Traditional
77-458: Raag may refer to: Raga , a melodic framework in Indian classical music Raag (film) , a 2014 Assamese-language drama film Raag (surname) Radio Amateur Association of Greece Right-angled Artin groups , in geometric group theory Topics referred to by the same term [REDACTED] This disambiguation page lists articles associated with
154-569: A "masculine" rāga. These are envisioned to parallel the god-goddess themes in Hinduism, and described variously by different medieval Indian music scholars. For example, the Sangita-darpana text of 15th-century Damodara Misra proposes six rāgas with thirty ragini , creating a system of thirty six, a system that became popular in Rajasthan . In the north Himalayan regions such as Himachal Pradesh ,
231-406: A different intensity of mood. A rāga has a given set of notes, on a scale, ordered in melodies with musical motifs. A musician playing a rāga , states Bruno Nettl , may traditionally use just these notes but is free to emphasize or improvise certain degrees of the scale. The Indian tradition suggests a certain sequencing of how the musician moves from note to note for each rāga , in order for
308-843: A film, the quality of the music and its music director (composer), lyricist and singer have often determined the success of a film. Film soundtracks are sometimes released before the film itself, resulting in a disparity between the soundtrack and the songs appearing in the film. Kundan Lal Saigal was one of the earliest playback singers in the Indian music industry. Notable playback singers include Kishore Kumar , Lata Mangeshkar , Asha Bhosle , Mohammed Rafi , Mukesh , S. P. Balasubrahmanyam , K. J. Yesudas , S. Janaki , P. Susheela , K. S. Chithra , MG Sreekumar , Udit Narayan , Amit Kumar , Alka Yagnik , Sujatha , Hemlata (singer) , Kumar Sanu , Armaan Malik , Sonu Nigam , Shaan , KK , Shreya Ghoshal , Arijit Singh , Mohit Chauhan , Javed Ali , Neha Kakkar , Priyadarshini and many others. In
385-466: A given mode or a given melody; it is mode with added multiple specialities". A rāga is a central concept of Indian music, predominant in its expression, yet the concept has no direct Western translation. According to Walter Kaufmann, though a remarkable and prominent feature of Indian music, a definition of rāga cannot be offered in one or two sentences. rāga is a fusion of technical and ideational ideas found in music, and may be roughly described as
462-401: A musical entity that includes note intonation, relative duration and order, in a manner similar to how words flexibly form phrases to create an atmosphere of expression. In some cases, certain rules are considered obligatory, in others optional. The rāga allows flexibility, where the artist may rely on simple expression, or may add ornamentations yet express the same essential message but evoke
539-485: A musical framework within which to improvise. Improvisation by the musician involves creating sequences of notes allowed by the rāga in keeping with rules specific to the rāga . Rāga s range from small rāga s like Bahar and Shahana that are not much more than songs to big rāga s like Malkauns , Darbari and Yaman , which have great scope for improvisation and for which performances can last over an hour. Rāga s may change over time, with an example being Marwa ,
616-577: A musician to construct a state of experience in the audience. The word appears in the ancient Principal Upanishads of Hinduism , as well as the Bhagavad Gita . For example, verse 3.5 of the Maitri Upanishad and verse 2.2.9 of the Mundaka Upanishad contain the word rāga . The Mundaka Upanishad uses it in its discussion of soul (Atman-Brahman) and matter (Prakriti), with the sense that
693-504: A natural existence. Artists do not invent them, they only discover them. Music appeals to human beings, according to Hinduism, because they are hidden harmonies of the ultimate creation. Some of its ancient texts such as the Sama Veda (~1000 BCE) are structured entirely to melodic themes, it is sections of Rigveda set to music. The rāgas were envisioned by the Hindus as manifestation of
770-458: A series of empirical experiments he did with the Veena , then compared what he heard, noting the relationship of fifth intervals as a function of intentionally induced change to the instrument's tuning. Bharata states that certain combinations of notes are pleasant, and certain others are not so. His methods of experimenting with the instrument triggered further work by ancient Indian scholars, leading to
847-461: Is a melodic framework for improvisation in Indian classical music akin to a melodic mode . Rāga is central to classical Indian music. Each rāga consists of an array of melodic structures with musical motifs; and, from the perspective of the Indian tradition, the resulting music has the ability to "colour the mind" as it engages the emotions of the audience. Each rāga provides the musician with
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#1732884129599924-408: Is a more structured team performance, typically with a call and response musical structure, similar to an intimate conversation. It includes two or more musical instruments, and incorporates various rāgas such as those associated with Hindu gods Shiva ( Bhairav ) or Krishna ( Hindola ). The early 13th century Sanskrit text Sangitaratnakara , by Sarngadeva patronized by King Sighana of
1001-821: Is also very close to it, states Emmie te Nijenhuis, with the difference that each sruti computes to 54.5 cents, while the Greek enharmonic quarter-tone system computes to 55 cents. The text discusses gramas ( scales ) and murchanas ( modes ), mentioning three scales of seven modes (21 total), some Greek modes are also like them . However, the Gandhara-grama is just mentioned in Natyashastra , while its discussion largely focuses on two scales, fourteen modes and eight four tanas ( notes ). The text also discusses which scales are best for different forms of performance arts. These musical elements are organized into scales ( mela ), and
1078-473: Is best in spring, Pancama in summer, Sadjagrama and Takka during the monsoons, Bhinnasadja is best in early winter, and Kaisika in late winter. In the 13th century, Sarngadeva went further and associated rāga with rhythms of each day and night. He associated pure and simple rāgas to early morning, mixed and more complex rāgas to late morning, skillful rāgas to noon, love-themed and passionate rāgas to evening, and universal rāgas to night. In
1155-561: Is conceptually similar to the 12th century Guidonian hand in European music. The study that mathematically arranges rhythms and modes ( rāga ) has been called prastāra (matrix).( Khan 1996 , p. 89, Quote: "… the Sanskrit word prastāra , … means mathematical arrangement of rhythms and modes. In the Indian system of music there are about the 500 modes and 300 different rhythms which are used in everyday music. The modes are called Ragas.") In
1232-451: Is considered a manifestation of Kama (god of love), typically through Krishna . Hindola is also linked to the festival of dola , which is more commonly known as "spring festival of colors" or Holi . This idea of aesthetic symbolism has also been expressed in Hindu temple reliefs and carvings, as well as painting collections such as the ragamala . In ancient and medieval Indian literature,
1309-421: Is intimately related to tala or guidance about "division of time", with each unit called a matra (beat, and duration between beats). A rāga is not a tune, because the same rāga can yield an infinite number of tunes. A rāga is not a scale, because many rāgas can be based on the same scale. A rāga , according to Bruno Nettl and other music scholars, is a concept similar to a mode, something between
1386-492: Is no longer in use today because the 'related' rāgas had very little or no similarity and the rāga-rāginī classification did not agree with various other schemes. The North Indian rāga system is also called Hindustani , while the South Indian system is commonly referred to as Carnatic . The North Indian system suggests a particular time of a day or a season, in the belief that the human state of psyche and mind are affected by
1463-498: Is probably a pronunciation of rāga . According to Hormoz Farhat , it is unclear how this term came to Persia, it has no meaning in modern Persian language, and the concept of rāga is unknown in Persia. Filmi Modern Filmi ( lit. ' of films ' ) music soundtracks are music produced for India's mainstream motion picture industry and written and performed for Indian cinema . In cinema, music directors make up
1540-828: Is recognizably the same. Some rāgas are common to both systems but have different names, such as malkos of Hindustani system is recognizably the same as hindolam of Carnatic system. However, some rāgas are named the same in the two systems, but they are different, such as todi . Recently, a 32 thaat system was presented in a book Nai Vaigyanik Paddhati to correct the classification of ragas in North Indian style. Rāgas that have four svaras are called surtara (सुरतर) (tetra tonic) rāgas; those with five svaras are called audava (औडव) (pentatonic) rāgas; those with six are called shaadava (षाडव) (hex-tonic); and those with seven are called sampurna (संपूर्ण, Sanskrit for 'complete') (heptatonic). The number of svaras may differ in
1617-573: Is tied to their involvement with film soundtracks of cinema releases with the highest box office ratings. At the "Filmi Melody: Song and Dance in Indian Cinema" archive presentation at UCLA , filmi was praised as a generally more fitting term for the tradition than "Bombay melody", "suggesting that the exuberant music and melodrama so closely identified with the Hindi commercial cinema produced in Bombay (Mumbai)
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#17328841295991694-422: Is too simplistic. According to them, a rāga of the ancient Indian tradition can be compared to the concept of non-constructible set in language for human communication, in a manner described by Frederik Kortlandt and George van Driem ; audiences familiar with raga recognize and evaluate performances of them intuitively. The attempt to appreciate, understand and explain rāga among European scholars started in
1771-564: Is truly pan-Indian." In the earliest years, filmi music was generally Indian (classical Carnatic, Hindustani, and village folk) in inspiration; over the years, Western elements have increased significantly. However, film soundtracks continue to be very diverse, sometimes fusing genres or reverting to entirely classical music. Examples of this can be found throughout the history of filmi music. R. C. Boral, Harishchandra Bali, Pankaj Mullick , Anil Biswas, Naushad Ali , Khwaja Khurshid Anwar and S. Rajeswara Rao were noteworthy music directors of
1848-642: The Dattilam section of Brihaddeshi has survived into the modern times, but the details of ancient music scholars mentioned in the extant text suggest a more established tradition by the time this text was composed. The same essential idea and prototypical framework is found in ancient Hindu texts, such as the Naradiyasiksa and the classic Sanskrit work Natya Shastra by Bharata Muni , whose chronology has been estimated to sometime between 500 BCE and 500 CE, probably between 200 BCE and 200 CE. Bharata describes
1925-518: The Panchatantra . Indian classical music has ancient roots, and developed for both spiritual ( moksha ) and entertainment ( kama ) purposes. Rāga , along with performance arts such as dance and music, has been historically integral to Hinduism, with some Hindus believing that music is itself a spiritual pursuit and a means to moksha (liberation). Rāgas , in the Hindu tradition, are believed to have
2002-662: The Malayalam music industry . Nowadays, some famous lyricists are Rashmi Virag , Kunaal Vermaa , Manoj Muntashir , Rakesh Kumar , Irshad Kamil , Sayeed Quadri , Armaan Malik etc. Binaca Geetmala , Ameen Sayani 's popular Hindi language radio show before satellite television took over in India sometime in the 1990s, gave weekly popularity ratings of Hindi film songs (akin to the Billboard Hot 100 list of songs). It ran in various incarnations from 1952 to 1993, and annual lists of
2079-570: The Yoga Sutras II.7, rāga is defined as the desire for pleasure based on remembering past experiences of pleasure. Memory triggers the wish to repeat those experiences, leading to attachment. Ego is seen as the root of this attachment, and memory is necessary for attachment to form. Even when not consciously remembered, past impressions can unconsciously draw the mind toward objects of pleasure. According to Cris Forster, mathematical studies on systematizing and analyzing South Indian rāga began in
2156-495: The rāga are described as manifestation and symbolism for gods and goddesses. Music is discussed as equivalent to the ritual yajna sacrifice, with pentatonic and hexatonic notes such as "ni-dha-pa-ma-ga-ri" as Agnistoma , "ri-ni-dha-pa-ma-ga as Asvamedha , and so on. In the Middle Ages, music scholars of India began associating each rāga with seasons. The 11th century Nanyadeva, for example, recommends that Hindola rāga
2233-532: The vadi than to other notes. The samvadi is consonant with the vadi (always from the anga that does not contain the vadi) and is the second most prominent svara in the raga. The Sanskrit word rāga (Sanskrit: राग ) has Indian roots, as *reg- which connotes "to dye". Cognates are found in Greek , Persian , Khwarezmian and other languages, such as "raxt", "rang", "rakt" and others. The words "red" and "rado" are also related. According to Monier Monier-Williams ,
2310-465: The 16th century. Computational studies of rāgas is an active area of musicology. Although notes are an important part of rāga practice, they alone do not make the rāga. A rāga is more than a scale, and many rāgas share the same scale. The underlying scale may have four , five , six or seven tones , called svaras . The svara concept is found in the ancient Natya Shastra in Chapter 28. It calls
2387-605: The 1940s. Rao, who scored the 1948 Tamil Chandralekha , the first all-India hit, continued music directing in Chennai until the 1980s. The 1950s and 1960s, included music composers like Shankar Jaikishan , S. D. Burman , O. P. Nayyar , Madan Mohan , Hemant Kumar , C. Ramchandra , Roshan , Vasant Desai , Kalyanji–Anandji and Khayyam in Hindi film music. K. V. Mahadevan , Vishwanathan-Ramamoorthy, Laxmikant–Pyarelal , G. Devarajan , V. Dakshinamoorthy and M. S. Viswanathan were active music directors for more than 35 years from
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2464-633: The 1950s and 1960s, lyricists like Shailendra , Hasrat Jaipuri , Sahir Ludhianvi , Raja Mehdi Ali Khan , Rajendra Krishan , Majrooh Sultanpuri , Bharat Vyas , Shakeel Badayuni , Qamar Jalalabadi , Anand Bakshi , Jan Nisar Akhtar and S. H. Bihari wrote lyrics of many classic filmi songs. Lyrics tended towards the literary and drew heavily on contemporary Urdu and Hindi poetry. The south has seen poets like Kannadasan , Vairamuthu and Vaali rise to prominence, in Tamil poetry and literature alongside Vayalar Ramavarma , P. Bhaskaran , O. N. V. Kurup in
2541-733: The 1950s. As Indian cinema segued into the 1960s and 1970s, pop artists like R. D. Burman , Bappi Lahiri and duos like Nadeem–Shravan and Jatin–Lalit gave filmi a stronger western flavor with composers Ilaiyaraaja and Raveendran who rose to fame during the 1970s and 1980s in Tamil film music. Major musical forces in the 1990s and 2000s have included A. R. Rahman , Nadeem–Shravan , Pritam , Himesh Reshammiya , Harris Jayaraj , Shankar–Ehsaan–Loy , Vishal–Shekhar , Vidyasagar , Ramesh Narayan , M. Jayachandran , Yuvan Shankar Raja , Deepak Dev , Johnson , Anu Malik , Nusrat Fateh Ali Khan , Salim–Sulaiman , Devi Sri Prasad etc. A. R. Rahman, who
2618-744: The American artist Ciara , and the German band Löwenherz , among others. Filmi is also making exerting influence beyond the usual Desi audiences, with many Western music stores today carrying Indian music compilations. As early as 1978, the synthpop pioneers Haruomi Hosono and Ryuichi Sakamoto of the Yellow Magic Orchestra produced an electronic album Cochin Moon based on an experimental fusion between electronic music and Bollywood-inspired Indian music. Later in 1988, Devo 's hit song "Disco Dancer"
2695-511: The Buddhist monkhood. Among these is the precept recommending "abstain from dancing, singing, music and worldly spectacles". Buddhism does not forbid music or dance to a Buddhist layperson, but its emphasis has been on chants, not on musical rāga . A rāga is sometimes explained as a melodic rule set that a musician works with, but according to Dorottya Fabian and others, this is now generally accepted among music scholars to be an explanation that
2772-878: The Gold Remi Award for Best Music Score jointly with film composer M. S. Viswanathan at the WorldFest-Houston Film Festival for the Tamil film Vishwa Thulasi (2005). A. R. Rahman rose to fame from the Kollywood film industry to become one of the most popular international music directors and has had a musical Bombay Dreams , playing in London and New York, and scored several projects outside India. He has won two Academy awards and two Grammy awards, even numerous international awards and accolades. The song " Chaiyya Chaiyya ", originally composed by A. R. Rahman for Dil Se.. (1998), has also been well received around
2849-561: The Islamic rule period of the Indian subcontinent, particularly in and after the 15th century, the mystical Islamic tradition of Sufism developed devotional songs and music called qawwali . It incorporated elements of rāga and tāla . The Buddha discouraged music aimed at entertainment to monks for higher spiritual attainment, but encouraged chanting of sacred hymns. The various canonical Tripitaka texts of Buddhism, for example, state Dasha-shila or ten precepts for those following
2926-1532: The Janaka rāgas using a combination of the swarams (usually a subset of swarams) from the parent rāga. Some janya rāgas are Abheri , Abhogi , Bhairavi , Hindolam , Mohanam and Kambhoji . In this 21st century few composers have discovered new ragas . Dr. M. Balamuralikrishna who has created raga in three notes Ragas such as Mahathi, Lavangi, Sidhdhi, Sumukham that he created have only four notes, A list of Janaka Ragas would include Kanakangi , Ratnangi , Ganamurthi, Vanaspathi , Manavathi , Thanarupi, Senavathi, Hanumatodi , Dhenuka , Natakapriya , Kokilapriya , Rupavati , Gayakapriya , Vakulabharanam , Mayamalavagowla , Chakravakam , Suryakantam , Hatakambari , Jhankaradhvani , Natabhairavi , Keeravani , Kharaharapriya , Gourimanohari , Varunapriya , Mararanjani , Charukesi , Sarasangi , Harikambhoji , Sankarabharanam , Naganandini , Yagapriya , Ragavardhini , Gangeyabhushani , Vagadheeswari , Shulini , Chalanata , Salagam , Jalarnavam , Jhalavarali , Navaneetam , Pavani . Classical music has been transmitted through music schools or through Guru –Shishya parampara (teacher–student tradition) through an oral tradition and practice. Some are known as gharana (houses), and their performances are staged through sabhas (music organizations). Each gharana has freely improvised over time, and differences in
3003-477: The Rotterdam Conservatory of Music defined rāga as a "tonal framework for composition and improvisation." Nazir Jairazbhoy , chairman of UCLA 's department of ethnomusicology , characterized rāgas as separated by scale, line of ascent and descent, transilience , emphasized notes and register, and intonation and ornaments . Rāginī ( Devanagari : रागिनी) is a term for the "feminine" counterpart of
3080-404: The South Indian system of rāga works with 72 scales, as first discussed by Caturdandi prakashika . They are divided into two groups, purvanga and uttaranga , depending on the nature of the lower tetrachord. The anga itself has six cycles ( cakra ), where the purvanga or lower tetrachord is anchored, while there are six permutations of uttaranga suggested to the artist. After this system
3157-618: The Yadava dynasty in the North-Central Deccan region (today a part of Maharashtra ), mentions and discusses 253 rāgas . This is one of the most complete historic treatises on the structure, technique and reasoning behind rāgas that has survived. The tradition of incorporating rāga into spiritual music is also found in Jainism , and in Sikhism , an Indian religion founded by Guru Nanak in
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3234-548: The ancient texts of Hinduism, the term for the technical mode part of rāga was jati . Later, jati evolved to mean quantitative class of scales, while rāga evolved to become a more sophisticated concept that included the experience of the audience. A figurative sense of the word as 'passion, love, desire, delight' is also found in the Mahabharata . The specialized sense of 'loveliness, beauty', especially of voice or song, emerges in classical Sanskrit , used by Kalidasa and in
3311-469: The ascending and descending like rāga Bhimpalasi which has five notes in the ascending and seven notes in descending or Khamaj with six notes in the ascending and seven in the descending. Rāgas differ in their ascending or descending movements. Those that do not follow the strict ascending or descending order of svaras are called vakra (वक्र) ('crooked') rāgas. In Carnatic music , the principal rāgas are called Melakarthas , which literally means "lord of
3388-621: The concept of rāga is shared by both. Rāga is also found in Sikh traditions such as in Guru Granth Sahib , the primary scripture of Sikhism . Similarly, it is a part of the qawwali tradition in Sufi Islamic communities of South Asia . Some popular Indian film songs and ghazals use rāgas in their composition. Every raga has a svara (a note or named pitch) called shadja , or adhara sadja, whose pitch may be chosen arbitrarily by
3465-617: The dancer Helen . The songs "Mera Man Tera Pyasa" from the movie Gambler (1971) performed by Mohammed Rafi , "Tere Sang Pyar Main" from the movie Nagin (1976) performed by Lata Mangeshkar , and "Wada Na Tod" also by Lata Mangeshkar from the movie Dil Tujhko Diya (1987) were featured in Eternal Sunshine of the Spotless Mind (2004). Scores from Chennai Tamil films have appeared in productions such as Lord of War (2005) and The Accidental Husband (2008). Ilaiyaraaja won
3542-437: The development of successive permutations, as well as theories of musical note inter-relationships, interlocking scales and how this makes the listener feel. Bharata discusses Bhairava , Kaushika , Hindola , Dipaka , SrI-rāga , and Megha . Bharata states that these can to trigger a certain affection and the ability to "color the emotional state" in the audience. His encyclopedic Natya Shastra links his studies on music to
3619-461: The divine, a musical note treated as god or goddess with complex personality. During the Bhakti movement of Hinduism, dated to about the middle of 1st millennium CE, rāga became an integral part of a musical pursuit of spirituality. Bhajan and kirtan were composed and performed by the early South India pioneers. A bhajan has a free form devotional composition based on melodic rāgas . A Kirtan
3696-439: The domains of tune and scale, and it is best conceptualized as a "unique array of melodic features, mapped to and organized for a unique aesthetic sentiment in the listener". The goal of a rāga and its artist is to create rasa (essence, feeling, atmosphere) with music, as classical Indian dance does with performance arts. In the Indian tradition, classical dances are performed with music set to various rāgas . Joep Bor of
3773-404: The early colonial period. In 1784, Jones translated it as "mode" of European music tradition, but Willard corrected him in 1834 with the statement that a rāga is both modet and tune. In 1933, states José Luiz Martinez – a professor of music, Stern refined this explanation to "the rāga is more fixed than mode, less fixed than the melody, beyond the mode and short of melody, and richer both than
3850-452: The first that is "sa" , and the fifth that is "pa" , are considered anchors that are unalterable, while the remaining have flavors that differs between the two major systems. The music theory in the Natyashastra , states Maurice Winternitz, centers around three themes – sound, rhythm and prosody applied to musical texts. The text asserts that the octave has 22 srutis or micro-intervals of musical tones or 1200 cents. Ancient Greek system
3927-593: The international arena. Hindi filmi music has reached an even wider global audience due to the success of the Slumdog Millionaire soundtrack , also composed by Rahman. Singaporean-Indian singer Priyadarshini is regarded as the first Indian playback singer to carry out Ph.D. research in film music and document 100 years of music in Tamil cinema and 90 years in Kannada cinema The first domain name ever registered related to filmi music and Indian entertainment media
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#17328841295994004-522: The main body of composers; the songs are performed by playback singers and the genre represents 72% of the music sales market in India. Filmi music tends to have appeal across India, Nepal, Pakistan and overseas, especially among the Indian diaspora . Songs are often in different languages depending on the target audience, for example in Hindi or Tamil. Playback singers are usually more noted for their ability to sing rather than their charisma as performers. Filmi playback singers' level of success and appeal
4081-488: The most popular songs were played at year-end. The list was compiled on the basis of record sales in India . Currently, Hindi filmi songs are sold on tape and CD compilations, played as promos and in programs on various television channels and radio stations, with different popularity ratings claiming different songs as being on the top. In an annual exercise, a net-based effort RMIM Puraskaar lists all important Hindi film songs of
4158-642: The music scholars such as 16th century Mesakarna expanded this system to include eight descendants to each rāga , thereby creating a system of eighty four. After the 16th-century, the system expanded still further. In Sangita-darpana , the Bhairava rāga is associated with the following raginis: Bhairavi, Punyaki, Bilawali, Aslekhi, Bangali. In the Meskarna system, the masculine and feminine musical notes are combined to produce putra rāgas called Harakh, Pancham, Disakh, Bangal, Madhu, Madhava, Lalit, Bilawal. This system
4235-479: The musical rights to popular Western songs, as in Kal Ho Naa Ho 's (2003) song, " Oh, Pretty Woman ". Plagiarism has also existed within India, with several music directors in Bombay cinema lifting tunes from other "regional" industries. There have also been accusations of plagiarism against foreigner musicians borrowing from Hindi filmi songs. For example, " Don't Phunk with My Heart " by The Black Eyed Peas
4312-629: The northwest of the Indian subcontinent. In the Sikh scripture, the texts are attached to a rāga and are sung according to the rules of that rāga . According to Pashaura Singh – a professor of Sikh and Punjabi studies, the rāga and tala of ancient Indian traditions were carefully selected and integrated by the Sikh Gurus into their hymns. They also picked from the "standard instruments used in Hindu musical traditions" for singing kirtans in Sikhism. During
4389-554: The original song filing a lawsuit against DJ Quik and Dr. Dre , the producers of "Addictive". Filmi music composed by A. R. Rahman (who would later win two Academy Awards for the Slumdog Millionaire soundtrack ) has frequently been sampled by musicians elsewhere in the world, including the Singaporean artist Kelly Poon , the Uzbek artist Iroda Dilroz, the French rap group La Caution ,
4466-438: The performance arts, and it has been influential in Indian performance arts tradition. The other ancient text, Naradiyasiksa dated to be from the 1st century BCE, discusses secular and religious music, compares the respective musical notes. This is earliest known text that reverentially names each musical note to be a deity, describing it in terms of varna (colours) and other motifs such as parts of fingers, an approach that
4543-433: The performance to create a rasa (mood, atmosphere, essence, inner feeling) that is unique to each rāga . A rāga can be written on a scale. Theoretically, thousands of rāga are possible given 5 or more notes, but in practical use, the classical tradition has refined and typically relies on several hundred. For most artists, their basic perfected repertoire has some forty to fifty rāgas . Rāga in Indian classical music
4620-495: The performer. This is taken to mark the beginning and end of the saptak (loosely, octave). The raga also contains an adhista, which is either the svara Ma or the svara Pa . The adhista divides the octave into two parts or anga – the purvanga , which contains lower notes, and the uttaranga , which contains higher notes. Every raga has a vadi and a samvadi . The vadi is the most prominent svara, which means that an improvising musician emphasizes or pays more attention to
4697-624: The primary development of which has been going down into the lower octave, in contrast with the traditional middle octave. Each rāga traditionally has an emotional significance and symbolic associations such as with season, time and mood. Rāgas are considered a means in the Indian musical tradition for evoking specific feelings in listeners. Hundreds of rāgas are recognized in the classical tradition, of which about 30 are common, and each rāga has its "own unique melodic personality". There are two main classical music traditions, Hindustani ( North Indian ) and Carnatic ( South Indian ), and
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#17328841295994774-538: The rendering of each rāga is discernible. In the Indian musical schooling tradition, the small group of students lived near or with the teacher, the teacher treated them as family members providing food and boarding, and a student learnt various aspects of music thereby continuing the musical knowledge of their guru . The tradition survives in parts of India, and many musicians can trace their guru lineage. The music concept of rāk or rang (meaning “colour”) in Persian
4851-401: The scale". It is also called Asraya rāga meaning "shelter giving rāga", or Janaka rāga meaning "father rāga". A Thaata in the South Indian tradition are groups of derivative rāgas , which are called Janya rāgas meaning "begotten rāgas" or Asrita rāgas meaning "sheltered rāgas". However, these terms are approximate and interim phrases during learning, as the relationships between
4928-609: The seasons and by daily biological cycles and nature's rhythms. The South Indian system is closer to the text, and places less emphasis on time or season. The symbolic role of classical music through rāga has been both aesthetic indulgence and the spiritual purifying of one's mind (yoga). The former is encouraged in Kama literature (such as Kamasutra ), while the latter appears in Yoga literature with concepts such as "Nada-Brahman" (metaphysical Brahman of sound). Hindola rāga , for example,
5005-468: The sense of "color, dye, hue". The term rāga in the modern connotation of a melodic format occurs in the Brihaddeshi by Mataṅga Muni dated c. 8th century , or possibly 9th century. The Brihaddeshi describes rāga as "a combination of tones which, with beautiful illuminating graces, pleases the people in general". According to Emmie te Nijenhuis , a professor in Indian musicology,
5082-400: The soul does not "colour, dye, stain, tint" the matter. The Maitri Upanishad uses the term in the sense of "passion, inner quality, psychological state". The term rāga is also found in ancient texts of Buddhism where it connotes "passion, sensuality, lust, desire" for pleasurable experiences as one of three impurities of a character. Alternatively, rāga is used in Buddhist texts in
5159-437: The term comes from a Sanskrit word for "the act of colouring or dyeing", or simply a "colour, hue, tint, dye". The term also connotes an emotional state referring to a "feeling, affection, desire, interest, joy or delight", particularly related to passion, love, or sympathy for a subject or something. In the context of ancient Indian music, the term refers to a harmonious note, melody, formula, building block of music available to
5236-620: The title Raag . If an internal link led you here, you may wish to change the link to point directly to the intended article. Retrieved from " https://en.wikipedia.org/w/index.php?title=Raag&oldid=1232082218 " Category : Disambiguation pages Hidden categories: Short description is different from Wikidata All article disambiguation pages All disambiguation pages Raga A raga ( IAST : rāga , IPA: [ɾäːɡɐ] ; also raaga or ragam or raag ; lit. ' colouring ' or ' tingeing ' or ' dyeing ' )
5313-492: The two layers are neither fixed nor has unique parent–child relationship. Janaka rāgas are grouped together using a scheme called Katapayadi sutra and are organised as Melakarta rāgas. A Melakarta rāga is one which has all seven notes in both the ārōhanam (ascending scale) and avarōhanam (descending scale). Some Melakarta rāgas are Harikambhoji , Kalyani , Kharaharapriya , Mayamalavagowla , Sankarabharanam and Hanumatodi . Janya rāgas are derived from
5390-485: The unit of tonal measurement or audible unit as Śruti , with verse 28.21 introducing the musical scale as follows, तत्र स्वराः – षड्जश्च ऋषभश्चैव गान्धारो मध्यमस्तथा । पञ्चमो धैवतश्चैव सप्तमोऽथ निषादवान् ॥ २१॥ These seven degrees are shared by both major rāga system, that is the North Indian (Hindustani) and South Indian (Carnatic). The solfege ( sargam ) is learnt in abbreviated form: sa, ri (Carnatic) or re (Hindustani), ga, ma, pa, dha, ni, sa . Of these,
5467-452: The world, making several top 10 world music lists and has even been featured in several American movies. The song was in both the opening scene and credits of Spike Lee 's Inside Man . Rahman's earlier soundtrack for Roja (1991) was included in Time 's 10 Best Soundtracks of all time in 2005. He has been regarded as the only composer from India to attain massive popularity and fame in
5544-536: The year, in addition to awarding songs for various categories. Because popular music directors score a great many films over the course of a year, accusations of plagiarizing abound. For example, one production number in Dil (1990) is based on Carl Perkins ' Blue Suede Shoes , sung with Hindi lyrics. Of late the Indian film industry has been gaining visibility outside India, and the legal risks of plagiarism have been gaining importance. Some producers have actually paid for
5621-414: Was described by Time magazine as "India's most prominent movie songwriter", is widely accepted to be the most internationally recognized Indian musician. A playback singer is a singer who pre-records songs for use in films. The singer records the song and the actors or actresses lip-sync the song in front of the cameras, a form of singing that is characteristic of the Indian subcontinent. The songs of
5698-491: Was developed, the Indian classical music scholars have developed additional rāgas for all the scales. The North Indian style is closer to the Western diatonic modes, and built upon the foundation developed by Vishnu Narayan Bhatkhande using ten Thaat : kalyan, bilaval, khamaj, kafi, asavari, bhairavi, bhairav, purvi, marva and todi . Some rāgas are common to both systems and have same names, such as kalyan performed by either
5775-522: Was inspired by the song "I am a Disco Dancer" from the Bollywood film Disco Dancer (1982). Baz Luhrmann showcases the song " Chamma Chamma " from China Gate (1998) in his 2001 movie Moulin Rouge . Another 2001 film Ghost World featured Mohammed Rafi 's song " Jaan Pehechan Ho " from the 1965 film Gumnaam . The 2002 song " Addictive ", sung by Truth Hurts and produced by DJ Quik and Dr. Dre ,
5852-422: Was largely based on two 1970s filmi songs: "Ye Mera Dil Yaar Ka Diwana" from Don (1978) and "Ae Naujawan Hai Sab Kuchh Yahan" from Apradh (1972). Both songs were originally composed by Kalyanji Anandji and sung by Asha Bhosle . Another example is " Addictive " sung by Truth Hurts , which is lifted from Lata Mangeshkar 's "Thoda Resham Lagta Hai" from Jyoti (1981). This led to the copyright holders of
5929-418: Was lifted from Lata Mangeshkar 's "Thoda Resham Lagta Hai" from Jyoti (1981). The Black Eyed Peas ' Grammy Award winning 2005 song " Don't Phunk with My Heart " was inspired by two 1970s Bollywood songs: "Ye Mera Dil Yaar Ka Diwana" from Don (1978) and "Ae Naujawan Hai Sab Kuchh Yahan" from Apradh (1972). Both songs were originally composed by Kalyanji Anandji , sung by Asha Bhosle , and featured
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