利用者:Dummy index/draft: インドの音楽理論
インド音楽 では音高を様々な方法で取り扱う。主に2つの伝統がある。北インドのヒンドゥスターニー音楽と、南インドのカーナティック音楽である。[1][2]
音名 (サルガム)
どちらの伝統でもソルフェージュ（唱法）には7音音階を基にした体系を用いる。サ、リ、ガ、マ、パ、ダ、ニ。これは順番にシャッジャ、リシャバ、ガーンダーラ、マッディヤマ、パンチャマ、ダイヴァタ、ニシャーダのそれぞれ最初の音をとったものである。
どちらの伝統でも音階は12音の枠組みで記述されるが、命名方法は異なっている。北インドでは、音名はニュートラル（shuddh）、シャープ（tivra）、フラット（komal）に変化する。変化なしの音名は長音階（0 2 4 5 7 9 11）を構成する。サとパは変化せず、マはシャープになることができて、リ、ガ、ダ、ニはフラットになることができる。
南インドでは状況はもう少し複雑だが、下の表にまとめた。（シャープ方向の変化が多くなっているが、それよりも、変化なし音名の音階が異なることに注意。）表面的には16音の枠組みを構成しているように見えるが、同じ度数に書かれた複数の名前は西洋音楽で言うところの異名同音のようなものである。
| Degree | Hindustani name | Carnatic name | Western example (S = A) |
|---|---|---|---|
| 0 | Sa | Sa | A |
| 1 | Komal Re | Shuddha Ri | B♭ |
| 2 | Shuddh Re | Chatusruti Ri | B |
| Shuddha Ga | C♭ | ||
| 3 | Komal Ga | Shatsruti Ri | B♯ |
| Sadharana Ga | C | ||
| 4 | Shuddh Ga | Antara Ga | C♯ |
| 5 | Shuddh Ma | Shuddha Ma | D |
| 6 | Tivra Ma | Prati Ma | D♯ |
| 7 | Pa | Pa | E |
| 8 | Komal Dha | Shuddha Da | F |
| 9 | Shuddh Dha | Chatusruti Da | F♯ |
| Shuddha Ni | G♭ | ||
| 10 | Komal Ni | Shatsruti Da | F𝄪 |
| Kaisiki Ni | G | ||
| 11 | Shuddh Ni | Kakali Ni | G♯ |
ヒンドゥスターニー音楽では、音は 'very flat' (ati komal) になることができて、これは微分音的変化を表す。See Rāgs Around the Clock for a fuller discussion of notation in Hindustani music. カーナティック音楽ではラーガの正確な音高よりも装飾音、ビブラート、スライドの速さと形状が重要とされる。
Ornamentation
Ornamentation in Indian music is very striking and characteristic of the music. See Rāgs Around the Clock for a detailed discussion and audio examples.
Meend are glides between different notes.[1] You can see meend graphically in the pitch contours shown at Music in Motion.
Andolan is a gentle oscillation in pitch within a given note.[1]
In Hindustani music a gamaka is a 'shake' in pitch around a series of notes[1]. In Carnatic terminology, gamaka is the general term for an ornament, and it includes various kinds such as:
- Vibratos (both small, within a pitch class, and large, between pitch classes and possibly as wide as a minor third)
- Slides
- Quick grace notes (lower grace notes like A–G♯–A or G♯–A more common than upper ones like A–B♭–A or B♭–A)
- Turns (like F♯–E–D♯–E, the first three being grace notes)
- More complex ones like tones sliding into vibratos (like A sliding up to a vibrato between E and F).
Instruments
Tanpura
The tanpura is a long necked fretless lute which provides a harmonic-rich drone.[1]
The tanpura typically has four strings. In the most common tuning, the middle two strings are tuned to the tonic (Sa), and the first and fourth strings are tuned to the fifth (Pa) and tonic (Sa) in the octave below.[3] In ragas without a fifth (Pa), the first string is tuned to another note instead, most commonly the fourth (Ma) or seventh (Ni).[1]
Sambamoorthy's book on drones discusses the tanpura and other instruments used to provide drones.
Harmonium
The harmonium is a portable reed organ. It was introduced into Indian music in the 19th century. Its use proved controversial, leading to a ban from All India Radio (AIR) from 1940–1971.[4] The AIR seminar on the harmonium gives many arguments for and against the harmonium.[5] The use of equal temperament on the harmonium was one consideration; others included the inability to play meend and gamakas.
Shruti
In modern practice, shruti refer to microtonal inflections in general.[1][6] However, there is a long history of specific systems of pitches called shruti, going back at least to Bharata's Natyashastra, in which he discusses a system of 22 notes and describes an experiment involving two vinas.[7] It is not obvious how to interpret Bharata's discussion in terms of exact pitches, and it has given rise to a long line of analyses and proposed interpretations, with different pitches and numbers of notes. Given the complexity of the issue, it would be unwise to pick one system as the system of 22 shruti. The relationship of systems of shruti to musical practice remains contentious.[6][8]
While there is no single standardized definition of the exact sizes of all shruti intervals, a particularly widely recognized scheme is a 22-tone subset of 5-limit JI.[9][10]
Contemporary microtonalists nonetheless continue to creatively develop tunings for it, with various degrees of authenticity. This includes the attempt to reframe it under regular temperament theory. Gene Ward Smith has considered Magic[22] and Srutal[22] as possible tunings, the name of the latter temperament being inspired by none else than the 22 shruti system, and Joseph Monzo has argued for the utility of schismic tunings.[11]
References
- ↑ 1.0 1.1 1.2 1.3 1.4 1.5 1.6 David Clarke, Rāgs Around the Clock: A Handbook for North Indian Classical Music, with Online Recordings in the Khayāl Style. Open Book Publishers, 2024.
- ↑ Ravi Kiran, Appreciating Carnatic Music. Ganesh & Co, 1997.
- ↑ P. Sambamoorthy, Sruti Vadyas (Drones). All India Handicrafts Board, 1957.
- ↑ Matt Rahaim, That Ban(e) of Indian Music: Hearing Politics in the Harmonium. The Journal of Asian Studies 70.3, 2011.
- ↑ AIR's seminar on the Harmonium. Sangeet Natak Akademi, 1971.
- ↑ 6.0 6.1 S. Rao and W. van der Meer, The Construction, Reconstruction and Deconstruction of Shruti. Hindustani music: thirteenth to twentieth centuries, 2010.
- ↑ Bharata-Muni, The Nāṭyaśāstra, transl. Manomohan Ghosh. The Asiatic Society, 1961.
- ↑ Mark Levy, Intonation in North Indian Music. Biblia Impex, 1982.
- ↑ P. Sambamoorthy, South Indian Music, Book IV. The Indian Music Publishing House, 1963.
- ↑ S. Vidyasankar. Derivation of the 22 Srutis.
- ↑ Yahoo! tuning list | Magicテンプレート:Lbrack22テンプレート:Rbrack as srutis
Further reading
- G.K. Koduri, S. Gulati, P. Rao and X. Serra, Rāga Recognition based on Pitch Distribution Methods. Journal of New Music Research 41.4, 2012.
External links
- Bake/Jairazbhoy Digital Archive of South Asian Traditional Music and Arts – archive of recordings and images
- Music in Motion – recordings synced with videos showing pitch contours
- www.chandrakantha.com - Indian classical music – portal on Indian music, with detailed descriptions of a number of North Indian rags
- MusicResearchLibrary – an Indian music research portal