In music theory , the term mode or modus is used in a number of distinct senses, depending on context.
102-797: Shivaranjani or Sivaranjani is a musical scale used in Indian classical music. There are two scales, one in Hindustani music and one in Carnatic music . The Hindustani rāga is a pentatonic scale, as is the Carnatic scale categorized as Audava-Audava ( audava meaning 'of 5') resulting in 5 notes in the Arohanam and 5 in the Avarohanam. The Hindustani rāga Shivaranjani belongs to the Kaafi thaat in terms of classification of
204-410: A lyra or a kithara . However, there is no reason to suppose that, at this time, these tuning patterns stood in any straightforward and organised relations to one another. It was only around the year 400 that attempts were made by a group of theorists known as the harmonicists to bring these harmoniai into a single system and to express them as orderly transformations of a single structure. Eratocles
306-408: A change in the musical modes of the state would cause a wide-scale social revolution. The philosophical writings of Plato and Aristotle ( c. 350 BC ) include sections that describe the effect of different harmoniai on mood and character formation. For example, Aristotle stated in his Politics : But melodies themselves do contain imitations of character. This is perfectly clear, for
408-567: A few generations (e.g. the Sham Chaurasia gharana). Meanwhile, the Bhakti and Sufi traditions continued to develop and interact with the different gharanas and groups. Until the late 19th century, Hindustani classical music was imparted on a one-on-one basis through the guru-shishya ("mentor-protégé") tradition. This system had many benefits but also several drawbacks. In many cases, the shishya had to spend most of his time, serving his guru with
510-537: A manner he deemed more logical, resulting in the widespread promulgation of two conflicting systems. Zarlino's system reassigned the six pairs of authentic–plagal mode numbers to finals in the order of the natural hexachord, C–D–E–F–G–A, and transferred the Greek names as well, so that modes 1 through 8 now became C-authentic to F-plagal, and were now called by the names Dorian to Hypomixolydian. The pair of G modes were numbered 9 and 10 and were named Ionian and Hypoionian, while
612-503: A minor third), and the enharmonic genus (with a major third and two quarter tones or dieses ). The framing interval of the perfect fourth is fixed, while the two internal pitches are movable. Within the basic forms, the intervals of the chromatic and diatonic genera were varied further by three and two "shades" ( chroai ), respectively. In contrast to the medieval modal system, these scales and their related tonoi and harmoniai appear to have had no hierarchical relationships amongst
714-452: A mood of elation and are usually performed towards the end of a concert. They consist of a few lines of bols either from the rhythmic language of Tabla , Pakhawaj , or Kathak dance set to a tune. The singer uses these few lines as a basis for fast improvisation. The tillana of Carnatic music is based on the tarana, although the former is primarily associated with dance. Tappa is a form of Indian semi-classical vocal music whose specialty
816-538: A particular type of scale, range and register, characteristic rhythmic pattern, textual subject, etc. Plato held that playing music in a particular harmonia would incline one towards specific behaviors associated with it, and suggested that soldiers should listen to music in Dorian or Phrygian harmoniai to help harden them but avoid music in Lydian, Mixolydian, or Ionian harmoniai , for fear of being softened. Plato believed that
918-431: A perfect match, which, before Thumri became a solo form, were performed together. Some recent performers of this genre are Abdul Karim Khan , the brothers Barkat Ali Khan and Bade Ghulam Ali Khan , Begum Akhtar , Nirmala Devi , Girija Devi , Prabha Atre , Siddheshwari Devi , Shobha Gurtu , and Chhannulal Mishra . Musical mode Its most common use may be described as a type of musical scale coupled with
1020-485: A performing art was called melos , which in its perfect form ( μέλος τέλειον ) comprised not only the melody and the text (including its elements of rhythm and diction) but also stylized dance movement. Melic and rhythmic composition (respectively, μελοποιΐα and ῥυθμοποιΐα ) were the processes of selecting and applying the various components of melos and rhythm to create a complete work. According to Aristides Quintilianus: And we might fairly speak of perfect melos, for it
1122-434: A rendition of bandish, with the pakhawaj as an accompaniment. The great Indian musician Tansen sang in the dhrupad style. A lighter form of dhrupad called dhamar , is sung primarily during the spring festival of Holi . Dhrupad was the main form of northern Indian classical music until two centuries ago when it gave way to the somewhat less austere khyal, a more free-form style of singing. Since losing its main patrons among
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#17329091578771224-593: A set of characteristic melodic and harmonic behaviors. It is applied to major and minor keys as well as the seven diatonic modes (including the former as Ionian and Aeolian ) which are defined by their starting note or tonic. ( Olivier Messiaen 's modes of limited transposition are strictly a scale type.) Related to the diatonic modes are the eight church modes or Gregorian modes , in which authentic and plagal forms of scales are distinguished by ambitus and tenor or reciting tone . Although both diatonic and Gregorian modes borrow terminology from ancient Greece ,
1326-456: A wholly different system. In his De institutione musica , book 4 chapter 15, Boethius, like his Hellenistic sources, twice used the term harmonia to describe what would likely correspond to the later notion of "mode", but also used the word "modus" – probably translating the Greek word τρόπος ( tropos ), which he also rendered as Latin tropus – in connection with the system of transpositions required to produce seven diatonic octave species, so
1428-611: Is Musica disciplina by Aurelian of Réôme (dating from around 850) while Hermannus Contractus was the first to define modes as partitionings of the octave. However, the earliest Western source using the system of eight modes is the Tonary of St Riquier, dated between about 795 and 800. Various interpretations of the "character" imparted by the different modes have been suggested. Three such interpretations, from Guido of Arezzo (995–1050), Adam of Fulda (1445–1505), and Juan de Espinosa Medrano (1632–1688), follow: Modern Western modes use
1530-535: Is Gauhar, Khandar and Nauharvani.The living legends of this gharana is Pt. Ramjee Mishra A section of dhrupad singers of Delhi Gharana from Mughal emperor Shah Jahan 's court migrated to Bettiah under the patronage of the Bettiah Raj , giving rise to the Bettiah Gharana. Khyal is the modern Hindustani form of vocal music. Khyal, literally meaning "thought" or "imagination" in Hindustani and derived from
1632-411: Is a Sanskrit scripture describing the theory of music and its applications in not just musical form and systems but also in physics, medicine and magic. It is said that there are two types of sound: āhata (struck/audible) and anāhata (unstruck/inaudible). The inaudible sound is said to be the principle of all manifestation, the basis of all existence. There are three main 'Saptak' which resemble to
1734-458: Is as follows. The compositions in this scale are: Hindustani music Hindustani classical music is the classical music of the Indian subcontinent 's northern regions. It may also be called North Indian classical music or Uttar Bhartiya shastriya sangeet . The term shastriya sangeet literally means classical music, and is also used to refer to Indian classical music in general. It
1836-411: Is as follows: (the variant notes used in this scale are chathusruthi rishabham, sadharana gandharam, chathusruthi dhaivatham other than the invariants shadjam and panchamam ) This section covers the theoretical and scientific aspects of this rāgam. Shivaranjani's notes when shifted using Graha bhedam , yields 2 other pentatonic rāgams, namely, Sunadavinodini and Revati . Graha bhedam
1938-472: Is clear that music is capable of creating a particular quality of character [ ἦθος ] in the soul, and if it can do that, it is plain that it should be made use of, and that the young should be educated in it. The word ethos ( ἦθος ) in this context means "moral character", and Greek ethos theory concerns the ways that music can convey, foster, and even generate ethical states. Some treatises also describe "melic" composition ( μελοποιΐα ), "the employment of
2040-430: Is distinguished by scale degrees called "mediant" and "participant". The mediant is named from its position between the final and reciting tone. In the authentic modes it is the third of the scale, unless that note should happen to be B, in which case C substitutes for it. In the plagal modes, its position is somewhat irregular. The participant is an auxiliary note, generally adjacent to the mediant in authentic modes and, in
2142-453: Is into "melodic modes" or "parent scales", known as thaats , under which most ragas can be classified based on the notes they use. Thaats may consist of up to seven scale degrees, or swara . Hindustani musicians name these pitches using a system called Sargam , the equivalent of the Western movable do solfege : Both systems repeat at the octave. The difference between sargam and solfege
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#17329091578772244-562: Is its rolling pace based on fast, subtle, knotty construction. It originated from the folk songs of the camel riders of Punjab and was developed as a form of classical music by Mian Ghulam Nabi Shori or Shori Mian, a court singer for Asaf-Ud-Dowlah , the Nawab of Awadh . "Nidhubabur Tappa", or tappas sung by Nidhu Babu were very popular in 18th and 19th-century Bengal. Thumri is a semi-classical vocal form said to have begun in Uttar Pradesh with
2346-419: Is made of different concepts that do not all fit. According to Carolingian theorists the eight church modes, or Gregorian modes , can be divided into four pairs, where each pair shares the " final " note and the four notes above the final, but they have different intervals concerning the species of the fifth. If the octave is completed by adding three notes above the fifth, the mode is termed authentic , but if
2448-446: Is necessary that melody, rhythm and diction be considered so that the perfection of the song may be produced: in the case of melody, simply a certain sound; in the case of rhythm, a motion of sound; and in the case of diction, the meter. The things contingent to perfect melos are motion-both of sound and body-and also chronoi and the rhythms based on these. Tonaries , lists of chant titles grouped by mode, appear in western sources around
2550-573: Is played on instruments like the veena , sitar and sarod . It diverged in the 12th century CE from Carnatic music , the classical tradition of Southern India . While Carnatic music largely uses compositions written in Sanskrit , Kannada , Telugu , Tamil , Malayalam , Hindustani music largely uses compositions written in Hindi , Urdu , Braj , Avadhi , Bhojpuri , Bengali , Rajasthani , Marathi and Punjabi . Knowledge of Hindustani classical music
2652-471: Is primarily vocal-centric, insofar as the musical forms were designed primarily for a vocal performance, and many instruments were designed and evaluated as to how well they emulate the human voice. The major vocal forms or styles associated with Hindustani classical music are dhrupad , khyal , and tarana . Light classical forms include dhamar , trivat , chaiti , kajari , tappa , tap-khyal , thumri , dadra , ghazal and bhajan ; these do not adhere to
2754-580: Is set to a melodic pattern called a raga characterized in part by specific ascent ( aroha ) and descent ( avaroha ) sequences, "king" ( vadi ) and "queen" ( samavadi ) notes and characteristic phrases ( pakad ). Ragas may originate from any source, including religious hymns, folk tunes, and music from outside the Indian subcontinent . For example, raga Khamaj and its variants have been classicized from folk music, while ragas such as Hijaz (also called Basant Mukhari) originated in Persian maqams. The Gandharva Veda
2856-435: Is sometimes used to embrace similar concepts such as Octoechos , maqam , pathet etc. (see § Analogues in different musical traditions below). Regarding the concept of mode as applied to pitch relationships generally, in 2001 Harold S. Powers proposed that "mode" has "a twofold sense", denoting either a "particularized scale" or a "generalized tune", or both: "If one thinks of scale and tune as representing
2958-477: Is taught through a network of classical music schools, called gharana . Hindustani classical music is an integral part of the culture of India and is performed across the country and internationally. Exponents of Hindustani classical music, including Ustad Bismillah Khan , Pandit Bhimsen Joshi , and Ravi Shankar have been awarded the Bharat Ratna , the highest civilian award of India, for their contributions to
3060-409: Is that re, ga, ma, dha, and ni can refer to either "Natural" ( shuddha ) or altered "Flat" ( komal ) or "Sharp" ( teevra ) versions of their respective scale degrees. As with movable do solfege, the notes are heard relative to an arbitrary tonic that varies from performance to performance, rather than to fixed frequencies, as on a xylophone. The fine intonational differences between different instances of
3162-423: Is the step taken in keeping the relative note frequencies same, while shifting the shadjam to the next note in the rāgam. See Graha bhedam on Shivaranjani for more details and an illustration. The Carnatic scale Shivaranjani is a janya rāgam (derived scale) associated with the 64th parent scale Vachaspati ( melakarta ). It has vakra prayoga (zig-zag notes in its scale and note phrases) and its scale
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3264-651: Is the tradition of religious neutrality: Muslim ustads may sing compositions in praise of Hindu deities, and Hindu pandits may sing similar Islamic compositions. Vishnu Digambar Paluskar in 1901 founded the Gandharva Mahavidyalaya, a school to impart formal training in Hindustani classical music with some historical Indian Music. This was a school open to all and one of the first in India to run on public support and donations, rather than royal patronage. Many students from
3366-461: Is used in instrumental music in dhrupad. Dhrupad music is primarily devotional in theme and content. It contains recitals in praise of particular deities. Dhrupad compositions begin with a relatively long and acyclic alap, where the syllables of the following mantra is recited: " Om Anant tam Taran Tarini Twam Hari Om Narayan, Anant Hari Om Narayan ". The alap gradually unfolds into more rhythmic jod and jhala sections. These sections are followed by
3468-595: The Gandharva Mahavidyalaya music school that he opened in Lahore in 1901, helped foster a movement away from the closed gharana system. Paluskar's contemporary (and occasional rival) Vishnu Narayan Bhatkhande recognized the many rifts that had appeared in the structure of Indian classical music. He undertook extensive research visits to a large number of gharanas, Hindustani as well as Carnatic, collecting and comparing compositions. Between 1909 and 1932, he produced
3570-588: The Alia musica imposed the seven octave transpositions, known as tropus and described by Boethius, onto the eight church modes, but its compilator also mentions the Greek (Byzantine) echoi translated by the Latin term sonus . Thus, the names of the modes became associated with the eight church tones and their modal formulas – but this medieval interpretation does not fit the concept of the ancient Greek harmonics treatises. The modern understanding of mode does not reflect that it
3672-599: The Greek tonoi do not otherwise resemble their medieval/modern counterparts. In the Middle Ages the term modus was used to describe both intervals and rhythm. Modal rhythm was an essential feature of the modal notation system of the Notre-Dame school at the turn of the 12th century. In the mensural notation that emerged later, modus specifies the subdivision of the longa . Outside of Western classical music , "mode"
3774-525: The ITC Sangeet Research Academy . Meanwhile, Hindustani classical music has become popular across the world through the influence of artists such as Ravi Shankar and Ali Akbar Khan . Indian classical music has seven basic notes with five interspersed half-notes, resulting in a 12-note scale. Unlike the 12-note scale in Western music, the base frequency of the scale is not fixed, and intertonal gaps ( temperament ) may also vary. The performance
3876-411: The harmoniai have quite distinct natures from one another, so that those who hear them are differently affected and do not respond in the same way to each. To some, such as the one called Mixolydian, they respond with more grief and anxiety, to others, such as the relaxed harmoniai , with more mellowness of mind, and to one another with a special degree of moderation and firmness, Dorian being apparently
3978-580: The maharajahs and nawabs declined in the early 20th century, so did their patronage. With the expulsion of Wajid Ali Shah to Calcutta after 1857, the Lucknavi musical tradition came to influence the music of the renaissance in Bengal , giving rise to the tradition of Ragpradhan gan around the turn of the century. Raja Chakradhar Singh of Raigarh was the last of the modern-era Maharajas to patronize Hindustani classical musicians, singers and dancers. Also, at
4080-436: The sitar ) were also introduced in his time. Amir Khusrau is sometimes credited with the origins of the khyal form, but the record of his compositions does not appear to support this. The compositions by the court musician Sadarang in the court of Muhammad Shah bear a closer affinity to the modern khyal. They suggest that while khyal already existed in some form, Sadarang may have been the father of modern khyal. Much of
4182-414: The tonoi by the earlier theorists whom he called the "Harmonicists". According to Bélis (2001) , he felt that their diagrams, which exhibit 28 consecutive dieses, were Depending on the positioning (spacing) of the interposed tones in the tetrachords , three genera of the seven octave species can be recognized. The diatonic genus (composed of tones and semitones), the chromatic genus (semitones and
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4284-517: The 'Octaves' in Western Music except they characterize total seven notes or 'swaras' instead of eight. These are-- low ( mandra), medium ( madhya) and high ( tāra ) . Each octave resonates with a certain part of the body, low octave in the heart, medium octave in the throat and high octave in the head. The rhythmic organization is based on rhythmic patterns called tala . The melodic foundations are called ragas. One possible classification of ragas
4386-521: The 16th century, the singing styles diversified into different gharanas patronized in different princely courts. Around 1900, Vishnu Narayan Bhatkhande consolidated the musical structures of Hindustani classical music, called ragas , into a few thaats based on their notes. This is a very flawed system but is somewhat useful as a heuristic. Distinguished musicians who are Hindu may be addressed as Pandit and those who are Muslim as Ustad . An aspect of Hindustani music going back to Sufi times
4488-616: The 8th century. However, the earlier Greek model for the Carolingian system was probably ordered like the later Byzantine oktōēchos , that is, with the four principal ( authentic ) modes first, then the four plagals , whereas the Latin modes were always grouped the other way, with the authentics and plagals paired. The 6th-century scholar Boethius had translated Greek music theory treatises by Nicomachus and Ptolemy into Latin. Later authors created confusion by applying mode as described by Boethius to explain plainchant modes, which were
4590-507: The Aeolian harmonia , for example, he was more likely thinking of a melodic style characteristic of Greeks speaking the Aeolic dialect than of a scale pattern. By the late 5th century BC, these regional types are being described in terms of differences in what is called harmonia – a word with several senses, but here referring to the pattern of intervals between the notes sounded by the strings of
4692-457: The Dhrupad vocalists of this tradition. A Very ancient 500 years old Dhrupad Gharana from Bihar is Dumraon Gharana, Pt. Tilak Chand Dubey , Pt. Ghanarang Baba was founder of this prestigious Gharana.Dumraon Gharana Dist-Buxar is an ancient tradition of Dhrupad music nearly 500 years old. This Gharana flourished under the patronage of the king of Dumraon Raj. The dhrupad style (vanis) of the gharana
4794-753: The Hindu culture from their kingdoms. This helped spur the fusion of Hindu and Muslim ideas to bring forth new forms of musical synthesis like qawwali and khyal . The most influential musician of the Delhi Sultanate period was Amir Khusrau (1253–1325), a composer in Persian , Turkish and Arabic , as well as Braj Bhasha . He is credited with systematizing some aspects of Hindustani music and also introducing several ragas such as Yaman Kalyan , Zeelaf and Sarpada . He created six genres of music: khyal, tarana , Naqsh, Gul, Qaul and Qalbana. A number of instruments (such as
4896-575: The Hypodorian and the Hypermixolydian. According to Cleonides, Aristoxenus's transpositional tonoi were named analogously to the octave species, supplemented with new terms to raise the number of degrees from seven to thirteen. However, according to the interpretation of at least three modern authorities, in these transpositional tonoi the Hypodorian is the lowest, and the Mixolydian next-to-highest –
4998-419: The Latin alphabet protus (πρῶτος), deuterus (δεύτερος), tritus (τρίτος), and tetrardus (τέταρτος). In practice they can be specified as authentic or as plagal like "protus authentus / plagalis". A mode indicated a primary pitch (a final), the organization of pitches in relation to the final, the suggested range, the melodic formulas associated with different modes, the location and importance of cadences , and
5100-527: The Mughal Empire came into closer contact with Hindus, especially under Jalal ud-Din Akbar , music and dance also flourished. In particular, the musician Tansen introduced a number of innovations, including ragas and particular compositions. Legend has it that upon his rendition of a nighttime raga in the morning, the entire city fell under a hush and clouds gathered in the sky so that he could light fires by singing
5202-460: The Persian/Arabic term, is a two- to eight-line lyric set to a melody. Khyal contains a greater variety of embellishments and ornamentations compared to dhrupad . Khyal 's features such as sargam and taan as well as movements to incorporate dhrupad-style alap have led to it becoming popular. The importance of the khyal's content is for the singer to depict, through music in the set raga ,
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#17329091578775304-536: The School's early batches became respected musicians and teachers in North India. This brought respect to musicians, who were treated with disdain earlier. This also helped spread of Hindustani classical music to masses from royal courts. Ravana and Narada from Hindu tradition are accomplished musicians; Saraswati with her veena is the goddess of music. Gandharvas are presented as spirits who are musical masters, and
5406-601: The Swiss theorist Henricus Glareanus published the Dodecachordon , in which he solidified the concept of the church modes, and added four additional modes: the Aeolian (mode 9), Hypoaeolian (mode 10), Ionian (mode 11), and Hypoionian (mode 12). A little later in the century, the Italian Gioseffo Zarlino at first adopted Glarean's system in 1558, but later (1571 and 1573) revised the numbering and naming conventions in
5508-536: The affect (i.e., emotional effect/character). Liane Curtis writes that "Modes should not be equated with scales: principles of melodic organization, placement of cadences, and emotional affect are essential parts of modal content" in Medieval and Renaissance music. Dahlhaus lists "three factors that form the respective starting points for the modal theories of Aurelian of Réôme , Hermannus Contractus , and Guido of Arezzo ": The oldest medieval treatise regarding modes
5610-496: The arts. Around the 12th century, Hindustani classical music diverged from what eventually came to be identified as Carnatic classical music .The central notion in both systems is that of a melodic musical mode or raga , sung to a rhythmic cycle or tala . It is melodic music, with no concept of harmony. These principles were refined in the musical treatises Natya Shastra , by Bharata (2nd–3rd century CE), and Dattilam (probably 3rd–4th century CE). In medieval times,
5712-449: The common practice period. In all three contexts, "mode" incorporates the idea of the diatonic scale , but differs from it by also involving an element of melody type . This concerns particular repertories of short musical figures or groups of tones within a certain scale so that, depending on the point of view, mode takes on the meaning of either a "particularized scale" or a "generalized tune". Modern musicological practice has extended
5814-451: The concept of mode to earlier musical systems, such as those of Ancient Greek music , Jewish cantillation , and the Byzantine system of octoechoi , as well as to other non-Western types of music. By the early 19th century, the word "mode" had taken on an additional meaning, in reference to the difference between major and minor keys , specified as " major mode " and " minor mode ". At
5916-501: The confusion between ancient, medieval, and modern terminology, "today it is more consistent and practical to use the traditional designation of the modes with numbers one to eight", using Roman numeral (I–VIII), rather than using the pseudo-Greek naming system. Medieval terms, first used in Carolingian treatises, later in Aquitanian tonaries, are still used by scholars today: the Greek ordinals ("first", "second", etc.) transliterated into
6018-591: The corresponding tonoi but not necessarily the converse. The Greek scales in the Aristoxenian tradition were: These names are derived from ancient Greeks' cultural subgroups ( Dorians ), small regions in central Greece ( Locris ), and certain Anatolian peoples ( Lydia , Phrygia ) (not ethnically Greek, but in close contact with them). The association of these ethnic names with the octave species appears to precede Aristoxenus , who criticized their application to
6120-480: The court of Nawab Wajid Ali Shah , (r. 1847–1856). There are three types of thumri: poorab ang, Lucknavi, and Punjabi thumri. The lyrics are primarily in older, more rural Hindi dialects such as Brij Bhasha , Awadhi , and Bhojpuri . The themes covered are usually romantic in nature, hence giving more importance to lyrics rather than Raag, and bringing out the storytelling qualities of music. The need to express these strong emotional aesthetics makes Thumri and Kathak
6222-419: The earliest extant sources for the Latin system are organized in four pairs of authentic and plagal modes sharing the same final: protus authentic/plagal, deuterus authentic/plagal, tritus authentic/plagal, and tetrardus authentic/plagal. Each mode has, in addition to its final, a " reciting tone ", sometimes called the "dominant". It is also sometimes called the "tenor", from Latin tenere "to hold", meaning
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#17329091578776324-532: The earliest musical composition sung in the classical tradition called Ashtapadi music . In the 13th century, Sharangadeva composed the Sangita Ratnakara , which has names such as the Turushka Todi ("Turkish Todi "), revealing an influx of ideas from Islamic culture. This text is the last to be mentioned by both the Carnatic and the Hindustani traditions and is often thought to date the divergence between
6426-404: The earliest periods of the common era . Narada 's Sangita Makarandha treatise, from about 1100 CE, is the earliest text where rules similar to those of current Hindustani classical music can be found. Narada actually names and classifies the system in its earlier form before the Persian influences introduced changes in the system. Jayadeva 's Gita Govinda from the 12th century was perhaps
6528-610: The editors of the Mechlin , Pustet -Ratisbon ( Regensburg ), and Rheims - Cambrai Office-Books, collectively referred to as the Cecilian Movement ) renumbered the modes once again, this time retaining the original eight mode numbers and Glareanus's modes 9 and 10, but assigning numbers 11 and 12 to the modes on the final B, which they named Locrian and Hypolocrian (even while rejecting their use in chant). The Ionian and Hypoionian modes (on C) become in this system modes 13 and 14. Given
6630-602: The emotional significance of the khyal. The singer improvises and finds inspiration within the raga to depict the khyal. The origin of Khyal is controversial, although it is accepted that this style was based on dhrupad and influenced by other musical traditions. Many argue that Amir Khusrau created the style in the late 14th century. This form was popularized by Mughal Emperor Mohammad Shah through his court musicians; some well-known composers of this period were Sadarang , Adarang , and Manrang . Another vocal form, taranas are medium- to fast-paced songs that are used to convey
6732-401: The enharmonic genus of tetrachord , the seven octave species, or a style of music associated with one of the ethnic types or the tonoi named by them. Particularly in the earliest surviving writings, harmonia is regarded not as a scale, but as the epitome of the stylised singing of a particular district or people or occupation. When the late-6th-century poet Lasus of Hermione referred to
6834-583: The fundamental melodic structures similar to the raga . The names of the Jatis reflect regional origins, for example Andhri and Oudichya . Music also finds mention in a number of texts from the Gupta period ; Kalidasa mentions several kinds of veena (Parivadini, Vipanchi ), as well as percussion instruments ( mridang ), the flute ( Vamshi ) and conch ( Shankha ). Music also finds mention in Buddhist and Jain texts from
6936-653: The gandharva style looks to music primarily for pleasure, accompanied by the soma rasa. In the Vishnudharmottara Purana , the Naga king Ashvatara asks to know the swaras from Saraswati . While the term raga is articulated in the Natya Shastra (where its meaning is more literal, meaning "color" or "mood"), it finds a clearer expression in what is called Jati in the Dattilam , a text composed shortly after or around
7038-610: The government-run All India Radio , Bangladesh Betar and Radio Pakistan helped bring the artists to public attention, countering the loss of the patronage system. The first star was Gauhar Jan , whose career was born out of Fred Gaisberg 's first recordings of Indian music in 1902. With the advance of films and other public media, musicians started to make their living through public performances. A number of Gurukuls , such as that of Alauddin Khan at Maihar , flourished. In more modern times, corporate support has also been forthcoming, as at
7140-404: The hope that the guru might teach him a " cheez " (piece or nuance) or two. In addition, the system forced the music to be limited to a small subsection of the Indian community. To a large extent, it was limited to the palaces and dance halls. It was shunned by the intellectuals, avoided by the educated middle class, and in general, looked down upon as a frivolous practice. First, as the power of
7242-432: The intervals arithmetically (if somewhat more rigorously, initially allowing for 1:1 = Unison, 2:1 = Octave, 3:2 = Fifth, 4:3 = Fourth and 5:4 = Major Third within the octave). In their diatonic genus, these tonoi and corresponding harmoniai correspond with the intervals of the familiar modern major and minor scales. See Pythagorean tuning and Pythagorean interval . In music theory the Greek word harmonia can signify
7344-751: The junior Dagar brothers, Nasir Zahiruddin and Nasir Faiyazuddin Dagar ; and Wasifuddin , Fariduddin , and Sayeeduddin Dagar . Other leading exponents include the Gundecha Brothers and Uday Bhawalkar , who have received training from some of the Dagars. Leading vocalists outside the Dagar lineage include the Mallik family of Darbhanga tradition of musicians; some of the leading exponents of this tradition were Ram Chatur Mallick, Siyaram Tiwari , and Vidur Mallick. At present Prem Kumar Mallick, Prashant and Nishant Mallick are
7446-726: The materials subject to harmonic practice with due regard to the requirements of each of the subjects under consideration" – which, together with the scales, tonoi , and harmoniai resemble elements found in medieval modal theory. According to Aristides Quintilianus , melic composition is subdivided into three classes: dithyrambic, nomic, and tragic. These parallel his three classes of rhythmic composition: systaltic, diastaltic and hesychastic. Each of these broad classes of melic composition may contain various subclasses, such as erotic, comic and panegyric, and any composition might be elevating (diastaltic), depressing (systaltic), or soothing (hesychastic). According to Thomas J. Mathiesen , music as
7548-520: The melodic systems were fused with ideas from Persian music, particularly through the influence of Sufi composers like Amir Khusro , and later in the Mughal courts, noted composers such as Tansen flourished, along with religious groups like the Vaishnavites . Artists such as Dalptaram , Mirabai , Brahmanand Swami and Premanand Swami revitalized classical Hindustani music in the 16-18th century. After
7650-454: The mode's ambitus is called "perfect"; if it falls short of it, "imperfect"; if it exceeds it, "superfluous"; and a melody that combines the ambituses of both the plagal and authentic is said to be in a "mixed mode". Although the earlier (Greek) model for the Carolingian system was probably ordered like the Byzantine oktōēchos , with the four authentic modes first, followed by the four plagals,
7752-645: The monumental four-volume work Hindustani Sangeeta Paddhati , which suggested a transcription of Indian music, and described the many traditions in this notation. Finally, it suggested a possible categorization of ragas based on their notes into a number of thaats (modes), subsequent to the Melakarta system that reorganized Carnatic tradition in the 17th century. The ragas that exist today were categorized according to this scheme, although there are some inconsistencies and ambiguities in Bhatkande's system. In modern times,
7854-558: The musical forms innovated by these pioneers merged with the Hindu tradition, composed in the popular language of the people (as opposed to Sanskrit) in the work of composers like Kabir or Nanak . This can be seen as part of a larger Bhakti tradition (strongly related to the Vaishnavite movement) which remained influential across several centuries; notable figures include Jayadeva (11th century), Vidyapati (fl. 1375 CE), Chandidas (14th–15th century), and Meerabai (1555–1603 CE). As
7956-427: The notes that could establish contrasting points of tension and rest, although the mese ("middle note") might have functioned as some sort of central, returning tone for the melody. The term tonos (pl. tonoi ) was used in four senses: Cleonides attributes thirteen tonoi to Aristoxenus, which represent a progressive transposition of the entire system (or scale) by semitone over the range of an octave between
8058-444: The octave is completed by adding three notes below, it is called plagal (from Greek πλάγιος, "oblique, sideways"). Otherwise explained: if the melody moves mostly above the final, with an occasional cadence to the sub-final, the mode is authentic. Plagal modes shift range and also explore the fourth below the final as well as the fifth above. In both cases, the strict ambitus of the mode is one octave. A melody that remains confined to
8160-436: The only one of the harmoniai to have this effect, while Phrygian creates ecstatic excitement. These points have been well expressed by those who have thought deeply about this kind of education; for they cull the evidence for what they say from the facts themselves. Aristotle continues by describing the effects of rhythm, and concludes about the combined effect of rhythm and harmonia (viii:1340b:10–13): From all this it
8262-411: The onset of the common practice period , as for example "modale Mehrstimmigkeit" by Carl Dahlhaus or "Alte Tonarten" of the 16th and 17th centuries found by Bernhard Meier. The word encompasses several additional meanings. Authors from the 9th century until the early 18th century (e.g., Guido of Arezzo ) sometimes employed the Latin modus for interval , or for qualities of individual notes. In
8364-530: The pair of A modes retained both the numbers and names (11, Aeolian, and 12 Hypoaeolian) of Glarean's system. While Zarlino's system became popular in France, Italian composers preferred Glarean's scheme because it retained the traditional eight modes, while expanding them. Luzzasco Luzzaschi was an exception in Italy, in that he used Zarlino's new system. In the late-18th and 19th centuries, some chant reformers (notably
8466-461: The plagal forms, coincident with the reciting tone of the corresponding authentic mode (some modes have a second participant). Only one accidental is used commonly in Gregorian chant – B may be lowered by a half-step to B ♭ . This usually (but not always) occurs in modes V and VI, as well as in the upper tetrachord of IV, and is optional in other modes except III, VII and VIII. In 1547,
8568-561: The poles of a continuum of melodic predetermination, then most of the area between can be designated one way or the other as being in the domain of mode." In 1792, Sir Willam Jones applied the term "mode" to the music of "the Persians and the Hindoos ". As early as 1271, Amerus applied the concept to cantilenis organicis (lit. "organic songs", most probably meaning " polyphony "). It is still heavily used with regard to Western polyphony before
8670-480: The raga "Deepak". At the royal house of Gwalior , Raja Mansingh Tomar (1486–1516 CE) also participated in the shift from Sanskrit to the local idiom ( Hindi ) as the language for classical songs. He himself penned several volumes of compositions on religious and secular themes and was also responsible for the major compilation, the Mankutuhal ("Book of Curiosity"), which outlined the major forms of music prevalent at
8772-475: The reverse of the case of the octave species, with nominal base pitches as follows (descending order): Ptolemy , in his Harmonics , ii.3–11, construed the tonoi differently, presenting all seven octave species within a fixed octave, through chromatic inflection of the scale degrees (comparable to the modern conception of building all seven modal scales on a single tonic). In Ptolemy's system, therefore there are only seven tonoi . Pythagoras also construed
8874-550: The rigorous rules of classical music. Dhrupad is an old style of singing, traditionally performed by male singers. It is performed with a tambura and a pakhawaj as instrumental accompaniments. The lyrics, some of which were written in Sanskrit centuries ago, are presently often sung in brajbhasha , a medieval form of North and East Indian languages that were spoken in Eastern India. The rudra veena , an ancient string instrument,
8976-451: The royalty in Indian princely states, dhrupad risked becoming extinct in the first half of the twentieth century. However, the efforts by a few proponents, especially from the Dagar family, have led to its revival. Some of the best known vocalists who sing in the Dhrupad style are the members of the Dagar lineage, including the senior Dagar brothers, Nasir Moinuddin and Nasir Aminuddin Dagar ;
9078-431: The sake of simplicity, the examples shown above are formed by natural notes (also called "white notes", as they can be played using the white keys of a piano keyboard ). However, any transposition of each of these scales is a valid example of the corresponding mode. In other words, transposition preserves mode. Although the names of the modern modes are Greek and some have names used in ancient Greek theory for some of
9180-401: The same set of notes as the major scale , in the same order, but starting from one of its seven degrees in turn as a tonic , and so present a different sequence of whole and half steps . With the interval sequence of the major scale being W–W–H–W–W–W–H, where "W" means a whole tone (whole step) and "H" means a semitone (half step), it is thus possible to generate the following modes: For
9282-491: The same swara are called srutis . The three primary registers of Indian classical music are mandra (lower), madhya (middle) and taar (upper). Since the octave location is not fixed, it is also possible to use provenances in mid-register (such as mandra-madhya or madhya-taar) for certain ragas. A typical rendition of Hindustani raga involves two stages: Tans are of several types like Shuddha, Koot, Mishra, Vakra, Sapaat, Saral, Chhoot, Halaq, Jabda, Murki Hindustani classical music
9384-462: The same time as Natya Shastra . The Dattilam is focused on Gandharva music and discusses scales ( swara ), defining a tonal framework called grama in terms of 22 micro-tonal intervals ( shruti ) comprising one octave. It also discusses various arrangements of the notes ( Murchhana ), the permutations and combinations of note-sequences ( tanas ), and alankara or elaboration. Dattilam categorizes melodic structure into 18 groups called Jati , which are
9486-528: The same time, composers were beginning to conceive "modality" as something outside of the major/minor system that could be used to evoke religious feelings or to suggest folk-music idioms. Early Greek treatises describe three interrelated concepts that are related to the later, medieval idea of "mode": (1) scales (or "systems"), (2) tonos – pl. tonoi – (the more usual term used in medieval theory for what later came to be called "mode"), and (3) harmonia (harmony) – pl. harmoniai – this third term subsuming
9588-539: The scale. Its structure is as follows: The komal (soft) gandhar (g) in place of shuddh gandhar (G) is the difference between this rāga and the global musical scale of Bhoop . In Karnatic Music, this is a janya rāga (derived scale) from 22nd mela-kartha raga Kharaharapriya. It is a audava-audava rāgam in Carnatic music classification (i.e., a ragam that has five notes in both its arohana and avarohana). Its ārohaṇa-avarohaṇa structure (ascending and descending scale) using swaras in Carnatic music notation
9690-516: The term was simply a means of describing transposition and had nothing to do with the church modes . Later, 9th-century theorists applied Boethius's terms tropus and modus (along with "tonus") to the system of church modes. The treatise De Musica (or De harmonica institutione ) of Hucbald synthesized the three previously disparate strands of modal theory: chant theory, the Byzantine oktōēchos and Boethius's account of Hellenistic theory. The late-9th- and early 10th-century compilation known as
9792-558: The theory of late-medieval mensural polyphony (e.g., Franco of Cologne ), modus is a rhythmic relationship between long and short values or a pattern made from them; in mensural music most often theorists applied it to division of longa into 3 or 2 breves . A musical scale is a series of pitches in a distinct order. The concept of "mode" in Western music theory has three successive stages: in Gregorian chant theory, in Renaissance polyphonic theory , and in tonal harmonic music of
9894-594: The time. In particular, the musical form known as dhrupad saw considerable development in his court and remained a strong point of the Gwalior gharana for many centuries. After the dissolution of the Mughal empire, the patronage of music continued in smaller princely kingdoms like Awadh , Patiala , and Banaras , giving rise to the diversity of styles that is today known as gharanas . Many musician families obtained large grants of land which made them self-sufficient, at least for
9996-411: The tone around which the melody principally centres. The reciting tones of all authentic modes began a fifth above the final, with those of the plagal modes a third above. However, the reciting tones of modes 3, 4, and 8 rose one step during the 10th and 11th centuries with 3 and 8 moving from B to C ( half step ) and that of 4 moving from G to A ( whole step ). After the reciting tone, every mode
10098-623: The turn of the 9th century. The influence of developments in Byzantium, from Jerusalem and Damascus, for instance the works of Saints John of Damascus (d. 749) and Cosmas of Maiouma , are still not fully understood. The eight-fold division of the Latin modal system, in a four-by-two matrix, was certainly of Eastern provenance, originating probably in Syria or even in Jerusalem, and was transmitted from Byzantine sources to Carolingian practice and theory during
10200-456: The turn of the century, Vishnu Digambar Paluskar and Vishnu Narayan Bhatkhande spread Hindustani classical music to the masses in general by organizing music conferences, starting schools, teaching music in classrooms, devising a standardized grading and testing system, and standardizing the notation system. Vishnu Digambar Paluskar emerged as a talented musician and organizer despite being blind from age of 12. His books on music, as well as
10302-496: The two. The advent of Islamic rule under the Delhi Sultanate and later the Mughal Empire over northern India caused considerable cultural interchange. Increasingly, musicians received patronage in the courts of the new rulers, who, in turn, started taking an increasing interest in local musical forms. While the initial generations may have been rooted in cultural traditions outside India, they gradually adopted many aspects from
10404-470: Was the most prominent of the harmonicists, though his ideas are known only at second hand, through Aristoxenus, from whom we learn they represented the harmoniai as cyclic reorderings of a given series of intervals within the octave, producing seven octave species . We also learn that Eratocles confined his descriptions to the enharmonic genus. In the Republic , Plato uses the term inclusively to encompass
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