Some Basic and Deeper Concepts: IX.1 Sangeet-sangit – fa In India the most commonly used word to denote music is Sangeet. In its wider sense it also implies dance along with vocal and instrumental music.
IX.2 Nada Brahman – nad brahman Indian music never lost its mooring in the mystical tradit ion from which it has sprung. Nada literally means ‘sound’ and Brahman the Omnipresent Reality’. It is believed that, out of its original unmanifested status, the Brahman became the manifested existence by its creative power con ceptualised as primordial sound. All music therefore attempts to recapture and realise that power known as Nada Brahman.
Shubha Mudgal – Vocal – Chanting of OCD Part II Vol.7
Some Basic and Deeper Concepts
IX.3 Om – Pranava Mantra – om-pranav mantra H
In order to convey in human language that sense of the Transcendent Absolute, and to use sound as an instrument for liberating the individual from the shackles of his limited per sonality, and to lead him into the vast truth of his deepest being, the Indian mind invoked the word ‘OM’ or the Pranava Mantra. The chanting of the Mantra ‘OM’ itself, often plays an important part in the Sadhana-such is believed to be the vibratory potency of this sound.
Shubha Mudgal – Vocal – Chanting of OM
IX.4 Nadopasana – nādopāsanā – IGITUIRECT Music in India was not looked upon as an art in the conven tional sense of the term. It was Nadopasana, or worship of and through ‘sound’. Some saints have even declared that the most powerful means of self-realisation is through music.
Shubha Mudgal – Vocal – recitation of Shloka
IX.5 Anahata Nada – anähat nad – 3HE RIG In a state of Sadhana and inner development it is not only the sound one hears which acquires a meaning but there is also the Anahata Nada or the unstruck and unheard sound which vibrates in the heart of the musician. It is this that he tries to express and thus give another dimension to the music he is creating.
IX.6 Dhyanamurti – dhyanamurti – H In ancient texts not only are the Ragas described but there are paintings too associated with them. It was believed that172
CD Part II Vol. 7
each Raga had a presiding spirit behind it, which appeared to the realised musician when he played perfectly in a state of meditation or Dhyana. Then alone could the musician enter into and express the true spirit of the Raga. This image embodying each Raga is known as Dhyanamurti.
IX.7 Sama Veda-samaved – The earliest liturg to music, of which we have def inite knowledge, form part of the Sama Veda, which is one of the four Vedas.
The orthodox method of chanting the Sama Veda utilises only three notes. All Indian music is believed to have had its source in the Sama Veda.
Chanting of the Sama Veda
IX.8 Guru Shishya Parampara
guru shishya paramparā- गुरु शिष्य परम्परा In order to learn, the aspiring musician went to a Guru or pre ceptor who was more than merely a teacher in the ordinary sense. For, he served as a guide in the aquisition of technique as well as in the inner development of the personality of the Shishya or the disciple. This tradition of handing down know ledge by personal intimate contact is known as the Guru Shishya Parampara.
IX.9 Sadhana – sadhana
To learn and enter into music the student must devote his life to Sadhana-a process of inner and outer discipline pursued with one pointed intensity of will and devotion.
IX.10 Riaz-riyaz – Ⓡ
As part of his training, the student spends his time iCD Part II Vol.7
173
long hours of continuous and arduous practice, so that he acquires complete control over his voice or his instrument. These hours of practice and training are expected to continue throughout the life of the musician whatever may be his level of attainment.
Protyush Banerjee – Sarod
IX.11 Bhava-bhav
Slowly, as the musician reaches farther, his music acquires a Bhava or the capacity to arouse in the listener a deeper feeling and mood, which is far beyond a mere outward emotion.
IX.12 Rasaras
According to the ancient Indian vision, the universe is perme ated with Rasa which can be very roughly translated as essence or sap, a mood or an essential delight. When an accom plished musician attains a certain deeper level of his personal ity, his creation acquires the capacity to incarnate the Rasa, in other words, he becomes a fit vehicle to express the essential Truth or Delight that resides in the heart of all manifestation.
IX.13 Nava Rasa nava ras- नव रस The Indian sages, for the sake of classification, have demark ated nine Rasas or nine basic emotional moods through which the essential delight can be evoked.
1. Sringara Rasa
2. Veera Rasa
3. Adbhuta Rasa
the colourful and romantic
the heroic
the feeling of wondrous
enchantment
1/4
CD Part II Vol.7
4. Vibhatsa Rasa
the feeling of repugnance for the odious
5. Karuna Rasa
6. Shanta Rasa
the pathetic and compassionate
the peaceful
7. Hasya Rasa
the lightly delightful and humorous
8. Raudra
the wrathful
the frightful and fearful
9. Bhayanaka Rasa
IX.14 Laya-laya –
Once the musician can incarnate the Rasa, his composition remains no more a mechanically learnt and rendered piece. It acquires a Laya or a characteristic gait or pace of its own. Sometimes the word Laya is used merely to mean tempo.
IX.15 Chhanda – chanda –
The lilt of the melody in relation to the accompaniment is known as the Chhanda. It is an important part of the perfection of music to have the proper Chhanda.
IX.16 Ustad and Pandit –
ustād and pandit- उस्ताद पण्डित
The great masters of music are known as Ustads if they come from a Muslim tradition and Pandit if they have a Hindu back. ground.
IX.17 Shrota or Listeners – shrotā – al To be a perfect listener one needs to develop a certain psycho logical state beyond technical erudition. So, some ancient Indian texts declare that there are three types of listeners. There is the Sattwic listener who uses music as a means of inner ascension
CD Part II Vol.7
175
and an instrument of elevation and purification; a Rajasic lis tener for whom music is merely entertainment, a delight for the senses; and finally the Tamasic listener who remains insensible and impervious to music even though he listens to it.
In a performance of Indian classical music, there is a great involvement and participation from the listeners, which inspires the musician to bring out his best. Listening is an art which demands, love, attention and self-forgetfulness.
IX. 18 That-that-thāṭ — The Ragas that a musician learns are many in number. At about the turn of this century, some musicologists, Pandit Bhatkhande in particular, classified the Ragas into 10 main groups called Thats. This classification is based primarily on the notes used in the Ragas. The 10 Thats with their respective notes are:
1) Bilawal – bilaval –
Sa, Re, Ga, Ma, Pa, Dha, Ni. Omkarnath Thakur – Vocal – Raga Alhaiya Bilawal
2) Khamaj – khamaj – Sa, Re, Ga, Ma, Pa, Dha, Komal Ni.
Nazakat Ali Khan and Salamat Ali Khan – Vocal – Raga
Mishra Khamaj 3) Kafi-kafi – 1
Sa, Re, Komal Ga, Ma, Pa, Dha, Komal Ni. Bhimsen Joshi – Vocal – Raga Mishra Kafi 4) Asavari -āsăvari –
Sa, Re, Komal Ga, Ma, Pa, Komal Dha, Komal Ni. Kishori Amonkar – Vocal – Raga Jaunpuri
176
CD Part II Vol.7
5) Bhairavi – bhairavi – ef Sa, Komal Re, Komal Ga, Ma, Pa, Komal Dha, Komal Ni. Kishori Amonkar – Vocal – Raga Bhairavi
6) Kalyan – kalyan-TUT Sa, Re, Ga, Tivra Ma, Pa, Dha, Ni.
Vilayat Khan – Sitar – Raga Yaman
7) Marwa – mārvā – at
Sa, Komal Re, Ga, Tivra Ma, Pa, Dha, Ni. Hariprasad Chaurasia – Flute – Raga Marwa
8) Poorvi – purvi – eff Sa, Komal Re, Ga, Tivra Ma, Pa, Komal Dha, Ni.
Bhimsen Joshi – Vocal – Raga Puriya
9) Todi -todi-ats
Sa, Komal Re, Komal Ga, Tivra Ma, Pa, Komal Dha, Ni. Shivkumar Sharma – Santoor – Raga Gujri Todi
10) Bhairav – bhairav –
Sa, Komal Re, Ga, Ma, Pa, Komal Dha, Ni.
Parween Sultana – Vocal – Raga Ahir Bhairav