12/6/2023 0 Comments Single string indian instrument![]() ![]() The Ajrara Gharana, an offshoot of the Delhi Gharana, was founded by Kallu Khan and Miru Khan in the early nineteenth century in Meerut. Their famaous exponents include Ustad Ghami Khan Saheb, Ustad Imam Ali Khan, and Ustad Munnu Khan Saheb. The Delhi Gharana, the oldest one, was founded by Jiddhar Khan in the early eighteenth century in Delhi. There are six widely accepted tabla gharanas. It is actually a pair of drums-the right tabla is made of proper wood where the paste is loaded in the centre and the left is the dagga or duggi (also, bayan). The tabla-controversial in origin-has become very popular over the years and has taken over from the pakhavaj especially in khayal singing owing to its comparatively softer and sweeter sound. There are the surahi-shaped drums (the Kashmiri tumbaknari, the jamukku of Tamil Nadu, the burra of Andhra) and the conical dundubhi which includes the dhumsa of the Santals, the nissan of Odisha, and the folk drum, nagara, of ‘north India. These include the nga chung of the Tibetan region, the tudi of the south, and the highly-developed eddakka or idakka (Kerala). Two-faced drums include the waisted or hourglass drums (the damaru or budbudke or kudukuduppe). The major gharanas are those of Nath Dwara and of Kudau Singh (nineteenth century). But the syahi is used instead of the soru. The paste is applied to the pakhavaj in a manner resembling that of the application in the case of the mridangam. Its plants are struck by the hammer to effect pitch modifications. The wooden pakhavaj, described in the Ain-Akbari, is a single, barrel-shaped drum with moveable cylindrical blocks for gross tuning. The right face has the soru, a black mixture, fixed to it permanently while the toppi has a paste of soft dough stuck to it just before the actual playing begins. Its left face-the toppi, a plain membrance-is simpler than the right valan talai and the faces are constructed differently. The barrel-shaped mridangam is the only drum used in Karnatak musical concerts (the suddha maddalam is played for dances such as Kathakali). Many bifacial drums are classed under ‘mridanga’- the mridangam of south India, the pakhavaj of Hindustani classical music, the pung (Manipur), the sri khole (West Bengal) and the barrel-shaped tavil of south India. Cylindrical drums, generally called the dholak when small and the dhole when large (though these terms may refer to barrel-shaped drums as well), include the ancient bheri and the popular chetida of Kerala. Other frame drums include the simplest soorya pirai and the chandra pirai of the south, the khanjari (of the north) or kanjira (of the south).ĭrums with two faces (like the gana of Ladakh) might have been wooden and cylindrical at the beginning. The most common class is the tribal folk daff (also dafli or dappu) which includes the ghera (Rajasthan), tappattai, tappate/tappata in the south and the chengu (Odisha). ![]() Drums are classified in many ways depending upon their shapes, structure and the positions in which they are placed while playing.įrame (open) drums have a circular, wooden or metal frame covered with skin on one side. The most primitive drum was a pit covered with skin. These hollow instruments can be traced back to use of cooking and storing pots for producing sounds in the past.ĭrums and related instruments are covered with skin and are almost always used as rhythmic accompaniments in music and dance. Drums:ĭrums are known as avanaddha (covered instruments) or membranophones. But the one prevalent worldwide today was formulated by Bharata (lived between second century and AD) in Natyashastra. Classification of musical instruments has been done in many ways. The growth or decline in the use of different instruments has a deep impact on the development of music.Ībout 500 instruments, including those used in folk and classical music, are known to humans. This is because vocal sounds cannot be measured directly the various features of the instruments are necessary to study the various aspects of music. Study of music and evolution of any musical theory or grammar would be impossible without these instruments. The kind of material used to prepare an instrument in a particular region tells us about the flora and fauna of that place. That only some communities use a kind of instrument indicates the social taboos prevalent in earlier times. Musical instruments provide us historical information on the socio-religious traditions of a people, geographical distribution of the flora and fauna, and so on.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |