Abstract
The origins of Indian classical music lie in the cultural and spiritual values of India and go back to the Vedic Age (Sam Veda). Even in those times, music was handed down orally from the guru (teacher) to the shishya (disciple). The art was called sangeet and included vocal music, instrumental music, and dance. The great sages who dwelt in ashramas (hermitages) imparted instruction to their students who lived with them on the premises. The art of music was regarded as holy and heavenly. It not only gave aesthetic pleasure but also induced a joyful religious discipline. Devotional music was intended to take man towards God and give him an inner happiness and self-realization. Subsequently this art branched off into three separate streams: vocal music (geet), instrumental music (vadya), and dancing (nritya).
This is a preview of subscription content, log in via an institution to check access.
Access this chapter
Tax calculation will be finalised at checkout
Purchases are for personal use only
Notes
- 1.
Other notations e.g. for indicating a meend (glide) or a grace note (kan swar) have not been used in the book. The interested reader can see Jairazbhoy (1995)
References
K. Adiloglu, T. Noll, K. Obermayer, A paradigmatic approach to extract the melodic structure of a musical piece. J. New Music Res. 35(3), 221–236 (2006)
V.N. Bhatkhande, Hindustani Sangeet Paddhati (Marathi/Hindi), vol. 1–4 (Popular Prakashan, Mumbai, 1995)
J. Bor, S. Rao, W.V. Meer, J. Harvey, The Raga Guide (Nimbus Records, Charlottesville, 1999), p. 181
S.C. Chakraborty, Raga Rupayan (Bengali) (General Printers and Publishers, Kolkata, 1965)
S. Chakraborty, On identifying a common goal between musicians and scientists. Georgian Electron. Sci. J. Musicol. Cultur. Sci. 1(5), 3–11 (2010)
S. Chakraborty, R. Ranganayakulu, S. Chauhan, S.S. Solanki, K. Mahto, A statistical analysis of Raga Ahir Bhairav. J. Music Meaning 8, sec. 4, Winter (2009a), http://www.musicandmeaning.net/issues/showArticle.php?artID=8.4
S. Chakraborty, R. Ranganayakulu, S.S. Solanki, A. Patranabis, D. Ghosh, R. Sengupta, A.K. Dutta, N. Dey, Shadowing along the Maestro’s rhythm. Electron. Musicol. Rev. XII (2009b)
S. Gulati, A. Bellur, J. Salamon, H.G. Ranjani, V. Ishwar, H.A. Murthy, X. Serra, Automatic tonic identification in Indian art music: approaches and evaluation. J. New Music Res. 43(1), 53–71 (2014)
http://en.wikipedia.org/wiki/Raga. Accessed 17 June 2013
N.A. Jairazbhoy, The Rāgs of North Indian Music (Popular Prakashan, Mumbai, 1995), p. 45
S. Mahabharati, The Oxford Encyclopedia of the Music of India, vol. 1–3 (Oxford University Press, Oxford, 2011)
S. Rao, Acoustical Perspective on Raga-Rasa Theory (Munshiram Manoharlal Publishers, New Delhi, 2000)
S. Rao, P. Rao, An overview of Hindustani music in the context of computational musicology. J. New Music Res. 43(1), 24–33 (2014)
J. Roederer, The Physics and Psychophysics of Music: An Introduction, 4th edn. (Springer, New York, 2008)
Author information
Authors and Affiliations
Rights and permissions
Copyright information
© 2014 Springer International Publishing Switzerland
About this chapter
Cite this chapter
Chakraborty, S., Mazzola, G., Tewari, S., Patra, M. (2014). An Introduction to Indian Classical Music. In: Computational Musicology in Hindustani Music. Computational Music Science. Springer, Cham. https://doi.org/10.1007/978-3-319-11472-9_1
Download citation
DOI: https://doi.org/10.1007/978-3-319-11472-9_1
Published:
Publisher Name: Springer, Cham
Print ISBN: 978-3-319-11471-2
Online ISBN: 978-3-319-11472-9
eBook Packages: Computer ScienceComputer Science (R0)