Indian Classical Background Music Free VERIFIED Download Mp3
Amy Sumler
Aims and objectives: To analyze the effect of listening to Vedic chants and Indian classical instrumental music on anxiety levels and on blood pressure (BP), heart rate (HR), and oxygen saturation in patients undergoing upper gastrointestinal (GI) endoscopy.
Materials and methods: A prospective, randomized controlled trial was done on 199 patients undergoing upper GI endoscopy. On arrival, their anxiety levels were assessed using state and trait scores and various physiological parameters such as HR, BP, and SpO2. Patients were randomly divided into three groups: Group I of 67 patients who were made to listen prerecorded Vedic chants for 10 min, Group II consisting of 66 patients who listened to Indian classical instrumental music for 10 min, and Group III of 66 controls who remained seated for same period in the same environment. Thereafter, their anxiety state scores and physiological parameters were reassessed.
Conclusion: Listening to Vedic chants and Indian classical instrumental music has beneficial effects on alleviating anxiety levels induced by apprehension of invasive procedures and can be of therapeutic use.
So I've been recently watching a lot of historical kdramas (Sageuks?) ans I've noticed that a lot of the background music used in them is very similar to Indian classical music. Now I'm no expert in either Indian Classical or Korean Traditional (is there a Korean Classical music?) but the instruments used in this background music I was talking about sound a lot like Tabla, Sitar, Sarangi but can be similar Percussion or String instruments.
Is there a particular reason to use such music in historical dramas? Because in India, if the show has mythology or ancient history, generally classical music is used as background music. But then again, Hindustani classical music is still so prominent (forms the base for most musicians in the country) that it is liberally used in shows/movies with modern settings as well.
Indian classical music is a rich tradition that originated in South Asia and can now be found in all corners of the world. Its origins date back to sacred Vedic scriptures over 6,000 years ago where chants developed a system of musical notes and rhythmic cycles.
Now Indian classical music can be learned in many institutions and has been heavily documented and notated but learning through observation, listening and memory is still paramount and connecting with an expert teacher is considered the most fruitful way to learn.
Sitar - The sitar is a plucked stringed instrument used in Hindustani (North Indian) classical music. The instrument flourished under the Mughals and it is named after a Persian instrument called the setar (meaning three strings). The sitar flourished in the 16th and 17th centuries and arrived at its present form in 18th-century India. It derives its distinctive timbre and resonance from sympathetic strings, bridge design, a long hollow neck and a gourd-shaped resonance chamber.
Tabla - The tabla is a membranophone percussion instrument originating from the Indian subcontinent, consisting of a pair of drums, used in traditional, classical, popular and folk music. It has been a particularly important instrument in Hindustani classical music since the 18th century, and remains in use in India, Pakistan, Afghanistan, Nepal, Bangladesh, and Sri Lanka.
Indian classical music is the classical music of the Indian subcontinent.[1] It is generally described using terms like Marg Sangeet and Shastriya Sangeet.[2] It has two major traditions: the North Indian classical music known as Hindustani and the South Indian expression known as Carnatic.[3] These traditions were not distinct until about the 15th century. During the period of Mughal rule of the Indian subcontinent, the traditions separated and evolved into distinct forms. Hindustani music emphasizes improvisation and exploration of all aspects of a raga, while Carnatic performances tend to be short composition-based.[3] However, the two systems continue to have more common features than differences.[4] Another unique classical music tradition from Eastern part of India, i. e. Odissi music has evolved since two thousand years ago.
The roots of the classical music of India are found in the Vedic literature of Hinduism and the ancient Natyashastra, the classic Sanskrit text on performing arts by Bharata Muni.[5][6] The 13th century Sanskrit text Sangeeta-Ratnakara of Sarangadeva is regarded as the definitive text by both the Hindustani music and the Carnatic music traditions.[7][8]
Indian classical music has two foundational elements, raga and tala. The raga, based on a varied repertoire of swara (notes including microtones), forms the fabric of a deeply intricate melodic structure, while the tala measures the time cycle.[9] The raga gives an artist a palette to build the melody from sounds, while the tala provides them with a creative framework for rhythmic improvisation using time.[10][11][12] In Indian classical music the space between the notes is often more important than the notes themselves, and it traditionally eschews Western classical concepts such as harmony, counterpoint, chords, or modulation.[13][14][15]
The classic Sanskrit text Natya Shastra is at the foundation of the numerous classical music and dance traditions of India. Before Natyashastra was finalized, the ancient Indian traditions had classified musical instruments into four groups based on their acoustic principle (how they work, rather than the material they are made of) for example flute which works with gracious in and out flow of air.[25] These four categories are accepted as given and are four separate chapters in the Natyashastra, one each on stringed instruments (chordophones), hollow instruments (aerophones), solid instruments (idiophones), and covered instruments (membranophones).[25] Of these, states Rowell, the idiophone in the form of "small bronze cymbals" were used for tala. Almost the entire chapter of Natyashastra on idiophones, by Bharata, is a theoretical treatise on the system of tala.[26] Time keeping with idiophones was considered a separate function than that of percussion (membranophones), in the early Indian thought on music theory.[26]
The post-Vedic era historical literature relating to Indian classical music has been extensive. The ancient and medieval texts are primarily in Sanskrit (Hinduism), but major reviews of music theory, instruments and practice were also composed in regional languages such as Braj, Kannada, Odia, Pali (Buddhism), Prakrit (Jainism), Tamil and Telugu.[33] While numerous manuscripts have survived into the modern era, many original works on Indian music are believed to be lost, and are known to have existed only because they are quoted and discussed in other manuscripts on classical Indian music.[33][34] Many of the encyclopedic Puranas contain large chapters on music theory and instruments, such as the Bhagavata Purana, the Markandeya Purana, the Vayu Purana, the Linga Purana, and the Visnudharmottara Purana.[35][36][37]
The most cited and influential among these texts are the Sama Veda, Natya shastra (classic treatise on music theory, Gandharva), Dattilam, Brihaddesi (treatise on regional classical music forms), and Sangita Ratnakara (definitive text for Carnatic and Hindustani traditions).[7][33][38] Most historic music theory texts have been by Hindu scholars. Some classical music texts were also composed by Buddhists and Jain scholars, and in 16th century by Muslim scholars. These are listed in the attached table.
The classical music tradition of the ancient and medieval Indian subcontinent (modern Bangladesh, India, Pakistan) were a generally integrated system through the 14th century, after which the socio-political turmoil of the Delhi Sultanate era isolated the north from the south. The music traditions of the North and South India were not considered distinct until about the 16th century, but after that the traditions acquired distinct forms.[3] North Indian classical music is called Hindustani, while the South Indian expression is called Carnatic (sometimes spelled as Karnatic). According to Nazir Ali Jairazbhoy, the North Indian tradition acquired its modern form after the 14th or the 15th century.[42]
Indian classical music has historically adopted and evolved with many regional styles, such as the Bengali classical tradition . This openness to ideas led to assimilation of regional folk innovations, as well as influences that arrived from outside the subcontinent. For example, Hindustani music assimilated Arabian and Persian influences.[43] This assimilation of ideas was upon the ancient classical foundations such as raga, tala, matras as well as the musical instruments. For example, the Persian Rāk is probably a pronunciation of Raga. According to Hormoz Farhat, Rāk has no meaning in modern Persian language, and the concept of raga is unknown in Persia.[44]
Carnatic music, from South India, tends to be more rhythmically intensive and structured than Hindustani music. Examples of this are the logical classification of ragas into melakartas, and the use of fixed compositions similar to Western classical music. Carnatic raga elaborations are generally much faster in tempo and shorter than their equivalents in Hindustani music. In addition, accompanists have a much larger role in Carnatic concerts than in Hindustani concerts. Today's typical concert structure was put in place by the vocalist Ariyakudi Ramanuja Iyengar. The opening piece is called a varnam, and is a warm-up for the musicians. A devotion and a request for a blessing follows, then a series of interchanges between ragams (unmetered melody) and Tanam (the ornamentation within a melorhythmic cycle, equivalent to the jor). This is intermixed with hymns called krithis. The pallavi or theme from the raga then follows. Carnatic pieces also have notated lyrical poems that are reproduced as such, possibly with embellishments and treatments according to the performer's ideology, referred to as Manodharmam.[citation needed]
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