09/09-09/11 Notes on Music of South Asia (Slides)

Geographic and cultural context (overview from slides)

• Global map slides show the world’s oceans and major regions, used to place South Asia in a broader geographic frame.

  • Oceans named: ARCTIC OCEAN, ATLANTIC OCEAN, PACIFIC OCEAN, INDIAN OCEAN, SOUTHERN OCEAN.
  • Example regional mappings include: Greenland (Denmark); Svalbard (Norway); United States; Canada; Iceland; United Kingdom; Norway; Sweden; Finland; Russia; Germany; Netherlands (Neth.); Belgium; Ireland; Poland; CZ (Czech Republic); Estonia; Latvia; Lithuania; Belarus; Ukraine; Moldova (noted as -Mol.); Kazakhstan; Georgia; Armenia; Turkey.
  • Atlantic region includes Portugal, Spain, France, Poland, Czech Republic (CZ), Estonia, Latvia, Lithuania, Belarus, Ukraine; Moldova (noted as -Mol.).
  • Pacific region highlighted with East/Southeast Asia and Oceania countries; examples include Japan, NKorea, SKorea, China, Laos, Vietnam, Thailand, Malaysia, Indonesia, Philippines, Myanmar (Burma), Myanmar; Timor-Leste; Papua New Guinea; Australia; New Caledonia; Solomon Islands; New Zealand; and surrounding island groups.
  • Indian Ocean region includes coastal South Asian and East African/Arabian Sea-adjacent areas; nations such as India, Sri Lanka, Maldives, Madagascar-leaning coastal states are implied by the map context.
  • Southern Ocean and surrounding island regions are represented by New Zealand and nearby southern maritime zones.

• South Asia region (maps on later slides) focuses on a core set of nations and features

  • Countries in South Asia emphasized: INDIA, BANGLADESH, BHUTAN, PAKISTAN, NEPAL, SRI LANKA, AFGHANISTAN.
  • Map scale for the South Asia panel: $1:4{,}600{,}000$ (Scale). Also indicates nautical miles for sea navigation context.
  • The map caption notes: “South Asia: INDIA, BANGLADESH, BHUTAN, PAKISTAN, NEPAL, SRI LANKA, AFGHANISTAN.”
  • A population figure repeatedly cited: $1{,}428{,}627{,}663$ (approx. 1.4286 billion) for the region in this material.
  • The map highlights historical sites and periods: “2000 BCE MOHENJO DARO, HARAPPA” and two cultural/cultural-linguistic zones: “NORTHERN CULTURE / HINDUSTANI” and “SOUTHERN CULTURE / CARNATHAC (Carnatic).”

• Major religious and cultural traditions in South Asia (slides 5–6):

  • Religions named: HINDUISM, ISLAM; THERAVADA BUDDHISM (Sri Lanka); MAHAYANA BUDDHISM (Nepal, Bhutan); JAINISM; SIKHISM; CHRISTIANITY; JEWISH.
  • Emphasis that the region hosts a diverse religious landscape with both ancient and living traditions.

• Core musical identity in the region

  • HINDUSTANI RAGA (North Indian tradition) vs SOUTH INDIAN (CARNATIC/KARNATAK) tradition identified as two major strands within Indian classical music.
  • “HINDUSTANI RAGA” is presented as a total system for simultaneous composition and performance in the North and South Indian spheres; raga is characterized by scales, strong/weak notes, and extra-musical associations (moods, times of day, magical powers).
  • RAGA is described as having COLOR/ATMOSPHERE (RAGA – COLOR / ATMOSPHERE) and as a total system for performance; it integrates musical and extramusical associations.

• Raga construction and performance concepts (Hindustani)

  • ALAP: opening period of exploration of a raga. Features exploration of the raga’s characteristics beginning with lower pitch, proceeding in a leisurely/experimental manner, with no regular beat and a free rhythm.
  • RAGA can be vocal or instrumental (SITAR, SAROD, or other instruments such as SANTUR, BANSRI – FLUTE) and is synonymous with the endurance and expressivity of Indian music.
  • RASA: articulated mood; each raga has a mood; the rasa can become pervasive so listeners conceive of the rasa as a person.
  • The raga system comprises several elements: SCALE (strong and weak notes); EXTRA-MUSICAL ASSOCIATION (MOODS; TIMES OF DAY; MAGICAL POWERS).
  • The Indian musical system is presented as having both NORTH (Hindustani) and SOUTH (Carnatic) components, and the raga concept is a unifying feature across these traditions.

• Common instruments and ensemble roles (Hindustani emphasis)

  • SITAR: long-neck lute, body made from a gourd, 17 arched metal frets; synonomous with Indian music; Ravi Shankar highlighted as a prominent exponent.
  • SAROD: long-neck lute with wooden body covered with calfskin; used in Hindustani music; plucked with a plectrum.
  • TAMBURA: provides a drone with “buzzing” pitches; a four-stringed long-neck lute with a large gourded body; played vertically.
  • TABLA (with smaller drum) and BAYA (larger drum): rhythm section; drum skin tightened/loosened with leather straps; basic bols (beat syllables) include: DHA – DIN – DIN - DHA | DHA – DHIN – DHIN - DA; DHA – TIN – TIN - TA | TA – DHIN – DHIN - DA. These approximate the tala cycle concept in performance.
  • RHYTHM and METER: Tabla beats form cycles (taals); the material lists rhythmic syllables as examples of how Indian metrical patterns are spoken/performed in accompaniment.
  • SANTUR (on occasion) and BANSRI – FLUTE are listed as other instruments compatible with raga performance.
  • PERCUSSION/STRING: MRIDANGAM; DHOLAK; KHOL appear as percussion instruments supporting devotional and secular performances.

• Vocal forms and devotional music (Bhajans)

  • Bhajan: Hindustani devotional song; sung in Hindi or Sanskrit (Sai Baba sect) with devotional content.
  • Bhajan is presented as a call-and-response or antiphonal form in which two or more groups perform in alternation; common in choral and liturgical settings.
  • Bhajan connects Hindu devotional practice with diaspora communities beyond South Asia (Caribbean: Guyana, Trinidad), and has global Hare Krishna and Sai Baba associations.
  • The devotional repertoire includes songs that praise deities such as Krishna (Sai Baba, Lord Krishna, Cowherd Boy) and other divine figures; examples illustrate how bhajan can be both religious and culturally expansive.
  • Instrumental accompaniment in bhajan can include HARMONIUM, DHOLAK, MRIDANGAM, KHOL as depicted in slide sequences.

• Notable people and global influence (late 20th century)

  • Ravi Shankar: renowned sitarist; noted collaborations with Ali Akbar Khan (sarod) and general prominence in Hindustani music; also listed as a composer and producer; involved in parliamentary work and U.S. university associations.
  • Robindro Shaunkor Chowdhury (Rabindranath Tagore? The slide lists a collaborator and a 1920–2012 lifespan line, but the exact attribution is unclear in the transcript) — the slide references notable figures associated with Indian classical music.
  • George Harrison (The Beatles) connected to Indian music influence; referenced with The Beatles song “Norwegian Wood” and the song Within You Without You; involvement with Woodstock 1969; Gandhi film score win at the Grammy Awards (Best Original Score – Gandhi, 1982).
  • The global reach of Indian music is evidenced by cross-cultural collaborations, festival appearances, and film/television scores.

• Specific performers and instruments highlighted by name

  • Ravi Shankar (sitar) and Ali Akbar Khan (sarod) cited as influential figures; Ravi Shankar as a producer and parliamentarian; collaboration with Ali Akbar Khan.
  • Sarangi is mentioned as another bowed string instrument, with a note about its origin in court music.
  • The Sarod and Sitar are cited as principal plucked string instruments in Hindustani performance; Tambura provides drone; Tabla and Baya provide rhythmic cycles.

• Western reception and cross-cultural impact

  • George Harrison and The Beatles drew attention to Indian classical music; Harrison’s Indian-influenced compositions and use of Indian instruments in Western pop/rock contexts are noted.
  • Woodstock (1969) is cited as a venue for cross-cultural musical exchange and the global reach of Indian-inspired music.
  • Gandhi (1982) won a Grammy for Best Original Score, signaling Indian musical influence in film scores on a global stage.

• Instrument-specific details highlighted in multiple slides

  • SITAR: long-neck lute; gourds as body; 17 arched frets; associated with Ravi Shankar.
  • SAROD: long-neck lute; wooden body; calfskin cover; tuning pegs; plucked with a fingerpick.
  • TAMBURA: drone instrument with buzzing pitches; four strings; vertical playing position; provides sustained drone.
  • KHOL, MRIDANGAM, DHOLAK: percussion instruments used in Bhajan and devotional/secular performances; used with harmonium in bhajan contexts.
  • SANTUR and BANSRI (flute) are listed as other instruments that can accompany raga performance.
  • HARMONIUM is shown as a common accompanying instrument in Bhajan performance as well as in devotional settings.

• Key terminologies to remember

  • Hindustani Raga: Northern Indian classical raga system; emphasizes both melodic rules and atmospheric associations.
  • Carnatic Raga (Carnathac): Southern Indian raga tradition; contrasted with Hindustani in the slides.
  • Alap: introductory, unmetered exploration of a raga’s motifs and mood.
  • Rasa: the articulated mood or aesthetic essence of a raga; can be personified by listeners.
  • Scale notation: strong and weak notes within a raga’s scale; specific ragas use particular pitch sequences.
  • Drones and rhythm: Tambura provides drone; Tabla and other percussion provide rhythmic cycles.

• Practical and cultural implications (summarized themes)

  • South Asia’s musical traditions are deeply tied to religious, philosophical, and social contexts (Hinduism, Islam, Buddhism, Jainism, Sikhism, Christianity, Judaism).
  • The Hindustani and Carnatic systems offer complementary approaches to melody, rhythm, and improvisation, shaping performance practice across the region.
  • The global reception of Indian classical music, through figures like Ravi Shankar and through Western collaborations, has influenced Western popular music and world music categorization.
  • Devotional forms like Bhajan serve as a bridge between liturgical practice and everyday life, and have a diaspora presence that extends into the Caribbean and beyond.

• Numerical and factual references to retain

  • Population (as given for South Asia): $1{,}428{,}627{,}663$
  • Population emphasis label: “1,428,627,663” (repeated across slides)
  • Map scale for the South Asia panel: $1:4{,}600{,}000$
  • Historical reference: Mohenjo-daro, Harappa (circa 2000 BCE)
  • Notable Western musical connections: Woodstock 1969; Gandhi (Best Original Score – Grammy 1982)
  • Instrument names and descriptors include numerical mentions of frets (e.g., 17 arched frets on sitar) and long-neck design details.

In short, the slides present a holistic view of South Asia’s geographic placement, religious and cultural plurality, core raga theory (Hindustani and Carnatic), principal instruments (sitar, sarod, tambura, tabla, bhajan ensembles), key artists and global influence, and devotional music traditions (bhajan) that extend beyond the region to the diaspora.

Representative instrument and concept cross-references (quick guide)

• Sitar: long-neck lute; gourde body; 17 arched frets; Ravi Shankar exemplar.
• Sarod: long-neck lute; wooden body; calfskin cover; tuning pegs; plucked with plectrum.
• Tambura: drone instrument; four strings; buzzing drone pitches; played vertically.
• Tabla/Baya: percussion drums; rhythmic patterns with syllables (e.g., DHA – DIN – DIN - DHA; DHA – DHIN – DHIN - DA; etc.).
• Raga concepts: ALAP (opening, unmetered exploration); RASA (mood/personification); COLOR/ATMOSPHERE; SCALE with strong/weak notes; times of day; magics or extra-musical associations.
• Bhajan: devotional songs; call-and-response form; devotional to Hindu deities; diaspora usage; devotional practices associated with Sai Baba, Hare Krishna, and related communities.
• Global influence: George Harrison and Woodstock; Gandhi score; cross-cultural collaborations; diaspora dissemination (Caribbean, etc.).