Naad or Nada
According to the Śāstras, it is emphasized that Nāda is inseparable from Brahma, identified in the manifestation of Nādabrahma. Nāda, being indivisible, embodies supreme joy or Ānanda, and devotion to Nāda can lead to a realization of Brahma. This concept is often referred to as Nada Yoga, a spiritual practice employing music as a means to achieve union with the divine. The diverse levels of sound correspond to various expressions of the divine.
An illustration in the Śāstras suggests that, just as a jewel and its radiance are inseparable, seeking the source of brilliance leads to the discovery of the jewel itself. Similarly, the realization of Nāda in Brahma is likened to this inseparable connection. The term 'Nāda' likely originates from the roots 'Nā,' representing 'life' or 'air (Vayu),' and 'Da,' signifying 'fire' or 'energy.' The amalgamation of these elements gives rise to 'sound.'
Nāda exists in two forms – Anāhata, which is 'not produced by will' or 'sounding spontaneously,' and Āhata, which is produced by physical means. To categorize Nāda further, three registers are identified: Anudātta or grave, Svarita or tenor, and Udātta or soprano. These registers are associated with specific anatomical locations – Anudātta in the chest, Svarita in the throat, and Udātta in the skull – forming the basis for the idea and utilization of the three registers.
Nāḍā
The term "red rope" signifies more than just a literal red thread. When a master, extending beyond the realm of music, formally accepts a student, it symbolically connects the Śiṣya to the Guru. This connection, also known as "guru bandana" or the "bond with the Master," is established through a deeply personal ceremony between the Master and the disciple. This bond serves to sustain the lineage and tradition, reaching back to ancient origins and extending into the limitless future.
Nasta or prohibited Bols
In the realm of Tabla, Pakhawaj, and other percussions, certain Bols are expressly forbidden due to their impracticality or unsuitability. These include: Dhāṭ, Tāṭ, Tarkaṭ, Tirkaṭ, Nākāṭe, Nākiṭ, Gaddi (prefer Gadi or Gidi), Tāṭe, Dharkaṭ, Dhāvā, Nāḍā, Dhādhāḍā, Dhātikāyen, Dhātā.
Nauhara Vani
Among the four presentation styles of Alap (see), this particular type stands out by incorporating all ornamentation techniques. Unlike its counterparts, it aims to evoke the emotion of Adbhuta, which translates to a sense of wonder or amazement.
Nayaka
A designation bestowed upon musicians exhibiting exceptional proficiency across various musical domains, some of the most distinguished ones include:
1. Bhānu
2. Lohaṁga
3. Ḍālu
4. Bhagavān
5. Gopāladās
6. Baiju
7. Pāṇḍe
8. Cajjū
9. Bakhshu
10. Dhoṇḍu
11. Mīrāmadh
12. Amīr Khusro
Nayaki Tar
"Tar" signifies "rope," and "Nayaki" denotes "important." The expression "Nayaki Tar" refers to the primary string in all chordophones.
It is initially tuned and serves as the tonic. Occasionally, terms like "Kharaj" or "Jodi" are employed to signify the same string.
Nibaddha
There are two approaches to presenting the exposition of a Raga. The first part, which is detached from the rhythmic cycle and known as Ālāpa, is termed Anibaddha, contrasting with the Nibaddha form, which is connected to the rules of the rhythmic cycle.
In Indian classical music, melodic compositions associated with a rhythmic cycle, beats, and time, such as Bandish, Tarānā, Dhrupada, and Gat, fall into the Nibaddha category.
In this context, we recommend the work by S. Slawek, a disciple of Ravi Shankar and a professor of ethnomusicology at the University of Austin in Texas, titled "Sitar Technique in Nibaddha Form."
Nisad
The seventh swara of the scale, also occasionally referred to as Nikhāda, is Niṣāda. Niṣāda, or Ni, encompasses two Ṥrutīs, namely Ugrā and Kṣobhinī, and its natural form is located on the latter.
In the Śāstras, this variation of Niṣāda is classified as Komala or flat, while the natural Niṣāda was denoted as Kākalī Niṣāda.
The first swara, Ṣaḍjā, comprises four Ṥrutīs, namely Tivrā, Kumudvatī, Mandā, and Chandovatī. According to the Śāstra, when Niṣāda acquires a Ṥrutī from Ṣaḍjā, precisely aligning with Tivrā, it is known as Kaiśiki Niṣāda, now recognized as Tivrā-Komala Niṣāda.
However, when the Ṥrutīs acquired from Ṣaḍjā become two, positioning themselves on Kumudvatī and forming a note composed of four Ṥrutīs, the Śāstra designates it as Kākalī Niṣāda. In contemporary terms, it is referred to as Ṥuddha Niṣāda or natural Niṣāda.
Nṛtya a.k.a. Indian Dance
Dance in India encompasses a multitude of styles, broadly categorized as classical or folk, each originating from different regions with influences from local traditions and other parts of the country. The Sangeet Natya Academy recognizes eight classical dances, rooted in the Natya Shastra and Hindu religious performance arts. Folk dances are diverse, varying based on local traditions, ethnicity, and geography. Additionally, contemporary dance forms blend classical, folk, and Western elements. India's dance traditions extend their influence not only over South Asia but also Southeast Asia. Indian film dances, especially in Bollywood, are renowned for their freeform expression and play a vital role in the subcontinent's popular culture.
Proficiency in languages like Sanskrit, Tamil, Telugu, Oriya, Meitei, Persian, or Arabic is highly esteemed for learning dances, particularly classical ones, providing access to essential textual materials.
Classical dance adheres to documented practices traceable to ancient texts like the Natya Shastra, involving a guru-shishya parampara (teacher-disciple tradition) and comprehensive training. Folk dances are oral traditions passed down through generations, while semi-classical dances bear a classical imprint but have transformed into folk forms. Tribal dances, specific to certain populations, often evolve into folk dances over time.
The roots of dance in India trace back to ancient times, depicted in cave paintings and sculptures. The Vedas integrate rituals with performance arts, using dialogue and dramatic representation. Natasutras, mentioned in Panini's text, and Natya Shastra, attributed to sage Bharata, are early texts related to dance and performance arts.
Classical dance in India constitutes a type of dance-drama, acting out stories through gestures. Enacting tales from Hindu mythology, each form represents a region or community's culture. Adherence to Natyashastra's guidelines confers classical status on eight styles recognized by the Sangeet Natak Akademi.
Bharatanatyam: Originating in Tamil Nadu, it is a solo dance accompanied by Carnatic music.
Kathakali: A colorful dance-drama from Kerala, narrating stories with elaborate make-up and costumes.
Kathak: Evolving from ancient northern India, it emphasizes rhythmic foot movements and storytelling.
Kuchipudi: Originating in Andhra Pradesh, it includes pure dance and expressive elements.
Odissi: Originating in Odisha, it expresses religious stories through symbolic costumes and movements.
Sattriya: Emerging from Assam's Vaishnavism monasteries, it combines dance, drama, and ballads.
Manipuri: Originating in Manipur, it includes the Ras Lila dance, a love-inspired dance drama.
Mohiniyattam: Originating in Kerala, it follows the Lasya style with delicate movements and feminine grace.
Folk dances in India, integral to rural life, depict daily activities and rituals. Each state boasts unique folk dances, while tribal dances are inspired by ethnic folklore, representing distinct myths, legends, and cultural practices. The dances utilize local instruments and convey regional variations influenced by factors like geography, religious affiliations, and festivals.
A variety of tribal dances, classified by territory, demonstrate the cultural diversity across different regions of India.
This rich tapestry of dances in India reflects the nation's cultural diversity, capturing stories, traditions, and the essence of various communities.
Nyasa
When a specific note is emphasized, leading to a clear understanding of the essence of a Rāga, it is referred to as the Nyāsa Svara of that particular Rāga.
Historically, the utilization of notes such as Graha, Nyāsa, Apanyāsa, Sanyāsa, and Vinyāsa was essential for describing Jāti.
In contemporary times, there is occasional mention of Graha and Nyāsa, although this practice is gradually diminishing. However, for certain Rāgas, the Nyāsa, like the Ni of the low register for Rāga Tilaka Kāmoda or the King of the intermediate register for Rāga Deśa, remains indispensable.
While many Rāgas use Sa as the Nyāsa Svara, the Aṁśa and its consonant Saṁvādī, like Nyāsa Svara (for instance, Ga), can be considered as such in Rāga Yamana.
The conclusion of a phrase on the Nyāsa Svara is crucial for both the performer and the audience, and without it, satisfaction remains elusive.
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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.