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Music in India
Transcript of Music in India
Both Hindustani and Karnatak music use the system of ragas—sets of pitches and small motives for melody construction—and tala for rhythm. Ragas form a set of rules and patterns around which a musician can create his or her unique performance.
The two main traditions of Indian classical music are Carnatic music, which is found predominantly in the peninsular regions, and Hindustani music, which is found in the northern, eastern and central regions. Its tonal system divides the octave into 22 segments called shrutis, not all equal but each roughly equal to a quarter of a whole tone of Western music.
The music of India includes multiple varieties of Indian classical music, folk music, Filmi, and Indian pop. India's classical music tradition, including Hindustani music and Carnatic, has a history spanning millennia and developed over several eras. Music in India began as an integral part of socio-religious life.
Since ancient times, music has been an extremely important value in Indian culture, considering the sound ("nothing") as the manifestation of God ("Brahma"). Music has a transcendental significance, is as sacred. It is the supreme art and is above other arts such as sculpture, painting, architecture, etc. The sound "om" is considered the most sacred.
The Indians were the first to develop a musical system based on philosophical and metaphysical concepts, reflecting the marked devotional character that has been present in all activities, public or private, religious.
Indian musical system has at least 3,000 years old, one of the most sophisticated that have developed in human society both rhythm and melody, and where a high degree of improvisation is used.
They are called Indian classical dance to those included in the "Natya-Shastra", 1 an artistic treatise attributed to Bharata rishi written around 400 BC. C.
This work is divided into thirty-eight chapters, which describe the conventions of theater, drama, poetry, song and music. Includes rules on such diverse topics as the ideals to interpret these arts buildings, the rules of prosody and diction, character types, how to represent feelings, and movements of each member. sixty-seven mudra (hand positions) and thirty-six eye movements are described in detail.