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Adhara Shadja Articles Time cycles in Hindustani music Indian classical music has been considered very unique. It is considered to be as old as mankind.
It went through several changes through the centuries. The present format of classical musicespecially Hindustani Classical Music has been around since the 18th century.
Gradually through the centuries music evolved and it was realised that music effected our moods. Thus the Raagas were classified Into different groups depending on the time of the day. These Raagas also were classified based on seasons of the year. In Hindustani classical music, this system of singing or playing a Raaga at a particular time of the day has been a norm.
Vaadi swar is considered the Most important swar in the melody of the Raaga, samvaadi is the second most important swar. While singing a Raaga these swaras will be constantly used or often used in the musical phrases.
Then again a Raaga or the melodic scale is divided into two parts …The first half called the Poorvaang and second half is called Uttarang.
If the Vaadi swar is placed in the Uttarangsamvaadi should be on the Poorvaang and vice versa. Similarly, The time of the dayie, 24 hours of the day have also been divided to two parts. The first half is early hours afternoon 12 to midnight The second part being midnight12 to afternoon The Madhyam is also considered to be an important swar in deciding the timings of the Raagas.
All Raagas which are sung or performed in between mid afternoon and mid night have Teevra Madhyam and Raagas performed after that have Shudh Madhyam. Thus we do notice change in the mood and expression of the Raagas.
The broad Classification of Raagas based on seasons: The spring season is welcomed to the tune of Raaga. Basant, Raag Kafi too is sung during this season.
All Raagas belonging to the Kaafi that can be sung anytime during this season. The summer months of Jyeshta and Ashada. During this season Raag Deepak is sung.Hindustani and Carnatic music systems are comparable to two species that have evolved from a common ancestor.
So it helps to describe the nature of their 'ancestor' first and then show how the two systems evolved into distinct branches. The Evolution of Hindustani Music Sitar, sarod, tabla, sarangi or dhrupad, khayal, ghazal or raga, tala, gharana- these are known the world over today.
They represent Hindustani Art Music - in reality, a part of Indian Classical music.
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The course of the evolution of Indian music saw the emergence of two different sub systems as Hindustani and Carnatic music. In Haripala's "Sangeeta Sudhakara", written in the 14th century A.D., the terms Carnatic and Hindustani are found for the first time.
This is why, in Hindustani classical music, we discuss ragas in terms of their chalan (movement). Having said that, there are a few broad rules that are specified for each raga to help you get started.
For instance, a raga specifies which notes are used in ascending phrases and which ones are used in descending phrases.
When we say we promote North Indian Classical Music (aka Hindustani Classical Music), we dont just say it but we mean it. For this purpose we have registered SwarGanga as a c3 (tax exempt) organization in the US and India (with 80G status pending).