Portal:Indian classical music/Selected article

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The origins of Indian classical music can be found from the oldest of scriptures, part of the Hindu tradition, the Vedas. The Samaveda, one of the four Vedas, describes music at length. The Samaveda was created out of Rigveda so that its hymns could be sung as Samagana; this style evolved into jatis and eventually into ragas. Indian classical music has its origins as a meditation tool for attaining self realization. All different forms of these melodies (ragas) are believed to affect various "chakras" (energy centers, or "moods") in the path of the Kundalini. However, there is little mention of these esoteric beliefs in Bharat's Natyashastra, the first treatise laying down the fundamental principles of drama, dance and music. Indian classical music has one of the most complex and complete musical systems ever developed. Like Western classical music, it divides the octave into 12 semitones of which the 7 basic notes are Sa Re Ga Ma Pa Dha Ni Sa, in order, replacing Do Re Mi Fa Sol La Ti Do. However, it uses the just intonation tuning (unlike most modern Western classical music, which uses the equal-temperament tuning system).

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Pictured left: parts of the sitar shown in original language Used throughout the Indian subcontinent, particularly in India, Pakistan, and Bangladesh, the sitar became known in the western world through the work of Pandit Ravi Shankar beginning in the late 1950s and early 1960s after The Kinks' top 10 single "See My Friends" featured a low tuned drone guitar which was widely mistaken to be the instrument. The sitar saw further use in popular music after The Beatles featured the sitar in their compositions, namely "Norwegian Wood (This Bird Has Flown)" and "Within You Without You". Their use of the instrument came as a result of George Harrison taking lessons on how to play it from Shankar and Shambhu Das. Shortly after, The Rolling Stones used a sitar in "Paint It, Black" and a brief fad began for using the instrument in pop songs. Sitars are also used extensively in Hindustani classical music.

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Hindustani classical music is the Hindustani or North Indian style of Indian classical music found throughout the northern Indian subcontinent. The style is sometimes called North Indian Classical Music or Shāstriya Sangeet. It is a tradition that originated in Vedic ritual chants and has been evolving since the 12th century CE, primarily in what is now North India and Pakistan, and to some extent in Bangladesh, Nepal and Afghanistan. Today, it is one of the two subgenres of Indian classical music, the other being Carnatic music, the classical tradition of South India.

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Carnatic music is a system of music commonly associated with the southern part of the Indian subcontinent, with its area roughly confined to four modern states of India: Andhra Pradesh, Karnataka, Kerala, and Tamil Nadu. It is one of two main subgenres of Indian classical music that evolved from ancient Hindu traditions; the other subgenre being Hindustani music, which emerged as a distinct form because of Persian and Islamic influences in North India. In contrast to Hindustani music, the main emphasis in Carnatic music is on vocal music; most compositions are written to be sung, and even when played on instruments, they are meant to be performed in gāyaki (singing) style. Although there are stylistic differences, the basic elements of śruti (the relative musical pitch), swara (the musical sound of a single note), rāga (the mode or melodic formulæ), and tala (the rhythmic cycles) form the foundation of improvisation and composition in both Carnatic and Hindustani music. Although improvisation plays an important role, Carnatic music is mainly sung through compositions, especially the kriti (or kirtanam), a form developed between the 16th and 20th centuries by composers such as Purandara Dasa and the Trinity of Carnatic music. Carnatic music is usually performed by a small ensemble of musicians, consisting of a principal performer (usually a vocalist), a melodic accompaniment (usually a violin), a rhythm accompaniment (usually a mridangam), and a tambura, which acts as a drone throughout the performance. Other typical instruments used in performances may include the ghatam, kanjira, morsing, veena & flute.

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A raga, literally "colour, hue" but also "beauty, melody"; also spelled raag, rag, ragam) is one of the melodic modes used in Indian classical music. It is a series of five or more musical notes upon which a melody is made. However, it is important to remember that the way the notes are rendered in musical phrases and the mood they convey are even more important in defining a raga than the notes themselves. In the Indian musical tradition, rāgas are associated with different times of the day, or with seasons. Indian classical music is always set in a rāga. Non-classical music such as popular Indian film songs and ghazals sometimes use rāgas in their compositions. Joep Bor of the Rotterdam Conservatory of Music defined Raga as "tonal framework for composition and improvisation." Nazir Jairazbhoy, chairman of UCLA's department of ethnomusicology, characterized ragas as separated by scale, line of ascent and descent, transilience, emphasized notes and register, and intonation and ornaments.

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