Kadi Madhyama
Ma Tivra increasing, also known as the ascending augmented fourth degree, occurs when Ma Tivra moves from its microtone or Ṥrutī and reaches Raktā Tivratara, just before Sandīpinī, the Ṥrutī of Pa.
Ma Tivra is then referred to as Kaḍi Madhyama or Raktā Tivratara Ma.
Kaisiki Nisad
The seventh degree of the Indian musical scale consists of three Ṥrutī.
Kaiśikī Niṣāda is the second of the three Ṥrutī, also recognized as Tīvra-Komala N, an augmented flat N, and is employed, for instance, in the Rāga Bhīmapalāśrī.
Kakali Nisad
Shuddha Nisad.
When Ni relinquishes one of its Ṥrutī and takes up Kumudvatī, the second Ṥrutī of Sa, it is referred to as Kākalī Niṣāda.
It is recognized as the natural Ni of the diatonic major scale or Bilāvala Ṭhāṭa.
Kala
In a broad sense, it denotes 'art,' but specifically refers to only three of the sixty-four Kalā mentioned in the Śāstra or classical texts, namely Gīta or singing, Vādya or instrumental music, and Nṛtya or dance.
In another context, it signifies a sequence of small phrases that, when combined, create an Alaṁkāra. For instance, the Veṇī Alaṁkāra - 'SSS, RRR, GGG, MMM, PPP, DDD.' This sequence is named Veṇī Alaṁkāra, while each individual phrasing like SSS or RRR is referred to as Kalā.
Kalavana or Qalawana
A category of Khayal compositions characterized by the use of the Arabic language. It is closely associated with the Sufi musical tradition and is exclusively performed by Qawwāls.
Kampana
It signifies 'tremor' and can be interpreted as tremolo. In the techniques of both vocal and instrumental aspects of Indian classical music, the oscillation of a note between two Ṥrutī is referred to as Kampana.
Kampita
One of the ten Svara-Laksanas in the Dagar tradition involves employing a subtle vibrato around the note. This technique is particularly utilized in Ragas that feature one or more notes with this distinctive characteristic.
Kana
A form of Ṥabdālaṁkāra, where a note that enhances the beauty of another is termed as a graceful note, and the gentle touch of the latter is referred to as Kaṇa.
Karnataka Paddhati
Carnatic system
Carnatic music, known as Karnāṭaka saṃgīta. Karnataka Paddhati or Karnāṭaka saṅgītam in the South Indian languages, represents a music system closely associated with South India, including the modern Indian states of Karnataka, Andhra Pradesh, Telangana, Kerala, and Tamil Nadu. It stands as one of the two main subgenres of Indian classical music, deriving from ancient Hindu texts and traditions, particularly the Samaveda. The other subgenre, Hindustani music, evolved as a distinct form due to Persian or Islamic influences in Northern India. Carnatic music places a primary emphasis on vocal performance, with most compositions crafted for singing. Even when performed on instruments, they are intended to be executed in a gāyaki (singing) style.
While there exist stylistic variations, the foundational elements of śruti (relative musical pitch), svara (musical sound of a single note), rāga (mode or melodic formulæ), and tala (rhythmic cycles) remain crucial for improvisation and composition in both Carnatic and Hindustani music. Although improvisation holds significance, Carnatic music predominantly relies on compositions, especially the kriti (or kirtanam) – a form developed between the 14th and 20th centuries by composers like Purandara Dasa, Kanaka Dasa, and the Trinity of Carnatic music. Telugu plays a significant role in the later development of Carnatic music, with most compositions written in Telugu and Sanskrit, along with some in Tamil and Kannada.
Carnatic music is commonly performed by a small ensemble of musicians, including a principal performer (usually a vocalist), melodic accompaniment (usually a violinist), rhythm accompaniment (usually a mridangam player), and a tambura, which serves as a drone throughout the performance. Other instruments that might be used include the ghatam, kanjira, morsing, venu flute, veena, and chitraveena. Chennai hosts a significant concentration of Carnatic musicians, and various Carnatic music festivals, such as the Madras Music Season, are celebrated in India and abroad, marking one of the world's largest cultural events.
Carnatic music, like all art forms in Indian culture, is believed to be a divine art originating from the Devas and Devis (Hindu Gods and Goddesses). It is venerated as symbolic of nāda brāhman. Ancient treatises connect the origin of swaras (notes) to sounds of animals and birds, with man's effort to replicate these sounds through keen observation and perception. The Sama Veda, laying the foundation for Indian classical music, consists of hymns from the Rigveda set to musical tunes used during Vedic yajnas. References to Indian classical music are found in ancient texts like the Ramayana and Mahabharata. The Yajnavalkya Smriti mentions the veena as an accompaniment to vocal recitations.
Due to Persian and Islamic influences in North India from the 12th century onward, Indian classical music diverged into two distinct styles — Hindustani music and Carnatic music. Commentaries and works such as Sharngadeva's Sangita Ratnakara elaborated on musical concepts, further refined in Indian classical music by the 16th and 17th centuries. Carnatic music flourished in Vijayanagara during this time, remaining relatively unaffected by Persian and Arabic influences. Purandara Dasa, recognized as the "father (Pitamaha) of Carnatic music," formulated the teaching system widely used in Carnatic music. Venkatamakhin's melakarta system of raga classification, documented in the Chaturdandi Prakasika (1660 AD), laid the foundation for the current sampoorna raga scheme.
In the 18th and 19th centuries, Carnatic music found patronage from local kings of the Kingdom of Mysore, Kingdom of Travancore, and the Maratha rulers of Tanjore. Notable composers and proficient musicians emerged from the royalty, contributing to the development of Carnatic music. Chennai became the center for Carnatic music during the late 19th century, and post-1947, Carnatic music transitioned from royal patronage to a widely accessible art form with ticketed performances organized by private institutions known as sabhās.
Kattara
Percussion compositions, like those found in Pakhāvaj or Tablā, that incorporate the specific syllable 'Kat' are referred to as Kattara.
Kattara Jhala
If the Jhālā, typically in the Ṭhoka Jhālā, of percussion instruments like Pakhawaj or Tabla, features Kattara Bola, it is termed as Kattara Jhālā.
Kavval - Qawali
Qawwali is a form of Sufi devotional music highly renowned in the regions of Punjab, Pakistan, and the Persian-influenced northern areas of India. Originating over 700 years ago, this musical tradition gained widespread acclaim through the legendary Pakistani singer, Ustad Nusrat Fateh Ali Khan.
A Qawwal or Kavval is an individual who frequently recites or sings a Qaul, signifying an "expression of the prophet."
The songs constituting the Qawwali repertoire are predominantly in Urdu and Punjabi, though there are also compositions in Persian, Brajbhasha, and Saraiki.
Qawwali's central themes revolve around love, devotion, and a longing for the divine. Despite occasionally appearing to have a profane nature, these themes serve an allegorical function, similar to the courtly love depicted by Italian poets in the 1300s.
Singers of the past:
- Aziz Mian
- Badar Ali Khan (Badar Miandad)
- Bahauddin Qutbuddin
- Fateh Ali Khan
- Mubarak Ali Khan
- Munshi Raziuddin
- Nusrat Fateh Ali Khan
- Sabri Brothers
Contemporary artists:
- Faiz Ali Faiz
- Fareed Ayaz
- Rizwan Muazzam Qawwali
- Rahat Nusrat Fateh Ali Khan
- Waheed and Naveed Chishti
- Warsi Brothers
Kayda
Kāyadā (Qāedā), translated as 'that which establishes order,' holds two meanings in the realm of music. Firstly, it denotes a specific type of Vistāra where the Bola are drawn from an existing percussion composition, and their arrangement showcases the instrumentalist's virtuosity.
In another context, Kāyadā represents a rhythmic composition for percussion, encompassing Khuli Bola and Mudi Bola, capable of following the Vistāra. While considered a specialty of the Delhi Gharana, Kāyadās are performed across various lineages and are typically presented in Vilambit Laya (slow tempo).
The thematic structure of a Kāyadā comprises small phrases of irregular length that develop a central theme, introduce variations at four different speeds, and conclude with a Tihay.
Examples of typical Kāyadā sentences include:
- dhatete
- dha-terekite
- dhatidhagena
- dha-terekitedhe-te-te
- dhatikegetike
- dhatrekredhete
- dhagenadha
- dhin-tadhagena
Kāyadā serves as one of the initial lessons imparted by every master to their students, often demonstrated through the rhythmic pattern:
- dha dha tere kite
- dha dha thun na
- na na tere kite
- dha dha dhin na
Khandara Vani
One of the four styles of musical technique and exposition, reminiscent of the Bhinnā Gīti described in the Sastras, is named after the Khaṇḍāra region in India. This Vāṅī is characterized by the prominent use of Gamaka and is primarily performed at medium and fast tempos.
The predominant emotions, known as Rasa, conveyed through this style are courage or Vīra and Adbhuta or wonder.
The Mallik family's singers are associated with the Khandar Vāṅī, delivering compositions in improvised Alap with diverse layakari techniques.
Singers from the Mishra family adeptly express themselves in both Nauhar and Khandar styles, incorporating unique nomtom alap techniques.
In Pakistan, the Talwandi Gharana represents Dhrupad, performing in the Khandar style.
Kharaj
A synonym for Sadja, the tonic in the Hindustani musical system scales. This term's significance lies in 'that which generates the other six,' where 'Ṣaḍa' represents 'six,' and 'Jā' denotes 'that which generates.'
In a figurative sense, the other degrees of the scale exist in relation to the first, Ṣaḍjā. Unlike the Western system, where each note is independent in terms of vibrations per second, in the Hindustani system, all notes are connected to the tonic.
Some theorists argue that, conversely, Ṣaḍjā was generated from the other six, referring not to the notes but rather to the body parts involved in sound emission: the nose, throat, palate, heart, tongue, and teeth.
Ṣaḍjā encompasses four Ṥrutī:
1. Tivra
2. Kumudvatī
3. Send
4. Chandovatī, precisely located on the latter.
It is regarded as the fundamental note without which a Raga does not exist, and similar to its consonant Pañcama, it never undergoes alterations. In chordophones, the term Kharaja signifies the lowest string tuned to the tonic.
Kharaja Parivartana
The change of tonic.
When the tonic is shifted from Sa, the selected degree will adopt the name and value of the Ṣaḍjā Svara.
However, when discussing Murcchana, the scenario alters.
For instance, if you take the SRGMPDNṠ scale and shift the tonic to D, you will obtain the Murcchana of D, RGMPDNṠṘ.
If Re is considered the tonic, the scale obtained will be SrgMPDnṠ, with Ga and Ni komal or diminished, illustrating an example of Kharaja Parivartana.
By using this method, the modal scales in the Western or Greek system are derived, utilized in ancient music, some classical music instances, and Jazz improvisation.
Khatka
It signifies 'fear' or 'suspicion.' In the musical domain, it is regarded as a form of Ṥabdālaṁkāra in the shape of a 'melodic cluster' utilized for ornamenting another note. For instance, in SRGR^S, the set of notes 'SRGR' functions to embellish the note S. This melodic cluster is executed rapidly, creating the illusion of a single note, despite being a distinctive phrasing.
This type of Sabdalankara bears resemblance to Gitkari.
Khayal
One of the principal styles of North Indian classical music, "Khayal" translates to 'playful imagination.' It is believed to have originated from a departure from the martial and austere rules of the Dhrupad style, incorporating influences from folk music.
Historical Background:
In the 14th century, Amir Khusro introduced Khayal as chamber music in Emperor Alāuddīn's court. Nawāb Sultān Husayn Shirqui of Jaunpur further established Khayal as chamber music in the 15th century. This genre saw the introduction of various embellishments not allowed in Dhrupada, enriching its nuances. Over time, Khayal has evolved, making it distinguishable from Dhrupad.
Evolution and Influences:
Khayal underwent significant innovations through figures like Shāh Sadāraṅg, a representative of the Sarasvatī Devī generation. The Qawwāl Gharanā, particularly in Delhi, played a crucial role in shaping the early expression of Khayal. Noteworthy singers, such as Gholām Rasūl, mixed Sadārang's style with Qawwāl, marking a significant influence on Khayal. This evolution gave rise to different styles within Khayal, including the Qawwāl style, Shāh Sadāraṅg's Khayāl, and the Dhrupadī style influenced by Nathhan Pīr Bukhsh.
Styles of Khayal:
1. Qawwāl Style: Primarily singing Ragas of Persian origin.
2. Shāh Sadāraṅg's Khayāl: Developed by Shāh Sadāraṅg and popularized in Delhi.
3. Dhrupadī Style: Influenced by Nathhan Pīr Bukhsh.
Structural Elements:
Khayal is based on short compositions, known as Bandish for vocals and Gat for instruments, spanning 2 to 8 lines. Each singer interprets the same Bandish uniquely, maintaining consistency only in lyrics and Raga rules. Bandish compositions cover diverse themes, including romantic or divine love, praises, seasons, and more.
Bandish Structure:
1. Sthayi (or Asthayi): Utilizes notes from the lowest and lower-middle octaves.
2. Antara: Reaches the tonic of the upper octave.
Rhythmic Cycles:
Various rhythmic cycles, such as Tintal, Ektaal, Jhoomra, Jhaptaal, Tilwada, and Rupak, are employed in Khayal.
Prominent Artists:
Several distinguished artists have made significant contributions to Khayal, including Vidushi Smt. Kesarbai Kerkar, Ustad Faiyaaz Khan, Pandit Mallikarjan Mansur, Ustad Amir Khan, Ustad Bade Ghulam Ali Khan, and many more.
Instrumental Form:
In the instrumental domain, Khayal is expressed in two forms: purely instrumental and vocally influenced (gayaki). The Maihar-Senia Gharana, founded by Baba Allauddin Khan, represents the instrumental style. Instruments like the Sarod, Surbahar, Sitar, Bansuri, Violin, etc., are dedicated to Khayal or Thumri ang.
Notable Artists of the Maihar-Senia Gharana:
1. Pandit Ravi Shankar (sitar)
2. Pandit Nikhil Banerjee (sitar)
3. Ustad Ali Akbar Khan (sarod)
4. Annapurna Devi (Surbahar, sitar, sarod)
5. Ustad Bahadur Khan
6. Pandit Jotin Bhattacharya
7. Pandit Tarun Bhattacharya
8. Pandit Vishnu Govind Jog (violin)
9. Pandit Debashish Bhattacharya
10. Pandit Vishwa Mohan Bhatt (slide guitar)
11. Pandit Pannalal Ghosh (bansuri)
12. Pandit Hariprasad Chaurasia (bansuri)
13. Pandit Kartick Kumar (surbahar, sitar)
14. Pandit Niladri Kumar (sitar)
Khuli
It literally means 'open'. In Tabla, the Bola are of two types, one is said Khuli or open, the other is said Mudi or closed. In producing Khuli Bol the hands are drawn back from the instrument to allow the sound to persist. These Bols are:
For the Tabla (Dayan)
1.Tā
2.Ḍā
3.TāḌān
4.Ten
5.Dhen
6.Tāgin
7.Nagin
8.Tin
9.Dim
10.Dhān
11.Tān
12.Gin
13.Kin
14.Tuṁ
15.Tī
16.Diṁ
17.Da
18.Ra
19Na
For the Bāyāṁ
1.Ghe
2.Ghī
3.Ghiṁ
4.Gī
5.Giṁ
6.Ge
7.Ga
Kirtan
Kirtana, also known as Kirtan or Keertan, is a Sanskrit term signifying "narrating, reciting, telling, describing" of an idea or story within the context of Indian religions. It is closely associated with a genre of religious performance arts that entails a musical form of narration or shared recitation, particularly centered around spiritual or religious concepts, native to the Indian subcontinent. An individual engaged in performing kirtan is referred to as a kirtankara (or kirtankar).
Originating from the Vedic anukirtana tradition, kirtan takes the form of a call-and-response or antiphonal style song or chant, set to music. In this practice, multiple singers recite the names of deities, recount legends, express devoted love to a deity, or delve into spiritual ideas. The performance often involves elements like dancing or the direct expression of bhavas (emotive states) by the singer. Kirtan events are structured to actively engage the audience, encouraging them to either repeat the chant or respond to the singer's call.
Accompanied by regionally popular musical instruments, including the Indian harmonium, veena, sitar, ektara (strings), tabla (one-sided drums), mrdanga or pakhawaj (two-sided drum), flute (woodwinds), and karatalas or talas (cymbals), kirtan holds a significant place in Hinduism, Vaisnava devotionalism, Sikhism, the Sant traditions, some forms of Buddhism, and various other religious groups. It may also incorporate storytelling and acting, with texts typically covering religious, mythological, or social subjects.
Etymologically, the term "kirtana" is derived from the Sanskrit root "kirt," meaning "to mention, make mention of, tell, name, call, recite, repeat, relate, declare, communicate, commemorate, celebrate, praise, glorify." It finds mention in the Samhitas, Brahmanas, Vedanga, and Sutras literature, indicating its presence in Vedic contexts.
Kirtan exhibits regional diversity and is known by various names, such as Abhang, Samaj Gayan, Haveli Sangeet, Vishnupad, and Harikatha. In Hinduism, it is particularly influenced by the devotional Bhakti movements and Sant tradition, emphasizing emotional, loving relationships with a personal God. Various styles of kirtan, such as Northern Vaishnava kirtan, Carnatic traditions, and Marathi kirtan, have evolved, each with its unique characteristics and influences.
Sikhism incorporates kirtan as a central aspect of devotional singing, referred to as Shabad kirtan. In the Western world, the practice of kirtan gained prominence through the influence of Indian religious movements and has been embraced by diverse communities, including those following spiritual but not religious paths. Prominent Western kirtan performers include Krishna Das, Bhagavan Das, Nina Rao, Wah!, Jai Uttal, Snatam Kaur, Deva Premal, and others, contributing to the global popularity of this devotional musical tradition.
Komal Swara
This term is analogous to the concept of Flat ore bemolle. With the exception of Sa, Ma, and Pa, all other notes have the potential to be flattened or diminished, transforming into what is known as Komal Svara. The term 'Komala' can be interpreted as meaning fluffy. When the Svaras are shifted to the preceding Ṥrutī, they are referred to as Komala.
Krama
A natural, ascending sequence of notes is called Krama, for example SRGMPDN. Instead, the natural descending sequence NDPMGRS is defined as Vyutkrama, i.e. anti-krama. Ṭhāṭa can be considered synonymous with Krama.
Krintan
A form of Sabdalamkara, serving as a hands-on technique applied to chordophones to generate a specific sound. It represents a type of legato wherein, for instance, positioning the index finger of the left hand on the S and the middle finger on the R results in the sequential production of both notes with a single stroke of the plectrum or Mizrab. This occurs when, after plucking the string, the middle finger shifts laterally from its fret, allowing room for the preceding note. In practice, its application is less intricate than its theoretical explanation might suggest.
Kuadi and Baradi
A rhythmic variation, the term "Kuādī" has two interpretations. One perspective views it as double of Āḍi or a variation of twenty-four beats within a cycle of sixteen, where each beat holds a value of ⅔ compared to the value of a Mātrā in a sixteen-beat cycle. Alternatively, Kuādī is seen as an Āḍi of an Āḍi, considering a primary ratio of 12 beats within a cycle of 16, resulting in beats of 1e 7/9 within a cycle of sixteen divided into nine equal parts. Some also identify Kuādī when a sixteen-part cycle is subdivided into twenty parts. Regarding Barāḍī, opinions differ; some perceive it as a cycle of sixteen divided into nine equal parts, while others interpret it as a cycle of sixteen divided into seven equal parts.
Kuta Taan
Kūṭa Tāna refers to a sequence of notes arranged in an order other than the natural one. For instance, 'SRGMP' adheres to the natural ascending order. However, by altering the position of certain elements, such as R and G, you can create 'SGRMP,' exemplifying the concept of Kūṭa Tāna.
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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.