Indian classical music has two foundational elements, raga and tala. The raga, based on a varied repertoire of swara (notes including microtones), forms the fabric of a deeply intricate melodic structure, while the tala measures the time cycle.[9] The raga gives an artist a palette to build the melody from sounds, while the tala provides them with a creative framework for rhythmic improvisation using time.[10][11][12] In Indian classical music the space between the notes is often more important than the notes themselves, and it traditionally eschews Western classical concepts such as harmony, counterpoint, chords, or modulation.[13][14][15] history of India
The classical music tradition of the ancient and medieval Indian subcontinent (modern Bangladesh, India, Pakistan) were a generally integrated system through the 14th century, after which the socio-political turmoil of the Delhi Sultanate era isolated the north from the south. The music traditions of the North and South India were not considered distinct until about the 16th century, but after that the traditions acquired distinct forms.[3] North Indian classical music is called Hindustani, while the South Indian expression is called Carnatic (sometimes spelled as Karnatic). According to Nazir Ali Jairazbhoy, the North Indian tradition acquired its modern form after the 14th or the 15th century.[42]
new classical songs from hindi movies
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Indian classical music has historically adopted and evolved with many regional styles, such as the Bengali classical tradition. This openness to ideas led to assimilation of regional folk innovations, as well as influences that arrived from outside the subcontinent. For example, Hindustani music assimilated Arabian and Persian influences.[43] This assimilation of ideas was upon the ancient classical foundations such as raga, tala, matras as well as the musical instruments. For example, the Persian Rāk is probably a pronunciation of Raga. According to Hormoz Farhat, Rāk has no meaning in modern Persian language, and the concept of raga is unknown in Persia.[44]
Carnatic music, from South India, tends to be more rhythmically intensive and structured than Hindustani music. Examples of this are the logical classification of ragas into melakartas, and the use of fixed compositions similar to Western classical music. Carnatic raga elaborations are generally much faster in tempo and shorter than their equivalents in Hindustani music. In addition, accompanists have a much larger role in Carnatic concerts than in Hindustani concerts. Today's typical concert structure was put in place by the vocalist Ariyakudi Ramanuja Iyengar. The opening piece is called a varnam, and is a warm-up for the musicians. A devotion and a request for a blessing follows, then a series of interchanges between ragams (unmetered melody) and Tanam (the ornamentation within a melorhythmic cycle, equivalent to the jor). This is intermixed with hymns called krithis. The pallavi or theme from the raga then follows. Carnatic pieces also have notated lyrical poems that are reproduced as such, possibly with embellishments and treatments according to the performer's ideology, referred to as Manodharmam.[citation needed]
Hindustani music style is mainly found in North India, Pakistan and Bangladesh. It exists in four major forms: Dhrupad, Khyal (or Khayal), Tarana, and the semi-classical Thumri.[56] Dhrupad is ancient, Khyal evolved from it, Thumri evolved from Khyal.[57] There are three major schools of Thumri: Lucknow gharana, Banaras gharana and Punjabi gharana. These weave in folk music innovations.[56] Tappa is the most folksy, one which likely existed in Rajasthan and Punjab region before it was systematized and integrated into classical music structure. It became popular, with the Bengali musicians developing their own Tappa.[58]
Dhrupad (or Dhruvapad), the ancient form described in the Hindu text Natyashastra,[60] is one of the core forms of classical music found all over the Indian subcontinent. The word comes from Dhruva which means immovable and permanent.[61][57]
A raga has a given set of notes, on a scale, ordered in melodies with musical motifs.[10] A musician playing a raga, states Bruno Nettl, may traditionally use just these notes, but is free to emphasize or improvise certain degrees of the scale.[10] The Indian tradition suggests a certain sequencing of how the musician moves from note to note for each raga, in order for the performance to create a rasa (mood, atmosphere, essence, inner feeling) that is unique to each raga. A raga can be written on a scale. Theoretically, thousands of raga are possible given 5 or more notes, but in practical use, the classical Indian tradition has refined and typically relies on several hundred.[10] For most artists, their basic perfected repertoire has some forty to fifty ragas.[75] Raga in Indian classical music is intimately related to tala or guidance about "division of time", with each unit called a matra (beat, and duration between beats).[72]
The tala forms the metrical structure that repeats, in a cyclical harmony, from the start to end of any particular song or dance segment, making it conceptually analogous to meters in Western music.[79] However, talas have certain qualitative features that classical European musical meters do not. For example, some talas are much longer than any classical Western meter, such as a framework based on 29 beats whose cycle takes about 45 seconds to complete when performed. Another sophistication in talas is the lack of "strong, weak" beat composition typical of the traditional European meter. In classical Indian traditions, the tala is not restricted to permutations of strong and weak beats, but its flexibility permits the accent of a beat to be decided by the shape of musical phrase.[79]
Bollywood music is well-known not just in India but throughout the world. To a great extent, Bollywood music owes its presence, advancement, sustenance, and longevity to the classical song tradition, from which it has intensely acquired, especially during the initial few years of its evolution.
One more incredible classical version from the extraordinary expert, Mannade, this time in Raga Ahir Bhairav, another composition of Hindustani Classical music. This song is in two sections; the first is sung by S. D. Batish, which is likewise an enjoyment to listen to. The music for this song is composed by the great S. D. Burman Sahab, while its lyrics are written by Shailendra.
This number is perhaps the best exposition in Raga KAFI, a composition of Hindustani classical songs. It unites the genius of Yesudas, the main artist, with the simplicity of Raga Kafi bringing about an exceptionally basic but entrancing number.
One of the famous songs considering Raga Charukesi, a composition of Hindustani classical song, sung flawlessly by Lata Mangeshkar. The music for this number was formed by Madan Mohan, who generally saved his best for Lata Didi, who was additionally close to the pinnacle of her singing ability at the time.
This song is sung by my number one Bengali magnificence and extraordinary female artist of our times, Shreya Ghoshal. There are countless different songs by Shreya Ghoshal that we can consider number one, however, this song is loaded with classical beats, and a big part of the song is sargam.
These are well-known numbers created by adhering to the classical Raga and sung flawlessly by some of the best in the business. These ten songs are not recorded in a specific request or rank, and we would like to know which one you think about the best among them, so remember to mark your decision.
Lets take the first song composed in this raag from the 1958 movie Phagun directed by Bhibhuti Mitra. As with most other movies for which OP Nayyar was the music director, Phagun too had a large number of hit songs that were penned by Qamar Jalalabadi and sung by Asha Bhosle and Mohammad Rafi:
We turn now to Shankar Jaikishen. I have taken this from their composition in 1956 movie Basant Bahaar starring Nimmi and Bharat Bhushan. As is usual with S-J songs, this one has been penned by Shailendra. It has been sung by Manna Dey
This page lists 120 songs of Lata Mangeshkar, based on classical ragas. I got this from Verma's page at Cornell, and the list has been compiled by Vinayak Kulkarni (I think!) in UK, based on Raju Bharatan's selection. I do not understand Ragas well, except that pieces based on the same Raga sound similar (hum them and verify this). This list does not include any of my personal favorites, the off-beat gems created by Hridayanath Mangeshkar; some day maybe someone can help me categorize those too.
These are very selective songs. There are some songs, like all songs from'Harishchandra Taramati''Jal Bin Machhali Nrutya Bin Bijali'(Totally different style of music by LP)'Sharafat' etc are not mentioned here because of the lack of the place.
Music has always brought peace in my life and has helped me put my feelings into words. But I get so angry whenever I listen to those misogynistic songs which somehow become immensely popular. This must happen to you as well, right? To restore the peace in your lives, here are 20 songs from Indian cinema you need to listen to which will uplift you and make you feel happy about being a woman.
This CD contains songs from 12 films dating from the 1970s and 80s. These are new recordings, and not literal duplications of what can be heard on the original film soundtracks. Bhosle's vocals are all newly recorded, and the members of the Kronos Quartet play not only their usual instruments, but percussion and "vintage electronic instruments," among others. A spirit of innovation characterized the recording sessions, as the musicians and engineer/co-producer tried to recreate Burman's unusual sounds and general unpredictability by whatever means they could. Overdubbing was necessary to pull it all off. Pull it off they have. 2ff7e9595c
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