MUSIC PROJECT

Shaunak Anil jadhav

Class 12 sci 2019-20
Definitions

■ Alap:- The gradual composition of raga emphasising Vaadi, Samvaadi, and other
salient features in a slow tempo is called Alap. The word Alap means dialogue or a
conversation. Alap is a dialogue between musician and the raaga in which he
involves the audience. Alap also reflects the depth, training and tempo of the
musician.
■ Varna:– Varna is the actual act of singing. There are 4 types of varna.
■ 1. Sthai
■ 2. Arohi
■ 3. Avrohi
■ 4. Sancharia
■ 1. Repeated pronunciation of same varna is known as sthai varna
■ 2. The process of singing from Sthai(सा) to nishad(नी) is known as Aroha Varna
■ 3. The process of singing back from Nishad to Shadaj swar is known as Avrohi Varna
■ 4. Sancharia is the Varna in which there is a combination of both Arohi and Avrohi
Varna
■ Taan:– To improve the expand weaving the notes together in a fast tempo is callled
as Taan. Taans are very technical and show the training, practice, and dexterity in
weaving complicated patterns of the notes with variations in the rhythm.
■ Kan Swar:- The grace note makes the main note sound sweeter, written slightly
above the left side of main note: eg.,
Sangeet Ratnakar

Sangeet Ratnakar is written by Pandit Sharang in the 13th century. Sharangdev was a court musician
in the royal court of Devgiri Yadav in Daulatabad. The book is respected as it is regarded as a
foundation of both north and south Indian classical music. In this book, we get a detailed description
of vocal instrumental and dance. The book contains independent chapters on different aspects of
music. They are:-
1. Swaradhyay
2. Raag Vivek adhyay
3. Prakiravadhyay
4. Prabandhadhyay
5. Taaladhyay
6. Vaadyaadhyay
7. Nartanaadhyay
1. Swaradhyay:- The first chapter elaborates the nature and origin of naads and types of naad,
swar, jaati, etc.
2. Raag Vivek adhyay:- Second chapter explains Raag, Raag ang, Bhashang, Deshi raag, and
explaination of musical terms.
3. Prakirvaakadhyay:- Sharangdev analyses the qualities and faults of performer and also
describes Sthaai
4. Prabandhadhyay:- Fourth chapter deals with Nibadh and Anibadh gaan prabandh shed.
5. Taaladhyay:- He elaborates taal and classification of instruments in thaat.
6. Vaadyadhyay:- He elaborates here about instruments and their types
7. Nartanaadhyay:- 7th chapter is related with dance. Sharnagdev was a great scholar of music.
He studied the books by Bharat Rishi, Matang, and Narad and did his own research on music
and wrote Sangeet ratnakar which is truly Indian in character
Taanpura

Taanpura is a classical music instrument of the stringed group. Its deep resonant drone
forms a perfect base for human voice. Tanpura keeps the voice fully attuned to the
pitch. Its powerful resonant drone helps in creating a musical environment which
sounds as a prelude to the performance.
Tanpura is made up of seasoned wood and dry, hollowed pumpkin. The length of this
instrument varies from three ad half to five feet. Tanpura has 4 strings. The first three
strings are made up of steel and fourth string is made up of brass.
Ustad Faiyaz Khan
Faiyaz khan is still remembered as the “Mehfil ka Badshah” by those who have been
fortunate enough to hear him alive as well as those who have atleast heard his
recordings. On the dais, he was the symbol of a dignified personality always elad in silk
sherwani, his chest blazing with rows of sparkling gold medals and chains and complete
with sarangi and tabla players, he sang with a deep masculine, jwalidar voice, all in
keeping with his goand strange presence. Among the many titles and awards that he
received , just the Aftab-e-Mausiqi alone clarifies to the musical phenomenon that he
was, and the magical and music spell he chanted on his audience whenever he
performed.
Faiyaz khan was born in 1556 at Sikandra in Agra. He belonged to a family of great
musicians, going back to the lineage of Tansen. He was groomed mainly by his
grandfather, Ghulam Abbas khan and grand uncle Kallan khan, both were very eminent
singers of Agra gharana. Faiyaz was also deeply influenced by Zohra bal and other
contemporary ustads. Later, he became the son in law of dasapriya ustad.
Ustad Faiyaz khan would lender a full scale “nom-tom” alap and follow it up with khyal expositions,
thus blending dhrupad and khyal and giving his gayki more flexibility. His bol-banawat, layakari and
his invincible style of reaching the sam are unmatched even today. He was a great composer
himself, his pen name has been peerpriya. His compositions in raga jaijaivanti, jay etc. Are treasured
by agra singers even today. In fact, Faiyaz khan’s agra gayki become so famous that most oh his
students and followers would actually copy him to the very last detail.
Faiyaz khan was a reformist among traditionals and his gayki is still an example of the evolution of
hindustani classical music from dhrupad to khyal, thumri, dadra, and ghazal. He was an architect of
music with the feeling of poet. He taught many students like Hussain khan, Latafat hussain khan, K.l
Saigal, Dipali nag, Dilip chandra vedi, D.T Joshi, S.n ratanjhankar, Swami ballabhdas, Raman Naik,
R.N Chatterjee and Shaafat Hussain khan among other.
In his last years, he suffered from Tuberculosis. His demice, in November 1950, marked the end of a
great era in hindustani classical music
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