indian music in malaysia-present
TRANSCRIPT
832019 Indian Music in Malaysia-present
httpslidepdfcomreaderfullindian-music-in-malaysia-present 121
bullNURUL FARIHIN BINTI MOHD RADZI D20091034866bullNORI NORI HAFIZA BINTI D20101037874
bull
SITI KHAMILAH BINTI KAMARUDDIN D20101037886bullSALMAN BIN IBRAHIM D20101037980
bullWANG LIN D20092036712
832019 Indian Music in Malaysia-present
httpslidepdfcomreaderfullindian-music-in-malaysia-present 221
Music plays an important role in the religiousand social lives for Indian heritage inMalaysia
Indian carried the various traditions of it‟smusic to Malaysia
eg kuchh kuchh hota hai
Mostly of them abounds throughout Malaysia
on compact disc cassette tape record album onthe radio and television
832019 Indian Music in Malaysia-present
httpslidepdfcomreaderfullindian-music-in-malaysia-present 321
Music is performed at mostly Hindu temples Celebrating the festival deities as lord Vishnu
and lord Muruga-This devotional music mostly accompanied by
music tool like harmonium and mridangamdrum
Music is also played for celebrating festivalslike Thaipusam chittirai paruvam and ponggol
-This festival musical mostly a ccompanied by music
tool like nagaswaram shawm and tavil drum
Ghagra is popular folk dance of Punjabi-To celebrate vasakhi (the birth of sikhism) as well a
entertainment concert
832019 Indian Music in Malaysia-present
httpslidepdfcomreaderfullindian-music-in-malaysia-present 421
Indian traditional is been nurtured in privateinstitution as various Indian societies
These association mainly teaching and sponsoringactivates in ldquokarnatakrdquo music and dance for private
public functions and concertsEg association Sangeetha Abhivirdhi Sabha set up
in the Brickfields area of Kuala Lumpur and it‟sbranches in Johor Baharu and Peneng
Teachers mostly came from india suchas SCNagasamy that come from Tamil Nadus astrainer at
the assocation
832019 Indian Music in Malaysia-present
httpslidepdfcomreaderfullindian-music-in-malaysia-present 521
Indian classical music in Malaysiaessentially retain as the same musical
tradition in India today
Many Malaysia classical musician
continue to go to various part of Indianto study with master in vina sitar andtabla performance
While specialist Indian musician likeRavi Shankar are invited to Malaysia togive performance to general public in
Malaysia
832019 Indian Music in Malaysia-present
httpslidepdfcomreaderfullindian-music-in-malaysia-present 621
bull Known as Rig Veda existed in India datesfrom around 1500 BCE
bull First existed only in an oral tradition butwritten down by about the 10th century CE
bull Used by the upper three castes of HinduSociety
bull A manuscript on drama music amp dance
entitled Natya-Sastera was written during theperiod between the 2nd century BCE amp the6th century CE
832019 Indian Music in Malaysia-present
httpslidepdfcomreaderfullindian-music-in-malaysia-present 721
Raga also explained the concept of rhythm tala(time cycle) beat tempo amp others
About 10th century another ancient treatise
entitled Brhaddesi by the theorist Matanga
In Natya-Sasterascale systems were
described amp theterm raga appeared
Melody type basisfor the creation of melody in Indian
Music
832019 Indian Music in Malaysia-present
httpslidepdfcomreaderfullindian-music-in-malaysia-present 821
13th century the theorist Sarngadeva producetreatise of Indian classical music entitled
Sangita-Ratnakara (Ocean of music amp dance)particularly important because it describes thestate of south central Indian music just before
the effect of Muslim influence was strongly feltin the Indian musical arts
During mogul empire Muslim musicianscreated new raga amp tala introduced new forms
amp genre of music and new musicalinstruments
832019 Indian Music in Malaysia-present
httpslidepdfcomreaderfullindian-music-in-malaysia-present 921
12th amp 16th centuries two differenttraditions of classical music emerged
known as Hindustani amp Karnatak
Although both music originated from thesame theoretical principles the two stylesexhibit different musical forms raga tala
musical instruments and other musicaldetails
832019 Indian Music in Malaysia-present
httpslidepdfcomreaderfullindian-music-in-malaysia-present 1021
Musical instruments in Indian music are manyand documented
832019 Indian Music in Malaysia-present
httpslidepdfcomreaderfullindian-music-in-malaysia-present 1121
CHORDOPHONES
makes sound by way of a vibrating string or strings
stretched between two points -In Karnatak music vina violin and tambura
-In the Hindustani musicsitar sarangi and sarod
vinaviolin
tambura
sitar
sarangi
sarod
832019 Indian Music in Malaysia-present
httpslidepdfcomreaderfullindian-music-in-malaysia-present 1221
AEROPHONES the wind instruments inIndian classical music are flute and reed
types
-
in Karnatak music venu-in Hindustani music bamsri
venu
832019 Indian Music in Malaysia-present
httpslidepdfcomreaderfullindian-music-in-malaysia-present 1321
MEMBRANOPHONES any musical instrument as
a drum in which the sound is produced by striking
rubbing or blowing
-In Karnatak music mridangam tavil
-In Hindustani music pakhavaj tabla
mridangam
tavil
pakahavaj
tabla
832019 Indian Music in Malaysia-present
httpslidepdfcomreaderfullindian-music-in-malaysia-present 1421
IDIOPHONES creates sound primarily by way of theinstrument vibrating itself without the use of strings or
membranes
-In Karnatak music tambourine (kanjira) ghatam and
morsing -In Hindustani music jaltarang
tambourine
ghatam morsing
jaltarang
832019 Indian Music in Malaysia-present
httpslidepdfcomreaderfullindian-music-in-malaysia-present 1521
Indian classical music focuses on melody and
rhytm
The classical composition are improvised and the
concepts of raga or rag and tala or tal are thebasis of improvisation
832019 Indian Music in Malaysia-present
httpslidepdfcomreaderfullindian-music-in-malaysia-present 1621
Based on the rag ( in the Hindustani tradition) orraga (in the Karnatak tradition)
Built on a 7-tone scale ( the solfege syllabes sa ri ga ma pa dha ni are used to sing the scale)
It is scale-like arrangement or bdquomelody-type‟ with aspecific ascending pattern and descending pattern
832019 Indian Music in Malaysia-present
httpslidepdfcomreaderfullindian-music-in-malaysia-present 1721
The tal (Hindustani music) or tala ( Karnatak music)refers to the time measure and rhytm in classical
music
The time cycle that contains a specific numbers of beats
The given time cycle used in a performance isrepeated throughout the piece
The basis for organizing time and for playing therhythmic patterns on the drums and other
percussion instruments The repeated tal or tala may be quite short 7 beats
for example or 30 or more beats long
832019 Indian Music in Malaysia-present
httpslidepdfcomreaderfullindian-music-in-malaysia-present 1821
832019 Indian Music in Malaysia-present
httpslidepdfcomreaderfullindian-music-in-malaysia-present 1921
Involves two main part FIRST PART The alapana (Karnatak tradition) or the alap
(Hindustani tradition) The music is not metered The drums are not played
The player reveals the particular raga slowly bringing outall the pitches and melodic motifs little by little Rhythm is free no tala present
Develops in stagesproceeding to the short session calledtanam (in Karnatak tradition) and jor ( in Hindustani
tradition)
Player begin to establish a steady beat or pulse in themusic Still no tala present
At the end of alapana the performer stops momenntarilyto re-tune his instruments
832019 Indian Music in Malaysia-present
httpslidepdfcomreaderfullindian-music-in-malaysia-present 2021
SECOND PART consists of the main
composition There is specific raga and tala
Usually the drummer enters the performanceat this time
Performance by Ravi Shankar
832019 Indian Music in Malaysia-present
httpslidepdfcomreaderfullindian-music-in-malaysia-present 2121
Indian musical associations in Malaysia also promote lightclassical and new music to attract the various ethnic groupsfrom South Asia as well as the Malays and Chinese to their
concerts
Shorter melodic themes and faster rhythms are used
Catchy melodies and new instruments are showcased toattract the audience
Example the group bdquoVadya Sammelanam‟ which performedfor Radio Malaysia highlighted jaltarang as virtuaso
instruments
832019 Indian Music in Malaysia-present
httpslidepdfcomreaderfullindian-music-in-malaysia-present 221
Music plays an important role in the religiousand social lives for Indian heritage inMalaysia
Indian carried the various traditions of it‟smusic to Malaysia
eg kuchh kuchh hota hai
Mostly of them abounds throughout Malaysia
on compact disc cassette tape record album onthe radio and television
832019 Indian Music in Malaysia-present
httpslidepdfcomreaderfullindian-music-in-malaysia-present 321
Music is performed at mostly Hindu temples Celebrating the festival deities as lord Vishnu
and lord Muruga-This devotional music mostly accompanied by
music tool like harmonium and mridangamdrum
Music is also played for celebrating festivalslike Thaipusam chittirai paruvam and ponggol
-This festival musical mostly a ccompanied by music
tool like nagaswaram shawm and tavil drum
Ghagra is popular folk dance of Punjabi-To celebrate vasakhi (the birth of sikhism) as well a
entertainment concert
832019 Indian Music in Malaysia-present
httpslidepdfcomreaderfullindian-music-in-malaysia-present 421
Indian traditional is been nurtured in privateinstitution as various Indian societies
These association mainly teaching and sponsoringactivates in ldquokarnatakrdquo music and dance for private
public functions and concertsEg association Sangeetha Abhivirdhi Sabha set up
in the Brickfields area of Kuala Lumpur and it‟sbranches in Johor Baharu and Peneng
Teachers mostly came from india suchas SCNagasamy that come from Tamil Nadus astrainer at
the assocation
832019 Indian Music in Malaysia-present
httpslidepdfcomreaderfullindian-music-in-malaysia-present 521
Indian classical music in Malaysiaessentially retain as the same musical
tradition in India today
Many Malaysia classical musician
continue to go to various part of Indianto study with master in vina sitar andtabla performance
While specialist Indian musician likeRavi Shankar are invited to Malaysia togive performance to general public in
Malaysia
832019 Indian Music in Malaysia-present
httpslidepdfcomreaderfullindian-music-in-malaysia-present 621
bull Known as Rig Veda existed in India datesfrom around 1500 BCE
bull First existed only in an oral tradition butwritten down by about the 10th century CE
bull Used by the upper three castes of HinduSociety
bull A manuscript on drama music amp dance
entitled Natya-Sastera was written during theperiod between the 2nd century BCE amp the6th century CE
832019 Indian Music in Malaysia-present
httpslidepdfcomreaderfullindian-music-in-malaysia-present 721
Raga also explained the concept of rhythm tala(time cycle) beat tempo amp others
About 10th century another ancient treatise
entitled Brhaddesi by the theorist Matanga
In Natya-Sasterascale systems were
described amp theterm raga appeared
Melody type basisfor the creation of melody in Indian
Music
832019 Indian Music in Malaysia-present
httpslidepdfcomreaderfullindian-music-in-malaysia-present 821
13th century the theorist Sarngadeva producetreatise of Indian classical music entitled
Sangita-Ratnakara (Ocean of music amp dance)particularly important because it describes thestate of south central Indian music just before
the effect of Muslim influence was strongly feltin the Indian musical arts
During mogul empire Muslim musicianscreated new raga amp tala introduced new forms
amp genre of music and new musicalinstruments
832019 Indian Music in Malaysia-present
httpslidepdfcomreaderfullindian-music-in-malaysia-present 921
12th amp 16th centuries two differenttraditions of classical music emerged
known as Hindustani amp Karnatak
Although both music originated from thesame theoretical principles the two stylesexhibit different musical forms raga tala
musical instruments and other musicaldetails
832019 Indian Music in Malaysia-present
httpslidepdfcomreaderfullindian-music-in-malaysia-present 1021
Musical instruments in Indian music are manyand documented
832019 Indian Music in Malaysia-present
httpslidepdfcomreaderfullindian-music-in-malaysia-present 1121
CHORDOPHONES
makes sound by way of a vibrating string or strings
stretched between two points -In Karnatak music vina violin and tambura
-In the Hindustani musicsitar sarangi and sarod
vinaviolin
tambura
sitar
sarangi
sarod
832019 Indian Music in Malaysia-present
httpslidepdfcomreaderfullindian-music-in-malaysia-present 1221
AEROPHONES the wind instruments inIndian classical music are flute and reed
types
-
in Karnatak music venu-in Hindustani music bamsri
venu
832019 Indian Music in Malaysia-present
httpslidepdfcomreaderfullindian-music-in-malaysia-present 1321
MEMBRANOPHONES any musical instrument as
a drum in which the sound is produced by striking
rubbing or blowing
-In Karnatak music mridangam tavil
-In Hindustani music pakhavaj tabla
mridangam
tavil
pakahavaj
tabla
832019 Indian Music in Malaysia-present
httpslidepdfcomreaderfullindian-music-in-malaysia-present 1421
IDIOPHONES creates sound primarily by way of theinstrument vibrating itself without the use of strings or
membranes
-In Karnatak music tambourine (kanjira) ghatam and
morsing -In Hindustani music jaltarang
tambourine
ghatam morsing
jaltarang
832019 Indian Music in Malaysia-present
httpslidepdfcomreaderfullindian-music-in-malaysia-present 1521
Indian classical music focuses on melody and
rhytm
The classical composition are improvised and the
concepts of raga or rag and tala or tal are thebasis of improvisation
832019 Indian Music in Malaysia-present
httpslidepdfcomreaderfullindian-music-in-malaysia-present 1621
Based on the rag ( in the Hindustani tradition) orraga (in the Karnatak tradition)
Built on a 7-tone scale ( the solfege syllabes sa ri ga ma pa dha ni are used to sing the scale)
It is scale-like arrangement or bdquomelody-type‟ with aspecific ascending pattern and descending pattern
832019 Indian Music in Malaysia-present
httpslidepdfcomreaderfullindian-music-in-malaysia-present 1721
The tal (Hindustani music) or tala ( Karnatak music)refers to the time measure and rhytm in classical
music
The time cycle that contains a specific numbers of beats
The given time cycle used in a performance isrepeated throughout the piece
The basis for organizing time and for playing therhythmic patterns on the drums and other
percussion instruments The repeated tal or tala may be quite short 7 beats
for example or 30 or more beats long
832019 Indian Music in Malaysia-present
httpslidepdfcomreaderfullindian-music-in-malaysia-present 1821
832019 Indian Music in Malaysia-present
httpslidepdfcomreaderfullindian-music-in-malaysia-present 1921
Involves two main part FIRST PART The alapana (Karnatak tradition) or the alap
(Hindustani tradition) The music is not metered The drums are not played
The player reveals the particular raga slowly bringing outall the pitches and melodic motifs little by little Rhythm is free no tala present
Develops in stagesproceeding to the short session calledtanam (in Karnatak tradition) and jor ( in Hindustani
tradition)
Player begin to establish a steady beat or pulse in themusic Still no tala present
At the end of alapana the performer stops momenntarilyto re-tune his instruments
832019 Indian Music in Malaysia-present
httpslidepdfcomreaderfullindian-music-in-malaysia-present 2021
SECOND PART consists of the main
composition There is specific raga and tala
Usually the drummer enters the performanceat this time
Performance by Ravi Shankar
832019 Indian Music in Malaysia-present
httpslidepdfcomreaderfullindian-music-in-malaysia-present 2121
Indian musical associations in Malaysia also promote lightclassical and new music to attract the various ethnic groupsfrom South Asia as well as the Malays and Chinese to their
concerts
Shorter melodic themes and faster rhythms are used
Catchy melodies and new instruments are showcased toattract the audience
Example the group bdquoVadya Sammelanam‟ which performedfor Radio Malaysia highlighted jaltarang as virtuaso
instruments
832019 Indian Music in Malaysia-present
httpslidepdfcomreaderfullindian-music-in-malaysia-present 321
Music is performed at mostly Hindu temples Celebrating the festival deities as lord Vishnu
and lord Muruga-This devotional music mostly accompanied by
music tool like harmonium and mridangamdrum
Music is also played for celebrating festivalslike Thaipusam chittirai paruvam and ponggol
-This festival musical mostly a ccompanied by music
tool like nagaswaram shawm and tavil drum
Ghagra is popular folk dance of Punjabi-To celebrate vasakhi (the birth of sikhism) as well a
entertainment concert
832019 Indian Music in Malaysia-present
httpslidepdfcomreaderfullindian-music-in-malaysia-present 421
Indian traditional is been nurtured in privateinstitution as various Indian societies
These association mainly teaching and sponsoringactivates in ldquokarnatakrdquo music and dance for private
public functions and concertsEg association Sangeetha Abhivirdhi Sabha set up
in the Brickfields area of Kuala Lumpur and it‟sbranches in Johor Baharu and Peneng
Teachers mostly came from india suchas SCNagasamy that come from Tamil Nadus astrainer at
the assocation
832019 Indian Music in Malaysia-present
httpslidepdfcomreaderfullindian-music-in-malaysia-present 521
Indian classical music in Malaysiaessentially retain as the same musical
tradition in India today
Many Malaysia classical musician
continue to go to various part of Indianto study with master in vina sitar andtabla performance
While specialist Indian musician likeRavi Shankar are invited to Malaysia togive performance to general public in
Malaysia
832019 Indian Music in Malaysia-present
httpslidepdfcomreaderfullindian-music-in-malaysia-present 621
bull Known as Rig Veda existed in India datesfrom around 1500 BCE
bull First existed only in an oral tradition butwritten down by about the 10th century CE
bull Used by the upper three castes of HinduSociety
bull A manuscript on drama music amp dance
entitled Natya-Sastera was written during theperiod between the 2nd century BCE amp the6th century CE
832019 Indian Music in Malaysia-present
httpslidepdfcomreaderfullindian-music-in-malaysia-present 721
Raga also explained the concept of rhythm tala(time cycle) beat tempo amp others
About 10th century another ancient treatise
entitled Brhaddesi by the theorist Matanga
In Natya-Sasterascale systems were
described amp theterm raga appeared
Melody type basisfor the creation of melody in Indian
Music
832019 Indian Music in Malaysia-present
httpslidepdfcomreaderfullindian-music-in-malaysia-present 821
13th century the theorist Sarngadeva producetreatise of Indian classical music entitled
Sangita-Ratnakara (Ocean of music amp dance)particularly important because it describes thestate of south central Indian music just before
the effect of Muslim influence was strongly feltin the Indian musical arts
During mogul empire Muslim musicianscreated new raga amp tala introduced new forms
amp genre of music and new musicalinstruments
832019 Indian Music in Malaysia-present
httpslidepdfcomreaderfullindian-music-in-malaysia-present 921
12th amp 16th centuries two differenttraditions of classical music emerged
known as Hindustani amp Karnatak
Although both music originated from thesame theoretical principles the two stylesexhibit different musical forms raga tala
musical instruments and other musicaldetails
832019 Indian Music in Malaysia-present
httpslidepdfcomreaderfullindian-music-in-malaysia-present 1021
Musical instruments in Indian music are manyand documented
832019 Indian Music in Malaysia-present
httpslidepdfcomreaderfullindian-music-in-malaysia-present 1121
CHORDOPHONES
makes sound by way of a vibrating string or strings
stretched between two points -In Karnatak music vina violin and tambura
-In the Hindustani musicsitar sarangi and sarod
vinaviolin
tambura
sitar
sarangi
sarod
832019 Indian Music in Malaysia-present
httpslidepdfcomreaderfullindian-music-in-malaysia-present 1221
AEROPHONES the wind instruments inIndian classical music are flute and reed
types
-
in Karnatak music venu-in Hindustani music bamsri
venu
832019 Indian Music in Malaysia-present
httpslidepdfcomreaderfullindian-music-in-malaysia-present 1321
MEMBRANOPHONES any musical instrument as
a drum in which the sound is produced by striking
rubbing or blowing
-In Karnatak music mridangam tavil
-In Hindustani music pakhavaj tabla
mridangam
tavil
pakahavaj
tabla
832019 Indian Music in Malaysia-present
httpslidepdfcomreaderfullindian-music-in-malaysia-present 1421
IDIOPHONES creates sound primarily by way of theinstrument vibrating itself without the use of strings or
membranes
-In Karnatak music tambourine (kanjira) ghatam and
morsing -In Hindustani music jaltarang
tambourine
ghatam morsing
jaltarang
832019 Indian Music in Malaysia-present
httpslidepdfcomreaderfullindian-music-in-malaysia-present 1521
Indian classical music focuses on melody and
rhytm
The classical composition are improvised and the
concepts of raga or rag and tala or tal are thebasis of improvisation
832019 Indian Music in Malaysia-present
httpslidepdfcomreaderfullindian-music-in-malaysia-present 1621
Based on the rag ( in the Hindustani tradition) orraga (in the Karnatak tradition)
Built on a 7-tone scale ( the solfege syllabes sa ri ga ma pa dha ni are used to sing the scale)
It is scale-like arrangement or bdquomelody-type‟ with aspecific ascending pattern and descending pattern
832019 Indian Music in Malaysia-present
httpslidepdfcomreaderfullindian-music-in-malaysia-present 1721
The tal (Hindustani music) or tala ( Karnatak music)refers to the time measure and rhytm in classical
music
The time cycle that contains a specific numbers of beats
The given time cycle used in a performance isrepeated throughout the piece
The basis for organizing time and for playing therhythmic patterns on the drums and other
percussion instruments The repeated tal or tala may be quite short 7 beats
for example or 30 or more beats long
832019 Indian Music in Malaysia-present
httpslidepdfcomreaderfullindian-music-in-malaysia-present 1821
832019 Indian Music in Malaysia-present
httpslidepdfcomreaderfullindian-music-in-malaysia-present 1921
Involves two main part FIRST PART The alapana (Karnatak tradition) or the alap
(Hindustani tradition) The music is not metered The drums are not played
The player reveals the particular raga slowly bringing outall the pitches and melodic motifs little by little Rhythm is free no tala present
Develops in stagesproceeding to the short session calledtanam (in Karnatak tradition) and jor ( in Hindustani
tradition)
Player begin to establish a steady beat or pulse in themusic Still no tala present
At the end of alapana the performer stops momenntarilyto re-tune his instruments
832019 Indian Music in Malaysia-present
httpslidepdfcomreaderfullindian-music-in-malaysia-present 2021
SECOND PART consists of the main
composition There is specific raga and tala
Usually the drummer enters the performanceat this time
Performance by Ravi Shankar
832019 Indian Music in Malaysia-present
httpslidepdfcomreaderfullindian-music-in-malaysia-present 2121
Indian musical associations in Malaysia also promote lightclassical and new music to attract the various ethnic groupsfrom South Asia as well as the Malays and Chinese to their
concerts
Shorter melodic themes and faster rhythms are used
Catchy melodies and new instruments are showcased toattract the audience
Example the group bdquoVadya Sammelanam‟ which performedfor Radio Malaysia highlighted jaltarang as virtuaso
instruments
832019 Indian Music in Malaysia-present
httpslidepdfcomreaderfullindian-music-in-malaysia-present 421
Indian traditional is been nurtured in privateinstitution as various Indian societies
These association mainly teaching and sponsoringactivates in ldquokarnatakrdquo music and dance for private
public functions and concertsEg association Sangeetha Abhivirdhi Sabha set up
in the Brickfields area of Kuala Lumpur and it‟sbranches in Johor Baharu and Peneng
Teachers mostly came from india suchas SCNagasamy that come from Tamil Nadus astrainer at
the assocation
832019 Indian Music in Malaysia-present
httpslidepdfcomreaderfullindian-music-in-malaysia-present 521
Indian classical music in Malaysiaessentially retain as the same musical
tradition in India today
Many Malaysia classical musician
continue to go to various part of Indianto study with master in vina sitar andtabla performance
While specialist Indian musician likeRavi Shankar are invited to Malaysia togive performance to general public in
Malaysia
832019 Indian Music in Malaysia-present
httpslidepdfcomreaderfullindian-music-in-malaysia-present 621
bull Known as Rig Veda existed in India datesfrom around 1500 BCE
bull First existed only in an oral tradition butwritten down by about the 10th century CE
bull Used by the upper three castes of HinduSociety
bull A manuscript on drama music amp dance
entitled Natya-Sastera was written during theperiod between the 2nd century BCE amp the6th century CE
832019 Indian Music in Malaysia-present
httpslidepdfcomreaderfullindian-music-in-malaysia-present 721
Raga also explained the concept of rhythm tala(time cycle) beat tempo amp others
About 10th century another ancient treatise
entitled Brhaddesi by the theorist Matanga
In Natya-Sasterascale systems were
described amp theterm raga appeared
Melody type basisfor the creation of melody in Indian
Music
832019 Indian Music in Malaysia-present
httpslidepdfcomreaderfullindian-music-in-malaysia-present 821
13th century the theorist Sarngadeva producetreatise of Indian classical music entitled
Sangita-Ratnakara (Ocean of music amp dance)particularly important because it describes thestate of south central Indian music just before
the effect of Muslim influence was strongly feltin the Indian musical arts
During mogul empire Muslim musicianscreated new raga amp tala introduced new forms
amp genre of music and new musicalinstruments
832019 Indian Music in Malaysia-present
httpslidepdfcomreaderfullindian-music-in-malaysia-present 921
12th amp 16th centuries two differenttraditions of classical music emerged
known as Hindustani amp Karnatak
Although both music originated from thesame theoretical principles the two stylesexhibit different musical forms raga tala
musical instruments and other musicaldetails
832019 Indian Music in Malaysia-present
httpslidepdfcomreaderfullindian-music-in-malaysia-present 1021
Musical instruments in Indian music are manyand documented
832019 Indian Music in Malaysia-present
httpslidepdfcomreaderfullindian-music-in-malaysia-present 1121
CHORDOPHONES
makes sound by way of a vibrating string or strings
stretched between two points -In Karnatak music vina violin and tambura
-In the Hindustani musicsitar sarangi and sarod
vinaviolin
tambura
sitar
sarangi
sarod
832019 Indian Music in Malaysia-present
httpslidepdfcomreaderfullindian-music-in-malaysia-present 1221
AEROPHONES the wind instruments inIndian classical music are flute and reed
types
-
in Karnatak music venu-in Hindustani music bamsri
venu
832019 Indian Music in Malaysia-present
httpslidepdfcomreaderfullindian-music-in-malaysia-present 1321
MEMBRANOPHONES any musical instrument as
a drum in which the sound is produced by striking
rubbing or blowing
-In Karnatak music mridangam tavil
-In Hindustani music pakhavaj tabla
mridangam
tavil
pakahavaj
tabla
832019 Indian Music in Malaysia-present
httpslidepdfcomreaderfullindian-music-in-malaysia-present 1421
IDIOPHONES creates sound primarily by way of theinstrument vibrating itself without the use of strings or
membranes
-In Karnatak music tambourine (kanjira) ghatam and
morsing -In Hindustani music jaltarang
tambourine
ghatam morsing
jaltarang
832019 Indian Music in Malaysia-present
httpslidepdfcomreaderfullindian-music-in-malaysia-present 1521
Indian classical music focuses on melody and
rhytm
The classical composition are improvised and the
concepts of raga or rag and tala or tal are thebasis of improvisation
832019 Indian Music in Malaysia-present
httpslidepdfcomreaderfullindian-music-in-malaysia-present 1621
Based on the rag ( in the Hindustani tradition) orraga (in the Karnatak tradition)
Built on a 7-tone scale ( the solfege syllabes sa ri ga ma pa dha ni are used to sing the scale)
It is scale-like arrangement or bdquomelody-type‟ with aspecific ascending pattern and descending pattern
832019 Indian Music in Malaysia-present
httpslidepdfcomreaderfullindian-music-in-malaysia-present 1721
The tal (Hindustani music) or tala ( Karnatak music)refers to the time measure and rhytm in classical
music
The time cycle that contains a specific numbers of beats
The given time cycle used in a performance isrepeated throughout the piece
The basis for organizing time and for playing therhythmic patterns on the drums and other
percussion instruments The repeated tal or tala may be quite short 7 beats
for example or 30 or more beats long
832019 Indian Music in Malaysia-present
httpslidepdfcomreaderfullindian-music-in-malaysia-present 1821
832019 Indian Music in Malaysia-present
httpslidepdfcomreaderfullindian-music-in-malaysia-present 1921
Involves two main part FIRST PART The alapana (Karnatak tradition) or the alap
(Hindustani tradition) The music is not metered The drums are not played
The player reveals the particular raga slowly bringing outall the pitches and melodic motifs little by little Rhythm is free no tala present
Develops in stagesproceeding to the short session calledtanam (in Karnatak tradition) and jor ( in Hindustani
tradition)
Player begin to establish a steady beat or pulse in themusic Still no tala present
At the end of alapana the performer stops momenntarilyto re-tune his instruments
832019 Indian Music in Malaysia-present
httpslidepdfcomreaderfullindian-music-in-malaysia-present 2021
SECOND PART consists of the main
composition There is specific raga and tala
Usually the drummer enters the performanceat this time
Performance by Ravi Shankar
832019 Indian Music in Malaysia-present
httpslidepdfcomreaderfullindian-music-in-malaysia-present 2121
Indian musical associations in Malaysia also promote lightclassical and new music to attract the various ethnic groupsfrom South Asia as well as the Malays and Chinese to their
concerts
Shorter melodic themes and faster rhythms are used
Catchy melodies and new instruments are showcased toattract the audience
Example the group bdquoVadya Sammelanam‟ which performedfor Radio Malaysia highlighted jaltarang as virtuaso
instruments
832019 Indian Music in Malaysia-present
httpslidepdfcomreaderfullindian-music-in-malaysia-present 521
Indian classical music in Malaysiaessentially retain as the same musical
tradition in India today
Many Malaysia classical musician
continue to go to various part of Indianto study with master in vina sitar andtabla performance
While specialist Indian musician likeRavi Shankar are invited to Malaysia togive performance to general public in
Malaysia
832019 Indian Music in Malaysia-present
httpslidepdfcomreaderfullindian-music-in-malaysia-present 621
bull Known as Rig Veda existed in India datesfrom around 1500 BCE
bull First existed only in an oral tradition butwritten down by about the 10th century CE
bull Used by the upper three castes of HinduSociety
bull A manuscript on drama music amp dance
entitled Natya-Sastera was written during theperiod between the 2nd century BCE amp the6th century CE
832019 Indian Music in Malaysia-present
httpslidepdfcomreaderfullindian-music-in-malaysia-present 721
Raga also explained the concept of rhythm tala(time cycle) beat tempo amp others
About 10th century another ancient treatise
entitled Brhaddesi by the theorist Matanga
In Natya-Sasterascale systems were
described amp theterm raga appeared
Melody type basisfor the creation of melody in Indian
Music
832019 Indian Music in Malaysia-present
httpslidepdfcomreaderfullindian-music-in-malaysia-present 821
13th century the theorist Sarngadeva producetreatise of Indian classical music entitled
Sangita-Ratnakara (Ocean of music amp dance)particularly important because it describes thestate of south central Indian music just before
the effect of Muslim influence was strongly feltin the Indian musical arts
During mogul empire Muslim musicianscreated new raga amp tala introduced new forms
amp genre of music and new musicalinstruments
832019 Indian Music in Malaysia-present
httpslidepdfcomreaderfullindian-music-in-malaysia-present 921
12th amp 16th centuries two differenttraditions of classical music emerged
known as Hindustani amp Karnatak
Although both music originated from thesame theoretical principles the two stylesexhibit different musical forms raga tala
musical instruments and other musicaldetails
832019 Indian Music in Malaysia-present
httpslidepdfcomreaderfullindian-music-in-malaysia-present 1021
Musical instruments in Indian music are manyand documented
832019 Indian Music in Malaysia-present
httpslidepdfcomreaderfullindian-music-in-malaysia-present 1121
CHORDOPHONES
makes sound by way of a vibrating string or strings
stretched between two points -In Karnatak music vina violin and tambura
-In the Hindustani musicsitar sarangi and sarod
vinaviolin
tambura
sitar
sarangi
sarod
832019 Indian Music in Malaysia-present
httpslidepdfcomreaderfullindian-music-in-malaysia-present 1221
AEROPHONES the wind instruments inIndian classical music are flute and reed
types
-
in Karnatak music venu-in Hindustani music bamsri
venu
832019 Indian Music in Malaysia-present
httpslidepdfcomreaderfullindian-music-in-malaysia-present 1321
MEMBRANOPHONES any musical instrument as
a drum in which the sound is produced by striking
rubbing or blowing
-In Karnatak music mridangam tavil
-In Hindustani music pakhavaj tabla
mridangam
tavil
pakahavaj
tabla
832019 Indian Music in Malaysia-present
httpslidepdfcomreaderfullindian-music-in-malaysia-present 1421
IDIOPHONES creates sound primarily by way of theinstrument vibrating itself without the use of strings or
membranes
-In Karnatak music tambourine (kanjira) ghatam and
morsing -In Hindustani music jaltarang
tambourine
ghatam morsing
jaltarang
832019 Indian Music in Malaysia-present
httpslidepdfcomreaderfullindian-music-in-malaysia-present 1521
Indian classical music focuses on melody and
rhytm
The classical composition are improvised and the
concepts of raga or rag and tala or tal are thebasis of improvisation
832019 Indian Music in Malaysia-present
httpslidepdfcomreaderfullindian-music-in-malaysia-present 1621
Based on the rag ( in the Hindustani tradition) orraga (in the Karnatak tradition)
Built on a 7-tone scale ( the solfege syllabes sa ri ga ma pa dha ni are used to sing the scale)
It is scale-like arrangement or bdquomelody-type‟ with aspecific ascending pattern and descending pattern
832019 Indian Music in Malaysia-present
httpslidepdfcomreaderfullindian-music-in-malaysia-present 1721
The tal (Hindustani music) or tala ( Karnatak music)refers to the time measure and rhytm in classical
music
The time cycle that contains a specific numbers of beats
The given time cycle used in a performance isrepeated throughout the piece
The basis for organizing time and for playing therhythmic patterns on the drums and other
percussion instruments The repeated tal or tala may be quite short 7 beats
for example or 30 or more beats long
832019 Indian Music in Malaysia-present
httpslidepdfcomreaderfullindian-music-in-malaysia-present 1821
832019 Indian Music in Malaysia-present
httpslidepdfcomreaderfullindian-music-in-malaysia-present 1921
Involves two main part FIRST PART The alapana (Karnatak tradition) or the alap
(Hindustani tradition) The music is not metered The drums are not played
The player reveals the particular raga slowly bringing outall the pitches and melodic motifs little by little Rhythm is free no tala present
Develops in stagesproceeding to the short session calledtanam (in Karnatak tradition) and jor ( in Hindustani
tradition)
Player begin to establish a steady beat or pulse in themusic Still no tala present
At the end of alapana the performer stops momenntarilyto re-tune his instruments
832019 Indian Music in Malaysia-present
httpslidepdfcomreaderfullindian-music-in-malaysia-present 2021
SECOND PART consists of the main
composition There is specific raga and tala
Usually the drummer enters the performanceat this time
Performance by Ravi Shankar
832019 Indian Music in Malaysia-present
httpslidepdfcomreaderfullindian-music-in-malaysia-present 2121
Indian musical associations in Malaysia also promote lightclassical and new music to attract the various ethnic groupsfrom South Asia as well as the Malays and Chinese to their
concerts
Shorter melodic themes and faster rhythms are used
Catchy melodies and new instruments are showcased toattract the audience
Example the group bdquoVadya Sammelanam‟ which performedfor Radio Malaysia highlighted jaltarang as virtuaso
instruments
832019 Indian Music in Malaysia-present
httpslidepdfcomreaderfullindian-music-in-malaysia-present 621
bull Known as Rig Veda existed in India datesfrom around 1500 BCE
bull First existed only in an oral tradition butwritten down by about the 10th century CE
bull Used by the upper three castes of HinduSociety
bull A manuscript on drama music amp dance
entitled Natya-Sastera was written during theperiod between the 2nd century BCE amp the6th century CE
832019 Indian Music in Malaysia-present
httpslidepdfcomreaderfullindian-music-in-malaysia-present 721
Raga also explained the concept of rhythm tala(time cycle) beat tempo amp others
About 10th century another ancient treatise
entitled Brhaddesi by the theorist Matanga
In Natya-Sasterascale systems were
described amp theterm raga appeared
Melody type basisfor the creation of melody in Indian
Music
832019 Indian Music in Malaysia-present
httpslidepdfcomreaderfullindian-music-in-malaysia-present 821
13th century the theorist Sarngadeva producetreatise of Indian classical music entitled
Sangita-Ratnakara (Ocean of music amp dance)particularly important because it describes thestate of south central Indian music just before
the effect of Muslim influence was strongly feltin the Indian musical arts
During mogul empire Muslim musicianscreated new raga amp tala introduced new forms
amp genre of music and new musicalinstruments
832019 Indian Music in Malaysia-present
httpslidepdfcomreaderfullindian-music-in-malaysia-present 921
12th amp 16th centuries two differenttraditions of classical music emerged
known as Hindustani amp Karnatak
Although both music originated from thesame theoretical principles the two stylesexhibit different musical forms raga tala
musical instruments and other musicaldetails
832019 Indian Music in Malaysia-present
httpslidepdfcomreaderfullindian-music-in-malaysia-present 1021
Musical instruments in Indian music are manyand documented
832019 Indian Music in Malaysia-present
httpslidepdfcomreaderfullindian-music-in-malaysia-present 1121
CHORDOPHONES
makes sound by way of a vibrating string or strings
stretched between two points -In Karnatak music vina violin and tambura
-In the Hindustani musicsitar sarangi and sarod
vinaviolin
tambura
sitar
sarangi
sarod
832019 Indian Music in Malaysia-present
httpslidepdfcomreaderfullindian-music-in-malaysia-present 1221
AEROPHONES the wind instruments inIndian classical music are flute and reed
types
-
in Karnatak music venu-in Hindustani music bamsri
venu
832019 Indian Music in Malaysia-present
httpslidepdfcomreaderfullindian-music-in-malaysia-present 1321
MEMBRANOPHONES any musical instrument as
a drum in which the sound is produced by striking
rubbing or blowing
-In Karnatak music mridangam tavil
-In Hindustani music pakhavaj tabla
mridangam
tavil
pakahavaj
tabla
832019 Indian Music in Malaysia-present
httpslidepdfcomreaderfullindian-music-in-malaysia-present 1421
IDIOPHONES creates sound primarily by way of theinstrument vibrating itself without the use of strings or
membranes
-In Karnatak music tambourine (kanjira) ghatam and
morsing -In Hindustani music jaltarang
tambourine
ghatam morsing
jaltarang
832019 Indian Music in Malaysia-present
httpslidepdfcomreaderfullindian-music-in-malaysia-present 1521
Indian classical music focuses on melody and
rhytm
The classical composition are improvised and the
concepts of raga or rag and tala or tal are thebasis of improvisation
832019 Indian Music in Malaysia-present
httpslidepdfcomreaderfullindian-music-in-malaysia-present 1621
Based on the rag ( in the Hindustani tradition) orraga (in the Karnatak tradition)
Built on a 7-tone scale ( the solfege syllabes sa ri ga ma pa dha ni are used to sing the scale)
It is scale-like arrangement or bdquomelody-type‟ with aspecific ascending pattern and descending pattern
832019 Indian Music in Malaysia-present
httpslidepdfcomreaderfullindian-music-in-malaysia-present 1721
The tal (Hindustani music) or tala ( Karnatak music)refers to the time measure and rhytm in classical
music
The time cycle that contains a specific numbers of beats
The given time cycle used in a performance isrepeated throughout the piece
The basis for organizing time and for playing therhythmic patterns on the drums and other
percussion instruments The repeated tal or tala may be quite short 7 beats
for example or 30 or more beats long
832019 Indian Music in Malaysia-present
httpslidepdfcomreaderfullindian-music-in-malaysia-present 1821
832019 Indian Music in Malaysia-present
httpslidepdfcomreaderfullindian-music-in-malaysia-present 1921
Involves two main part FIRST PART The alapana (Karnatak tradition) or the alap
(Hindustani tradition) The music is not metered The drums are not played
The player reveals the particular raga slowly bringing outall the pitches and melodic motifs little by little Rhythm is free no tala present
Develops in stagesproceeding to the short session calledtanam (in Karnatak tradition) and jor ( in Hindustani
tradition)
Player begin to establish a steady beat or pulse in themusic Still no tala present
At the end of alapana the performer stops momenntarilyto re-tune his instruments
832019 Indian Music in Malaysia-present
httpslidepdfcomreaderfullindian-music-in-malaysia-present 2021
SECOND PART consists of the main
composition There is specific raga and tala
Usually the drummer enters the performanceat this time
Performance by Ravi Shankar
832019 Indian Music in Malaysia-present
httpslidepdfcomreaderfullindian-music-in-malaysia-present 2121
Indian musical associations in Malaysia also promote lightclassical and new music to attract the various ethnic groupsfrom South Asia as well as the Malays and Chinese to their
concerts
Shorter melodic themes and faster rhythms are used
Catchy melodies and new instruments are showcased toattract the audience
Example the group bdquoVadya Sammelanam‟ which performedfor Radio Malaysia highlighted jaltarang as virtuaso
instruments
832019 Indian Music in Malaysia-present
httpslidepdfcomreaderfullindian-music-in-malaysia-present 721
Raga also explained the concept of rhythm tala(time cycle) beat tempo amp others
About 10th century another ancient treatise
entitled Brhaddesi by the theorist Matanga
In Natya-Sasterascale systems were
described amp theterm raga appeared
Melody type basisfor the creation of melody in Indian
Music
832019 Indian Music in Malaysia-present
httpslidepdfcomreaderfullindian-music-in-malaysia-present 821
13th century the theorist Sarngadeva producetreatise of Indian classical music entitled
Sangita-Ratnakara (Ocean of music amp dance)particularly important because it describes thestate of south central Indian music just before
the effect of Muslim influence was strongly feltin the Indian musical arts
During mogul empire Muslim musicianscreated new raga amp tala introduced new forms
amp genre of music and new musicalinstruments
832019 Indian Music in Malaysia-present
httpslidepdfcomreaderfullindian-music-in-malaysia-present 921
12th amp 16th centuries two differenttraditions of classical music emerged
known as Hindustani amp Karnatak
Although both music originated from thesame theoretical principles the two stylesexhibit different musical forms raga tala
musical instruments and other musicaldetails
832019 Indian Music in Malaysia-present
httpslidepdfcomreaderfullindian-music-in-malaysia-present 1021
Musical instruments in Indian music are manyand documented
832019 Indian Music in Malaysia-present
httpslidepdfcomreaderfullindian-music-in-malaysia-present 1121
CHORDOPHONES
makes sound by way of a vibrating string or strings
stretched between two points -In Karnatak music vina violin and tambura
-In the Hindustani musicsitar sarangi and sarod
vinaviolin
tambura
sitar
sarangi
sarod
832019 Indian Music in Malaysia-present
httpslidepdfcomreaderfullindian-music-in-malaysia-present 1221
AEROPHONES the wind instruments inIndian classical music are flute and reed
types
-
in Karnatak music venu-in Hindustani music bamsri
venu
832019 Indian Music in Malaysia-present
httpslidepdfcomreaderfullindian-music-in-malaysia-present 1321
MEMBRANOPHONES any musical instrument as
a drum in which the sound is produced by striking
rubbing or blowing
-In Karnatak music mridangam tavil
-In Hindustani music pakhavaj tabla
mridangam
tavil
pakahavaj
tabla
832019 Indian Music in Malaysia-present
httpslidepdfcomreaderfullindian-music-in-malaysia-present 1421
IDIOPHONES creates sound primarily by way of theinstrument vibrating itself without the use of strings or
membranes
-In Karnatak music tambourine (kanjira) ghatam and
morsing -In Hindustani music jaltarang
tambourine
ghatam morsing
jaltarang
832019 Indian Music in Malaysia-present
httpslidepdfcomreaderfullindian-music-in-malaysia-present 1521
Indian classical music focuses on melody and
rhytm
The classical composition are improvised and the
concepts of raga or rag and tala or tal are thebasis of improvisation
832019 Indian Music in Malaysia-present
httpslidepdfcomreaderfullindian-music-in-malaysia-present 1621
Based on the rag ( in the Hindustani tradition) orraga (in the Karnatak tradition)
Built on a 7-tone scale ( the solfege syllabes sa ri ga ma pa dha ni are used to sing the scale)
It is scale-like arrangement or bdquomelody-type‟ with aspecific ascending pattern and descending pattern
832019 Indian Music in Malaysia-present
httpslidepdfcomreaderfullindian-music-in-malaysia-present 1721
The tal (Hindustani music) or tala ( Karnatak music)refers to the time measure and rhytm in classical
music
The time cycle that contains a specific numbers of beats
The given time cycle used in a performance isrepeated throughout the piece
The basis for organizing time and for playing therhythmic patterns on the drums and other
percussion instruments The repeated tal or tala may be quite short 7 beats
for example or 30 or more beats long
832019 Indian Music in Malaysia-present
httpslidepdfcomreaderfullindian-music-in-malaysia-present 1821
832019 Indian Music in Malaysia-present
httpslidepdfcomreaderfullindian-music-in-malaysia-present 1921
Involves two main part FIRST PART The alapana (Karnatak tradition) or the alap
(Hindustani tradition) The music is not metered The drums are not played
The player reveals the particular raga slowly bringing outall the pitches and melodic motifs little by little Rhythm is free no tala present
Develops in stagesproceeding to the short session calledtanam (in Karnatak tradition) and jor ( in Hindustani
tradition)
Player begin to establish a steady beat or pulse in themusic Still no tala present
At the end of alapana the performer stops momenntarilyto re-tune his instruments
832019 Indian Music in Malaysia-present
httpslidepdfcomreaderfullindian-music-in-malaysia-present 2021
SECOND PART consists of the main
composition There is specific raga and tala
Usually the drummer enters the performanceat this time
Performance by Ravi Shankar
832019 Indian Music in Malaysia-present
httpslidepdfcomreaderfullindian-music-in-malaysia-present 2121
Indian musical associations in Malaysia also promote lightclassical and new music to attract the various ethnic groupsfrom South Asia as well as the Malays and Chinese to their
concerts
Shorter melodic themes and faster rhythms are used
Catchy melodies and new instruments are showcased toattract the audience
Example the group bdquoVadya Sammelanam‟ which performedfor Radio Malaysia highlighted jaltarang as virtuaso
instruments
832019 Indian Music in Malaysia-present
httpslidepdfcomreaderfullindian-music-in-malaysia-present 821
13th century the theorist Sarngadeva producetreatise of Indian classical music entitled
Sangita-Ratnakara (Ocean of music amp dance)particularly important because it describes thestate of south central Indian music just before
the effect of Muslim influence was strongly feltin the Indian musical arts
During mogul empire Muslim musicianscreated new raga amp tala introduced new forms
amp genre of music and new musicalinstruments
832019 Indian Music in Malaysia-present
httpslidepdfcomreaderfullindian-music-in-malaysia-present 921
12th amp 16th centuries two differenttraditions of classical music emerged
known as Hindustani amp Karnatak
Although both music originated from thesame theoretical principles the two stylesexhibit different musical forms raga tala
musical instruments and other musicaldetails
832019 Indian Music in Malaysia-present
httpslidepdfcomreaderfullindian-music-in-malaysia-present 1021
Musical instruments in Indian music are manyand documented
832019 Indian Music in Malaysia-present
httpslidepdfcomreaderfullindian-music-in-malaysia-present 1121
CHORDOPHONES
makes sound by way of a vibrating string or strings
stretched between two points -In Karnatak music vina violin and tambura
-In the Hindustani musicsitar sarangi and sarod
vinaviolin
tambura
sitar
sarangi
sarod
832019 Indian Music in Malaysia-present
httpslidepdfcomreaderfullindian-music-in-malaysia-present 1221
AEROPHONES the wind instruments inIndian classical music are flute and reed
types
-
in Karnatak music venu-in Hindustani music bamsri
venu
832019 Indian Music in Malaysia-present
httpslidepdfcomreaderfullindian-music-in-malaysia-present 1321
MEMBRANOPHONES any musical instrument as
a drum in which the sound is produced by striking
rubbing or blowing
-In Karnatak music mridangam tavil
-In Hindustani music pakhavaj tabla
mridangam
tavil
pakahavaj
tabla
832019 Indian Music in Malaysia-present
httpslidepdfcomreaderfullindian-music-in-malaysia-present 1421
IDIOPHONES creates sound primarily by way of theinstrument vibrating itself without the use of strings or
membranes
-In Karnatak music tambourine (kanjira) ghatam and
morsing -In Hindustani music jaltarang
tambourine
ghatam morsing
jaltarang
832019 Indian Music in Malaysia-present
httpslidepdfcomreaderfullindian-music-in-malaysia-present 1521
Indian classical music focuses on melody and
rhytm
The classical composition are improvised and the
concepts of raga or rag and tala or tal are thebasis of improvisation
832019 Indian Music in Malaysia-present
httpslidepdfcomreaderfullindian-music-in-malaysia-present 1621
Based on the rag ( in the Hindustani tradition) orraga (in the Karnatak tradition)
Built on a 7-tone scale ( the solfege syllabes sa ri ga ma pa dha ni are used to sing the scale)
It is scale-like arrangement or bdquomelody-type‟ with aspecific ascending pattern and descending pattern
832019 Indian Music in Malaysia-present
httpslidepdfcomreaderfullindian-music-in-malaysia-present 1721
The tal (Hindustani music) or tala ( Karnatak music)refers to the time measure and rhytm in classical
music
The time cycle that contains a specific numbers of beats
The given time cycle used in a performance isrepeated throughout the piece
The basis for organizing time and for playing therhythmic patterns on the drums and other
percussion instruments The repeated tal or tala may be quite short 7 beats
for example or 30 or more beats long
832019 Indian Music in Malaysia-present
httpslidepdfcomreaderfullindian-music-in-malaysia-present 1821
832019 Indian Music in Malaysia-present
httpslidepdfcomreaderfullindian-music-in-malaysia-present 1921
Involves two main part FIRST PART The alapana (Karnatak tradition) or the alap
(Hindustani tradition) The music is not metered The drums are not played
The player reveals the particular raga slowly bringing outall the pitches and melodic motifs little by little Rhythm is free no tala present
Develops in stagesproceeding to the short session calledtanam (in Karnatak tradition) and jor ( in Hindustani
tradition)
Player begin to establish a steady beat or pulse in themusic Still no tala present
At the end of alapana the performer stops momenntarilyto re-tune his instruments
832019 Indian Music in Malaysia-present
httpslidepdfcomreaderfullindian-music-in-malaysia-present 2021
SECOND PART consists of the main
composition There is specific raga and tala
Usually the drummer enters the performanceat this time
Performance by Ravi Shankar
832019 Indian Music in Malaysia-present
httpslidepdfcomreaderfullindian-music-in-malaysia-present 2121
Indian musical associations in Malaysia also promote lightclassical and new music to attract the various ethnic groupsfrom South Asia as well as the Malays and Chinese to their
concerts
Shorter melodic themes and faster rhythms are used
Catchy melodies and new instruments are showcased toattract the audience
Example the group bdquoVadya Sammelanam‟ which performedfor Radio Malaysia highlighted jaltarang as virtuaso
instruments
832019 Indian Music in Malaysia-present
httpslidepdfcomreaderfullindian-music-in-malaysia-present 921
12th amp 16th centuries two differenttraditions of classical music emerged
known as Hindustani amp Karnatak
Although both music originated from thesame theoretical principles the two stylesexhibit different musical forms raga tala
musical instruments and other musicaldetails
832019 Indian Music in Malaysia-present
httpslidepdfcomreaderfullindian-music-in-malaysia-present 1021
Musical instruments in Indian music are manyand documented
832019 Indian Music in Malaysia-present
httpslidepdfcomreaderfullindian-music-in-malaysia-present 1121
CHORDOPHONES
makes sound by way of a vibrating string or strings
stretched between two points -In Karnatak music vina violin and tambura
-In the Hindustani musicsitar sarangi and sarod
vinaviolin
tambura
sitar
sarangi
sarod
832019 Indian Music in Malaysia-present
httpslidepdfcomreaderfullindian-music-in-malaysia-present 1221
AEROPHONES the wind instruments inIndian classical music are flute and reed
types
-
in Karnatak music venu-in Hindustani music bamsri
venu
832019 Indian Music in Malaysia-present
httpslidepdfcomreaderfullindian-music-in-malaysia-present 1321
MEMBRANOPHONES any musical instrument as
a drum in which the sound is produced by striking
rubbing or blowing
-In Karnatak music mridangam tavil
-In Hindustani music pakhavaj tabla
mridangam
tavil
pakahavaj
tabla
832019 Indian Music in Malaysia-present
httpslidepdfcomreaderfullindian-music-in-malaysia-present 1421
IDIOPHONES creates sound primarily by way of theinstrument vibrating itself without the use of strings or
membranes
-In Karnatak music tambourine (kanjira) ghatam and
morsing -In Hindustani music jaltarang
tambourine
ghatam morsing
jaltarang
832019 Indian Music in Malaysia-present
httpslidepdfcomreaderfullindian-music-in-malaysia-present 1521
Indian classical music focuses on melody and
rhytm
The classical composition are improvised and the
concepts of raga or rag and tala or tal are thebasis of improvisation
832019 Indian Music in Malaysia-present
httpslidepdfcomreaderfullindian-music-in-malaysia-present 1621
Based on the rag ( in the Hindustani tradition) orraga (in the Karnatak tradition)
Built on a 7-tone scale ( the solfege syllabes sa ri ga ma pa dha ni are used to sing the scale)
It is scale-like arrangement or bdquomelody-type‟ with aspecific ascending pattern and descending pattern
832019 Indian Music in Malaysia-present
httpslidepdfcomreaderfullindian-music-in-malaysia-present 1721
The tal (Hindustani music) or tala ( Karnatak music)refers to the time measure and rhytm in classical
music
The time cycle that contains a specific numbers of beats
The given time cycle used in a performance isrepeated throughout the piece
The basis for organizing time and for playing therhythmic patterns on the drums and other
percussion instruments The repeated tal or tala may be quite short 7 beats
for example or 30 or more beats long
832019 Indian Music in Malaysia-present
httpslidepdfcomreaderfullindian-music-in-malaysia-present 1821
832019 Indian Music in Malaysia-present
httpslidepdfcomreaderfullindian-music-in-malaysia-present 1921
Involves two main part FIRST PART The alapana (Karnatak tradition) or the alap
(Hindustani tradition) The music is not metered The drums are not played
The player reveals the particular raga slowly bringing outall the pitches and melodic motifs little by little Rhythm is free no tala present
Develops in stagesproceeding to the short session calledtanam (in Karnatak tradition) and jor ( in Hindustani
tradition)
Player begin to establish a steady beat or pulse in themusic Still no tala present
At the end of alapana the performer stops momenntarilyto re-tune his instruments
832019 Indian Music in Malaysia-present
httpslidepdfcomreaderfullindian-music-in-malaysia-present 2021
SECOND PART consists of the main
composition There is specific raga and tala
Usually the drummer enters the performanceat this time
Performance by Ravi Shankar
832019 Indian Music in Malaysia-present
httpslidepdfcomreaderfullindian-music-in-malaysia-present 2121
Indian musical associations in Malaysia also promote lightclassical and new music to attract the various ethnic groupsfrom South Asia as well as the Malays and Chinese to their
concerts
Shorter melodic themes and faster rhythms are used
Catchy melodies and new instruments are showcased toattract the audience
Example the group bdquoVadya Sammelanam‟ which performedfor Radio Malaysia highlighted jaltarang as virtuaso
instruments
832019 Indian Music in Malaysia-present
httpslidepdfcomreaderfullindian-music-in-malaysia-present 1021
Musical instruments in Indian music are manyand documented
832019 Indian Music in Malaysia-present
httpslidepdfcomreaderfullindian-music-in-malaysia-present 1121
CHORDOPHONES
makes sound by way of a vibrating string or strings
stretched between two points -In Karnatak music vina violin and tambura
-In the Hindustani musicsitar sarangi and sarod
vinaviolin
tambura
sitar
sarangi
sarod
832019 Indian Music in Malaysia-present
httpslidepdfcomreaderfullindian-music-in-malaysia-present 1221
AEROPHONES the wind instruments inIndian classical music are flute and reed
types
-
in Karnatak music venu-in Hindustani music bamsri
venu
832019 Indian Music in Malaysia-present
httpslidepdfcomreaderfullindian-music-in-malaysia-present 1321
MEMBRANOPHONES any musical instrument as
a drum in which the sound is produced by striking
rubbing or blowing
-In Karnatak music mridangam tavil
-In Hindustani music pakhavaj tabla
mridangam
tavil
pakahavaj
tabla
832019 Indian Music in Malaysia-present
httpslidepdfcomreaderfullindian-music-in-malaysia-present 1421
IDIOPHONES creates sound primarily by way of theinstrument vibrating itself without the use of strings or
membranes
-In Karnatak music tambourine (kanjira) ghatam and
morsing -In Hindustani music jaltarang
tambourine
ghatam morsing
jaltarang
832019 Indian Music in Malaysia-present
httpslidepdfcomreaderfullindian-music-in-malaysia-present 1521
Indian classical music focuses on melody and
rhytm
The classical composition are improvised and the
concepts of raga or rag and tala or tal are thebasis of improvisation
832019 Indian Music in Malaysia-present
httpslidepdfcomreaderfullindian-music-in-malaysia-present 1621
Based on the rag ( in the Hindustani tradition) orraga (in the Karnatak tradition)
Built on a 7-tone scale ( the solfege syllabes sa ri ga ma pa dha ni are used to sing the scale)
It is scale-like arrangement or bdquomelody-type‟ with aspecific ascending pattern and descending pattern
832019 Indian Music in Malaysia-present
httpslidepdfcomreaderfullindian-music-in-malaysia-present 1721
The tal (Hindustani music) or tala ( Karnatak music)refers to the time measure and rhytm in classical
music
The time cycle that contains a specific numbers of beats
The given time cycle used in a performance isrepeated throughout the piece
The basis for organizing time and for playing therhythmic patterns on the drums and other
percussion instruments The repeated tal or tala may be quite short 7 beats
for example or 30 or more beats long
832019 Indian Music in Malaysia-present
httpslidepdfcomreaderfullindian-music-in-malaysia-present 1821
832019 Indian Music in Malaysia-present
httpslidepdfcomreaderfullindian-music-in-malaysia-present 1921
Involves two main part FIRST PART The alapana (Karnatak tradition) or the alap
(Hindustani tradition) The music is not metered The drums are not played
The player reveals the particular raga slowly bringing outall the pitches and melodic motifs little by little Rhythm is free no tala present
Develops in stagesproceeding to the short session calledtanam (in Karnatak tradition) and jor ( in Hindustani
tradition)
Player begin to establish a steady beat or pulse in themusic Still no tala present
At the end of alapana the performer stops momenntarilyto re-tune his instruments
832019 Indian Music in Malaysia-present
httpslidepdfcomreaderfullindian-music-in-malaysia-present 2021
SECOND PART consists of the main
composition There is specific raga and tala
Usually the drummer enters the performanceat this time
Performance by Ravi Shankar
832019 Indian Music in Malaysia-present
httpslidepdfcomreaderfullindian-music-in-malaysia-present 2121
Indian musical associations in Malaysia also promote lightclassical and new music to attract the various ethnic groupsfrom South Asia as well as the Malays and Chinese to their
concerts
Shorter melodic themes and faster rhythms are used
Catchy melodies and new instruments are showcased toattract the audience
Example the group bdquoVadya Sammelanam‟ which performedfor Radio Malaysia highlighted jaltarang as virtuaso
instruments
832019 Indian Music in Malaysia-present
httpslidepdfcomreaderfullindian-music-in-malaysia-present 1121
CHORDOPHONES
makes sound by way of a vibrating string or strings
stretched between two points -In Karnatak music vina violin and tambura
-In the Hindustani musicsitar sarangi and sarod
vinaviolin
tambura
sitar
sarangi
sarod
832019 Indian Music in Malaysia-present
httpslidepdfcomreaderfullindian-music-in-malaysia-present 1221
AEROPHONES the wind instruments inIndian classical music are flute and reed
types
-
in Karnatak music venu-in Hindustani music bamsri
venu
832019 Indian Music in Malaysia-present
httpslidepdfcomreaderfullindian-music-in-malaysia-present 1321
MEMBRANOPHONES any musical instrument as
a drum in which the sound is produced by striking
rubbing or blowing
-In Karnatak music mridangam tavil
-In Hindustani music pakhavaj tabla
mridangam
tavil
pakahavaj
tabla
832019 Indian Music in Malaysia-present
httpslidepdfcomreaderfullindian-music-in-malaysia-present 1421
IDIOPHONES creates sound primarily by way of theinstrument vibrating itself without the use of strings or
membranes
-In Karnatak music tambourine (kanjira) ghatam and
morsing -In Hindustani music jaltarang
tambourine
ghatam morsing
jaltarang
832019 Indian Music in Malaysia-present
httpslidepdfcomreaderfullindian-music-in-malaysia-present 1521
Indian classical music focuses on melody and
rhytm
The classical composition are improvised and the
concepts of raga or rag and tala or tal are thebasis of improvisation
832019 Indian Music in Malaysia-present
httpslidepdfcomreaderfullindian-music-in-malaysia-present 1621
Based on the rag ( in the Hindustani tradition) orraga (in the Karnatak tradition)
Built on a 7-tone scale ( the solfege syllabes sa ri ga ma pa dha ni are used to sing the scale)
It is scale-like arrangement or bdquomelody-type‟ with aspecific ascending pattern and descending pattern
832019 Indian Music in Malaysia-present
httpslidepdfcomreaderfullindian-music-in-malaysia-present 1721
The tal (Hindustani music) or tala ( Karnatak music)refers to the time measure and rhytm in classical
music
The time cycle that contains a specific numbers of beats
The given time cycle used in a performance isrepeated throughout the piece
The basis for organizing time and for playing therhythmic patterns on the drums and other
percussion instruments The repeated tal or tala may be quite short 7 beats
for example or 30 or more beats long
832019 Indian Music in Malaysia-present
httpslidepdfcomreaderfullindian-music-in-malaysia-present 1821
832019 Indian Music in Malaysia-present
httpslidepdfcomreaderfullindian-music-in-malaysia-present 1921
Involves two main part FIRST PART The alapana (Karnatak tradition) or the alap
(Hindustani tradition) The music is not metered The drums are not played
The player reveals the particular raga slowly bringing outall the pitches and melodic motifs little by little Rhythm is free no tala present
Develops in stagesproceeding to the short session calledtanam (in Karnatak tradition) and jor ( in Hindustani
tradition)
Player begin to establish a steady beat or pulse in themusic Still no tala present
At the end of alapana the performer stops momenntarilyto re-tune his instruments
832019 Indian Music in Malaysia-present
httpslidepdfcomreaderfullindian-music-in-malaysia-present 2021
SECOND PART consists of the main
composition There is specific raga and tala
Usually the drummer enters the performanceat this time
Performance by Ravi Shankar
832019 Indian Music in Malaysia-present
httpslidepdfcomreaderfullindian-music-in-malaysia-present 2121
Indian musical associations in Malaysia also promote lightclassical and new music to attract the various ethnic groupsfrom South Asia as well as the Malays and Chinese to their
concerts
Shorter melodic themes and faster rhythms are used
Catchy melodies and new instruments are showcased toattract the audience
Example the group bdquoVadya Sammelanam‟ which performedfor Radio Malaysia highlighted jaltarang as virtuaso
instruments
832019 Indian Music in Malaysia-present
httpslidepdfcomreaderfullindian-music-in-malaysia-present 1221
AEROPHONES the wind instruments inIndian classical music are flute and reed
types
-
in Karnatak music venu-in Hindustani music bamsri
venu
832019 Indian Music in Malaysia-present
httpslidepdfcomreaderfullindian-music-in-malaysia-present 1321
MEMBRANOPHONES any musical instrument as
a drum in which the sound is produced by striking
rubbing or blowing
-In Karnatak music mridangam tavil
-In Hindustani music pakhavaj tabla
mridangam
tavil
pakahavaj
tabla
832019 Indian Music in Malaysia-present
httpslidepdfcomreaderfullindian-music-in-malaysia-present 1421
IDIOPHONES creates sound primarily by way of theinstrument vibrating itself without the use of strings or
membranes
-In Karnatak music tambourine (kanjira) ghatam and
morsing -In Hindustani music jaltarang
tambourine
ghatam morsing
jaltarang
832019 Indian Music in Malaysia-present
httpslidepdfcomreaderfullindian-music-in-malaysia-present 1521
Indian classical music focuses on melody and
rhytm
The classical composition are improvised and the
concepts of raga or rag and tala or tal are thebasis of improvisation
832019 Indian Music in Malaysia-present
httpslidepdfcomreaderfullindian-music-in-malaysia-present 1621
Based on the rag ( in the Hindustani tradition) orraga (in the Karnatak tradition)
Built on a 7-tone scale ( the solfege syllabes sa ri ga ma pa dha ni are used to sing the scale)
It is scale-like arrangement or bdquomelody-type‟ with aspecific ascending pattern and descending pattern
832019 Indian Music in Malaysia-present
httpslidepdfcomreaderfullindian-music-in-malaysia-present 1721
The tal (Hindustani music) or tala ( Karnatak music)refers to the time measure and rhytm in classical
music
The time cycle that contains a specific numbers of beats
The given time cycle used in a performance isrepeated throughout the piece
The basis for organizing time and for playing therhythmic patterns on the drums and other
percussion instruments The repeated tal or tala may be quite short 7 beats
for example or 30 or more beats long
832019 Indian Music in Malaysia-present
httpslidepdfcomreaderfullindian-music-in-malaysia-present 1821
832019 Indian Music in Malaysia-present
httpslidepdfcomreaderfullindian-music-in-malaysia-present 1921
Involves two main part FIRST PART The alapana (Karnatak tradition) or the alap
(Hindustani tradition) The music is not metered The drums are not played
The player reveals the particular raga slowly bringing outall the pitches and melodic motifs little by little Rhythm is free no tala present
Develops in stagesproceeding to the short session calledtanam (in Karnatak tradition) and jor ( in Hindustani
tradition)
Player begin to establish a steady beat or pulse in themusic Still no tala present
At the end of alapana the performer stops momenntarilyto re-tune his instruments
832019 Indian Music in Malaysia-present
httpslidepdfcomreaderfullindian-music-in-malaysia-present 2021
SECOND PART consists of the main
composition There is specific raga and tala
Usually the drummer enters the performanceat this time
Performance by Ravi Shankar
832019 Indian Music in Malaysia-present
httpslidepdfcomreaderfullindian-music-in-malaysia-present 2121
Indian musical associations in Malaysia also promote lightclassical and new music to attract the various ethnic groupsfrom South Asia as well as the Malays and Chinese to their
concerts
Shorter melodic themes and faster rhythms are used
Catchy melodies and new instruments are showcased toattract the audience
Example the group bdquoVadya Sammelanam‟ which performedfor Radio Malaysia highlighted jaltarang as virtuaso
instruments
832019 Indian Music in Malaysia-present
httpslidepdfcomreaderfullindian-music-in-malaysia-present 1321
MEMBRANOPHONES any musical instrument as
a drum in which the sound is produced by striking
rubbing or blowing
-In Karnatak music mridangam tavil
-In Hindustani music pakhavaj tabla
mridangam
tavil
pakahavaj
tabla
832019 Indian Music in Malaysia-present
httpslidepdfcomreaderfullindian-music-in-malaysia-present 1421
IDIOPHONES creates sound primarily by way of theinstrument vibrating itself without the use of strings or
membranes
-In Karnatak music tambourine (kanjira) ghatam and
morsing -In Hindustani music jaltarang
tambourine
ghatam morsing
jaltarang
832019 Indian Music in Malaysia-present
httpslidepdfcomreaderfullindian-music-in-malaysia-present 1521
Indian classical music focuses on melody and
rhytm
The classical composition are improvised and the
concepts of raga or rag and tala or tal are thebasis of improvisation
832019 Indian Music in Malaysia-present
httpslidepdfcomreaderfullindian-music-in-malaysia-present 1621
Based on the rag ( in the Hindustani tradition) orraga (in the Karnatak tradition)
Built on a 7-tone scale ( the solfege syllabes sa ri ga ma pa dha ni are used to sing the scale)
It is scale-like arrangement or bdquomelody-type‟ with aspecific ascending pattern and descending pattern
832019 Indian Music in Malaysia-present
httpslidepdfcomreaderfullindian-music-in-malaysia-present 1721
The tal (Hindustani music) or tala ( Karnatak music)refers to the time measure and rhytm in classical
music
The time cycle that contains a specific numbers of beats
The given time cycle used in a performance isrepeated throughout the piece
The basis for organizing time and for playing therhythmic patterns on the drums and other
percussion instruments The repeated tal or tala may be quite short 7 beats
for example or 30 or more beats long
832019 Indian Music in Malaysia-present
httpslidepdfcomreaderfullindian-music-in-malaysia-present 1821
832019 Indian Music in Malaysia-present
httpslidepdfcomreaderfullindian-music-in-malaysia-present 1921
Involves two main part FIRST PART The alapana (Karnatak tradition) or the alap
(Hindustani tradition) The music is not metered The drums are not played
The player reveals the particular raga slowly bringing outall the pitches and melodic motifs little by little Rhythm is free no tala present
Develops in stagesproceeding to the short session calledtanam (in Karnatak tradition) and jor ( in Hindustani
tradition)
Player begin to establish a steady beat or pulse in themusic Still no tala present
At the end of alapana the performer stops momenntarilyto re-tune his instruments
832019 Indian Music in Malaysia-present
httpslidepdfcomreaderfullindian-music-in-malaysia-present 2021
SECOND PART consists of the main
composition There is specific raga and tala
Usually the drummer enters the performanceat this time
Performance by Ravi Shankar
832019 Indian Music in Malaysia-present
httpslidepdfcomreaderfullindian-music-in-malaysia-present 2121
Indian musical associations in Malaysia also promote lightclassical and new music to attract the various ethnic groupsfrom South Asia as well as the Malays and Chinese to their
concerts
Shorter melodic themes and faster rhythms are used
Catchy melodies and new instruments are showcased toattract the audience
Example the group bdquoVadya Sammelanam‟ which performedfor Radio Malaysia highlighted jaltarang as virtuaso
instruments
832019 Indian Music in Malaysia-present
httpslidepdfcomreaderfullindian-music-in-malaysia-present 1421
IDIOPHONES creates sound primarily by way of theinstrument vibrating itself without the use of strings or
membranes
-In Karnatak music tambourine (kanjira) ghatam and
morsing -In Hindustani music jaltarang
tambourine
ghatam morsing
jaltarang
832019 Indian Music in Malaysia-present
httpslidepdfcomreaderfullindian-music-in-malaysia-present 1521
Indian classical music focuses on melody and
rhytm
The classical composition are improvised and the
concepts of raga or rag and tala or tal are thebasis of improvisation
832019 Indian Music in Malaysia-present
httpslidepdfcomreaderfullindian-music-in-malaysia-present 1621
Based on the rag ( in the Hindustani tradition) orraga (in the Karnatak tradition)
Built on a 7-tone scale ( the solfege syllabes sa ri ga ma pa dha ni are used to sing the scale)
It is scale-like arrangement or bdquomelody-type‟ with aspecific ascending pattern and descending pattern
832019 Indian Music in Malaysia-present
httpslidepdfcomreaderfullindian-music-in-malaysia-present 1721
The tal (Hindustani music) or tala ( Karnatak music)refers to the time measure and rhytm in classical
music
The time cycle that contains a specific numbers of beats
The given time cycle used in a performance isrepeated throughout the piece
The basis for organizing time and for playing therhythmic patterns on the drums and other
percussion instruments The repeated tal or tala may be quite short 7 beats
for example or 30 or more beats long
832019 Indian Music in Malaysia-present
httpslidepdfcomreaderfullindian-music-in-malaysia-present 1821
832019 Indian Music in Malaysia-present
httpslidepdfcomreaderfullindian-music-in-malaysia-present 1921
Involves two main part FIRST PART The alapana (Karnatak tradition) or the alap
(Hindustani tradition) The music is not metered The drums are not played
The player reveals the particular raga slowly bringing outall the pitches and melodic motifs little by little Rhythm is free no tala present
Develops in stagesproceeding to the short session calledtanam (in Karnatak tradition) and jor ( in Hindustani
tradition)
Player begin to establish a steady beat or pulse in themusic Still no tala present
At the end of alapana the performer stops momenntarilyto re-tune his instruments
832019 Indian Music in Malaysia-present
httpslidepdfcomreaderfullindian-music-in-malaysia-present 2021
SECOND PART consists of the main
composition There is specific raga and tala
Usually the drummer enters the performanceat this time
Performance by Ravi Shankar
832019 Indian Music in Malaysia-present
httpslidepdfcomreaderfullindian-music-in-malaysia-present 2121
Indian musical associations in Malaysia also promote lightclassical and new music to attract the various ethnic groupsfrom South Asia as well as the Malays and Chinese to their
concerts
Shorter melodic themes and faster rhythms are used
Catchy melodies and new instruments are showcased toattract the audience
Example the group bdquoVadya Sammelanam‟ which performedfor Radio Malaysia highlighted jaltarang as virtuaso
instruments
832019 Indian Music in Malaysia-present
httpslidepdfcomreaderfullindian-music-in-malaysia-present 1521
Indian classical music focuses on melody and
rhytm
The classical composition are improvised and the
concepts of raga or rag and tala or tal are thebasis of improvisation
832019 Indian Music in Malaysia-present
httpslidepdfcomreaderfullindian-music-in-malaysia-present 1621
Based on the rag ( in the Hindustani tradition) orraga (in the Karnatak tradition)
Built on a 7-tone scale ( the solfege syllabes sa ri ga ma pa dha ni are used to sing the scale)
It is scale-like arrangement or bdquomelody-type‟ with aspecific ascending pattern and descending pattern
832019 Indian Music in Malaysia-present
httpslidepdfcomreaderfullindian-music-in-malaysia-present 1721
The tal (Hindustani music) or tala ( Karnatak music)refers to the time measure and rhytm in classical
music
The time cycle that contains a specific numbers of beats
The given time cycle used in a performance isrepeated throughout the piece
The basis for organizing time and for playing therhythmic patterns on the drums and other
percussion instruments The repeated tal or tala may be quite short 7 beats
for example or 30 or more beats long
832019 Indian Music in Malaysia-present
httpslidepdfcomreaderfullindian-music-in-malaysia-present 1821
832019 Indian Music in Malaysia-present
httpslidepdfcomreaderfullindian-music-in-malaysia-present 1921
Involves two main part FIRST PART The alapana (Karnatak tradition) or the alap
(Hindustani tradition) The music is not metered The drums are not played
The player reveals the particular raga slowly bringing outall the pitches and melodic motifs little by little Rhythm is free no tala present
Develops in stagesproceeding to the short session calledtanam (in Karnatak tradition) and jor ( in Hindustani
tradition)
Player begin to establish a steady beat or pulse in themusic Still no tala present
At the end of alapana the performer stops momenntarilyto re-tune his instruments
832019 Indian Music in Malaysia-present
httpslidepdfcomreaderfullindian-music-in-malaysia-present 2021
SECOND PART consists of the main
composition There is specific raga and tala
Usually the drummer enters the performanceat this time
Performance by Ravi Shankar
832019 Indian Music in Malaysia-present
httpslidepdfcomreaderfullindian-music-in-malaysia-present 2121
Indian musical associations in Malaysia also promote lightclassical and new music to attract the various ethnic groupsfrom South Asia as well as the Malays and Chinese to their
concerts
Shorter melodic themes and faster rhythms are used
Catchy melodies and new instruments are showcased toattract the audience
Example the group bdquoVadya Sammelanam‟ which performedfor Radio Malaysia highlighted jaltarang as virtuaso
instruments
832019 Indian Music in Malaysia-present
httpslidepdfcomreaderfullindian-music-in-malaysia-present 1621
Based on the rag ( in the Hindustani tradition) orraga (in the Karnatak tradition)
Built on a 7-tone scale ( the solfege syllabes sa ri ga ma pa dha ni are used to sing the scale)
It is scale-like arrangement or bdquomelody-type‟ with aspecific ascending pattern and descending pattern
832019 Indian Music in Malaysia-present
httpslidepdfcomreaderfullindian-music-in-malaysia-present 1721
The tal (Hindustani music) or tala ( Karnatak music)refers to the time measure and rhytm in classical
music
The time cycle that contains a specific numbers of beats
The given time cycle used in a performance isrepeated throughout the piece
The basis for organizing time and for playing therhythmic patterns on the drums and other
percussion instruments The repeated tal or tala may be quite short 7 beats
for example or 30 or more beats long
832019 Indian Music in Malaysia-present
httpslidepdfcomreaderfullindian-music-in-malaysia-present 1821
832019 Indian Music in Malaysia-present
httpslidepdfcomreaderfullindian-music-in-malaysia-present 1921
Involves two main part FIRST PART The alapana (Karnatak tradition) or the alap
(Hindustani tradition) The music is not metered The drums are not played
The player reveals the particular raga slowly bringing outall the pitches and melodic motifs little by little Rhythm is free no tala present
Develops in stagesproceeding to the short session calledtanam (in Karnatak tradition) and jor ( in Hindustani
tradition)
Player begin to establish a steady beat or pulse in themusic Still no tala present
At the end of alapana the performer stops momenntarilyto re-tune his instruments
832019 Indian Music in Malaysia-present
httpslidepdfcomreaderfullindian-music-in-malaysia-present 2021
SECOND PART consists of the main
composition There is specific raga and tala
Usually the drummer enters the performanceat this time
Performance by Ravi Shankar
832019 Indian Music in Malaysia-present
httpslidepdfcomreaderfullindian-music-in-malaysia-present 2121
Indian musical associations in Malaysia also promote lightclassical and new music to attract the various ethnic groupsfrom South Asia as well as the Malays and Chinese to their
concerts
Shorter melodic themes and faster rhythms are used
Catchy melodies and new instruments are showcased toattract the audience
Example the group bdquoVadya Sammelanam‟ which performedfor Radio Malaysia highlighted jaltarang as virtuaso
instruments
832019 Indian Music in Malaysia-present
httpslidepdfcomreaderfullindian-music-in-malaysia-present 1721
The tal (Hindustani music) or tala ( Karnatak music)refers to the time measure and rhytm in classical
music
The time cycle that contains a specific numbers of beats
The given time cycle used in a performance isrepeated throughout the piece
The basis for organizing time and for playing therhythmic patterns on the drums and other
percussion instruments The repeated tal or tala may be quite short 7 beats
for example or 30 or more beats long
832019 Indian Music in Malaysia-present
httpslidepdfcomreaderfullindian-music-in-malaysia-present 1821
832019 Indian Music in Malaysia-present
httpslidepdfcomreaderfullindian-music-in-malaysia-present 1921
Involves two main part FIRST PART The alapana (Karnatak tradition) or the alap
(Hindustani tradition) The music is not metered The drums are not played
The player reveals the particular raga slowly bringing outall the pitches and melodic motifs little by little Rhythm is free no tala present
Develops in stagesproceeding to the short session calledtanam (in Karnatak tradition) and jor ( in Hindustani
tradition)
Player begin to establish a steady beat or pulse in themusic Still no tala present
At the end of alapana the performer stops momenntarilyto re-tune his instruments
832019 Indian Music in Malaysia-present
httpslidepdfcomreaderfullindian-music-in-malaysia-present 2021
SECOND PART consists of the main
composition There is specific raga and tala
Usually the drummer enters the performanceat this time
Performance by Ravi Shankar
832019 Indian Music in Malaysia-present
httpslidepdfcomreaderfullindian-music-in-malaysia-present 2121
Indian musical associations in Malaysia also promote lightclassical and new music to attract the various ethnic groupsfrom South Asia as well as the Malays and Chinese to their
concerts
Shorter melodic themes and faster rhythms are used
Catchy melodies and new instruments are showcased toattract the audience
Example the group bdquoVadya Sammelanam‟ which performedfor Radio Malaysia highlighted jaltarang as virtuaso
instruments
832019 Indian Music in Malaysia-present
httpslidepdfcomreaderfullindian-music-in-malaysia-present 1821
832019 Indian Music in Malaysia-present
httpslidepdfcomreaderfullindian-music-in-malaysia-present 1921
Involves two main part FIRST PART The alapana (Karnatak tradition) or the alap
(Hindustani tradition) The music is not metered The drums are not played
The player reveals the particular raga slowly bringing outall the pitches and melodic motifs little by little Rhythm is free no tala present
Develops in stagesproceeding to the short session calledtanam (in Karnatak tradition) and jor ( in Hindustani
tradition)
Player begin to establish a steady beat or pulse in themusic Still no tala present
At the end of alapana the performer stops momenntarilyto re-tune his instruments
832019 Indian Music in Malaysia-present
httpslidepdfcomreaderfullindian-music-in-malaysia-present 2021
SECOND PART consists of the main
composition There is specific raga and tala
Usually the drummer enters the performanceat this time
Performance by Ravi Shankar
832019 Indian Music in Malaysia-present
httpslidepdfcomreaderfullindian-music-in-malaysia-present 2121
Indian musical associations in Malaysia also promote lightclassical and new music to attract the various ethnic groupsfrom South Asia as well as the Malays and Chinese to their
concerts
Shorter melodic themes and faster rhythms are used
Catchy melodies and new instruments are showcased toattract the audience
Example the group bdquoVadya Sammelanam‟ which performedfor Radio Malaysia highlighted jaltarang as virtuaso
instruments
832019 Indian Music in Malaysia-present
httpslidepdfcomreaderfullindian-music-in-malaysia-present 1921
Involves two main part FIRST PART The alapana (Karnatak tradition) or the alap
(Hindustani tradition) The music is not metered The drums are not played
The player reveals the particular raga slowly bringing outall the pitches and melodic motifs little by little Rhythm is free no tala present
Develops in stagesproceeding to the short session calledtanam (in Karnatak tradition) and jor ( in Hindustani
tradition)
Player begin to establish a steady beat or pulse in themusic Still no tala present
At the end of alapana the performer stops momenntarilyto re-tune his instruments
832019 Indian Music in Malaysia-present
httpslidepdfcomreaderfullindian-music-in-malaysia-present 2021
SECOND PART consists of the main
composition There is specific raga and tala
Usually the drummer enters the performanceat this time
Performance by Ravi Shankar
832019 Indian Music in Malaysia-present
httpslidepdfcomreaderfullindian-music-in-malaysia-present 2121
Indian musical associations in Malaysia also promote lightclassical and new music to attract the various ethnic groupsfrom South Asia as well as the Malays and Chinese to their
concerts
Shorter melodic themes and faster rhythms are used
Catchy melodies and new instruments are showcased toattract the audience
Example the group bdquoVadya Sammelanam‟ which performedfor Radio Malaysia highlighted jaltarang as virtuaso
instruments
832019 Indian Music in Malaysia-present
httpslidepdfcomreaderfullindian-music-in-malaysia-present 2021
SECOND PART consists of the main
composition There is specific raga and tala
Usually the drummer enters the performanceat this time
Performance by Ravi Shankar
832019 Indian Music in Malaysia-present
httpslidepdfcomreaderfullindian-music-in-malaysia-present 2121
Indian musical associations in Malaysia also promote lightclassical and new music to attract the various ethnic groupsfrom South Asia as well as the Malays and Chinese to their
concerts
Shorter melodic themes and faster rhythms are used
Catchy melodies and new instruments are showcased toattract the audience
Example the group bdquoVadya Sammelanam‟ which performedfor Radio Malaysia highlighted jaltarang as virtuaso
instruments
832019 Indian Music in Malaysia-present
httpslidepdfcomreaderfullindian-music-in-malaysia-present 2121
Indian musical associations in Malaysia also promote lightclassical and new music to attract the various ethnic groupsfrom South Asia as well as the Malays and Chinese to their
concerts
Shorter melodic themes and faster rhythms are used
Catchy melodies and new instruments are showcased toattract the audience
Example the group bdquoVadya Sammelanam‟ which performedfor Radio Malaysia highlighted jaltarang as virtuaso
instruments