Abstract
Structure of Indian Traditional MusicMusical art since immemorial time has been an important part of the culture in India. People’s understanding of music and their love for it causes the belief that music has the divine power. The expressive power of music and dance helps to understand the human soul better, to fulfill a continuous connection between mankind and nature. A legend tells that a famous musician and composer Thyagaraja returned a dead to life with music. Centuries-old traditions of Indian culture still maintain their integrity and originality. No doubt, the traditional Indian music system is still one of the most advanced and sophisticated one. This music consisted of the melodious models of ragas, complex rhythmic of talas and micro-intervals shruti is a very valuable contribution to the world culture. Such kind of music is capable to leave deep emotions of admiration at even the most ordinary listener. Indian music is very rich in terms of variety.The purpose of this study is the analysis of Indian musical culture, as well as to define the traditional Indian styles of Hindustani and Carnataca and to familiarize to the principles of melodic ragas and metro-rhythmic systems of talas.
Keywords
References
- n ASHİKOV Valeriy, “Muzyka”, (Music), İskusstvo (Art), özel baskı; India, XIV/350, (7/2006) Moscov, s. 16-31. AVTAR Ram, The Music of India, c. I, Pankaj Publications, 1986. n BHAGYALEKSHMYS, Lakshanagrandhas in Music, CBH Publications, 1991. n BLAVATSKY H. P, The Theosophist Part One 1879 to 1880, Kessinger Publishing, 2004. DEVA, Bigamudre Chaitanya, Indian Music, Taylor & Francis, New Delhi 1995. GHOSE Rajeshwari, The Tyāgarāja Cult in Tamilnāḍu: A Study in Conflict and Accomodation, Motilal Banarsidass Publ., 1996. n JAİRAZBHOY N. A. “Factors Underlying Important Notes in North Indian Music”, Ethnomusicology, Published by: University of Illinois Press on behalf of Society for Ethnomusicology, vol. XVI/1, (Jan.,1972), s. 63-81. n KARTAŞOVA Tatyana, “Upshastriya Kak İntegralniy Fenomen Muzikalnoy Kulturi Sеvеrnoy i Yujnoy İndii” ( Upshastriya as an Integral Phenomenon of Musical Culture of North and South India), Müziк Теоrisi Bölümü, Tchaicоvsky Moskova Devlet Konservatuvarı, Basılmamış Doktora Tezi, Moscov 2010 n KEDRA Chinmaya, Awakening Indians to India, 2008. n KUMAR, Raj, Essays On Indian Music, Discovery Publishing House, New Delhi 2003. n LAVEZZOLİ Peter, The Dawn of Indian Music in the West: Bhairavi, Continuum International Publishing Group, 2006. n MADHUMİTA, Dutta, Let’s Know Music and Musical Instruments of India. Star Publications, New Delhi 200 n MASSEY Reginald and Jamila MASSEY, The Music of India, Abhinav Publications, New Delhi 1996. n MAY Elisabeth, Musics of Many Cultures: An Introduction, University of California Press, 1983. MİLLER, Terry E., Shahriari, Andrew C., World Music: A Global Journey, Taylor & Francis, 2008. n MOORTHY Vijaya, Romance of The Raga, Abhinav Publications, 200 n NARAYANAN, Suresh, Carnatic Music, 2. Cilt Suvarnaraagam, 2007. PANİSSENİ Delia Lucia L., India: Passport to Love, Atlantic Publishers & Dist, 1999. RANE Sujan, Learning Hindustani Classical Vocal Music, Xlibris Corporation, 2011. n RYZHAKOVA, Svetlana, İndiyskiy Tanez. İskustvo Preobrajeniya (Indian Dance. Art of transformation), Moscov 2004. n ŚARMMĀ Vi. Es, Kunchan Nampyar, (Kunchan Nampyar. Makers of Indian Literature), Sahitya Akademi, 2000. n SCHECHNER Richard, Performance Studies: An Introduction, Routledge, 2002. n SHANKAR Ravi, “Vospriyatie indiyskoy klassiçeskoy muzyki”, (Perception of Indian Classical Music), İndii, (India), vol. III/84, 1985, s. 28-36. n SORRELL Neiland Ram NARAYAN, Indian Music in Performance: A Practical Introduction, Manchester University Press ND 1980. n TITON Jeff Todd (v.d.), Worlds of Music: An Introduction to the Music of the World’s Peoples, Shorter Version, Cengage Learning, 200 n ULZİFEROV, Oleg. Kulturnoe Nasledie İndii (Cultural Heritage of India), Vostok-Zapad (East-West), Moscov 2005.
Abstract
Özet
Müzik sanatı ezelden beri Hindistan’da kültürün önemli bir parçası olmuştur. İnsanlar müziğe karşı duydukları sevgi ve anlayışıyla müziğin ilahi bir güce sahip olduğuna inanmışlar. Müzik ve dansın etkileyici gücü, insan ruhunu daha iyi kavramak, insan ve doğa arasındaki sürekli bir bağlantı gerçekleştirmek için yardımcı olur. Hatta bir efsanede ünlü müzisyen ve besteci Thyagaraja’nın ölmüş birinin müzikle hayata döndürdüğü söyleniyor. Hint kültürünün asırlık gelenekleri, bugüne kadar bütünlüğünü ve özgünlüğünü koruyabilmiştir. Hiç şüphesiz, geleneksel Hint müziği sistemi bu zamana kadar var olan en gelişmiş ve sofistik müzik sistemlerinden biridir. Melodik raga modelleri, şruti mikro aralıkları ve karmaşık ritmik talalardan oluşan bu müzik, dünya kültürü için oldukça değerli bir katkıdır. Böyle bir müzik yabancı dinleyiciyi bile hayran bırakarak onda derin duyguların canlanmasında etkilidir. Hint müziği çeşitlilik açısından oldukça zengindir.
Bu araştırmanın amacı, Hint müzik kültürünü analiz etmekle birlikte, geleneksel Hindustani ve Karnatak müzik tarzlarını vurgulamak, melodik raga ve metroritmik tala sistemlerinin üslup karakterlerini tanımlamaktır.
Abstract
Structure of Indian Traditional Music
Musical art since immemorial time has been an important part of the culture in
India. People’s understanding of music and their love for it causes the belief that music
has the divine power. The expressive power of music and dance helps to understand
the human soul better, to fulfill a continuous connection between mankind and nature.
A legend tells that a famous musician and composer Thyagaraja returned a dead to
life with music. Centuries-old traditions of Indian culture still maintain their integrity
and originality. No doubt, the traditional Indian music system is still one of the most
advanced and sophisticated one. This music consisted of the melodious models of ragas,
complex rhythmic of talas and micro-intervals shruti is a very valuable contribution to
the world culture. Such kind of music is capable to leave deep emotions of admiration
at even the most ordinary listener. Indian music is very rich in terms of variety.
The purpose of this study is the analysis of Indian musical culture, as well as to
define the traditional Indian styles of Hindustani and Carnataca and to familiarize to the
principles of melodic ragas and metro-rhythmic systems of talas.
Keywords
References
- n ASHİKOV Valeriy, “Muzyka”, (Music), İskusstvo (Art), özel baskı; India, XIV/350, (7/2006) Moscov, s. 16-31. AVTAR Ram, The Music of India, c. I, Pankaj Publications, 1986. n BHAGYALEKSHMYS, Lakshanagrandhas in Music, CBH Publications, 1991. n BLAVATSKY H. P, The Theosophist Part One 1879 to 1880, Kessinger Publishing, 2004. DEVA, Bigamudre Chaitanya, Indian Music, Taylor & Francis, New Delhi 1995. GHOSE Rajeshwari, The Tyāgarāja Cult in Tamilnāḍu: A Study in Conflict and Accomodation, Motilal Banarsidass Publ., 1996. n JAİRAZBHOY N. A. “Factors Underlying Important Notes in North Indian Music”, Ethnomusicology, Published by: University of Illinois Press on behalf of Society for Ethnomusicology, vol. XVI/1, (Jan.,1972), s. 63-81. n KARTAŞOVA Tatyana, “Upshastriya Kak İntegralniy Fenomen Muzikalnoy Kulturi Sеvеrnoy i Yujnoy İndii” ( Upshastriya as an Integral Phenomenon of Musical Culture of North and South India), Müziк Теоrisi Bölümü, Tchaicоvsky Moskova Devlet Konservatuvarı, Basılmamış Doktora Tezi, Moscov 2010 n KEDRA Chinmaya, Awakening Indians to India, 2008. n KUMAR, Raj, Essays On Indian Music, Discovery Publishing House, New Delhi 2003. n LAVEZZOLİ Peter, The Dawn of Indian Music in the West: Bhairavi, Continuum International Publishing Group, 2006. n MADHUMİTA, Dutta, Let’s Know Music and Musical Instruments of India. Star Publications, New Delhi 200 n MASSEY Reginald and Jamila MASSEY, The Music of India, Abhinav Publications, New Delhi 1996. n MAY Elisabeth, Musics of Many Cultures: An Introduction, University of California Press, 1983. MİLLER, Terry E., Shahriari, Andrew C., World Music: A Global Journey, Taylor & Francis, 2008. n MOORTHY Vijaya, Romance of The Raga, Abhinav Publications, 200 n NARAYANAN, Suresh, Carnatic Music, 2. Cilt Suvarnaraagam, 2007. PANİSSENİ Delia Lucia L., India: Passport to Love, Atlantic Publishers & Dist, 1999. RANE Sujan, Learning Hindustani Classical Vocal Music, Xlibris Corporation, 2011. n RYZHAKOVA, Svetlana, İndiyskiy Tanez. İskustvo Preobrajeniya (Indian Dance. Art of transformation), Moscov 2004. n ŚARMMĀ Vi. Es, Kunchan Nampyar, (Kunchan Nampyar. Makers of Indian Literature), Sahitya Akademi, 2000. n SCHECHNER Richard, Performance Studies: An Introduction, Routledge, 2002. n SHANKAR Ravi, “Vospriyatie indiyskoy klassiçeskoy muzyki”, (Perception of Indian Classical Music), İndii, (India), vol. III/84, 1985, s. 28-36. n SORRELL Neiland Ram NARAYAN, Indian Music in Performance: A Practical Introduction, Manchester University Press ND 1980. n TITON Jeff Todd (v.d.), Worlds of Music: An Introduction to the Music of the World’s Peoples, Shorter Version, Cengage Learning, 200 n ULZİFEROV, Oleg. Kulturnoe Nasledie İndii (Cultural Heritage of India), Vostok-Zapad (East-West), Moscov 2005.
Details
| Primary Language | Turkish |
|---|---|
| Journal Section | Makaleler |
| Authors | |
| Publication Date | August 27, 2014 |
| Published in Issue | Year 2013 Volume: 2 Issue: 2 |