The three main pillars of India classical music - raag, taal and swara help in the understanding of the anatomy of Indian music. Before delving into the various types and styles of Indian music, one must first understand the anatomy of Indian classical music. In this article we will understand about the anatomy of Indian music, which is important for UPSC exam preparation.

Pillars of Indian Classical Music

There are three main pillars of India classical music - raag, taal and swara.

Swara

• The term "Swara" was originally associated with the recitation of the Vedas.
• Over time, the term has come to refer to a composition's 'note' or 'scale degree.'
• Bharata divided the swaras into twenty-two note scales in the Natyasastra.
• The notational system of Hindustani music is currently defined by these abbreviated swaras: Sa, re, ga, ma, pa, dha, ni.
• Saptak or Sargam is the collective name for the Seven Swaras. He called each pitch by one of the following names:

• Swara is not the same as Shruti. A Shruti is the smallest pitch gradation that represents frequency quality.
• There are 22 Shrutis or microtones, only 12 of which are audible. There are seven Suddha Swaras and five Vikrita Swaras among these 12.

Raga

• The term 'raga' is derived from the Sanskrit word 'Ranj,' which literally means to delight, make happy, and satisfy someone.
• The ragas serve as the foundation for the melody, while the tala serves as the foundation for the rhythm.
• Each raga's melodic structure has something in common with the subject's distinct personality and the mood evoked by the sounds.
• The basic element required for the operation of a raga is the note on which it is based.
• There are three main jaatis or categories based on the number of notes in the raga:
  • Audav/Odava Raga: This raga is a 'pentatonic' raga with five notes.
  • Shadava Raga - It is a 'hexatonic' raga with six notes.
  • Sampurna Raga - It is a 'heptatonic' raga with seven notes.
• A raga is neither a scale nor a mode; rather, it is a scientific, precise, subtle, and aesthetic melodic form with its own distinct ascending and descending movement that consists of either a full octave or a series of 5 or 6 or 7 notes.
• Furthermore, the ascent of the notes means that each note is higher than the one before it, as in Sa re ga ma pa dha ni. This ascent is known as the Aaroha.
• Similarly, the descent is known as Avaroha, and each note is lower than the notes that come before it. For instance, ni, dha, pa, ma, ga, re, and sa.
• Ragas are classified into three speeds or Layas based on the ascent and descent of the notes: vilambit (slow), Madhya (medium), and drut (fast).
• Although there are 72 melas or parent scales on which ragas are based, these all lead to the six main ragas in the Hindustani music repertoire, which are all time and season specific and elicit a specific type of emotion:

Categories of Raga

Raga or Raga Bhed is classified into three types:

• Shuddha Raag - This is the raga in which the nature and form of the raga do not change if any notes missing from the composition are played.
• Chhayalag Raag - This is the raga in which the nature and form of the raga change if any notes not present in the original composition are played.
• Sankeerna Raag - This is the raga in which two or more ragas are combined. As a result, every raga should include the basic 5 notes. These are:
  • The 'King' note serves as the foundation for raga. This is known as the 'Vaadi,' and it is used frequently in the composition.
  • The 'queen,' which corresponds to the fourth or fifth note in relation to the main raga, is the next important note. This raga's second most important note is known as 'Samvaadi.'
  • Apart from the vaadi and samvaadi, all other notes in the composition are referred to as the Anuvaadi.
  • Finally, the notes that are absent from the composition are referred to as Vivadi.

Tala

• Tala refers to rhythmic beat groupings. The length of these rhythmical cycles ranges from three to 108 beats.
• The musical time is divided into simple and complicated metres according to the tala concept.
• This time measurement theory is not shared by Hindustani and Carnatic music.
• The concept of tala is unique in that it is independent of the music that it is accompanied by and has its own divisions.
• The laya is the tempo of the tala that maintains the uniformity of the time span.
• Several musicologists have argued that there are more than a hundred talas, but only thirty talas are currently known, and even within that, only ten to twelve talas are used.
• Dadra, kaharba, rupak, ektal, jhaptal, Teental, and Ada chautal are some of the recognised and used talas. Music composers typically use teen-tal, which has sixteen beats.
• Carnatic music, in contrast to Hindustani music, has a much more rigid structure.
• The Tala (thala) is composed of three parts: laghu, dhrutam, and anu dhrutam.
• There are 35 thalas in total, each of which can be further subdivided into 5 'ghaatis.' As a result, in Carnatic music, there are 175 thalas.

Rasa

• Ragas were created to elicit emotional responses in both the performer and the audience. Rasas are the emotions that are evoked by singing and playing instruments.
• The rasas have also been dubbed the "aesthetic delight" because they are consciously made to feel an emotion through someone else's art, despite being free of the constraints of personal feelings.
• Originally, there were eight rasas, but later, another rasa known as the 'shanta' rasa was added, bringing the total to nine rasas or 'Nauras.' These are:

• However, after the 15th century, Bhakti, or the rasa of devotion to God, gained widespread acceptance into the original corpus of the nine rasas.

Thaat

• Thaat is a system for categorising ragas into different groups.
• The 10-Thaat classification is currently used in Hindustani classical music.
• According to V.N Bhatkhande, one of the most influential musicologists in the field of North Indian classical music, each of the various traditional ragas is based on, or a variation of, ten basic thaats or musical scales or frameworks.
• Because the notes are composed in ascending order, a thaat can only be sung in aaroha.
• A thaat should have seven notes out of the twelve notes (7 Suddha Swaras and 5 Vikrata Swaras), and they must be in ascending order.
• Bilawal, Khamaj, Kafi, Asavari, Bhairavi, Bhairav, Kalyan, Marwa, Poorvi, and Todi are the ten thaats.

Samay

• Each raga has a set time when it is performed. This is due to the fact that those notes are supposed to be more effective at that time.
• The day's 24 hours can be divided into two parts:
  • From 12 a.m. to 12 p.m. - this is known as the Poorva Bhaag, and the ragas sung during this time are known as poorva ragas.
  • From 12 p.m. to 12 a.m. - this is known as the Uttar Bhaag, and the ragas sung during this time are known as Uttar raga.
• Furthermore, the saptak varies according to the time of day.
  • In the Poorvang period, for example, the saptak ranges from Sa to Ma (Sa, re, ga, ma).
  • In the Uttarang period, on the other hand, the saptak runs from Pa to Sa (pa, dha, ni, sa).

Conclusion

Indian music is a science that is subdivided into smaller elements and subjects. Elements such as raag and taal have greater impact over Hindustani classical music. Indian music is also sung based on different moods, seasons, etc.

FAQs

MCQs

1. Which of the following is the primary focus of Indian classical music?

A) Lyrics
B) Melodic improvisation
C) Harmonics
D) Rhythm only

2. What is the main characteristic of Hindustani classical music?

A) Composition-oriented
B) Strict adherence to written music
C) Emphasis on improvisation
D) Predominance of vocal music

3. Which of the following is NOT a traditional instrument used in Indian classical music?

A) Sitar
B) Tabla
C) Guitar
D) Santoor

4. What is the role of 'Tala' in Indian classical music?

A) It defines the melody
B) It provides the emotional expression
C) It governs the rhythmic cycle
D) It is the instrumental part

5. Which of the following ragas is associated with the evening time in Indian classical music?

A) Raga Bhairav
B) Raga Marwa
C) Raga Yaman
D) Raga Hamsadhwani

GS Mains Questions and Model Answers

Q1: Analyze the evolution of Indian classical music and its role in preserving cultural heritage. Discuss the impact of regional styles like Hindustani and Carnatic music.

Answer: Indian classical music has evolved over centuries, with its roots dating back to the Vedic period. The earliest forms of Indian music were based on the chanting of hymns and mantras, and over time, it developed into more structured systems, culminating in the current forms of Hindustani and Carnatic music. Hindustani classical music, prevalent in northern India, places a significant emphasis on improvisation and the flexibility of raga and tala, while Carnatic classical music, originating from the south, is more focused on compositions and follows a stricter set of rules regarding ragas and talas. Both styles, while different in approach, play a crucial role in preserving India's cultural heritage by maintaining ancient musical traditions and contributing to the spiritual and artistic expression of the country. These regional styles have also influenced various forms of folk music, dance, and even film music, thus ensuring the continuity of India's rich musical traditions.

Q2: Discuss the influence of Indian classical music on world music. How have global artists integrated elements of Indian music into their compositions?

Answer: Indian classical music has had a significant influence on world music, particularly in the realms of jazz, fusion, and contemporary music. Its unique use of ragas and talas, as well as the emphasis on improvisation, has inspired many global musicians. Artists like Ravi Shankar, Anoushka Shankar, and Zakir Hussain have played a key role in popularizing Indian classical music internationally. In particular, the integration of Indian instruments such as the sitar, tabla, and flute into Western music has enriched the global music scene. Moreover, the improvisational aspects of Indian music have been incorporated into jazz and fusion music, with artists blending Indian ragas with Western chord progressions and rhythms. This cross-cultural exchange has not only enhanced the appreciation of Indian classical music worldwide but has also led to the creation of new hybrid musical forms.

Q3: Evaluate the role of improvisation in Indian classical music. How does it distinguish Indian music from other musical traditions?

Answer: Improvisation is one of the most defining features of Indian classical music. Unlike Western classical music, which often emphasizes fixed compositions, Indian classical music allows for extensive improvisation within the frameworks of raga and tala. This freedom of expression encourages musicians to explore their creativity and adapt the music to the mood of the moment, making every performance unique. Improvisation in Indian music is not limited to the melodic or rhythmic elements; it extends to the interplay between instruments and the interaction between the performer and audience. This improvisatory nature of Indian music fosters a deep connection between the artist and the listeners, ensuring that every performance is a live, evolving experience. In contrast to other musical traditions, where the performance is often based on a written score, Indian classical music's emphasis on improvisation allows it to remain dynamic and ever-changing, reflecting the cultural and spiritual values of India.

Previous Year Questions on Indian Music

1. UPSC CSE Prelims 2020:

Question: Which of the following is the primary focus of Indian classical music?

A) Lyrics
B) Melody and improvisation
C) Harmony
D) Western-style composition

Answer: (B)

Explanation: Indian classical music is primarily focused on melody and improvisation, particularly within the structures of ragas and talas, which are central to the performance.

2. UPSC CSE Mains 2018 (GS Paper 1):

Question: "Discuss the impact of regional variations in Indian classical music, such as Hindustani and Carnatic music, on the cultural identity of India."

Answer: Regional variations in Indian classical music, notably Hindustani and Carnatic music, have significantly contributed to the cultural identity of India. Hindustani music, with its emphasis on improvisation, has shaped the cultural landscape of northern India, while Carnatic music, with its structured compositions, has defined the musical traditions of southern India. These two traditions, though distinct, share common principles rooted in Indian spiritual and cultural values. Their preservation and continued development have helped maintain India’s rich and diverse musical heritage, reinforcing regional identities while contributing to the broader cultural fabric of the nation.