10TH NIOS HINDUSTANI MUSIC

Question 1 (b)Define the two Talas which have the same number of Matras

Anwer:

:In Indian classical music, two talas with the same number of matras but different arrangements and mnemonics are called different talas. For example, Jhurnra, Adachautal, and Dipchandi all have 14 matras but are divided into different sections and each section has different measure here are some other examples of talas:A tala with 12 matras divided into 6 vibhags of two matras each. It is commonly used in classical music like kheyal and semi-classical forms like Rabindra Sangeet.

Question 2 (B)Explain your viewpoint that the Nada is obtained from physical objects and reaches the ear through the medium of physical matter

Answer:

Yes, sound is produced by vibrating objects and reaches the ear through a medium, which can be solid, liquid, or gas: When an object vibrates, it sets the particles of the medium around it vibrating. The particles transfer energy to each other, and the vibrations continue until they reach the ear. The medium is the substance through which the sound travels. The vibrations create disturbances in the medium, which cause compressions and rarefactio . Sound enters the ear through the outer part, which is funnel-shaped. The vibrations travel down a canal to the eardrum, which vibrates in response. The vibrations are then passed to the middle ear bones, or ossicles, which transfer

Question 3 (a) Relate between the Sudhya Swara and Tivra Swara ?

Answer:

In Indian classical music, the relationship between Shuddha Swara and Tivra Swara is that Shuddha Swara is natural, while Tivra Swara is sharp:

• Shuddha Swara

  Also known as pure, Shuddha Swara is represented by uppercase letters in notation. For example, P represents Shuddha Pa.
• Tivra Swara

  Represented by a # symbol in notation, Tivra Swara is sharp. For example, Ma is the only teevra sur, so # is only used with M

Question 4 (b) Explain the Bols of Teen tala along with Matra?

Answer: 

In Indian classical music, the beats within a rhythmic cycle are called matras, and the first beat is called the sam. In Teentaal, the 9th beat is called khali, which means "empty".

• heres some more information about Teentaal .Teentaal has 16 beats divided into four equal parts, called vibhagas. The period between each beat is equal. To count Teentaal, the audience claps on the first beat, the fifth beat, waves on the ninth beat, and claps again on the thirteenth beat. The name comes from the Hindi words teen (three) and taal (clap). 

Question 5 (b) 'In India, teaching music has always been oral in the form of Guru-Shishya tradition', justify the statement.?

Answer;

It is not just a student who finds his Guru, quite often the Guru finds his disciple! In this parampara, the Guru does not merely teach the rules, elements, and aesthetics of the ragas, but he helps the disciple to unfold his own music. The Guru takes great care that the student should not merely copy or imitate him; he helps the student to find his own identity and develop it. One of the best examples is that of Ustad Allauddin Khan Sahib. All his disciples, like Ustad Ali Akbar Khan, Pt. Ravi Shankar and Pt. Nikhil Banerjee, are very different from one another, but each one is a legend in their own respective field.

It is not just the knowledge, technique, style or aesthetics of music which are transmitted in the Guru-Shishya Parampara, but a whole range of values, perception, vision, and indeed, a way of life.

Once again, I prostrate at the lotus feet of the exalted Masters and salute the great parampara, which stands as a beacon, lighting the path of seekers of Music and transforming them into Musicians!

Question  6 (A) Collect photographs of any four famous instruments of Hindustani Sangeet, paste the Photos in A4 size sheet and write about them in brief?

Answer : The music of the Indian subcontinent is usually divided into two major traditions of classical music: Hindustani music of North India and Karnatak music of South India, although many regions of India also have their own musical traditions that are independent of these.

Both Hindustani and Karnatak music use the system of ragas—sets of pitches and small motives for melody construction—and tala for rhythm. Ragas form a set of rules and patterns around which a musician can create his or her unique performance. Likewise, tala is a system of rhythmic structures based on the combination of stressed and unstressed beats. Within these rhythmic structures, musicians (1996.100.1) can create their own rhythmic patterns building off the compositional styles of others.

One of the main differences between North Indian and South Indian music is the increased influence of Persian music and musical instruments in the north. From the late twelfth century through the rise of British occupation, North India was under the control of a Muslim minority that was never able to extend its sphere of influence to South India. During this time, the music of North India began to acquire and adapt to the presence of Persian language, music, and musical instruments, such as the setar, from which the sitar got its name; the kamanche (1998.72) and santur, which became popular in Kashmir; and the rabab (alternately known as rebab and rubab), which preceded the sarod. New instruments were introduced, including the tabla and sitar (1999.399), which soon became the most famous Indian musical instruments worldwide. Legend has it that the tabla was formed by splitting a pakhavaj drum in half, with the larger side becoming the bayan and the smaller side the dahini. The barrel-shaped pakhavaj drum, which was the ancestor of both the tabla and the mrdangam, has been depicted in countless paintings and prints. New genres of music were formed as well, such as khyal and qawwali, that combine elements of both Hindu and Muslim musical practice.

Hindustani classical music is known largely for its instrumentalists, while Karnatak classical music is renowned for its virtuosic singing practices. Instruments most commonly used in Hindustani classical music are the sitar, sarod, tambura, sahnai, sarangi, and tabla; while instruments commonly used in Karnatak classical music include the vina, mrdangam, kanjira, and violin. The use of bamboo flutes, such as the murali, is common to both traditions as well as many other genres of Indian music. In fact, many of these instruments are often used in both North and South India, and there are many clear relationships between the instruments of both regions. Furthermore, often instruments that are slightly different in construction will be identified by the same name in both the south and the north, though they might be used differently.