The early arts of recreation

Music is an art of sound in time that expresses ideas and emotions in significant forms through the elements of rhythm, melody, harmony and color. Music has always been an important part of Indian life.

The range of musical phenomenon in India extends from simple melodies to what is one of the most well- developed "systems" of classical music in the world.

There are references to various string and wind instruments, as well as several kinds of drums and cymbals, in the Vedas. Some date the advent of the system of classical Indian music to Amir Khusro.

Muslim rulers and noblemen freely extended their patronage to music. In the courts of the Mughal emperors, music is said to have flourished, and the Tansen was one of the jewels of Akbar's court.

• Origins of music are in Samaveda and its upaveda
• Narada is the reference – First to hear
• Nad – sound is the basis for all the creations and sacred singing was an intrinsic part of the Vedic traditions
• Special priest sings in Rigveda
• Gandharva Veda is the science of music
• Natya shahstra – Music is ‘Nityagayana + Vadana

The three pillars of Indian Music are

Swara

• Tone or Pitch
• Saptaswara are present
• Sa- Sadja ; Re – Rishaba ; Ga – Gandhar ; Ma – Madhyam ; Pa – Pancham ; Da – Dhaivat ; Ni – Nisaada
• 7 of them collectively are called Sargam
• Swaras are elaborated with shrutis – theoretical intervals – 22 of them

Raaga

• Basis of Melody – 12 scale by 18th Century
• It’s a combination of notes / Swaras
• Minimum 5 notes in every Raaga
• 3 kinds of Raaga
• Odava Raaga – 5 notes
• Shadava Raaga – 5 notes
• Sampoorna Raaga – 7 notes
• There are 6 principle raagas in Hindustani Music
• Hindol
• Dawn of Spring – Sweetness of Young Couple
• Deepak
• Night of Summer - Compassion
• Megha
• Afternoon – Rainy – Courage
• Shri
• Evening – Winter – Gladness
• Malkaush
• Midnight- Winter – Youthful Love
• Bhiravi
• Bhairavi – Mornings – Peace and Devotional

Taal

• Timed Rhythm
• Arrangement of beats in a cyclic manner
• 3 to 108 beats
• As per natyashastra there are 32 taalas and at present there are more than 120 types
• Most popular is the teen taal – 16 beats
• Theka is a definition of taal seen exclusively in Hindustani music when accompanied by Tabla
• Classification of Style
• Anibhadda Sangeetam
• Not Restricted by words and Taal
• Alap
• Nibhadda Sangeetam
• Restricted by words and Taal
• Prabhanna Gitam
• Jaya Deva – Geeta Govindam – Ashtapadis
• Indian Music is of various forms which include the following

Hindustani

• Arab, Persian and Afghani
• Artist can improvise – Variations
• Many Substyles or Gaharaana
• Instruments are equally important
• Emotional type music with 6 Principle raagas
• Adherence to the time is a must
• Tabla, Sarangi, Sitar and Santoor
• Northern India
• Flute and Violin are common in both the style of music

Carnatic

• Indigenous
• No improvisations
• Only one particular style of singing
• Vocal music is emphasised more than Instruments
• Intellectual and spiritual music
• 72 Raagas – Melakartas
• Veena, Mruddangam and Mandolin
• South India

Dhrupad Sub style

• Oldest and mother of all styles – Sanskrit
• Temple origins an Devadasi Origins
• Raja Mansingh Tomar of Gwalior Popularised
• Court Music of Akbar – Haridas, Tansen and Baiju Bawra
• Serious and Sober Composition - Demands effort from Lungs and Vocal chords
• 2 parts
• Aalap – Exposition
• Bandish – Fixed Composition
• Theme – Religious and Devotional Theme
• Systemised Arrangement of Music – At times even in Brij Bhasha
• Pakahwaj and Tanpura

Khayal Music

• Idea/Thought /Imagination
• Aamir Khusro – Free and Flowery – Decorative and Romanticised
• Freedom of Structure and Form
• Use of Ornamentation
• Theme - Romantic; Krishna , Separation of Lovers
• Melody and Rhythm are important and Simple Raagas
• Two Phased
• Gwalior Gharana – OLDEST ; Vishnu Digambar Paluskar
• Kirana Gharana – Rajasthan ; Abdul Karim Khan, Pandit B Josh, Ganga Bhai Hangal
• Patiala – Founded by Ustand Bade Ghulam Ali Khan ; Greater Rhythm, Emotions - Begum Akhtar , Naina Devi
• Agra – Attn; Raaga; Haji Sujan Khan . Aka Rangeela Gharana – Ustad Fayaz Khan Saab + C R Vyas and Vijay Kitchlew

Dhamar Style

• Similar to Drupad except sung in Dhamar Taal 14 Beats ( 5-2-3-4 )
• Irregular Beats
• Related to Krishna and Holi Festival
• Erotic Content and more freedom to the Artist

Thumri Style

• Mixed Raagas
• Light Religious and Romantic Words
• Bhakti Movement
• Text important – Brajbasha
• Sung In Female Voice
• Two
• Purvi Thumri – Slow
• Punjabi Thumri – Fast
• Benaras and Lucknow Gharana

Tarana

• Rhythm is very important
• Meaningless words
• Sung Fast
• Focus on Producing rhythmic patterns
• Specialization in Rhythmic Mysticism must

Tappa

• Camel drives of NW
• Very Quick Phrases
• Quiest Turns of Phrase
• Short Taan W/O Elaboration
• Style is on the verge of extinction
• Mia Sodhi – Exponent

Puppets

• Ancient – God as Puppeteer and we as Puppet
• In Sanskrit terminology Puttalika and Puttika means ‘little sons’
• The root of Puppet is derived from the Latin word ‘Pupa’ meaning a doll
• India is said to be the home of puppets, but it is yet to awaken to its unlimited possibilities
• The earliest reference to the art of puppetry is found in Tamil classic ‘Silappadikaaram’ written around the 1st or 2nd century B.C.
• Natyashastra, the masterly treatise on dramaturgy refer to the art of puppetry but the producer-cum-director of the human theatre has been termed as ‘Sutradhar’ meaning the holder of strings.
• The word might have found its place in theatre-terminology long before Natyashastra was written but it must come from marionette theatre. Puppetry, therefore, must have originated in India more than 500 years before Christ.
• The types of puppetry include

String

• Marionettes
• Marionettes having jointed limbs controlled by strings allow far greater flexibility and are, therefore, the most articulate of the puppets
• Rajasthan – Katputhli -Carved from a single piece of wood, these puppets are like large dolls that are colourfully dressed. Medieval Dress
• Orissa – Kundhei -Made of light wood, the Orissa puppets have no legs but wear long flowing skirts
• Karnataka - Gombeyatta - They are styled and designed like the characters of Yakshagana, the traditional theatre form of the region.
• Tamil Nadu -Bommalattam-combine the techniques of both rod and string puppets. They are made of wood and the strings for manipulation are tied to an iron ring which the puppeteer wears like a crown on his head.

Shadow Puppets

• Shadow puppets are flat figures
• They are cut out of leather, which has been treated to make it translucent
• Shadow puppets are pressed against the screen with a strong source of light behind it
• Orissa –Ravanachhaya - The puppets are in one piece and have no joints. They are not coloured, hence throw opaque shadows on the screen.
• Andhra Pradesh -Tholu Bommalata -richest and strongest tradition. The puppets are large in size and have jointed waist, shoulders, elbows and knees. They are coloured on both sides.
• Karnataka -Togalu Gombeyatta- These puppets are mostly small in size. Vary by Character
• Maharashtra, Kerala and Tamil Nadu

Glove Puppets

• The glove puppet, also known as hand puppets is a small figure having head and arms with a long skirt as part of its costume
• The puppeteer wears the puppet like a glove and fits the index finger into the hollow head of the puppet
• The middle finger and the thumb fit into the two hollow hands of the puppet.
• Kerala (Pava-kathakali)
• Orissa (Sakhi Kundhei- nacha)
• West Bengal (Bener Putul nach).

Rod Puppets

• Rod puppets are an extension of glove-puppets, but often much larger and supported and manipulated by rods from below
• The rod puppets, often larger than glove puppets are supported and manipulated by rods of various types and sizes.
• In rod puppets the action of the rods are concealed in many ways
• The main holding rod that supports the puppet may be hidden by a robe or costume of the puppet
• The action rods are usually connected to the hands of the puppet and manipulated by the puppeteer to show action
• Assam (Putula nach), Orissa (Kathi- Kundhei-nach) and West Bengal (Danger Putul nach)

By:Balalatha Mallavarapu