Indian Classical Music

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You are required to write a two page (double space) critical theory paper on Indian Classical Music. The paper on Indian Classical Music learnt from your regular class and external research from a library and cover key concepts such as: Raga, Tala, melody, rhythm, the instruments and structure. No online internet sources are allowed, and you MUST cite your sources of research.

(For this class, each student has to choose either Sitar or Tabla as the major instrument. For me, I chose Sitar, and for regular class, I practiced some classical rhythm of sitar.)

I attached a sample essay. (however, the professor didn't ask us to attend a concert for this quarter, so you just ignore the concert part in the sample essay.)

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!1 Indian Music Concert Review For centuries, classical raga music was played in Indian princely courts for guests. Later, the wealthy landowners and businesspersons took over as the hosts of this kind of music in private settings known as Mehfil. The Mehfil tradition is not common in modern days (Rao et al. 115). I am glad that I learnt and expeience raga music as well as indicant culture in this course. Also, I attended a public concert where our professor was performed and experienced the subtle fascination of Raga Sangeeth. Throughout the concert of Indian classical music, I noticed the use of Sitar and Tabla. One of the instruments was very captivating was Sitar. In particular, it comprised around 20 strings. Seven are principle ones, while the others are sympathetic and react to sensitivity. The rest were sympathetic strings, which respond to sympathy. In addition, the instruments feature metal frets that are movable. Thus, they can be tuned to a specific tonality depending on the raga. Throughout the performance I focused my sense towards the musical instrument trying to indicate whether or not there consists of these strings, however it was hard to keep up the count because, I myself never learned how to play any instrumental music. However, excluding the fact that I have never learned any instruments, I can still feel the strong emotions coming from the Sitar and Tabla being played, especially the sitar. Every time when the music starts to become intense, my goosebumps sire with the tune and with every beat of the Tabla drum being hit, my heartbeat pounds respectively. Such Indian performance comparing to what we listen to on the radio now changes my knowledge of what I once thought was music. I feel like every music has its own identity, an identity that maybe only its performer would know and what like its audience to feel. The musics that are played through the radio only makes me want to follow its lyrics and unlike the concert, I actually tried to listen to the rhythm and trying to follow the beat. !2 I noticed that the music played by the musician was divided into separate parts, which were distinguished by a particular mood. These sections of music were Ragas or the traditional patterns of melodies and sounds presented by the performers. Besides, I identified the difference in the development of these Ragas. In particular, in the beginning, their tone and tunes were calm and mild. Later, the melody became more rhythmic and intensified. Finally, it became stronger and louder making the listeners more absorbed. Raga is a melodic concept often featured in Indian related music. In the performance, raga emerged as a pattern of notes. Due to the particular arrangement of sounds and melodic movements, it appeared as an ornament that enchants the mind. Along with this line, the ultimate purpose of the raga is to evoke emotional responses from the listeners (Rao and Preeti 25). The emotion that was expressed by the raga was melancholy, which was mostly featured during the alap, which is an improvisation section of the performance. Primarily, the performances were monophonic and melodic. This music aspect has highly evolved and reflects a sophisticated tradition (Rao et al. 116). From my view, the melodic complexities recompense aspects such as harmony and texture, which are indispensable parts in the western music style. Nevertheless, the performances were entertaining. The Indian music represented the philosophical and aesthetic meaning of the Indian worldview. In particular, the division of the performance on the specific Ragas implied the difference in the periods of life of humans. Besides, all these Ragas had various moods and represented distinct emotions. I really enjoy this concert and hope that I would have the more opportunities to listen to it. Next week will be the performance which I will be part of it, I hope that I can do well in it. !3 Thank you for the performance and all the lectures! Works Cited Rao, Preeti. Ross, Joe Cheri. Ganguli, Kaustuv Kanti. Pandit, Vedha. Ishwar, Vignesh. Bellur.Ashwin. Murthy, Hema A. "Classification of Melodic Motifs in Raga Music with Time-Series Matching." Journal of New Music Research, vol. 43, no. 1, Mar. 2014, pp. 115-131. Rao, Suvarnalata and Preeti Rao. "An Overview of Hindustani Music in the Context of Computational Musicology." Journal of New Music Research, vol. 43, no. 1, Mar. 2014, pp. 24-33.
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Name 1
Student’s name
Professor’s name
Course number
Date
Indian Classical Music
In an analysis of the Indian classical music, Rangayyan, the author, acknowledged that
Indian music is one of the oldest types of music in the globe. The paper also recognises that it is
melodic and its classical nature is on a one-note-at-a-time basis. The thesis of the article was to
establish the concepts that encompass this type of music with the purpose of giving the reader an
in-depth understanding of its nature (Rangayyan 2). Rangayyan starts by appreciating Hindustani
and Carnatic as the most significant classes of the kind of music but insists that they share
common origins and important concepts.
The fundamentals include swara, raga, and tala. The author begins by explaining...


Anonymous
Just what I was looking for! Super helpful.

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