According to “Musical
Instruments of the Indian Sucontinent” there are two categories of Indian
music, Hindustani and Carnatic (http://www.metmuseum.org/toah/hd/indi/hd_indi.htm). Each style of music uses
“the system of ragas—sets of pitches and small motives for melody
construction—and tala for rhythm” (The Metropolitan Museum of Art). Both a raga
and a tala are a set of rules and patterns in which the musician works around
to create a piece of music. While Hindustani is known for its instrumentalists,
the Carnatic is known for its vocalists. Hindustani music uses instruments such
as, a sitar, sarod, tambura, sahnai, sarangi, and table. Carnatic music uses
the vina, mrdangam, kanjira, and violin.
Bamboo flutes are a common instrument used in each style of music.
musicinformation-to.blogspot.com chandrakantha.com
The “Story of Hindustani Music” is a site which explores Hindustani Indian music of the 19th century (http://www.itcsra.org/sra_hcm/sra_hcm_chrono/sra_hcm_chrono_modern.html). One style of music that originated in the 19th century was Nawab Wajid Ali Shah’s pageants, called jogia jashan. These pageants consisted of the kings and palace maids parading about as yogis, or yoga practioners, and it was these pageants that actually set the stage for modern Hindustani theatre. The thumri was another form of music that evolved which was romantic, devotional music, formed from the Chhliyka which was a genre that “combined song and dance with dramatic gestures” (ITC Sangeet Research Academy). Another person that added to the world of Indian music in the 19th century was Ramnidhi Gupta, or Nidhubabu. He created the Bengali tappa, which “assimilated the features of the Tappa in Hindustani music and the lilting rhythm of Bengali music” (ITC Sangeet Research Academy). The tappas were secular and written in Bengali and it was said “they were different from the usual devotional model of singing about love through mythological pairs, usually Radha and Krishna” (ITC Sangeet Research Academy). Finally, Sourendramohan Tagore was another person who played a part in the creation of a new style of music in the 19th century which made Hindustani music international through styles and techniques which would appeal to many.
The “Story of Hindustani Music” is a site which explores Hindustani Indian music of the 19th century (http://www.itcsra.org/sra_hcm/sra_hcm_chrono/sra_hcm_chrono_modern.html). One style of music that originated in the 19th century was Nawab Wajid Ali Shah’s pageants, called jogia jashan. These pageants consisted of the kings and palace maids parading about as yogis, or yoga practioners, and it was these pageants that actually set the stage for modern Hindustani theatre. The thumri was another form of music that evolved which was romantic, devotional music, formed from the Chhliyka which was a genre that “combined song and dance with dramatic gestures” (ITC Sangeet Research Academy). Another person that added to the world of Indian music in the 19th century was Ramnidhi Gupta, or Nidhubabu. He created the Bengali tappa, which “assimilated the features of the Tappa in Hindustani music and the lilting rhythm of Bengali music” (ITC Sangeet Research Academy). The tappas were secular and written in Bengali and it was said “they were different from the usual devotional model of singing about love through mythological pairs, usually Radha and Krishna” (ITC Sangeet Research Academy). Finally, Sourendramohan Tagore was another person who played a part in the creation of a new style of music in the 19th century which made Hindustani music international through styles and techniques which would appeal to many.
“A Brief History of
Carnatic Music” explores the Indian music style called Carnatic(http://www.nadasurabhi.org/articles/6-a-brief-history-of-carnatic-music?showall=1). In the 19th
century India experienced the fall of the Carnatic Trinity, which was a group
of three composers that had a great impact on the music of India. Since most of
their legacy carried on orally, their music vanished which led way to their
disciples traveling the land to carry on their musical traditions. Several
composers and musicians arose in the period marked by musical forms such as, varnams,
javalis, and tillanas. Varnams are long pieces of work found in recitals.
Javalis are musical pieces used often at the end of concerts and in dance
performances. It was at this time the violin became a popular instrument of
choice and solo pieces increased in number. As well, percussion became largely
appreciated and used within Indian music. Finally, in the late 19th
century the rich businessmen began to support musicians, so when the High Court
opened in Madras it became the musical central.
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