Music is an expression of inner feelings through tones (s war) and rhythm (taal).
These s wars and tails are combined so that they are pleasing to the ear. Music is sound created from the ideas and emotions of man. When these ideas are expressed through the voice in a rhythmic and appealing sound, music is born. Music in its true form controls human activity and is thus the source of attaining pleasure and salvation. At the base of Indian classical music lies an appreciation for, and an emphasis on creating sound with aesthetic appeal.
This is achieved through Raga or melody. In Brihaddeshi, Mating defines raga as “that attractive combination of notes which pleases the mind.” That this sound be attractive and pleasing is of extreme importance. Because music is so closely linked to human emotion, it is important that it is written and performed so as to truly interpret and convey the emotion and beauty of the melody. To ensure that this is done successfully, there are some guidelines for Indian Classical musicians to follow to ensure an effective interpretation and display of their art. The system of raga in Hindusthani Classical music is both complex and sophisticated, using particular elements within strict guidelines to attain a pleasing and beautiful sound. In addition to the aesthetic aspect, a raga is also distinctive in form.
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These two aspects are inextricably bound together and are used in a complementary manner. In Hindusthani Classical music, ragas have been classified according to their form under ten tha ats. The ten tha ats under which all ragas are classified have derived from the twelve notes used in Hindusthani Classical music. A that is the ascending scale from which a raga is created. The ten tha ats are: Kalyan, Bila wal, Khama j, Bhai rav, Poor vi, Maar va, Kaf i, Asawari, Bhai ravi and To di. A that is named after the most prominent raga created from it.
Ragas are also classified by the number of notes used in their ascent and descent. Two ragas written from the same that will comprise the same notes, however, the possibilities of development are limitless. Thus, each raga is a unique expression of an artist’s mind. In creating a raga, a musician must adhere to several guidelines, and must have an understanding of the essential elements or which comprise a raga. These are: 1.
A raga must possess at least five notes; 2. A raga must possess an Aroh (ascent), Avroh (descent) and Pakad – the most important note combination that expresses the feeling of the raga; 3. A raga comprises a Vadi- the chief note, and a Samvadi – a supporting harmonic note; 4. Sa is never omitted in any Raga because it is the starting note of every raga; 5. Ma and Pa should never be omitted as both of these notes are harmonic notes of Sa; 6. Both forms of a note i.
e. full tone and half tone, should not be used one after the other because it spoils the beauty of the raga; While a musician must adhere to several rules regarding form, in creating a raga, aesthetic appeal also requires careful application of several guidelines. A raga is created around a central theme. The musician must therefore be aware of Bhava – the state of mind which is a result of external circumstances. It is also important to establish the main character of the theme: male or female, as both genders are associated with different feelings.
Rasa is a term used to define an aggregate resultant emotion created from different bhava’s and the circumstances that incite them. After selecting the rasa’s, the musician establishes the Vadi and Smavadi swarms. Once the va di and swarms are fixed, the musician starts to create the true picture of the Raga: its Aroh, Avroh and Pakad. The musician then sets the time in which the raga is to be sung on the basis of nature, circumstances and the subject matter of the song. The time theory in Indian music is very essential.
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In ancient times, Raga gay an (sung melodies) was determined on the basis of seasons. In singing a raga, there are also several guiding principles that a singer must grasp. “An efficient singer… was carefully instructed to impress upon hearers with the sum climax of the song.
Sam is the most important beat of a tune where all the attention of the hearers is deeply concentrated. A classical song had to be presented with pleasant demeanour, and good manners, inspiring confidence as ‘one who knows’ to the listener, who would be impressed. The singer should also discriminate, and mark the occasion by singing opportune songs. He should have a good memory, and should be something of a poet.
The musician of olden days was carefully brought up on these ideal principles.” Before singing a raga, it is essential to know whether it is a male or female raga because understanding male and female bhava’s is essential, as is the expression of song through notes. Males exude feelings of heroism, self-respect and honour, while females are associated with feelings of sweetness, kindness, love and affection. A singer must try to draw out the clear picture of a particular rasa. He or she must also sing the that and become acquainted with all the notes: full tone, half tone and sharps. Once he or she has grasped a complete knowledge of the notes, the singer must then sing its ar oh and avro h to get a clear picture of the structure of the raga. This is followed by repeated practice of the p akad.
The raga should first be taken in Vila mbit Laya, with gradual increase in Laya. The singer uses trans to embellish the raga. Use of trans shows the singer’s talent and creative power. When presented in its truest form, music has the power to affect human emotion. Hindusthani classical music is rooted in this belief. Some believe that music is an interesting part of natural philosophy that explains the causes and properties of sound.
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Music is believed to be present in every living and non-living thing. It is manifest through the art of raga. Raga or melody is, above all, an aesthetically pleasing sound. To create it, a musician must follow several guidelines and adhere to a strict framework vis-‘a-vis form. A musician must also have as his or her aim, to incite a particular emotion in the listener’s mind. In interpreting a raga, a singer must understand these emotions and try to bring them out using the voice.
He or she must also practice singing the unique note combinations for many hours. The system is complex, and it takes much practice and deliberation to successfully render a raga – sometimes many years. Once both musician and singer follow the rules laid down in the earlier texts, a raga can be truly beautiful and as Indian classical musicians believe, capable of attaining pleasure and salvation.
