Musical Forms
Music that is heard in an Indian concert falls under two heads - Manodharma sangita and Kalpita sangita.
In the former, the performer sings or performs his own improvised music—music improvised on the spot without any previous thought. This improvised music is of four kinds:—Raga alapana, Madhyama kala or Tana, Pallavi exposition and Swara kalpana. Sahitya prastara in kritis called Niraval is also a species of creative music. In Kalpita sangita, the singer or the performer reproduces the compositions already created or composed by other composers or even by himself.
Kalpita sangita is older than manodharma sangita.
Kalpita sangita comprises all the musical compositions. A musical composition is a piece of music set to time. It is an exposition of the raga in conformity to the chosen rhythm. Slokas, churnikas, padyas and viruttams are only instances of literary forms sung to music. They are not set to time.
A musical composition can be compared to a building. What the bricks are to a building, the component swaras are to a tune. The different graces linking up the swaras contribute to ornamental effect. These graces can be compared to the cementing medium holding the bricks together and
also to the outer decorative work. Just as there are small buildings and big buildings, there are short compositions - like the gitas, and long compositions like the varnas. Ragamalikas and kritis abounding in technical beauties can be compared to luxuriously decorated and furnished buildings. The author of a musical composition is called a Vaggeyakara.
Classification
South Indian music in the course of its long history has evolved many musical forms. These might be studied under the heads of Vocal forms, Instrumental forms and Dance forms. Indian music being of the melodic type, has evolved many vocal forms. These Vocal forms fall under two divisions: sacred forms and secular forms.
Musical forms might also be studied under the heads of:— Art music, Sacred music, Dance music, Opera music and Folk music. The several forms under these heads possess distinctive characteristics of their own. Some forms like the kritis and varnas contain numerous examples while others like the ragamalika and tillana contain fewer examples.
Music compositions can again be classified into those belonging to Pure music and Applied music. Applied music embraces all compositions wherein music is applied or used for a specific purpose. The sahithya is an important factor in this group of compositions and the music which clothes the sahitya serves merely as a vehicle for the better and effective interpretation of the ideas enshrined in it. Religious music, dance music and opera music and the music of the yaksha gana, kalakshepa, nondi nataka and nritya nataka are examples of Applied music. Some of these compositions have brilliant music in them and deserve to be placed side by side with specimens of art music.
In compositions belonging to the sphere of pure music the main concern of the composer is the portrayal of the raga bhava in all its melodic richness. The sahitya in such cases merely serves as a vehicle for the singing of the music. Music herein is the primary thing and is enjoy for its own sake. These compositions constitute the repertoire of performers (vocalists and instrumentalists) in concerts.
Musical compositions may also be grouped under the heads of art music and folk music. All that is not folk music belongs to art music and vice versa. In this wider sense of the term, art music includes sacred music, opera music and dance music also. The term art music, in practice however is restricted to manodharma sangita and to compositions belonging to the realm of pure music.
Musical compositions can again be studied under the heads of sacred music (vaidika ganam) and secular music (laukika ganam) Examples of abstract music and pure instrumental music figure in both the groups.
Compositions belonging to the realm of art music are classified into - 1. Technical 2. Melodic.
The former group comprises the swara exercises alankaras, gitas, chitta tanas, varnas and other exercises which serve a specific technical purpose and help the student to acquire musical technique. These compositions constitute ; the vocalises and are aptly grouped under Abhyasa ganam. The melodic group includes kritis, kirtanas, padas, javalis, ragamalikas, tillanas and other compositions performed in a concert. These compositions are grouped under Sabha ganam (concert pieces).
South Indian music in the course of its long history has evolved many musical forms. These might be studied under the heads of Vocal forms, Instrumental forms and Dance forms. Indian music being of the melodic type, has evolved many vocal forms. These Vocal forms fall under two divisions: sacred forms and secular forms.
Musical forms might also be studied under the heads of:— Art music, Sacred music, Dance music, Opera music and Folk music. The several forms under these heads possess distinctive characteristics of their own. Some forms like the kritis and varnas contain numerous examples while others like the ragamalika and tillana contain fewer examples.
Music compositions can again be classified into those belonging to Pure music and Applied music. Applied music embraces all compositions wherein music is applied or used for a specific purpose. The sahithya is an important factor in this group of compositions and the music which clothes the sahitya serves merely as a vehicle for the better and effective interpretation of the ideas enshrined in it. Religious music, dance music and opera music and the music of the yaksha gana, kalakshepa, nondi nataka and nritya nataka are examples of Applied music. Some of these compositions have brilliant music in them and deserve to be placed side by side with specimens of art music.
In compositions belonging to the sphere of pure music the main concern of the composer is the portrayal of the raga bhava in all its melodic richness. The sahitya in such cases merely serves as a vehicle for the singing of the music. Music herein is the primary thing and is enjoy for its own sake. These compositions constitute the repertoire of performers (vocalists and instrumentalists) in concerts.
Musical compositions may also be grouped under the heads of art music and folk music. All that is not folk music belongs to art music and vice versa. In this wider sense of the term, art music includes sacred music, opera music and dance music also. The term art music, in practice however is restricted to manodharma sangita and to compositions belonging to the realm of pure music.
Musical compositions can again be studied under the heads of sacred music (vaidika ganam) and secular music (laukika ganam) Examples of abstract music and pure instrumental music figure in both the groups.
Compositions belonging to the realm of art music are classified into - 1. Technical 2. Melodic.
The former group comprises the swara exercises alankaras, gitas, chitta tanas, varnas and other exercises which serve a specific technical purpose and help the student to acquire musical technique. These compositions constitute ; the vocalises and are aptly grouped under Abhyasa ganam. The melodic group includes kritis, kirtanas, padas, javalis, ragamalikas, tillanas and other compositions performed in a concert. These compositions are grouped under Sabha ganam (concert pieces).
