Role of Tabla (Mrindagam/Ghat) in Indian Music
Vinay K. Chaudhri
Hi Folks:
I have following questions about Indian classical music:
1) What is the significance of including Tabla (mridangam/ghat) in
all the Indian music performances. Now, I am not expecting an
answer of the type that it is supposed to provide rythum. But
rather I would like to understand how does it make the music
technically different from a music that does not have rythum
section as an essential part of a group. I have heard lot of
jokes about drummers and most of these are of the type "Three
people were killed, two were musicians and third was drummer".
In general, people tend to ridicule the drum players. I think
it is partly because the rythum instruments are generally not
treated as musical instruments. Personally, I would be much
happier to listen to just flute or sitar and find the tabla a little
irritating. This makes me all the more wonder why tabla is
such an integral part of all (north) indian classical music?
(Before I offend any tabla lover, I should add that
tabla is one of the best rythum instruments. Especially
for the type of dance repertoire in India).
To draw an analogy with the western classical music one might say
that the same role is played by a conductor and there is no concept
of a conductor in indian music. But if you take
string quartets or piano-violin duets there is no conductor.
Almost all indian groups are small in size. So how can the
western classical musicians do without the rythum section and
the indian musicians must have one?
2) Is there a list of standard repertoire of Indian classical music
in addition to the list of raags ? Here again, I am trying to draw
an analogy with the western classical music, where for example,
Beethoven's symphony#9 is a well defined piece.
3) What are the good reference books on indian classical music? What
is a good starting point if one wants to start learning more about
this music?
I would very much appreciate any comments/input on these.
thanks,
vinay.
Rajesh Puranik
am a novice in Indian classical music although I do enjoy listening to it.
In article <92Aug5.162...@smoke.cs.toronto.edu>, vi...@cs.toronto.edu ("Vinay K. Chaudhri") writes:
...
> section as an essential part of a group. I have heard lot of
> jokes about drummers and most of these are of the type "Three
> people were killed, two were musicians and third was drummer".
That's an interesting comment. I have never heard it before. Wouldn't you
consider Art Blakey (of the Jazz Messengers) or Max Roach musicians in the
Jazz world? I cite Jazz because I find it more analogous to Indian music than
Western classical.
> Personally, I would be much happier to listen to just flute or sitar and
> find the tabla a little irritating.
This is probably just a matter of personal taste. I, for one, could listen to
just tabla all day because I find the rhythms fascinating.
> To draw an analogy with the western classical music one might say
> that the same role is played by a conductor and there is no concept
> of a conductor in indian music. But if you take
> string quartets or piano-violin duets there is no conductor.
> Almost all indian groups are small in size. So how can the
> western classical musicians do without the rythum section and
> the indian musicians must have one?
Much of a conductor's work is not at the final performance but in the practice
sessions where the conductor interprets the work for the orchestra to set the
tone of the performance. In fact, I have even seen conductors double as
soloists during a performance, so their role as "keepers of the rhythm" may
not be that critical.
You also seem to make an assumption that the tabla only plays a functional
role - that of supporting the other instruments. In my view, the tabla is
every bit an integral part of the beauty of Indian music (classical or
otherwise). Sitar players could probably keep rhythm on their own if they had
to (in fact, don't they have to when both the tabla and the sitar are
improvising?). But the interplay of tabla and the other instruments and the
improvisational abilities of the tabla player certainly seem to me to be a
great art. So I would conclude that the tabla is not there due to some
"necessity," but due to an appreciation of the artistry of Indian rhythms.
I'll leave it to others to comment on the technical aspects of the music.
Rajesh Puranik
Software Engineering Institute
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The opinions expressed here in no way reflect any policy of the SEI
Shiv Naimpally
without having to worry about rhythm - it is pure melodic development.
Once the rhythm starts the performer does melodic development but
within the rhythmic structure. Look at this way - the raga provides
a melodic structure, the tabla provides a rythmic structure. Within
these structures the musician composes.
So Western music duets only to do the alap part - they don't try
to perform AND keep track of the rhythm. Its easy to play without
a rhthmic framework, but to improvise the music and do it while
keping within the rhythmic framework - now thats hard !
This last point is very important. Unlike Western Classical music where
all these musicians merely play the music written in front of them that
was composed by someone else, the Indian Classical musician is both
composer AND performer. Not only that but they are performing AS THEY ARE
COMPOSING ! So don't try and compare Indian and Western Classical,
each has their own beauty. Jazz is closer to Indian Classical in that
there is improvisation during the performance and there is usally
a rhythmic structure.
Okay, granted there are kritis in Carnatic music, ie. a composition
written by someone who the musician is performing, but I am referring
the 'purest' form (Ragam Tanam Pallavi or Bada Khayal). And even when
a musician does a kriti, there is still improvisation done during the
rendering of the song.
Given 2 Western recordings of the same composition, there may be
differences in the timing but they will be note for note the same.
Given 2 Indian recordings of the same raga, they will be different
because they will NEVER be 100% note for note the same.
Music has rhythm. Even western music does have rhythmic passages in
between (thats why they have percussionists in the orchestra). So the
rhythm may be implied but it is there - just check the sheet music
which will indicate the meter and tempo for each passage.
So your stupid drummer jokes aside, the drummer provides a rhythmic
faremwork for the other musicians to make music in. I should also
point out that tabla/mrdangam are tuned percussion and as such do
provide 'musicality'.
Note that many western musicians (including Yehudi Menhuin, Zubin Metha,
Phillip Glass, Steve Reich, and others) acknowledge the sophistication
of Indian music AND rhythm. When was the last time you heard some
Western classical music in meters such as 5/4, 9/8, 7/4, etc. ?
Don't keep trying to compare Indian and Western Classical music.
They are both Classical but beyond that the 2 are quite different.
Accept them that way and enjoy the differences ! I mean you don't
try an compare Chamber music with a symphony by saying ' Gee in
Chamber music there are fewer musicins - why can't the orchestra
get by with fewer musicians ?'. They are different types of music.
Inspite of your Indian sounding name you sound like a novice to
Indian Classical music, one of those ABCDs who knows
nothing about the richness of his own culture and who therefore
thinks that 'Western = better'. Try listening to Art Levine's show
that is broadcast in Toronto. Art is trained in Western music but loves
Indian music.
Toronto has some good music organizations, Raga Mala and Ameer Khusro
society that regularly arrange Indian Classical concerts. Jim Kippen
who is a Professor at U of T can give you some contact names/phone numbers.
Good luck !
Shiv
P. J. Narayanan
>Look at this way - the raga provides
>a melodic structure, the tabla provides a rythmic structure. Within
>these structures the musician composes.
This is not strictly true. Tabla/mridangam only stresses the
rhythmic structure. In Hindustani music, the tabliya is in charge of
maintaining the rhythm during the improvisational stage (as I understand).
Hence, a tabla is necessary even during practice. In Carnatic music,
the rhythm is kept entirely by the main performer -- mridangam only
embellishes the rhythmic aspects. Mridangam is not used during practices.
Concerts are often given with no mridangam.
>So don't try and compare Indian and Western Classical,
I don't find anthing wrong in comparing the two to understand
and relate concepts. That is how one learns. I don't find the two music
styles entirely incompable. Non-use of a percussion instrument doesn't
make WClassical music nonrhythmic! It probably doesn't have an involved
pulse and structure of a rhythm (a talam has more structure than a mere
"rhythm") running from the start to end. It is VERY difficult to write
music with NO rhythm even short passages.
>Music has rhythm. Even western music does have rhythmic passages in
>between (thats why they have percussionists in the orchestra).
You seemed to be confused somewhat. One doesn't need to have
a percussion playing for the music to be rhythmical! In western
orchestras, the percussions are like other instruments and have their
own scores when to play and when not to.
>So your stupid drummer jokes aside, the drummer provides a rhythmic
>faremwork for the other musicians to make music in.
I would say the drummer accentuates the rhythmic framework
in Indian music. The main performer is ultimately responsible for
maintaining the talam -- they might delegate that duty to the
percussionist often.
>When was the last time you heard some
>Western classical music in meters such as 5/4, 9/8, 7/4, etc. ?
These aren't that common in Indian music either -- and they aren't
unheard of in WMusic.
>Inspite of your Indian sounding name you sound like a novice to
>Indian Classical music, one of those ABCDs who knows
>nothing about the richness of his own culture and who therefore
>thinks that 'Western = better'. Try listening to Art Levine's show
>that is broadcast in Toronto. Art is trained in Western music but loves
>Indian music.
>
>Toronto has some good music organizations, Raga Mala and Ameer Khusro
>society that regularly arrange Indian Classical concerts. Jim Kippen
>who is a Professor at U of T can give you some contact names/phone numbers.
Unwarranted condescending tone! Looks like you had an axe to
grind with Vinay and didn't bother with objectivity.
>Shiv
As Todd pointed out, Indian music has more scope for a structured
talam and the use of explicit percussion instruments, possessing a main
melodic theme or strain. In any case, percussion instruments are used,
in my opinion, to emphasize the rhythmic structure (for effects,
just as the use of drums in W orchestras). The music could be presented
sans percussions them without much trouble, but (possibly) with
different effects.
PJN