User:Nilima sen/sandbox2

User: Nilima Sen. DRAFT-HINDUSTANI CLASSICAL MUSIC ORIGIN OF SWARAS(NOTES) AND EVOLUTION. - How can there be music if language was not found. SATTYA YUGA- 1,728,000 Years back but according to Nattya Sastra of Bharat Muni (2nd-3rd BCE) there was no music as the people were happy.(1) TRETA YUGA- Ramayana the original text of Valmiki, one of the ancient epics consisting of 24,000 verses had an important influence on Sanskrit poetry and Hindu life and culture.We can say music was there.(2) DVAPARA YUGA- Mahabharata of Vyasa, the bulk was compiled during the 3rd Century, also had an influence on literature, art and culture.Music was prevalent during that period. KALI YUGA - 3102 BCE,music was and is prevalent.(3) VEDIC PERIOD - The Iron age ( Vedic) India, 1200-800 BCE, The Samveda mentions the songs for the divinities.We find the invention from one note to seven notes of an octave during this period. The Archik yuga the main note was Madhyam or MA, in the Gothic yuga the two notes Madhyam and Pancham, MA and PA. In the Samik Yuga the three notes MA, PA, GA.and after that the four notes MA, PA,SA and GA.In the Oirab yuga the four notes MA, PA,SA, GA and RE, In the Sharab Yuga the six notes MA,PA,SA,GA, RE and NI. In the Sampurna yuga there were the seven notes MA, PA,SA,GA,RE, NI and DHA. During the Vedic period the names of the seven notes were krustro,the first, second,third, fourth, Mantra and Atisarya. In this period the voice was divided in three parts, Udao, Anudao and Sarita. This is the origin of the seven notes.According to the teachings of Narada, from Udatta were NI and GA, From Anudatta were RE and DHA and from Sarita were SA,MA,PA.According to the Vedas the Swaras or notes were known as SHAM.(3) During the Vedic period there were Matras or beats for the rhythms, which were known as Harsa for one beat, Dirgha for two beats and Pluto for three beats, along with these were Gayatri, Ushivak, Anustup, Brihati, Pangati, Bhagati, and Nistup, these seven rhymes were followed. The songs in the Samveda had seven categories like Hunkar, Prastab, Udgeet, Pratihar, Upadrab, Nidhan and Pranab or Onkar. In the Vedic period the saints used to sing the hymns when they worshiped the divinities.The ladies danced around the fire while they clapped with their hands.

In the Vedic Era there were musical instruments made of animal skin like Dundubi, Bhumi Dundhibi, etc. The Rig veda mentions the use of musical instruments like Gargar, Pinga which were like our modern Violin, there were other instruments like Karkari, Aghati, Ghatalika, Kandaveena, Nari, Banaspati etc., among those the Veena was the main musical instrument. There were several types of Veenas during that period.i.e. Oiduri veena, Pichhola veena, Satatantri veena, Godha Veena etc.(4) The Vedic period started from the Rig veda. Then the saints of Sam composed several devotional hymns to satisfy the gods and goddesses.This is the origin of the Sam veda.The devotional hymns were a part of the worships. The hymns or mantras were of two types, the songs for the devotees and for the family men. i.e. Uho, Ujho,Stov,Stom, etc (5) During the Vedic period we find the evolution of the seven notes. THE ORIGIN OF MUSIC- songs, Rhythm and dance together is Sangeet.There are several views related to the advent of Sangeet or music. Some say Brahma collected the music from the Sam Veda. He gave the knowledge to Siva, Siva gave to Goddess Saraswati. Then the saint Narada received it from Saraswati and taught the Gandarvas, Apsaras of Heaven. After learning from him Bharat, Narada and Hanuman preached the same in this World. (6) According to some Narada learned it from Mahadeba through Yoga. Mahadeba invented the Rudra Veena as he noticed Parbati based on many of his limbs and from his five faces, five ragas were invented and from Parvati the sixth raga was composed.All these are quite hard to gulp.(7) From Siva's five faces towards the East, West, North, South and the Sky the ragas Bhairab, Hindol, Megh, Dipak and Sri were composed and later from Parbati the raga Koushik. In the Hymn composed for Siva it is found that when the Mother of the three World Gouri sat on the gold Throne, Sul pani danced the Siva Nritta,Saraswati played the Veena, Indra the Benu, Brahma Kartal, Bishnu played the Mridangam. The performance was attended by Gandarva Jakha, Patag Urog, Sidha Samba, Bidyadhar, the gods, goddesses and the apsaras. (8) During the Purana period or the time of Ramayana, Mahabharata, and Haribangsi we find the use of the word Sangeet. In the ancient texts the words Gaan, Giti, Gatha, or Gandarva are mentioned. The Vedic texts mentions the musical instruments Veena, Benu, Mridangam, Nritya and songs. According to the ancient authors Sangeet originated from Naad. Naad is of two types Ahata and Anahata. Sangeet originated from Ahata Naad. After wards Man with their own efforts invented the Swaras,(notes) Ragas and Raginis. (9) THE FIRST NOTE- During the Archik period MA was the ADI or first note,according to some the ADI note was NI. According to Narada in the Sam Veda MA was the ADI or first note. Sayan's view was DHA was the first note. Anyway the result of Barun and the Sky MA is taken as the first note. In the Gothic period the notes were PA and MA. In the Samik era or the era of three notes originated from the Sky,the Earth and Barun, those were MA,SA,PA. After the Samik era was the four notes GA,MA,SA and PA, then came the Oirab Sharab and Sampurna period of seven notes. The Vedic swaras were placed under three octaves.i.e. Udatta, Anudatta and Sarit. i.e. Mantra,madhya and taar. In MANDUKI the origin of the seven notes has been described as from the throat SA, from the head RE, from the nose GA,from the Knees MA, from the head and throat PA, from the fore head DHA, and from the joint of all the limbs NI. During the ancient times the notes were explained as similar to the cries of birds and animals. According to Sir Froed as the children first laughs or cries similarly Sangeet originated from the contemplation of man. Sir Charles Darwin had said that Sangeet, music originated from the cries of animals and birds. Vocal effort may have originated in immitation of the cries of the animals which were mimicked. (10) THE SRUTIS OR NOTES - In time there were more notes, the notes are known as Srutis. There are twenty two srutis. seven straight notes and fifteen flat notes or Komol notes. According to the ancient and modern texts the names of the 22 srutis and their places in an octave are as follows. 1. Tibra      --   Suddha SA 2.Kumudati. --  Komol RE 3. Manda. 4. Chhondoboti. 5. Dayabati. -- Suddha RE ( Tibra RE) 6. Ranjani. 7. Raktika. --kOMOL GA 8. Roudri. --   Suddha GA  ( Tibra GA) 9. Krodhi. 10.Bajrika. --   Suddha MA 11. Prasarini. 12. Priti. --  Tibra  MA 13. Marjani. 14. Khiti. --   Suddha   PA 15. Rakta. 16. Sandipini. --  Komol DHA 17. Alapini. 18. Madanti. --    Suddha DHA, Tibra DHA 19. Rohini. 20. Romma. --   kOMOL NI 21. Ugra. --       Suddha NI   (Tibra NI) 22. Khobhini. These notes are mentioned according to the Abhinaba Ragmanjari Swaras. Here Komol Ga and Komol Ni are Srinibash's Suddha Ga and Suddha Ni. The notes Komol Re, Komol Dha and Tibra Ma are not found in any ancient text. The authors of Sanskrit texts believed in the 12 Swaras or srutis and never tried to find out the ten other srutis. The modern writers do not accept this notion. As they only follow the Western modern system of main 12 notes and place the ten other srutis in between these notes. There is a fault in this practice as our ancient Chatusruti, Trisrutic and Disrutic swara places are taken as major tone,minor tone and semi tone. This view is not found in any of our ancient texts.This view has made the exact expression of the ragas more stiff.(11) To show the exact places of Srutis (notes) according to the sounds are of two types. 1. The different length of the strings of a Veena as played. 2. Each Sruti according to the vibration per second. The ancient authors did not know about the second method. The middle age authors knew about the first practice and applied the same. Bharat and Shrangadeb did not apply any of these to methods but accepted the fixed length of the Srutis and placed the notes on them. For which they thought the above two methods were unnecessary. The learned Pandits think that Ahobol and others have done a good work explaining the exact places of the Srutis.(12) In ancient times there were four views of the categories of ragas,according to all the views, the ragas had a family. The four types of views were as follows. 1. The notion of Sameswar or Sivmaat.2. Kallinath or Krishna maat 3. Bharat maat 4. Hanuman maat. SIV MAAT - Six ragas, each had six wives and eight sons. The six ragas were Sri, Basant, Pancham, Megh, Bhairab and Natnarayan. 2. KALLINATH OR KRISHNA MAAT- It also mentioned six ragas and thirty six wives or raginis, The six ragas were Sri, Pancham, Bharabi, Megh, Nat narayan and Basant. 3. BHARAT MAAT - It mentioned about six ragas each having five raginis as wives and eight sons. The six ragas were Bhairab, Malkaus,Hindol, Dipak, Sri and Megh. HANUMAN MAAT - It also mentioned about six ragas. Those were Bhairab, Malkaus, Hindol, Dipak, Sri and Magh. though according to all the four views there were differences about the raginis and the sons. The six ragas were sung during six seasons. (13) RELIGIOUS ASPECTS OF HINDUSTANI CLASSICAL MUSIC. In the texts it is said that Geetam Nadattakam. which means music originated from Naad. Naad is the sound from the breeze or Praan. The naad is known as Sabda brahma and in Tantra it is called the Kundalini sakti or the Serpent power. The relation of man with music is with Praan or the Soul. Man took their talent, efforts, as the capital to enter this World of Bhaba.( the World of music) The main purpose of music is to awaken the soul of man and guide them to the true, right path. Man without an interest in music can not be the best creation of the God. That is why Plato said that Music for Soul. Kindness,love,desire less, devotion, faith etc are the noble features of music and their true expressions are only possible through Sadhana.(practice) Since the very ancient times the saints used music as the base of their teachings. Gautama Budha (500 B.C.) Bhagaban Sri Krishna Chaitanna, Swami Bibekananda took help of the spiritual aspects of music. The faith which comes from devotion makes the spiritual path easier. All the compositions of music render a faith in the origin of all creation, the divine. It kindles in human mind a sacred light of devotion, piety and love. That is why we often find that the religious masters have had recourse to music while teaching and preaching. That is why Meera, the Princess mendicant sings - " Make me thy servant." The musical compositions are not enough,the sublime music is which initiates a man to love, forgive, turn desire less and guides him from the small to bigger, follow the religious path and then to the spiritual World.(14) THE SCIENTIFIC VIEWS AND THEIR APPLICATIONS IN HINDUSTANI CLASSICAL MUSIC In Indian music the total number of views is 42. These are based on the scientific explanations of the Classical music. The main ragas are Bhairab, Bhairabi,Todi,Sarang, Bhimpalasi,Purbi, Malkaus, these are according to the state of the human mind during the different time of the day and night. During dawn,when the Sun rises, the busyness of the day is absent, the morning ragas are composed according to the tranquil environment. Later,the ragas change with the heat of the Sun and time of the day.The main morning ragas are Bhairab,Bhairabi,Todi,Komol Rekhab Ashavari, Jogia, Ramkeli etc. During noon,the calmness of dawn vanishes, there is a busy surrounding, according to the changes of the human mind, the ragas lose their softness, calm nature,that is why in the noon the ragas of Sarang take place, like Suddha sarang, Brindaboni sarang etc.There are several types of Sarang ragas. Gradually as the Sun sets, the busy atmosphere once again disappears, the ragas are Khambaj,Jhijhoti,Purbi, Patdeep, Bhimpalasdi,Dhani,these ragas of soft, calm nature appear. Accordingly,with the time of the evening and night the ragas change.The chief evening ragas are Yaman, Suddha Kalyan, Bhupali, Kedara, Chhayanat, Behag,etc. Afterwards in the night the main ragas are Bagesri,Tilong,Jaijayanti, Ragesri,Puria Kalyan, Darbari Kanada, Malkaus etc. In the late night when the World goes to sleep, the most suitable ragas are Darbari Kanada, Malkaus etc,one can not think of any other raga than these two ragas at that time, though there are several kanada ragas like Kafi kanada, Nayaki kanada and others. also there are many Kaus ragas like Jog Kaus,Nand kaus and others. During early morning the ragas have Komol notes or minor notes, as in Bhairab, Bhairabi, Todi, Ashavari etc. During the day the main ragas have suddha notes ( Bilabol Thaat)like Sarferda, Alahyia bilabol,Chhya bilabol, Nat bilabol,there are good many ragas based on Bilabol thaat or scale. The ragas of the evening have Kari Madhyam ( Kalyan Thaat) as in Yaman or Yaman Kalyan, Suddha Kalyan, Shyam Kalyan, Puria Kalyan, and other ragas based on Kalyan Thaat, in which the note Kari Madhyam is dominant. These notes or scales are according to the timing of the morning, noon, evening and night, also dawn and dusk and the mental conditions of the human beings. The notes of a raga play the most important part according to the time of the day and night and the other factors. The king, queen and minister notes known as Badi, Samabadi, Anusari etc, also the Jati or category of a raga are as per the time of the whole day,night and the conditions of the human mind. The main ragas of Dawn or end of the night and beginning of the Day are Lalit, Ahirbhairab etc. The chief raga of Dusk, or end of the day and beginning of the night is Puria Dhanesri and others. These are known as Sandhi prakash ragas or the ragas of twilight. These are combinations of two ragas, one of the day, the other of the night. There are many ragas according to the seasons and festivals. The ragas of Bahar are suitable for Spring and the festival of colours or Holi like Basant bahar, Basant, Basant mukheri, along with the ragas of Hindol and raga Hindol Bahar. The continuous playing or singing of the ragas creates a mood and one feels as if there is a joyful festival of colours. The main monsoon ragas are Megh, Desh, Malhar, etc. though there are several ragas based on these ragas like Desh malhar,Mia Ki Malhar,Gaur Malhar,Surdasi malhar and so on. The mood of these ragas are like as if the Sky is filled with dark clouds and there is rainfall. The entire subject Hindustani Classical music, along with Carnatic music, the Samveda, Natya Sastra, systems of Pandit Bhatkhande were found by the Hindus and should have been kept among themselves, not allowing the non bengalis, who do not have the patience to learn under an educated, learned Guru, advertisements in the newspapers, brain washing people, searching for ignorant God fathers, sell tickets or give an advertisement to perform in a concert, trying to copy somebody,or give a bribe to write something about themselves in the newspapers and elsewhere, do not make a good musician. These people have no audiance, no admirers, all these are waste of time and are harmful for the subject, more over they land up with lots of criticism, and gradually the people are losing interest to learn or listen to Hindustani classical music. Even during the Mughol period Samrat Aurangjeb banned the Hindustani music on the part of the muslims, in his kingdom and said that even the devil must not listen to their music. Mia Tan sen was a brahmin Hindu, turned to muslim to marry a muslim lady. His teacher Haridas Prabhu of Brindaban was a Hindu Baisnab. Even during the nineteenth century pandit Bhatkhandaji had listened to their music, found the subject in a mess and thought it necessary to bring the subject under a profound system. Once again at present what you listen is not the correct system of Hindustani classical music. These people have a very wrong conception of the ragas.You can not do as you like when it comes to ragas, each raga is different from the other and have hundreds of aspects of it's own.It is not the type of contemporary copied modern music in Indian films,which you find at present, in most of the Indian movies.(15) REFERENCES 1. Nos 1 to 12, Rag Bibodhe, Author Prof Pijush Roy, publishers Ujjal Sahitya Mandir, ISBN 81-7334-069-2.Page numbers 1 to 37. 2. Nos 13 Hindustani Classical music Paddhati, Pandit Bishnunarayan Bhatkhande, Publishers Dipayan. Vol 7, Page nos G-10 3. Nos 14,15, Hindustani classical music, author Abanindra Maitra, Hindustan Overseas publishers, page nos 37 - 42.