Indian & Russian Music
Indian Music
Carnatic
The present form of Carnatic music is based on historical developments that can be traced to the 15th - 16th centuries AD and thereafter. From the ancient Sanskrit works available, and the epigraphical evidence, the history of classical musical traditions can be traced back about 2500 years. "Carnatic" in Sanskrit means "soothing to ears". Carnatic music is completely melodic music, with improvised variations. The main emphasis is on vocal music; most compositions are written to be sung, and even when played on instruments, they are meant to be performed in a singing style (known as gāyaki.) Like Hindustani music, Carnatic music rests on two main elements: ‘raga’, the musical modemodes or melodic formula, and ‘tala’, the rhythmic cycles.
Purandara Dasa is credited with having founded today's Carnatic Music. He systematized the teaching method by framing a series of graded lessons such as swaravalis, janta swaras, alankaras, lakshana geetas, prabandhas, ugabhogas, thattu varase, geetha, sooladis and kritis. He introduced the Mayamalavagowla as the basic scale for music instruction. These are followed by teachers and students of Carnatic music even today. Another of his important contributions was the fusion of bhava, raga and laya in his compositions.
Many songs and poems and ballads supported in Carnatic music are written by poets all the way back to the 14th century. Thyagaraja, Annamacharya, and Bhadrachala Ramadasu have written in Telugu and most of the melodious songs from Carnatic music we listen today belong to one of them. There are multiple Tamil and Sanskrit lyrics as well which are sung in Carnatic version.
Carnatic music correlates to the eight classical dance styles of India: Bharatnatyam, Kathak, Kathakali, Kuchipudi, Manipuri, Mohinattyam, Odissi and Sattriya.
Carnatic
The present form of Carnatic music is based on historical developments that can be traced to the 15th - 16th centuries AD and thereafter. From the ancient Sanskrit works available, and the epigraphical evidence, the history of classical musical traditions can be traced back about 2500 years. "Carnatic" in Sanskrit means "soothing to ears". Carnatic music is completely melodic music, with improvised variations. The main emphasis is on vocal music; most compositions are written to be sung, and even when played on instruments, they are meant to be performed in a singing style (known as gāyaki.) Like Hindustani music, Carnatic music rests on two main elements: ‘raga’, the musical modemodes or melodic formula, and ‘tala’, the rhythmic cycles.
Purandara Dasa is credited with having founded today's Carnatic Music. He systematized the teaching method by framing a series of graded lessons such as swaravalis, janta swaras, alankaras, lakshana geetas, prabandhas, ugabhogas, thattu varase, geetha, sooladis and kritis. He introduced the Mayamalavagowla as the basic scale for music instruction. These are followed by teachers and students of Carnatic music even today. Another of his important contributions was the fusion of bhava, raga and laya in his compositions.
Many songs and poems and ballads supported in Carnatic music are written by poets all the way back to the 14th century. Thyagaraja, Annamacharya, and Bhadrachala Ramadasu have written in Telugu and most of the melodious songs from Carnatic music we listen today belong to one of them. There are multiple Tamil and Sanskrit lyrics as well which are sung in Carnatic version.
Carnatic music correlates to the eight classical dance styles of India: Bharatnatyam, Kathak, Kathakali, Kuchipudi, Manipuri, Mohinattyam, Odissi and Sattriya.
Instruments in Carnatic Music
Melody | Vocals, Sarasvati Vīna, Venu, Violin, Gottuvadhyam (Citra Vīna), Nāda Svaram, Mandolin, Jal Tarang |
Rhythm | Mrdaṅgam, Ghatam, Morsing, Kanjira, Thavil |
Drone | Tanpura, Shruti box |
Hindustani
Hindustani music is an Indian classical music tradition that goes back to Vedic times around 1000 BC, and further developed circa the 13th and 14th centuries AD with Persian influences and from existing religious and folk music. The practice of singing based on notes was popular even from the Vedic times where the hymns in Samaveda, a sacred text, was sung as Samagana and not chanted. Developing a strong and diverse tradition over several centuries, it has contemporary traditions established primarily in India but also in Pakistan and Bangladesh. In contrast to Carnatic music, the other main Indian classical music tradition originating from the South, Hindustani music was not only influenced by ancient Hindu musical traditions, historical Vedic philosophy and native Indian sounds but also enriched by the Persian performance practices of the Mughal era. Besides pure classical, there are also several semi-classical forms such as Thumri, Dadra and Tappa.
Its origins lie in existing religious, folk and theatrical performance practices. The origins of Hindustani classical music can be found in the Samaveda (wherein Sāman means "melody" and Veda means "knowledge"). The Samaveda comes second in the usual order of the four Vedas. Samaveda consists of a collection (Samhita) of hymns and verses or specifically indicated melodies called Samagana that were sung by the priests while offering libations to various deities.
Hindustani classical music has its origin as a form of meditation and is based upon ragas and taals each designed to affect different "chakras" (energy centers, or "moods") in the path of the "Kundalini" of the human system. Vedic practice traces specific physical, mental, biological and spiritual results associated with activation of these centres to generate the very sound of “OM”. ‘OM’ is believed to be the beginning of all creation in which are rooted the seeds of sound and music.
Hindustani music is an Indian classical music tradition that goes back to Vedic times around 1000 BC, and further developed circa the 13th and 14th centuries AD with Persian influences and from existing religious and folk music. The practice of singing based on notes was popular even from the Vedic times where the hymns in Samaveda, a sacred text, was sung as Samagana and not chanted. Developing a strong and diverse tradition over several centuries, it has contemporary traditions established primarily in India but also in Pakistan and Bangladesh. In contrast to Carnatic music, the other main Indian classical music tradition originating from the South, Hindustani music was not only influenced by ancient Hindu musical traditions, historical Vedic philosophy and native Indian sounds but also enriched by the Persian performance practices of the Mughal era. Besides pure classical, there are also several semi-classical forms such as Thumri, Dadra and Tappa.
Its origins lie in existing religious, folk and theatrical performance practices. The origins of Hindustani classical music can be found in the Samaveda (wherein Sāman means "melody" and Veda means "knowledge"). The Samaveda comes second in the usual order of the four Vedas. Samaveda consists of a collection (Samhita) of hymns and verses or specifically indicated melodies called Samagana that were sung by the priests while offering libations to various deities.
Hindustani classical music has its origin as a form of meditation and is based upon ragas and taals each designed to affect different "chakras" (energy centers, or "moods") in the path of the "Kundalini" of the human system. Vedic practice traces specific physical, mental, biological and spiritual results associated with activation of these centres to generate the very sound of “OM”. ‘OM’ is believed to be the beginning of all creation in which are rooted the seeds of sound and music.
Instruments in Hindustani Music
Melody | Vocals • Sitar • Sarod • Surbahar • Rudra Veena • Violin • Sarangi • Esraj/Dilruba • Bansuri • Shehnai • Santoor • Harmonium • Jal Tarang |
Rhythm | Tabla • Pakhawaj |
Drone | Tanpura • Shruti box • Swarmandal |
Musical Instruments
There are many musical instruments in India. Some instruments are used primarily in north Indian music (Hindustani sangeet), some are used in the south Indian music (Carnatic sangeet), while others are found in folk music. Instrumental music is usually similar to vocal music but sometimes there are distinctive instrumental styles.
There is a traditional system for the classification of instruments. This system is based upon; non-membranous percussion (ghan), membranous percussion (avanaddh), wind blown (sushir), plucked string (tat), bowed string (vitat). In addition to these traditional five classes we have been forced to create a sixth class to accommodate purely electronic instruments.
Non-Membranous Percussive (Ghan) This is one of the oldest classes of instruments in India. This class is based upon percussive instruments which do not have membranes, specifically those which have solid resonators. These may be either melodic instruments or instruments to keep tal. Andelu Chimpta Ghatam Ghunghru Gol Kathi (Dancing Stick) Jal Tarang Kartal Kasht Tarang Manjira Nout Murchang Blown Air (Sushir) This class of instrument is characterized by the use of air to excite the various resonators. Bansuri Bombashi Harmonium Mukhavina Nadaswaram Ottu Pungi Shankh Shehnai Surpeti Plucked Stringed Instruments (Tat) This class of instruments is characterized by plucked strings. In ancient times virtually all instruments of this class were referred to as vina. Bulbul Tarang Dotar 1 Dotar 2 (Dotora) Dramyen Ektar Getchu Vadyam (Gettuvadyam) Gopichand (ektar) Gotuvadyam Katho (Khomok) Magadi Vina Nakula Vina Rabab (Kabuli Rabab) Rudra Vina Santur Saraswati Vina Sarod Seni Rabab Sitar Surbahar Surmandal Swarabat (Swaragat) Tanpura Tuntuna (Chohokhode) Vichitra Vina Bowed-Stringed Instruments (Vitat) This is a class of stringed instruments which are bowed. This class appears to be quite old, yet these instruments did not occupy a place in classical music until the last few centuries. The entire class of instruments has a certain stigma attached to it. Even today only the Western violin is free of this stigma. Banam Chikara Dilruba Esraj Kamancha Kenda Mayuri Vina Pena (a.k.a. Bana) Ravanhasta Sarangi Saringda Tar Shehnai Violin Membranous Percussive (Avanaddh) This is a class of instruments which have struck membranes. These typically comprise the drums. Charchari Chenda Daf (Duuf, Daphu, Daffali) Damaru Dhad Dhak (Daklu) Dhol Dholak 1 Dholak 2 Dholki (Nal) Diggi Idakka and Udaku (Udakai) Goga Dhol Gummeta (Dakki, Budike) Jaspuria Jhorka & Korka Kanjira Khol (Mridang) Madar Maddal Mridangam Nagada Nissan, Mawaloti, Lohati Pakhawaj Pancha Mukha Vadhyam Phara Pung Sambal Shuddha Madalam Tabala Tabala Tarang Tamak Tasha Tavil Thanthi Panai Timki Tumbak Urumili Electronic Surpeti, Electronic Tampura Lahera Peti Tabala Peti Mridangam Peti
Russian Music
Folk music is certainly the oldest of them. The roots of Russian folk music date as far back as to the middle of the first millennium AC, when Slavic tribes settled in the European part of the present territory of Russia. Those tribes were famous for their love and mastery of music, singing and dancing. From generation to generation folk ensembles and singers try and keep up the authentic Russian music traditions alive. Folk song and dance ensembles present old country repertoire with songs often blending pagan roots and Christian symbolism, songs either sad and drawling or merry, as well as dances - dignified and graceful or rollicking and vigorous, accompanied with traditional musical instruments (balalaikas, whistles, guslis, wooden spoons, bayan, etc.) and colourful costumes. These days enjoy the 'new folk wave' bringing together old traditions, modern technologies and experimental music styles.
Russian Folk Instruments
Ancient chronicles, epics and medieval foreign writers’ notes bear all evidence that the Slavs were extremely fond of music. Karamzin points out in History of the Russian State: “The Northern Venedi (the old name for Slavs) in the 6th century said to the Greek Emperor that the major delight of their living was music and that on the road they usually took not weapons but citharas or gusli invented by them”. As time passed by lots of new music instruments came to be used by folk musicians. Nowadays different styles are in fashion yet there is still hope that interest in traditional Russian music will never ever fade. Traditional folk music instruments have come to be used in lots of modern styles and eclectic ways in recent years.
Classical Music
Russian national composer school acquired its individual shape rather late, only by the mid 19th century. However, once getting mature Russian music rushes into the world music arena. West European musicians and critics of the 19th century could not but appreciate most peculiar features of Russian music, such as the use of rich and fresh folk music material of Eurasian type, blending 'eastern' and 'western' elements; and absolutely new forms of symphonic development - synthetic rather than analytical, as was the convention with the West European symphony. The appearance of such figures as Skryabin, Stravinsky and Prokofiev in the early 20th century put Russian music in the avant-garde of the world music process.
Opera
Russian opera is on a par with Italian, German and French operas in terms of their worldwide significance.
This is mainly due to the range of operas created in the second half of the 19th century and certain operas of the 20th century. Among the most popular operas on the world stage of the late 20th - early 21st cc are Boris Godunov by Musorgsky, Pikovaya Dama/Queen of Spades and Eugeny Onegin by Chaikovsky, Knyaz Igor/Prince Igor by Borodin, and Zolotoi Petushok/Golden Cockerel by Rimsky-Korsakov, all dating back to the 19th century. Of the 20th century's operas stand out Ognenny Angel/Fiery Angel by Prokofiev and Lady McBeth of Mzensk district by Shostakovitch.
Russian Romance
Russian romance means intimate lyrical songs that touch the soul, feelings set to music, and poetry that makes one cry and smile. Romance as music genre is a traditionally Russian type of music creativity: it is in romance that the so-called “mysterious Russian soul” has found ways of expressing its passions. Just recall the famous "Ochi Chyornie" (Black Eyes)!
Great singers of the 20th century
Sweeping various style definitions aside we would like to introduce you the most prominent singers of the 20th century who belonged to various genres. One thing uniting them is that their charismatic personalities and artistry left an influential trace in the musical history of Russia. Great singers were Fyodor Shalyapin, Sergey Lemeshev, Claudia Shulzhenko, Isabella Yurieva, Leonid Utesov, Mark Bernes and other legendary singers who deserve live attention of any generation.
Author's song
Author's song as a genre supposes that a songwriter performs one's songs alone to his/her own guitar accompaniment (or some other instrument, which is rare). Singers to guitar are also called bards. Originated as a free alternative to semi-official mainstream concert music in the Soviet Union, this genre remains non-commercial and in this regard perhaps more independent than any other. Great attention is paid to the meaning of lyrics, aspiring to convey some deep message. Read about the phenomenon of bard song in Russia and about such distinguished authors and performers as Alexander Vertinsky, Boulat Okoudjava, Vladimir Vysotsky and Alexander Bashlachev. The author's song is a chamber genre aimed at a peculiar audience as compared to rock music attracting wide public (especially the youth) due to its versatile sound and eccentricity.
Pop Music
Genres of pop music widely spread in modern Russia and CIS countries started taking shape back in the USSR epoch and were somewhat different from similar styles both of the West and the East. By the early 1960s Russian-language pop music developed into one of the biggest music markets in the world. In the 1990s when the country was undergoing severe economic and political crisis Russia and Moscow in particular still remained to be significant producers of Russian-language music industry. Strange as it may seem lots of famous pop music hits were recorded in that very period.
Rock music
Rock music came to Russia from the West and for a long time remained underground and rebellious to the stale oppressive atmosphere of the Soviet Establishment.
For a long time having no opportunity to use good professional instruments and up-to-date electronic equipment for recording and sound mixing, Russian rock musicians got accustomed to a peculiar minimalism in music. Guitar and unpretentious percussion 'beat' - that was practically all to comprise the acoustic palette of Russian rock, which from the very beginning tended to attach the first importance to the lyrics and the message conveyed. Rock music became a specific Russian phenomenon mainly due to poet and singer Alexander Bashlachev. A perfectly Russian author he influenced many rock musicians and played an important role for Russian rock to advert to the roots of Russian music folklore and imparted the genuine Russian spirit to it.
Brief History of Jazz in Russia
Jazz stage emerged in the USSR in the 1920s, just parallel to its flourishing in the USA. The first Russian jazz orchestra was established in Moscow in 1922. Jazz started gaining wide popularity in the 1930s, to a great extent thanks to the Leningrad jazz ensemble headed by famous actor and singer Leonid Utyosov. Soviet authorities displayed quite ambiguous attitude towards jazz: Russian jazzmen, as a rule, were not banned, though jazz as such was severely criticized in the context of overall criticism of Western culture on the whole.
Punk Rock & Alternative Rock in Russia
Punk music penetrated into the USSR in the early 1980s. From the mid 1980s pank rock bands started to spring up all around the USSR and as time passed by they somehow fell into two categories: central and Siberian ones. Alternative rock originated in Russia in the mid 1990s. Bands playing alternative rock and alternative metal are often referred to with the same definition “alternative”, without dividing them from each other.
Country Music in Russia
Even in Soviet Russia American style of country music was growing in popularity. In 1975 a Russian student band named Ornament already performed real country disguised as songs of struggle and protest. Though today palette of Russian country music adherents is not that rich and versatile in comparison with America and Europe, it still has something to offer.
Celtic Music in Russia
Just like country music, so untypical for Russia, Celtic music is also popular among the Russians. The talking about affinity of “mysterious” Irish and Russian minds is not casual: they really have much in common. Yet, Russia missed the first wave of interest in Irish music that overwhelmed the world in the 1960s-70s. But then in the early 1990s we fitted very well into the second one and till date have been taking an active part in this global process.
A Glimpse of Hip-Hop Culture in Russia
Hip hop gained fame, then rather limited, in the second half of the 1980s, when fancy for break dance started in this country. Yet, English-language rap compositions as such were little known among music lovers then. The first Russian language rap performers appeared in the early 1990s, Bogdan Titomir enjoying fame, whereas more underground sorts of Russian hip hop (such as “MD&C Pavlov” and the like) were far from being a success. The market of Russian hip hop as industry took its shape only in the late 1990s.