MUSIC ART INTEGRATED PROJECT

ANKUR YADAV
➢ACKNOWLEDGEMENT
•I would like to express my special
thanks of gratitude to my teacher
“MISS. Charvee Verma” who gave me
the golden opportunity to do this
wonderful project on the topic “Music”
which also helped me in doing a lot of
Research and I came to know about so
many new things.
•I am really thankful to them.
Secondly I would also like to thank my
parents and friends who helped me a lot
in finalizing this project within the
limited time frame.

THANKS AGAIN TO ALL WHO HELPED ME.

ANKUR YADAV
 ➢SANGEET
•Swara, Tala and Laya- these are the three basic elements of sangeet. It

means that sangeet is used for its three fold meaaning namely vocal music,

insturn ental and dancing, for example- “Geet vadyam tatha nrityam tryam

sangeetmuchhyte.” Sound one of the five eternal elements of nature termed as

Nada, gave birth to sangeet.Sangeet as a combination of above three parts

pleases and soothes the minds of living beings. Sarangadeva had devoted more

than two hundread sloka in his book about the origin of sangeet. According to

him Nada is the root cause of the origin of sangeet. Sangeet has its root in the

vedic culture. It has evolved to the present age with its basic elements inspite

of some additions and alternations in the ancient and mediavel period. But the

tradition of sangeet has been locked upon as a “Sadhna” a medium for mental

uplift. Swara and Laya is the main base of geet, viddya and nritya. We can also

define sangeet in the above light as- “Samyak prakoran ydam geyate

tatsangeetam.” The word sangeet has been translated as Music in western

countries. In western countries music means a Chorus or a song by many voices

and also applies to singing accompanied by playing of instruments and

dancing.Therefore, music in a broader sense includes vocal, instrumental, choral

together with the art of dancing. Music is considered to be a fine art, as

paiting, sculpture architect and poetry.

 ➢Marga and deshi sangeet
•Indian musicologists classified their musics into two
main heads known as “marga sangeet” and “deshi
sangeet.” Marga sangeet refers to Vedic music and
Deshi sangeet to non-Vedic music. Marga sangeet was
confined to four notes and it was inflexible. It
was rigid and confined by the rules of siksha.
Marga sangeet was known as Sama Gayan and
was confined to religious minded peoples. Great
souls like Jaidev, Mirabai, Chaitanya, Haridas
swami, Tulsidas, Guru nanak, Surdass, Tukaram,
Tyagraga etc.

•Contrast with it Deshi sangeet was adopted to taste

of people form place to place. It was composed and
set into tunes to meet the common want of the
people to enable them to get pleasure. It had a
flexible character. This Deshi sangeet was again
devided into two main heads namely the “Hindustani
sangeet” and another known as”Karnatic sangeet.”
Hindustani sangeet is prevalent in north and Karnatic
sangeet is prevalent in Mysore, Madras,
Trichinopoly and other provinces.
 ➢MUSICAL SOUND (NADA)
•The musical sound is known as Nada. Nada gives
pleasure to the listner. It is the root cause of music. All
Shrutis, Swara and Raga are based on this Nada. Since
Matanga all the leading musicologists of India have
made reference to Nada.
•Nada is made of Nad (Dhatu) i.e., Na and Da. Na is for
vital air and Da is for vital heat. Thus it appears that
Nada is the result of the united action of the vital air and
vital heat of the body.Nada is the immediate cause of
Sabda and Dhwani. It exists in the space as anahata.The
space i.e., Akasa is the container of the Nada. Nada-
Brahma can be realised only through music. Matanga
has emphasized upon the importance of Nada i.e.,
❖Nada is divided into parts, viz.Mandra (The Chest),
Madhya (The Throat), Tar (The Head.)
•All that exists is the product of Nada. Our tradition
teaches us that sound is God-Nada Brahma. It means
that musical sound is the step to the realization of self.
•A Nada is of two kinds---
I. Ahata Nada
II. Anahata Nada
 ➢Ahata Nada
•Ahata Nada is caused by physical impact. It is called
struck sound. It can be perceived through ears.
Music is concerned with Ahata Nada.

➢AnahatNada
•It is not produced by physical impact. It is called
unstruck sound. It is ever present and unchanging. It
is experienced by Yogis. Yogis hearsthis sound from
their inner self. They achieve this after many years of
meditation and discipline in Yoga. Through
•‘Tapasya’ the Yogi tries of “Wake up the Kundalini”.
The Yogis alos try to awaken the chakras and control
them with the mind. When a Yogi has archieved
this, he has complete control of his body. He can then
do supernatural acts like he can disappear and do
any magic.
 THREE QUALITIES OF NADA
VIZ. PITCH, TIMBRE AND
LOUDNESS
PITCH
•Pitch is what makes the sounds known as acute,
shrill, high,sharp, grave, deep, low, flat etc. It
depends on the rapidity of vibrations of the
particles of the air in contact with ear. A low
number of vibrations in a given time (say a
second) gives grave or low tones, a high number
gives acute or shrill tones. The higher number of
vibrations, the shriller the tone. Pitch is thus
directly proportional to the number of vibrations,
i.e. frequency.
•It is found that the human ear can pick up sounds
of frequency roughly between 20 to 38000 per
second. The lower limit is mostly the same for all,
but the upper limit may widely differ from
individual to individual and comes down with old
age. All the notes between these limits are not,
however employed in music.
 ➢INTENSITY
•Intensity depends on the violence of vibrations. It
regulates the loudness or softness of a sound. If the
vibrations of the generating agent of a note are loud, we
get an intense sound, If the vibrations of the that note are
small, we get a soft and subdued sound. Thus we see
that amplitude of the vibration determines the
intensity. Intensity can be controlled by changing the
forcr-on the string or the voice.
•When a stretched string is forcibly plucked, the sound is
louder than when it is plucked or bowed lightly. Again the
note of a stretched string-gradually becomes less and less
loud and finally dies away altogether. In all such cases,
the loudness is directly proportional upon the energy
which produces the sound and wears away with time.
Loudness also depends upon the nature and density of
the medium which transmits the sound. Lastly the
loudness depends upon the distance of the listner from
the sounding body.
 ➢TIMBRE
•By Timbre is meant that characteristic of sound,
bywhich one is enabled to distinguish the difference
between two person’s voices or the difference
between the tones of a violin and a trombone. This
is the element to which the ear is the most
sensitive. There are characteristic differences
between voices and instruments.
•Now the timbre of a musical note is determined by
the numbers, intensity of the particles. Musical sound
consists of a fundamental tone and many overtones,
distinguishes sounds from one another and determines
the quality of sound. Every sound has its own quality
with a fundamental note and its partials. The partials
notes are faint, but their presence contribute to the
brilliance and tone colour of voice or any imstrument.
This quality of determining the characteristic of sound
is known as timbre. Of the three features of sound,
pitch is by far the most important. Several
instruments have been designed to measure the pitch
or the number of vibrations producing a sound.
 ➢SWARA
•Scholars selected only seven Shruti and termed them
as "Swaras". These are Sa, Re, Ga, Ma, Pa, Dha, Ni.
•The definition of swara cab be given thus, "A
musical note, which has the quality of pleasing the
heart of the listener and giving him delight, is called
a swara."

•"Swa" means by "itself" and "ra" connotes the

idea of 'Ranjana' which means "pleasing".

•An individual Swara is by nature Ranjana or

pleasing. Swaraj are the vital elements in indian
music and that they design the Ragad that forms the
very basis, the life-force on Prana. Actually Swara is
one of the fundamentals of indian music. Indian
music is based on the seven notes. Re, Ga, Dha, Ni,
have a Komal variant. The first note Ma has Teesra
variant the first note Dharana and fifth Pancham are
fixed or unchangeable. The following table shows
the names of the twelve notes of the Indian Saptak.
▪The Komal swaras are underlined. The Tivra Ma is shown
by an acute accent. Notes of tar Saptaka are shown by dots
above while they, in the mandra saptaka are shown by dots
below.
A.-- Prakart Swara (Shudha Swara)
B.-- Vikrit Swara (Shuddha Swara)
.-- Vikrit Swara (Komal and Tivra Swara)
➢Prakrat Swara:
▪Prakart Swara are the pure notes or shuddha.
They are the main notes of the Indian music,
both old and new. They are fixed
▪and seven in number viz: Sa, Ra, Ga, Ma, Pa,
Dha, Ni.

➢Vikrit Swara:
▪The notes which are not shuddha are called
Vikrit, meaning “modified”, but they have to be
in relations with the main notes. They are
defined by Bhatkhande as: Swarstu prachhutyah
shrutya niytaaya ydabhavet. i.e., when a note
falls from its position in such a way as to be
controlled by shrutis, its vikritatwa is accepted by
pandits. The present day Indian music takes
notice of only 5 vikrit notes. They are: Re, Ga,
Ma, Dha, Ni.
▪Vikrit swaras are of two kinds-
▪ Komal vikrit
▪ Tivra vikrit
➢Komal Vikrit
•When a note falls from its fixed
position, it is called Komal as for
example Re, Ga, Dha, Ni are
changeable and when they fall
fromtheir original position, they are
called Komal swara.
•Its sign is a line under the swar as-
Re, Ga, Dha, Ni

➢Tivra Vikrit
•When a note rises from its fixed
position, it is calleda Tivra swara as
for example Ma, becomes tivra,
when it rises high. Its symbol is a
straight line above the swara-
•Ma.
 ➢SAPTAK
▪Saptaka is a systematic arrangement of
the seven shuddha and five vikrit notes
placed in between the seven shuddha notes
just one after the other in a regular
order. Or we can say that the twelvw
notes, seven shuddha and five vikrit are
known as “Saptak”. Thus a saptak denotes
the whole range from shadah to nishad.
Indian music which was meant specially to
deal with singing recognises only three
saptakas. They are known as-
1.Mandra saptaka
2.Madhya saptak
3.Tar saptak

❖Mandra Saptaka:
•The notes in mandra saptaka are shown by the
sign dot (Ni), which is placed under the notes, as
for example- They require a little exertion of the
chest or bosom.
❖Madhya Saptaka:
•The notes od Madhya saptaka are just double to the
notes of mandra saptaka. They need no sign to show
their ‘Sthan’. They are
•just written like as- Re, Ga, Ma.
•Madhya saptaka is expressed in the throat. The
notes of Madhya saptaka (means middle) are the
natural voice coming from the throat.

❖Tar Saptaka:
•The Tara (high or shrill) notes are just double to the
notes of tar saptaka. They are shown by the sign, dot
above the swara as- Re, Ga,Ma.
•The tar notes cause some exertion to the head or brain.
Thus each saptaka is successively double of the previous
one.
 ➢RAGA:
▪The word used for a tune in Indian Music is Raga.
A Raga is thus defined in Sangita Darpana: Yoyam
dhwani visheshstu swara varn vibhushitah. Ranjko
jan chintanam sa rag kathyte budhe.
▪i.e., A Raga is embellished with the colour of
musical notes, has its separate tune and import, and
is pleasing to the mind.
▪Thus in short we can define a Raga as “a particular
combination of notes with varnas having the
property of pleasing the mind of a listener.”
▪The beauty of a Raga colours and affects the ear
of every man and brings him joy. Every note of a
Raga carries within it a certain
▪expressions of emotion. The Raga is the heart of
our music and the most significant features today.
▪The first reference of the Raga occurs in the
Brihaddeshi, by Matanga, written sometime
between the fift and seventh centuries A.D. Every
Raga must belong to a Thata or the parent scale.
A Raga should have the following distinctive features:

1.It must necessarily be melodious.

2. must always take Shadaj, as the fundamental.
3.It must employthe full of ranga of Saptaka and
must have Poorvang and Uttarang both.
4.It must not omit both Ma and Pa
simultaneously, which means that it must
alwaysinclude at least one of them, if not both.
5.It must not take both Komal and Tivra of the
same note at the same time.

➢Jati
Jati means the cateogryof Ragas, by which
Ragas may be classified into three classes.
These three Jatis are-
1. Sampooran- having seven notes in ascent and
descent. It means complete.
2. Shadava- having six notes in ascent and descent.
3. Odava- having five notes in same
swaras both in ascent and descent.
▪ These three Jatis divide
themselves into the following
nine classes:
1. Sampurna-Sampurna: This Jati have all the
seven notes in both ascent and descent.
2.Sampurna-Shadava: It has seven notes in the
ascent and six in descent.
3.Sampurna-Odava: It has seven notes in the
ascent and five in descent.
4.Shadava-Sampurna: It has six notes in the
ascent and five in descent.
5.Shadava-Shadava: It has six notes in the
ascent and six in descent.
6.Shadava-Odava: It has six notes in the
ascent and five in descent.
7.Odava-Sampurna: It has five notes in the
ascent and seven in descent.
8.Odava-Shadava: It has five notes in the
ascent and six in descent.
9.Odava-Odava: It has five notes in the ascent
and five in descent.
 CHART
S.No. Jati No. Of Descent Total No.
SwarasAs of Ragas
cent with thecombination

1. Sampurana- 7 7 1-1X1 =1
Sampurana
2. Shadava-Shadava 6 6 6-6X6 =36
3. Odava-Odava 5 5 15-15X15 =225
4. Sampurna- 7 6 6-1X6 =6
Shadava
5. Sampurna-Odava 7 5 15-1X15 =15
6. Shadava- 6 7 6-6X1 =15
Sampurna
7. Shadava-Odava 6 5 90-6X15 =90
8. Odava-Sampurna 5 7 15-15X1 =15
9. Odava-Shadava 5 6 90-15X6 =90
Aroh:
▪Every tune can be divided in two parts, on
ascending and descending. Ascending means aroah
and descending means avaroha. Aroha means ascent.
The rise or successive ascent of notes ,i.e, going from
a notes of lower pitch to one of higher pitch, is called
aroha. The ascending order is known as the aroha.

Avaroha:
➢Avaroha means descent. The fall or descent
(i.e.,Going the other way) is known as avaroha in
indian music. Descending order is know as avaroha.

Sam:
❖Sam in hindustani music is the beginning or the first
beat of the tala where, the singer, the stringed and the
percussion accompanists converge and meet. Sam is the
most important beat with a strong stress which controls
all other beats coming under any specific tala from sam
the rhythm start. This symbol is always put below the
first beat of a tala.
 ➢LAYA
•Laya means rhythm of speed or any regural
movement to complete a circle in a definite
time. Laya maintains the uniformity of the
time span of each matra or time
unit.Bharata defines laya as “laya is caused
by the time space taken by ten kalas.”
Sarangadeva defines “laya as rest
immediately following action.”Thus laya is
the interval of time between a series of
action. Now-a-days the increase of laya
means the increase of the speed of action
and consequently the decrease of the period
of the rest. Laya is the vital controlling
factor of tala in making our music an
exposition of aesthetic enjoyment.There are
three varities of laya-vilambita, maddhya
and druta, i.e., slow, medium and fast.
1.VilambitaLaya
▪Vilambita laya means slow rhythm. In it the musician takes
double the time to complete the round required by the medium
or normal rhythm. Suppose, if he completes a round of his
play in one minute in normal laya, he will take two minutes
to complete the same round in vilambita laya.

2.MadhyaLaya
▪Madhya laya is twice as fast as the vilambita, or slow. In
Madhya laya, the musician takes an easy time to complete a
round or a circle of a part of a song, tune or dance
without any exertion. Madhya laya is known as normal
rhythm and is the base of the remain ining two rhythms i.e.,
fast and slow rhythms.

3.DrutaLaya
•Druta laya is twice as fast as the Madhya or medium laya.
In it the musician takes half of the time of complete a circle
less than the medium laya. It is just double of the medium laya
and can be as faster as the musician wishes.
 ❖Tala
Tala means to measure the time of musical rendering. It
denotes a series of sounds produced on a percussion instrument
with the help of striking by the palm. The word tala is derived
from the Sanskrit root ‘Tal’ meaning to place or to establish.
Tala gives to music a regural orderedfeeling based on an
even flow. It maintains uniformity of regularizes the tempo of
music and dance.Regarding the origin of tala, it is said that tala
emanated from dance. Each tala has a specific combinations.
Tala has various functions:
1. To accompany music or dance.
2. To express its own rhythmic embellishments independent of any
melody or dance.
Tala in Hindustani music is the most essential part of music
without which music would be stale and prosaic. Music without
Tala may be compared to cooked food without salt. Tala
contributes beauty, grace and cadence. It is necessary to any
variety of Indian music.
Pakhwaj, Meidang, Dhol Nakkara, Duff, Khanjari and Tabla are
the instruments used for the purpose of Tal.
 ➢AVARTAN
An Avartan means one full roud of a
fixed Theka in Tala. A Theka can be
played in any number of rounds every
round will add to one more
Avartan that is, every word of Theka
is counted as one Avartan. It is also
called Avarti. Avartan is made up of
a number of Vibhagas. One of these
takes the same and one of them a no
beat at all.
THANK YOU…!