Indian System of Music

₹2,500.00(GST additional)

About The Course

This course introduces various aspects of Indian music in general, and Karnataka-sangītam (Carnatic

music), in particular. While the course is Foundational for all streams, it is of particular relevance to

Humanities Programmes on Fine & Performing Arts. Key highlights include:

● Overview of music from historic, musical and technical perspectives both in terms of śāstra-based

thought processes and contemporary practice of Karṇāṭaka-sangītam

● Study of Sangīta Ratnākara, a musical treatise authored in 1300 CE, treating it as a reference point

to discuss and understand development of Indian music

● Listening activities to help the learner experience the melody and aesthetics of Karṇāṭakasangītam

● Recognition of tonal patterns and melodic forms of renditions and understanding of technical and

śāstra-based aspects

Unit I: Introduction to Indian Music and Musicology
● A Brief Outline of the Development of Indian Music from the Chants of the Samaveda, in Six Stages
● Understanding the Terms ‘Science’ and ‘Art’ in the Context of Indian Music Research
● Development of Musicology and Music Research in the Indian Music Tradition
● A Note on Some Important Music Texts, Sangita Ratnakara in Particular
● Connotation of the Words ‘Sangita’ and ‘Gita’
● Importance of Gita, the Vocal Music Aspect, and Its Universal Appeal
● ‘Nada’ or the Musical Sound That Manifests in the Human Body: Physiological, Yogic, and Philosophical Perspectives
● Description of the Melodic Units of Sruti and Svara
● Different Kinds of Description of ‘Svara’, Including Association with Animal and Bird Sounds
● Classification of Svara as Vadi, Samvadi, etc.
● Rasa-s Associated with Svara-s
● Categorising Svara-s in an Octave as Suddha and Vikrta
● Organisation of Tonal Structures like Grama, Murchana and Tana

Unit II: Understanding Tonal Forms, Basics of Raga, and the Raga Systems in Carnatic Music
● Description of Varna as a Tonal Form in the Ratnakara and the Compositional Form Varna as Seen in Current Practice of Karnataka Music
● The Term Alankara as Described in Ratnakara, Caturdandi Prakasika, and Contemporary Practice
● Exposition of Raga in the Ratnakara
● Marga and Desi Raga-s and the Two Types of Classifications of Raga-s into Grama Raga, etc. and Raganga, Bhashanga, etc.
● Method of Description of Raga-s with Illustrations in the Ratnakara
● Development of the Mela-Janya System of Raga Classification
● The 72 Melakarta Scheme and Its Features
● A Note on the Raganga Raga and Melakarta Raga Systems, Their Similarities and Differences
● Janya Raga-s and Their Types

Unit III: Types of Raga Classifications; Other Important Aspects of Music in the Ratnakara Period and Contemporary Carnatic Music Practice
● Some Other Kinds of Raga Classifications
● Description of Music Practitioners – Composers, Singers and Their Types
● Types of Voices, the Singing Voice and Types of Musical Performances
● Description of Musical Aspects like Gamaka, Alapti, etc. and Their Connotations in Contemporary Practice
● A Brief Outline of Tala-s Described in the Sangita Ratnakara
● Description of the 108 Tala-s, Suladi Sapta Tala-s and Other Kinds of Tala-s like Capu Employed in Current Practice
● A Brief Note on the Four Types of Instruments and How Contemporary Instruments Relate to Each of the Four Types Described in the Ratnakara
● A Brief Note on the Chapter on Dance in the Ratnakara
● Details of the Compositional Forms Described in the Ratnakara – Particularly, Prabandha
● Description of Compositional or Kalpita and Creative or Manodharma Forms Found in Current Carnatic Music Practice

Learning Objectives
● Understanding music as an art-form and a knowledge system
● Examination of contemporary Karnataka-sangītam practice in light of changes in nomenclature, musical ideas, melodic forms, etc., relating them to Sangīta Ratnākara and other significant music texts of later periods

Intended Outcomes
● Knowledge about Karnataka-sangītam from a historical perspective
● Understanding of approach to the knowledge system of music
● Appreciate the essentiality of practice as a precedent to musical thinking and analysis
● Appreciate the threads of continuity in contemporary practice from the musical knowledge and ideas discussed in 1300 CE, while recognizing the changes that help retain its dynamism