Eesathetic & Music
 |
| A Lady Playing the Tanpura, c. 1735 (Rajasthan) |
In relation to art the world "Aesthetics" is frequently hear.What is Aesthetics?What is its Relationship with Fine art?
Aesthetic is one of the branches of philosophy.Aesthetic is Study of theories that apply to art in a broad and fundamental way. People think about Aesthetic when they ask why some things are beautiful and some are not or whether there are basic rules for creating or interpreting good paintings,Music etc.
We can know about some rasas of music which means tastes,essence or sentiment .The feelings or Rasas are group into nine as following :-
1.Rati Pleasure ,amusement,Love,affection,sexual pleasure or passion
2.Hasya Laughter,merriment
3.Shoka Sorrow,Grief
4.Krodah Anger,Warth
5.Utsah Determination
6.Bhaya Fear
7.Jugupsa Censure,dislike
8.Vismaya Wonder,surprise
9.Shantha Tranquility,absence of passion.
Around the 12th century, Hindustani classical music diverged from what eventually came to be identified as Carnatic classical music. Hindustani music places more emphasis on improvisation and exploring all aspects of a raga, while Carnatic music is primarily composition-based. The central notion in both these systems is that of a melodic mode or raga, sung to a rhythmic cycle or tala. These principles were refined in the musical treatises Natya Shastra, by Bharata (2nd–3rd century CE), and Dattilam(probably 3rd–4th century CE).[1]
In medieval times, 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.
After 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 number of thaats. This is a very flawed system but is somewhat useful as a heuristic.
Characteristics
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; however, with the gradual replacement of the sarangi by the harmonium, an equal tempered scale is increasingly used. The performance is set to a melodic pattern called a raga characterized in part by specific ascent (aroha) and descent (avaroha) sequences, which may not be identical. Other characteristics include "king" (vadi) and "queen" (samavadi) notes and characteristic phrases (pakad). In addition each raga has its natural register (ambit) and portamento (meend) rules. Performances are usually marked by considerable improvisation within these norms.
Ragas are particular ascending and descending of notes. The ragas must have at least five notes. Ragas are of three types, Ourab(Odav)- five notes, Sharab(shadav) - six notes, Sampurna - Seven notes. Most of the past and present musicians of Hindustani Classical music follow the Natya Sastra of Bharatmooni and the systems introduced by Bhatkhande. The musicians have to be very careful to avoid other ragas while playing or singing a raga.
Ragas may originate from any source, including religious hymns, bhajans, folklore, folk tunes and music from outside the Indian subcontinent.
As the words help to compose a poem or story, colours for a nice painting, the musical notes help to compose a raga. The continuous playing or singing of a raga creates a mood which has an effect on the listeners and they like it. The mood of a raga could be of various types, such as bir, sringar, romance, love, and anger. Ragas are also claimed to have specific timings of the day and night for their performance. There are morning ragas, ragas of the noon, afternoon, ragas of the evening and ragas of the night. In between there are ragas which are called twilight ragas, or Sandhiprakash ragas, or sung at the end of the day and beginning of the evening, dusk, or the end of the night and beginning of the morning, dawn. Also, ragas suitable for particular seasons such as the spring, summer, Monsoon, and winter.
Principles of Hindustani Music
The Gandharva Veda 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.[8]It is said that there are two types of sound: āhata (struck/audible) and anāhata (unstruck/inaudible).[8] The inaudible sound is said to be the principle of all manifestation, the basis of all substance.[8]
There are three main octaves: low (mandra), medium (madhya) and high (tāra).[8] 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.[8]
The rhythmic organization is based on rhythmic patterns called tala. The melodic foundations are called ragas. One possible classification of ragas 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:
- Sa (ṣaḍja ) = Do
- Re (Rishabh) = Re
- Ga (Gāndhār ) = Mi
- Ma (Madhyam ) = Fa
- Pa (Pancham ) = So
- Dha (Dhaivat) = La
- Ni (Nishād) = Ti
- Sa (ṣaḍja) = Do
Both systems repeat at the octave. The difference between sargam and solfege is that re, ga, ma, dha, and ni can refer to either "Natural" (shuddha) or altered "Flat" (komal) or "Sharp" (tivra) 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 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:
- Alap: a rhythmically free improvisation on the rules for the raga in order to give life to the raga and flesh out its characteristics. The alap is followed by a long slow-tempo improvisation in vocal music, or by the jod and jhala in instrumental music.
