (Vibhag) are stressed and shown by a
clap of hands (They are known as Tali) or unstressed (called Khali means empty). There
are many Taalas having different numbers of beats 6,7,8,10,12,15,14,16 etc. Example
of Teen Taal - It has 16 beats, 4 divisions, 3 stressed beats and one
Unstressed beat.
1 2 3 4 /5 6 7 8
Dha Dhin Dhin Dha / Dha Dhin Dhin Dha
X 2

9 10 11 12 / 13 14 15 16
Dha Tin Tin Ta / Ta Dhin Dhin Dha

1. 3

X- Means first beat of Taal; it is called SAAM, 1st Clap.

2 & 3 numbers under the beat shows 2nd and 3rd Clap.

2. Means Khali, it is called empty or unstressed beat.

(COPY RIGHTS, PANDIT NANDKISHOR MULEY. 2006).