india part 2. define terms: sam: the point where the instrumentalist and the table player meet...

INDIA PART 2

Defi ne terms:

Sam: the point where the instrumentalist and the table player meet together at the end of the phrase (and also the beginning of the rhythmic cycle)

Chiktari: These are side strings, or sympathetic strings, of the sitar which can drone and provide a rhythmic pulse.

Saraswati is the goddess of learning and music.

Ravi Shankar: famous player of the sitar.

Guru: hindu teacher, sanskrit

BELLWORK

RAVI SHANKAR

Reading Outline #8 is due tomorrow

India test is tomorrow

Exam review due tomorrow

ANNOUNCEMENTS

Is the jor more active than the alap?

Name the solo instrument:

What qualities does this music have which would attract a jinn?

Challenge: Draw a ragamala on your white board: (Ragas are sometimes represented pictorially as individual human beings in these miniature paintings)

ACTIVE LISTENING EXAMPLE #2: JOR MALKAUNS

The tambura simply plucks the four pitches successively throughout the raga, like aural incense

In other words, the tambura is a drone which plays: I high V high V low V.

Jor: the second part of the instrumental alap, characterized by an increase in tempo and a rhythmic pulse.

The beat becomes steadier as the raga progresses.

JUST THE FACTS, JI: LISTENING EXAMPLE #2: JOR

MALKAUNS

Music comprehends a sub-culture in India that cuts across the boundaries of sex, religion, age, caste, territory, language as well as time.

It is an unequal exchange; the student forever owes a debt to his guru.

The Guru-Shishya- Parampara relationship refers to the aural transmission of musical tradition.

GURU

They are based on animal noises.

The fi rst note of the scale is Sa—which corresponds to the call of the peacock

Re fever birdGa goatMa cranePa woodpeckerDha frog in love Ni elephant hit on the head

ORIGINS OF INDIAN SOLFEGGE

The zigzag steps in a Raga are called vakra.

Thus the form of a raga is similar to that of the Rondo, the composition alternating with the improvisations.

Tala is a rhythmic cycle

A Thata is: An impersonal scale which always has 7 notes and is used as a basic scale for classification purposes

RAGA THEORY

Which solo instrument begins the piece?

What time signature is this in?

What is the name of the drum?

ACTIVE LISTENING EXAMPLE #3: TALA SAWARI

Moving from lower notes to higher notes increases tension  In each cycle the instrumental composition must be

the same number of beats as the tala.

The tabla is tuned to the ragas fundamental pitch by tightening or loosening leather straps

The bayan either drops out or is played quietly during the third group called Khali (beat 9-12) allowing listeners to anticipate the return of the fi rst phrase.

JUST THE FACTS, JI: EXAMPLE #3: TALA SAWARI

On a small post-it write down one fact from today’s class.

When you have completed this, place it in a larger category on the board:

Indian song theory and formInstrument facts

Historical fi gures and traditions

Do a gallery walk by row and write down two additional facts from the category you chose.

CFU: GALLERY WALK

Films Based on:

Epic literature--namely the “Mahabharata” and the “Ramayana”.

19 th century Parsi plays

Victorian melodrama

Urdu poetry  Folk theater.

BOLLYWOOD

Are the actors singing?

What rasa is this song meant to portray?

What classical instruments do you hear?

Does the woman have a high or low voice range?

VIDEO EXAMPLE #5 TUJHE DEKHA TO

ACTIVE LISTENING

A typical fi lm is 2 ½ hours long, storylines of epic proportions, involving the break-up and make-up of extended families.

  European fi lms tend to deal with one emotion or one problem. You can see them as short stories; wheras an Indian fi lm is more like a novel.

 “6-8” songs, intricate choreography in which the actor themselves participate, are used to emphasize the story’s emotional high points.

 This fi lm is a love story.

LISTENING QUESTIONS #4TUJHE DEKHA TO

Bharatanatyam is a dance form originating in Tamil state.

There are eight rasas associated with this dance:

love humor pathos heroism anger fear disgust awe (wonder)

INDIAN CLASSICAL DANCE

Mudra are the hand movements associated with classical Indian dance.

MUDRA

PATAKA-FLAG"THE BEGINNING OF DANCE”

TRIPATAKA-THREE PARTS OF THE FLAG

ARDHAPATAKA-HALF FLAG-

KARTARIMUKHA-ARROW SHAFT-SCISSORS

ARDHACHANDRA-HALF MOON-PROTECTING AND BLESSING

SIMHAMUKHA-FACE OF A LION

SARPASHIRSHA-HOOD OF A SNAKE

Active listening:

Identify at least two Mudra you see

Which rasa do you think this dance portrays?

VIDEO EXAMPLE #5 BHARATANATYAM

Devadasis are dancing girls  Mudra—hand movements; from Sanskrit word meaning joy or bliss  Some traditional Indian dance performers can take

all night telling their stories

 The dance incorporates complex eye movement and facial expressions which further dramatize the content.

VIDEO EXAMPLE #5 BHARATANATYAM LISTENING

QUESTIONS

Using the Mudra symbols and definitions create a story individually or with a partner.

Use at least eight mudra in your story.

Be sure to create transitions and storylines that connect one mudra to the next.

Choose a rasa that your story is meant to convey.

Practice or memorize the hand movements.

CFU: WRITE AND CHOREOGRAPH A MUDRA STORY

1. What is a sam?

2. What are the hand movements in Indian dance called?

3. Explain what the Guru-Shishya- Parampara relationship is.

4. What are Chikari?

5. Name three specific examples of how the raga influences or is influenced by Indian life.

EXIT TICKET