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ತಿಲ್ಲಾನ ನವೆಂಬರ್ 2019 Thillana November 2019
ತಿಲ್ಲಾನ ನವೆಂಬರ್ 2019 Thillana November 2019
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Instrument Digital Interface) J£ÀÄßvÉÃÛ ªÉ.
MAzÀÄ ¸Àg é « À £Áå¸z À ° À è CxÀªÁ gÁUÀ ¥À¸ æ ÁÛª£ À É [1] The Acoustical Foundations of Music
AiÀÄ°è AiÀiÁªÀ QÃAiÀÄ£ÀÄß AiÀiÁªÁUÀ MvÀ¯ Û Á¬ÄvÀÄ, (p. 153), by J. Backus, 1977, New York:
JµÀÄÖ ªÉÃUÀz° À è MvÀ¯ Û Á¬ÄvÀÄ, JµÀÄÖ CªÀ¢A ü iÀÄ W. W. Norton & Company, Inc.
PÁ® MvÀ¯ Û Á¬ÄvÀÄ F J¯Áè ªÀiÁ»wAiÀÄ£ÀÄß Copyright 1977 by W. W. Norton &
¤ÃªÀÅ MIDI ªÁåPg À t
À zÀAvÉ £ÀªÄÀ Æ¢¹zÀÝg,É Company, Inc
MIDI ªÁåPÀgÀtPÉÌ §zÀÞªÁzÀ E£ÁߪÀÅzÉà [2]Pendekar, Mahajan, Mujumdar,
E¯ÉPÁÖç¤Pï AiÀÄAvÀæzÀ ªÀÄÆ®PÀ E£ÉÆßAzÀÄ Gunoo,’’Harmonium Raga
ªÁzÀåzÀ°è CzÉà gÁUÀzÀ ¥Àæ¸ÁÛªÀ£ÉAiÀÄ£ÀÄß Recognition’’, International Journal of
ºÉÆgÀr¸À§ºÀÄzÀÄ[6]. Machine Learning and Computing Vol
»ÃUÉ vÀAvÀe æ ÁÕ£z À À «µÀAiÀÄPÉÌ §AzÀg,É MAzÀÄ 3(4), 2013
¸ÀAVÃvÀ PÀZÉÃjAiÀÄ ªÀÄÆgÀÄ DAiÀiÁªÀÄzÀ [3] Soubhik Chakraborty, et.al,
¥Àj¸Àgz À °À è ¥Àqz É À ¸ÀAVÃvÀzÀ CzÉà C£ÀĨsª À ª À £ À ÄÀ ß “Computational Musicology in
£ÀªÄÀ ä SÁ¸ÀV CªÀPÁ±Àz° À è ºÉqï ¥sÆ É Ã¤£À°è Hindustani Music”, Springer 2014
¥ÀqA É iÀÄĪÀÅzÀÄ ¸ÁzsåÀ ª?É EzÀÄ ¸ÀA±ÉÆÃzs£ À A É iÀÄ [4] Soubhik Chakraborty et.al, “Signal
E£ÉÆßAzÀÄ ªÀ¸ÀÄÛ. EzÀ£Éßà 3D DrAiÉÆà Analysis of Hindustani Classical
J£ÀÄßvÉÃÛ ªÉ. ¸ÀAVÃvÀ PÀZÃÉ jAiÀÄ ªÉâPÉAiÀÄ°ègÄÀ ªÀ Music”, Springer 2017
¥Àwæ AiÉƧ⠪ÁzÀPÀ ºÉÆgÀr¸ÀĪÀ ªÁzÀåzÀ C¯ÉU¼ À ÄÀ [5]Meinard Muller, Fundamentals of
±ÉÆÃæ vÀÈ«£À Q«AiÀÄ£ÀÄß MAzÀÄ PÉÆãÀz° À è §AzÀÄ Music Processing, Springer 2015
vÀ®Ä¥ÀÄvÀª Û .É F ¸ÀAªÀº£ À zÀ À UÀtv  z
À À ªÀiÁzÀj [6] R. Sudha, “A tool for identifying
AiÀÄ£ÀÄß PÀl® Ö Ä ¸ÁzsåÀ ªÁzÀgÉ CzÀ£ÄÀ ß E¯ÉPÁÖç¤Pï ragas using MIDI (musical instrument
AiÀÄAvÀz æ °À è C¼Àªr À ¸ÀĪÀÅzÀÄ PÀµª ÖÀ ÃÉ £À®.è FUÁUÀ¯É devices) for CMIR (classical music
¨ÉÆøï£ÀAxÀ ¸ÀA¸ÉÜAiÀĪÀgÄÀ F vÀAvÀe æ ÁÕ£z À ° À è information retrieval),” in Proc. Eighth
§ºÀ¼À ¥ÀU æ w À ¸Á¢ü¹zÁÝg.É IEEE International Conf. on
»ÃUÉ ªÀÄ£ÀĵÀå£À ¸ÀÈd£À²Ã®vÉ CzÀÄãvÀ Dependable, Autonomic and Secure
¸ÀAVÃvÀª£ À Æ À ß ªÀÄvÀz Û PÀ ÌÉ ¥ÀÆgÀPª À ÁzÀ «eÁÕ£-À Computing, 12-14 December, 2009
vÀAvÀæeÁÕ£ÀªÀ£ÀÆß ¸ÀȶֹzÉ. DzÀgÉ MAzÀÄ
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²æà «WÉßñï F±Àg é ï: ªÀÄÄA¨ÉÊ£À°è ºÀÄnÖ ¨É¼z É À description and identification of the
«WÉßñï F±Àégï E¯ÉQçÖP¯ À ï JAf¤AiÀÄjAUï concept of raga in Karnatik music.
¥Àz« À ÃzsgÀ gÀ ÄÀ ªÀÄvÀÄÛ EAzÀÄ PÀ£ÁðlPÀ ¸ÀAVÃvÀzÀ For centuries, raga in Karnatik music
¥Àª
æ ÄÀ ÄR AiÀÄĪÀUÁAiÀÄPÀgÄÀ . n. JA. PÀȵÀÚ CªÀg° À è has been broken down into smaller units
¸ÀAVÃvÀ C¨sÁå¸ÀªÀ£ÀÄß ªÀiÁrzÀ ²æÃAiÀÄÄvÀgÀÄ such as svara, gamaka and slightly larger
¨Á¹ð¯ÉÆãÁzÀ°è ¸ÀAVÃvÀ ªÀÄvÀÄÛ vÀAvÀe æ ÁÕ£z
À °
À è melodic units of phrases. The raga, in its
¸ÁßvÀPÉÆÃvÀÛgÀ ¥ÀzÀ«AiÀÄ£ÀÆß UÀ½¹ C£ÉÃPÀ entirety, is aesthetically described by the
¥À§æ AzsUÀ ¼
À £ À ÄÀ ß ªÀÄAr¹zÁÝg.É - ¸ÀA symbiotic relationship of these
components. But before we delve into
Melody and rhythm are the the various aspects of svara, gamaka and
fundamental basis of any form of music. phraseology, it is very important to
In Karnatik music, the concept of melody understand the concept of shruti or tonic
is raga and that of rhythm is laya. This in Karnatik music.
article looks at the various components Shruti or tonic (in English), is the
that are used to describe a raga and lead most fundamental melodic concept in
to its identification. both the art music traditions in India. It
The word raga, having its origin in is the pitch chosen by the artist according
the language samskrita has many to his or her vocal dynamics based on
interpretations such as, colour, dyeing, which every melody is performed.
emotion, passion among many others. A Karnatik music, today, has a fixed shruti
modern musical interpretation of the
word raga is seen in the text Brihaddeshi
by Matanga (circa 8th - 9th century AD)
which says that raga is, “A combination
of tones which, with beautiful illuminating
graces, pleases the people in general.”
Musically, raga is the melodic concept in
the two predominant art music traditions
of India, Karnatik music and Hindustani
music. This article will focus on the
Table 1: Svarasthanas in Karnatik music
w¯Áè£À: - £ÀªÉA§gï 2019 21
21
and all the ragas are performed with that which the pitch position of Ga2 remains
shruti as the basis. the same but it is spelt out as Ri3.
Usually, in common parlance, a Ragas in Karnatik music are
musical note in Indian classical music is represented in many ways. One of the
called a svara. There are fundamentally very crude representations of a raga is
seven svaras in Karnatik music. They are, through its krama or Arohana (ascending
Shadja (Sa), Rshabha (Ri), Gandhara order of svarasthanas) and Avarohana
(Ga), Madhyama (Ma), Panchama (Pa), (descending order of svarasthanas). The
Daivatha (Dha) and Nishadha (Ni). These krama of a raga is the array of
being the fundamental svaras in an svarasthanas in the raga. The Arohana
octave, Shadja and Panchama are fixed and Avarohana suggest the ascending and
based on the shruti chosen, the Shadja descending order in which the
being the fundamental. The other five svarasthanas occur in the krama.
svaras, namely the Rshabha, Gandhara, While svarasthanas are technically
Madhyama, Daivatha and Nishadha have defined as fixed pitch positions, in
defined variable pitch positions with Karnatik music, the svara is perceived
respect to the Shadja which is the basis. not as a single point, but a finite range of
These pitch positions collectively are pitch values. This range is determined
known as Svarasthanas. The table given by the raga and the way in which the
below describes the various svarasthanas svara is rendered in the raga. Given below
in Karnatik music. in Figure 1 is a pitch histogram of the
If we notice the Table 1 carefully, it seven svarasthanas of the raga Kalyani
can be seen that there are some variations derived by extracting the pitch
of the svarasthanas which can be frequencies from various recordings. The
replaced with another svarasthana. For svarasthanas of the raga Kalyani are
example, Ga2 or Sadharana Gandhara indicated. One can see that the peaks of
can also be sung as Ri3 or Shatshruti the histogram corresponding to the
Rshbha. These replaced svarasthanas are svarasthanas of the raga Kalyani are not
called vivadi svaras and for their existence just a vertical line at the exact pitch point
and ability to be distinguished it is but a range extending over other
imperative that the adjacent natural, svarasthanas. For example, one can see
unreplaced svarasthana occurs. For that the Antara Gandhara Ga3 extends
example, for the existence of Ri3, it is from Ga2 to Ma1 in Kalyani suggesting
imperative that it be followed by Ga3 that that Gandhara in the raga Kalyani is
which is the svarasthana Antara oscillatory in nature. One can also
Gandhara. At the same time, in a raga, observe that the svarasthana Ma2 has an
two adjacent natural svarasthana insignificant peak at its position but has a
variations of the same svara cannot occur merged peak with that of the Panchama
one after the other. For example, Ga2 thus indicating that the Prati Madhyama
and Ga3 cannot occur consecutively in in the raga Kalyani is often rendered very
a raga. The only way this occurrence close to the panchama than to its own
can happen is through a vivadi svara in exact pitch position.
22 Tillana November 2019
Figure 1: Pitch Histogram of the Raga Kalyani
This concept, where a svara is used 19th century). This is the treatise which
to create a variability of movement in mentions the gamakas as dashavidha
relation to the phraseology of the raga, gamakas. The treatise, which has the
creating a cognitive understanding of the closest description of gamakas with
svarasthana is defined as gamaka. A very respect to today’s renditions is the
classic example of this cognitive Sangita Sampradaya Pradarshini by
understanding is the rendition of the svara Subbarama Dikshita (1904). The
Sadharana Gandhara in the raga Durbar. gamakas in this treatise are described as
Sadharana gandhara (Ga2), in the raga they are rendered in the instrument Vina.
Durbar is rendered as a gamaka that Gamakas are very characteristic
encompases Ri2 and Ma1 in an oscillation distinguishing factors between ragas.
sounding Ri2Ma1R2 while spelling out Many ragas may have the same
Ga2 creating a cognitive understanding svarasthanas but they have their own
of the svara Ga2. cognitive identities based on the gamakas
Historically, gamakas have been and phraseological context of the raga.
mentioned about in treatises right from The pitch histograms of some of the same
the Sangita Ratnakara by Sarangadeva svaras occurring in different ragas are
(12th Century). This treatise describes given below.
15 gamakas and one cannot be very sure In Figure 2a and 2b, the pitch
as to how these were rendered since it histograms of the Antara Gandhara (Ga3)
relates to ancient music. There are many occurring in the ragas Begada, and
other treatises that discuss gamakas in Kalyani are given respectively. These
detail like the Raga Vibodha of Somanatha svaras are extracted from varna
(1609) and the much later treatises like renditions by various artists in various
the Mahabharata Choodamani (18th- ragas. Different lines represent the voices
w¯Áè£À: - £ÀªÉA§gï 2019 23
23
svaras in that raga. It is a string of
expressive svaras. In Karnatik music we
have a large repository of raga
phraseology in its compositions such as
varnas, keertanas, padas, gitas, alankaras,
which elucidate various phrases and their
usages in various contexts thus drawing
a unique canvas of the raga. A raga is
thus a collective melodic expression of
its svaras, gamakas and the entire
phraseology as a whole. Thus the identity
of a raga cannot be studied by isolating
the components of svara, gamaka and
Fig 2a: Antara Gandhara in the raga
Begada phraseology.
Around the 16th century, attempts
of different singers. One can observe
were made to classify ragas into Mela
that the variation of pitch in the Ga3 in
systems. This era is called the Mela era
Begada is less with a prominent peak at
(16th to 19th century). Ragas in Karnatik
the svarasthana itself. One can thus infer
music can be roughly classified as phrase
that the Gandhara in Begada is not the
based ragas and scale based ragas. Ragas
one that has much gamaka in it but is a
that are described mainly by their svara
stationary svara. On observing the figure
movements and phraseology are phrase
2b, one can see that the Gandhara, though
based ragas. Most of the older
it is the same svarasthana Antara
organically developed ragas such as
Gandhara in the raga Kalyani, has a much
Begada, Kambhoji, Bhairavi, Shankara-
larger variation in pitch. This is indicative
bharana, to mention a few, are phrase
of the fact that the Ga3 in Kalyani is of a
based ragas. These ragas existed much
more oscillatory nature with more
before the analysis of their components
gamaka. This can also be observed in
was attempted. This is analogous with
the varnas and keertanas of Kalyani.
literature wherein it is said that the
Thus, although gamakas by themselves
language came first, then the grammar
can also be characteristic to a raga a more
followed. But in order to classify these
sophisticated indication of raga identity
ragas, a krama was retrofitted to the raga
is the musical phrase of that raga. A
in order to represent the svarasthanas it
phrase is an expression of these gamakas
contains. The beauty of these ragas is
on svaras and the contextual interaction
that they may sometimes transcend the
between them.
svarasthanas that are mentioned in its
Raga phraseology is the collection of
krama through their phraseology. For
various phrases of the raga that are
example, the krama given for the raga
characteristic and unique to that raga. A
Begada is,
phrase of a raga is the interrelation
Arohana: Sa Ga3 Ri2 Ga3 Ma1 Pa Dha2
between the articulated and unarticulated
Pa Sa
24 Tillana November 2019
Fig 2b: Antara Gandhara in raga Kalyani
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