Gamaka
A fundamental type within the Ṥabdālaṁkāra. Classical texts, or the Śāstra, dedicate significant space to the treatment of this specific melodic ornamentation. It manifests as a distinctive method of repeating a chosen note or a series of notes multiple times. The fundamental form presents the selected note with an oscillation linked to the grace note or, more precisely, the note that precedes or follows it.
1. Gamaka Ascendants: S^R- R^G- G^M- M^P. After clearly expressing the note Sa, the grace note Re is added, followed by the expression of Re and the addition of the grace note Ga, continuing until the series is complete. The main notes should remain distinctly separate from each other, yet a subtle and nearly imperceptible gap should divide them, causing the grace note to conclude almost abruptly.
2. Gamaka Descendants: R^S- G^R- M^G P^M. Similar to the previous one, with the key difference that the grace note precedes the main one. Here, the grace note swings toward the main note, which lingers slightly longer than the preceding and succeeding grace notes.
These Gamakas are more easily learned in practice than in theory, with many being used in the Khaṇḍāra Vāṅī.
In classical texts or Śāstras, various Gamaka varieties are described, with fifteen varieties reported in the Saṁgītaratnākara:
1. Tiripa: A pleasing vibration resembling a double percussion, with four notes in one beat (e.g., SSSS, RRRR, GGGG, MMMM).
2. Sfurita: Similar to Tiripa but with three notes in one beat (e.g., SSS, RRR, GGG, MMM).
3. Kampita: Similar to Tiripa but with two notes in one beat (e.g., SS, RR, GG, MM).
4. Līna: Similar to Tiripa but with one note in one beat (e.g., S, R, G, M).
5. Āndolita: Oscillatory motion expressed between two microtones of the same note, with a note in half a beat and a rest in the remaining half (e.g., S-, R-, G-, M-).
6. Bali: A mixture of fast, asymmetrical, and heterogeneous sounds (e.g., SSS, GGG, PP, RR, GGG, RS).
7. Tribhinna: Fast vibrations covering three octaves—low, middle, and high (e.g., ṚṚṚ, SSS, NNN, DDD, GGG, RRR, DDD, NN, ṠṠ).
8. Kurula: Similar to Bali Gamaka but with lightly inserted tied phrasings or 'knots' (e.g., SSS, GGG, RGRGR, GGG, MMM, DPDPM, GGG, RGRGRS).
9. Āhata: Described as the descending Gamaka R^S- G^R- M^G P^M, where the grace note precedes the main note.
10. Ullāsita: Similar to ascendant Gamaka S^R- R^G- G^M- M^P, with a clear expression of each note followed by the addition of the respective grace note.
11. Plāvita: An oscillation where each note lasts for three beats (e.g., S--, R--, G--, M--).
12. Gumfita: A pleasant and simultaneously dark and deep oscillation (e.g., GS_PmG, with the glissando or Mīḍ sustained and deep).
13. Mudrita: An oscillation produced through pursed-lipped humming.
14. Nāmita: A sequence of notes following a descending order (e.g., ṠN, ND, DP, etc.).
15. Miśrita: A mixture of some or all of the previously described varieties (e.g., SSS, GGG, RRR, MMM, DD, PP, RR, GG, N D P M G- R-- S---, etc.).
Gana
The literary content of a musical composition, referred to as 'Mātu' in classical texts or Śāstras.
As an illustration, consider the lyrics of a bandish in tivra tal in Raga Yaman:
Jaya jaya Durga Mata bhavani
Jaya Yogini Kali kapalini
Surah vara muni jana saba mani
asura dalani tribhuvana tarini
Translation:
Hail, hail to Durga, the Mother of the Universe
Hail Yogini, Kali adorned with a skull necklace
Gods, sages, and everyone praise you
To You, the destroyer of demons, the savior of the three worlds
Gandhara
The third note in the Indian musical scale, the origin of the term being somewhat unclear. In classical texts or Śāstras, this note is associated with two microtones or Ṥrutī, named Raudrī and Krodhā. Its inherent form is located on the Krodhā Ṥrutī. When the Gāndhāra incorporates two microtones from the subsequent Madhyama note, transforming into a four-microtone note (Ṥrutī), it is termed Antara-Gāndhāra. Presently, following the theoretical standardization by Pt. Bhatkhande ji (which may be subject to debate), the latter is widely acknowledged as the more accepted form of Gāndhāra. In this form, the fourth-degree Madhyama retains only two microtones. So, nowadays, Antara-Gāndhāra encompasses Raudrī, Krodhā, Vajrikā, and Prasāriṇī, with its natural form aligning with the last microtone. If Gāndhāra acquires only one microtone from Madhyama, maintaining the Vajrikā Ṥrutī, it is known as Sādhāraṇa Gāndhāra, or Tīvra Komala Gāndhāra. This form occupies a position between its natural and altered or flat counterparts.
Gandhara Grama
The classical texts or Śāstras mention three scales or Grāma:
1. Ṣaḍja Grāma
2. Madhyama Grāma
3. Gāndhāra Grāma
Ṣaḍja Grāma and Madhyama Grāma were historically utilized for entertainment music, while Gāndhāra Grāma was specifically dedicated to forms of an esoteric and therefore confidential nature. The distinction among the various Grāmas is based on the number of microtonal intervals between the notes.
In Ṣaḍja Grāma:
- S, M, and P have four microtones each
- R and D each have three microtones
- G and N each have two microtones
In Madhyama Grāma:
- S, M, and D have four microtones each
- R and P each have three microtones
- G and N each have two microtones
In Gāndhāra Grāma:
- G and N each have four microtones
- S, M, P, and D each have three microtones
- R has two microtones
Gat
While the precise origin of the term remains somewhat unclear, Gat refers to an instrumental composition, setting it apart from Bandis, which specifically denotes a vocal composition. Some argue that Gat possesses a distinctive movement, but this doesn't imply fixed forms in other compositions, such as vocal ones like Dhrupada or Khayal.
Regardless, Gat signifies a melodic composition intricately connected to rhythm, employing the Varṇa and the Bola, exclusively designed for musical instruments. Generally, there are two types of compositions:
1. Masīdkhānī or Masitkhānī
2. Razakhānī or Rezākhānī
The first adheres to the slow and intermediate tempo characteristic of Khayal, while the second is associated with Tarānā, typically maintaining a high speed.
Similar to Khayal compositions, Gats feature three stanzas - Sthāyī, Antarā, and an intermediate one known as Māṁjhā or Māṁjā, serving the same purpose as the Sañcārī Tuk.
Gats in Percussion
Compositions dedicated to percussion are often referred to as Gat. For some, the Kāyadā (Qāedā) of a Ṭhekā is termed Gat, and occasionally, any composition featuring phrases for percussion, excluding Tihāī, is considered Gat.
Gathika
A type of Tāna in Indian musical compositions wherein melodic-rhythmic variations are crafted using only pairs of notes.
Gati
A synonym for Laya, literally translating to 'movement.' Some argue that the term Gat also originates from this concept.
Gaudi Giti
There are at least five ways of singing in Indian classical music. One of these is called Gauḍī Gīti. For further information see Gīti.
Gayaka
In the Śāstra, vocalists are categorized into five classes:
1. Śikṣākāra or the teacher - an individual proficient in providing singing lessons.
2. Anukāra or the emulator - an individual who imitates the singing style of others.
3. Rasika or the sentimentalist - an individual who sings while deeply immersed in emotion.
4. Raṁjaka - an individual who sings to entertain and please the audience.
5. Bhāvuka or the imaginative singer - someone capable of influencing new developments in musical culture.
Gayaka Dosas
Indian musical culture explicitly highlights various shortcomings of a singer. Naturally, some of these points are reflections for contemporaries to ponder, while others may evoke a smile.
These include:
- Singing with a closed mouth
- Possessing a loud and unappealing voice
- Giving the impression of inhaling air through the mouth
- Exhibiting fear or insecurity
- Expressing a desire to hastily conclude the composition unnecessarily
- Demonstrating an uncontrollable tremor and lack of vocal stability
- Opening the mouth excessively while singing
- Deviating from the correct pitch of notes
- Having a rough voice resembling croaking
- Faltering or making mistakes on the beats of the rhythmic cycle
- Singing with the throat pulled up and forward
- Using a voice that resembles a goat
- Singing with noticeably swollen veins on the forehead, face, and throat
- Shaping the throat like a pumpkin while singing
- Singing with the throat or neck bent in an unusual manner
- Creating tension in the body while singing
- Singing with closed eyes
- Singing without emotional involvement
- Using notes that are not appropriate
- Articulating in an indistinguishable manner
- Having a voice that fails to resonate with the depths of the heart, throat, or brain, resulting in a muffled sound
- Possessing an unstable mind
- Mixing Rāga puri and Chāyālaga Rāga without understanding or respecting the rules
- Displaying inattention
- Singing in a nasal voice
Gayaka Gunas
As the imperfections of a singer are outlined, the virtues or commendable qualities are also highlighted.
These include:
- Possessing a charming and delightful voice
- Having an appealing appearance
- Being skilled and proficient in Graha and Nyāsa, adept at expressing the nuances of music from start to finish
- Profound knowledge of the Rāga and Rāginī
- In-depth understanding of both the rhythmic and arrhythmic components
- Proficiency in all varieties of Alaṁkāra
- Independence from other tools
- Comprehensive knowledge of various Tālas, coupled with inexhaustible energy
- Deep understanding of pure and mixed Rāgas, including knowledge of permissible notes in the Rāga
- Ability to articulate Sthāyī, Antarā, Sañcārī, and the entire musical alphabet with ease
- Steering clear of all defects
- Mastery of Laya
- Capability to present a musical exposition in a well-organized manner
- Intellectual acumen
- Smooth flow of the voice
- Capacity to captivate even in complete solitude
- Profound devotion to the divine
- Dedication to preserving the purity of one's master's tradition and, consequently, one's lineage
- Expertise in and familiarity with musical culture
Gazal or Ghazal
The Ghazal is a poetic form consisting of rhyming couplets and a refrain, where each line adheres to the same meter. This poetic expression encompasses both the anguish of loss or separation and the exquisite beauty of love, transcending the pain. Originating from the 6th century, the Ghazal finds its roots in the Arabic panegyric qasida and shares structural similarities with the Petrarchan sonnet. In terms of style and content, it stands as a genre capable of a rich variety of expression, centering around the themes of love and separation. This form has been a significant contribution of the Indo-Perso-Arabian civilization to the world of poetry.
In the realm of Sufism, a comprehensive understanding of Ghazal poetry necessitates some familiarity with Sufi concepts. Numerous notable historical Ghazal poets were either Sufis or held sympathetic views towards Sufi ideas. Most Ghazals can be approached through a spiritual lens, interpreting the Beloved as a metaphor for God or the poet's spiritual guide.
Many Ghazals offer dual interpretations, resonating with both divine and earthly love contexts.
Here is a compilation of musicians associated with the Ghazal form:
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Ahmed Rushdi
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Asha Bhosle
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Alka Yagnik
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Ahmed and Mohammed Hussain
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Anup Jalota
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Ataullah Khan
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Aziz Mian
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Begum Akhtar
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Chitra Singh
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Ghulam Ali
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Jagjit Singh
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Salma Agha
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Yateesh M. Acharya
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Kiran Ahluwalia
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Mahwash
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Ustad Amanat Ali Khan
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Najma Akhtar
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Talat Aziz
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Roop Kumar Rathod
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Sunali Rathod
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Iqbal Bano
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Mohammed Rafi
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Mukesh
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Mehdi Hassan
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Munni Begum
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Malika Pukhraj
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Hariharan
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Nusrat Fateh Ali Khan
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Farida Khanum
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Rune Laila
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Master Madan
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Talat Mahmood
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Lata Mangeshkar
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Penaz Masani
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Habib Wali Mohammad
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Amjad Parvez
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Nayyara Noor
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Noorjehan
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Shishir Parkhie
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Abida Parveen
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Anuradha Paudwal
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Reshma
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Sabri Brothers
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Mohammad Hussain Sarahang
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Mohammad Reza Shajarian
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Bhupinder and Mitali Singh
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Jasvinder Singh
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Tahira Syed
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Manhar Udhas
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Pankaj Udhas
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Ahmad Wali
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Ghazal Srinivas
Gharana
Gharānā, literally translated as lineage, holds significant importance in the Hindustani musical system. It distinguishes various schools based on their unique styles in presenting Rāgas, utilizing Alaṁkāra, and employing Vāṅī. Each Gharānā showcases distinct characteristics appreciated for their aesthetic value. Creative innovations introduced within a particular lineage become defining features of that Gharānā as they pass through successive generations.
In a broader sense, Gharānā indicates a distinct style within Hindustani classical music. Different lineages can present a specific Rāga or composition in diverse ways, showcasing unique characteristics. While some theorists may attempt to downplay the significance of various schools, the informed public's understanding of the diverse Gharānās has been enhanced through post-independence studies.
Regarding Dhrupad, four stylistic variations are recognized:
1. Gauri
2. Khandar
3. Nauhar
4. Dagar
The Dagar family's Gharānā, renowned for emphasizing Alap, has been a prominent one. Muslim by faith, the Dagars retain many Hindu-derived traditions. Eminent Dhrupad singers, such as Uday Bhawalkar, Ritwik Sanyal, and the Gundecha Brothers, belong to the Dagar Gharānā.
From the state of Bihar, two notable Gharānas emerge:
1. Malliks (Darbhanga Gharana)
2. Mishras (Bettiah Gharana)
The Malliks are associated with the Khandar vani, emphasizing varieties of Layakari. Notable artists like Ram Chatur Mallik, Vidur Mallick, and Siyaram Tiwari have been key representatives. The Mishras blend Nauhar and Khandar styles with unique nomtom alap techniques, flourishing under the patronage of King Bettiah Raj.
For Khayal, ten recognized Gharānas include:
1. Gwalior Gharana
2. Agra Gharana
3. Kirana Gharana
4. Jaipur Gharana
5. Rampur Sahaswan Gharana
6. Patiala Gharana
7. Delhi Gharana
8. Bhendi Bazar Gharana
9. Banaras Gharana
10. Mewati Gharana
Regarding Tabla, six main schools are acknowledged:
1. Delhi Gharana (oldest)
2. Ajrara Gharana
3. Lucknow Gharana
4. Benares Gharana (founded by Pandit Ram Sahai)
5. Punjab Gharana (popularized by Alla Rakha and Zakir Hussain)
6. Farukhabad Gharana (encompassing various styles of all Gharanas)
Ghasit
In the realm of Indian music, embellishments and ornaments play a significant role. The "mind" signifies a glissando that smoothly transitions from one note to another. The concept of "ghasit" can be likened to this, although there are nuanced distinctions. While a ghasit involves a rapid and vigorous shift between notes, the mind executes a glissando with delicacy, gently traversing all intermediate sounds and occasionally lingering momentarily on various notes.
The term "ghasit" is the Hindi counterpart of the term "Āśa." Classical texts, or Śāstras, also refer to it as "Khaśita."
Gita
The term used broadly to encompass all the various types of existing compositions is "Sangeet." Specifically, it refers to songs, hymns, verses, and poetry within the cultural tradition.
Indian popular and folk music exhibit great diversity due to the country's vast cultural richness, featuring forms like Bhangra, Lavani, Dandiya, and Rajasthani.
The advent of the modern media market, influenced by Western standards, has impacted the authenticity of popular music. However, the legacy left by past Saints and Poets consists of a vast musical corpus expressed through traditions like thumri.
Music and dance in India are intricately linked, evident in the dance-oriented nature of folk traditions in various regions:
- Assam: Bihugīta, Lokagīta, Tokarigīta
- Chhattisgarh: Pandavani
- Karnataka: Bhavagīta, Dollu Kunita
- Maharashtra: Lavani
- Punjab: Bhangra
- Tamil Nadu: Naatupura Paatu
- West Bengal: Baul
Gita Bidari
The term used to signify division is known as Bidārī.
When a composition or poem is segmented into metric units, it is referred to as Gīta Bidārī, with Gīta translating to a composition that is 'divided.'
According to the Śāstras, the concept is akin to Gīta Khaṇḍa. Bidārī signifies 'that which pierces,' in this context, denoting the element that separates a song into distinct portions.
Gita Khanda
Khaṇḍa signifies 'a part.'
Each line in a composition can be referred to as Gīta Khaṇḍa, but the segment of a line is also identified as Gīta Khaṇḍa. However, it should not be conflated with the Mukha or Mukhḍa of the Sthāyī: the term Mukha or Mukhḍa, meaning 'the mouth,' takes on the significance of the head or main part in this context. This portion is precisely the one that gets repeated during the performance after presenting each Tāna, Bāṁṭa, or any improvised Vistāra. Singers or instrumentalists use these elements to reconnect to the composition, typically concluding on the Sama.
Giti
In a broad sense, this term carries the same meaning as 'Gīta,' specifically describing the style employed in singing.
The Śāstras identify five singing styles, regarded as pillars of Rāga performance. Each of these styles is associated with various Rāgas. The five styles are:
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Ṥuddha Gīti: utilizes notes in a conventional and gentle manner.
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Bhinnā Gīti: employs notes by articulating them swiftly and incorporating delightful Gamaka and Alaṁkāra.
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Gauḍī Gīti: represents a restrained style that effectively utilizes Gamaka and Alaṁkāra in all three registers.
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Vegasvarā Gīti: 'Vega' denotes speed, and 'Svara' refers to notes. This style is characterized by the use of speed in melodic exposition.
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Sādhāraṇī Gīti: blends the peculiarities of all the other Gīti styles.
There is a correspondence, especially in the manner of presenting the Ālāpa and in Dhrupada compositions.
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Ṥuddha Gīti corresponds to Ḍāgara Vāṅī
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Bhinnā Gīti corresponds to Khaṇḍāra Vāṅī
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Gauḍī Gīti corresponds to Gauḍa, Gauḍahāra, or Gobarahāra Vāṅī
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Sādhāraṇī Gīti corresponds to Nauhāra Vāṅī
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The Vegasvarā Gīti encompasses any composition characterized by sustained speed and the use of various performance techniques.
Gitkari
A form of Ṥabdālaṁkāra, synonymous with Khaṭkā and akin to Murki.
When a set of notes is swiftly presented with the purpose of adorning or enhancing another note, it is referred to as khatka in instrumental music or gitkari in singing.
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In the sequence "RSSR," where the cluster of "RSS" notes embellishes D and is executed rapidly. In instrumental performances, khatka is not only executed through rapid finger movements but also with the aid of a combination of krintan and sparsa. The term khatka is used to describe the musical effect produced when these elements are executed in a single movement of the right hand.
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While the primary note is sustained for a longer duration, the remaining notes are sung rapidly, ensuring that each note remains distinct.
Gobarahara Vani
Gauḍa, Gauḍahāra or Gobarahāra Vāṅī- is a style that evolved in the Gauḍa region, which is the ancient name of Bengal. It is also known as Ṥuddha Vāṅī or pure style. There are no unnecessary embellishments on the notes, which are used individually and without decoration. In this Vāṅī only the Alaṁkāra Mīḍ and Āśa are used.
This Vāṅī mainly uses the Śānta or peaceful and Bhakti or devotional love as emotional aspects.
The instrument that often expresses this style is the Rabab.
Graha
This term signifies 'to comprehend.' In the musical context, it denotes the note traditionally employed to initiate a Rāga. Despite contemporary disregard for its formal significance, it's noteworthy that, for instance, in Yaman, Ņ serves as the Graha Svara, while in Bhīmapalāśrī and Bhairavī, the ņ functions as the Graha Svara.
The utilization of Graha Svara adheres to three fundamental principles:
1. The Aṁśa Svara or primary note can serve as the Graha Svara.
2. The Saṁvādī and the Anuvādī, representing the consonant and assonant notes of the Aṁśa Svara, can function as Graha Svara.
3. Ṣaḍjā Svara or tonic can also be employed as Graha Svara.
In the construction of the Murcchana, the Graha Svara indicates the note that assumes the role of the tonic.
Grama
The term's literal definition is 'village.' In the realm of music, it retains the same meaning but with a purely metaphorical connotation. The category encompassing Mūrcchanā, Krama, Tāna, Varṇa, Alaṁkāra, and Jāti is referred to as Grāma. Classical texts or Śāstras identify three types of Grāma: Ṣaḍja Grāma, Madhyama Grāma, and Gāndhāra Grāma, distinguished by the microtonal distribution among various tones. Grāma Rāga, outlined in ancient texts, are now obsolete. Instead, the term is employed to designate different regions of the scale: Mandra Grāma (low), Madhya Grāma (medium), and Tāra Grāma (high).
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The main instruments of Indian Classical Music
The Sitar is the icon of Indian Classical music. The structure and tonal quality of this instrument is the result of several years of hard work and dedication of both the musicians and the master luthiers.
Goṭu Vādyama is a modified and developed form of Ektantri Veena, appeared on the scene of the Carnatic music system about hundred fifty years ago, it can be considered the Vichitra Veena of South India.
The name Rudra Vina, often written Rudra Veena, first appears in Nārada's Saṃgīta Makaranda between the fourteenth and fifteenth centuries and is supposed to be a derivation of the Kinnarī Vīṇā.
The Taus, the Dilruba and the Esraj are North Indian bowed instruments, all three with hybrid characteristics of the Sitar, such as long necks, fingerboard and metal strings, and of the Sāraṅgī such as the crafted soundboard Leather.
The Saraswati Veena, is very different from the Vīṇā of northern India. In fact, the arrangement of the main strings and cikari, the posture and the sound production techniques remain the same.
The Vichitra Vina, often written Vichitra Veena, saw its splendor towards the beginning of the twentieth century but many indications lead us to think that it is a developed and modified version of a very ancient instrument.
The Surabahar, often written Surbahar, was created, according to tradition, by Gholām Mohammad Khān, disciple of Piyār Khān and Omrāo Khān. Much larger than the Sitār, it is used, both in the Dhrupad and in the Khayal.
The Tampura is a fundamental instrument of Indian classical music, present in both the northern and southern systems. The function of this chordophone is to provide a sound in the background, that acts as a drone for improvisation.
In Arabic the term rebab indicates a bowed instrument; in fact the two half-moon inlets that characterize the shape of the Rabab's sound box suggest that it was only later converted into a direct pluck instrument.
The Svaramandala is a chordophone used by singers for accompaniment. Kallinatha in his commentary on Śārṅgadeva's Saṅgīta Ratnākara coincides the matakokilavīṇā of Bharata Muni's time with the Svaramaṇḍala,
The Sanṭoor is a dulcimer that has only recently entered Indian classical music scene. It is considered one of the most important developments of the twentieth century in Indian Classical music.
The transverse flute used in Indian classical music, is capable of reproducing all the delicate movements, ornamentations and nuances of the human voice. This instrument finds references in many sacred texts.
Among the main contributions of Indian instrumental technology, both in terms of production quantity and timbre quality, bifacial convex diaphragms occupy a place of primary importance in Indian Classical Music.
In the folk and tribal music of different regions of India, various types of stringed instruments are found with a very varied tradition. In the Rajasthani tradition there are more than ten types of Sāraṅgī.
This name derives from two sanskrit terms "pakshe vadya", or from the Persian "pakh awaz" which means soft sounding. The pakahwaj became the main percussion in the north, while the mridangam assumed centrality in the south.
The term Sarod, of Persian origin, means "song" or "melody". All hypotheses regarding the origin of the Sarod, are based on many assumptions and inferences. The general opinion is that it is a developed version of the Rabab,
One of the oldest and most widespread percussion instruments are the timpani, with a conical-shaped body, the skin of which is often struck with beaters modeled in an arched shape or simply straight, with a knobbed head.
The terms Shahana, Shahanay or Shennay identify the zurna, a wooden aerophone typical of Persian musical culture. In Iran we can still find various styles of this instrument which vary both in size and in the quality of wood used.
Tabla are the percussion instruments that best represent Indian musical culture. This instrument, used mainly in the Hindustani style, accompanies singing, instrumental music and dance.
The khol is the most used percussion in the north-eastern region of India, often linked to the Vaishnava cult of Bengal and Assam, it is also often called mridang since the body is made of terracotta (mrit means clay).
Probably in the past the pakhavaj and the mridangam presented much fewer differences and are in fact to be associated with a single archetype, but they developed over the centuries within two different styles,
Frame drums are very popular in India and the simplicity of manufacturing these instruments has facilitated their diffusion. They are in fact a thin strip of iron or wood bent into a circular shape with the two ends joined on which a membrane is applied.
The sound production techniques and the structure are identical to the shennay, the differences are mostly related to the dimensions and some small details. The double reed is fixed on a metal support which fits onto the wooden body.
The violin, which in India is also called Behalā, as we know, is one of the first Western instruments to have been introduced, more than a century and a half ago, into Indian music by Baluswamy Dikshitar (1786-1858), a great music scholar caranatica.
The Suraśṛṁgāra, often written Sursingar in many respects similar to the Surabahar, is a reinterpretation of the Rabab created in Benares under the supervision of Zafar Khān.
The moorchang, is a typical example of a universal instrument. In Italy it is a popular instrument called the wind chime or marranzano and although it takes on different forms, it is used all over the world.
The tavil belongs to the folk music tradition of South India, and is often played with a wind ensemble called periya melam. This percussion has a barrel shape with a single-layered stem, obtained from a single cylindrical block of wood.
Frame drums are very popular in India and the simplicity of manufacturing these instruments has facilitated their diffusion. They are in fact a thin strip of iron or wood bent into a circular shape.
The term bhanda vadya is used to indicate all terracotta percussion instruments with a spherical body, practically real vases of various shapes and sizes.
The term "Mohan veena" can denote one of two distinct plucked string instruments utilized in Indian classical music, particularly in Hindustani classical music, which is traditionally associated with the northern regions of the Indian subcontinent.