ASSEB HSLC Class 10 Elective Music flashcards

32 cards. Read the term and the definition here. The deck at the top of this page is optional.

Swara

A musical note in Indian classical music; seven shuddha swaras (Sa Re Ga Ma Pa Dha Ni) with komal and teevra variants, totaling twelve pitch classes.

Raga

A melodic framework of swaras with ascending/descending scales, vadi, samvadi, pakad, and a prescribed time of day, used for improvisation and composition.

Tala

A cyclic rhythmic framework in Indian music measured in matras (beats), divided into vibhags marked by tali (clap) and khali (wave), with sam as beat one.

Sam

The first beat of a tala cycle; the point of rhythmic resolution where compositions and improvisations return, often marked by a clap or circled in notation.

Vadi

The principal or most important swara of a raga, emphasized in performance; the samvadi is the secondary important note, and anuvadi are assisting notes.

Borgeet

Devotional songs composed by Srimanta Sankardeva and Madhavdeva in Assamese and Brajavali, set to specific ragas and talas, sung in Sattras.

Ojapali

An Assamese narrative performance tradition with an Oja (lead singer) and palis (chorus); forms include Byah Ojapali and Sukananni Ojapali.

Bihu geet

Assamese folk songs associated with the Bihu festival, categorized as Bohag (Rongali), Kati (Kongali), and Magh (Bhogali) Bihu, with themes of love, nature, and agriculture.

Lokageet

Assamese folk songs including Bihu geet, Tokari geet, Lakhimi geet, Biya naam (wedding songs), and Aai naam, reflecting regional culture and daily life.

Sattriya

A classical dance and music tradition of Assam's Sattras (Vaishnava monasteries), codified by Sankardeva, with Borgeet and khol accompaniment.

Khol

A barrel-shaped drum of Assam used in Sattriya and Borgeet performances, played with hands, providing rhythmic accompaniment in Sattra music.

Bhatkhande notation

A Hindustani notation system using Devanagari swaras, with komal notes marked below, teevra Ma above, dots for octaves, and lines for matra extension.

Tali and Khali

In tala notation, tali (clap) marks stressed vibhags and khali (wave) marks empty or unaccented sections; sam is the first tali.

Theka

The standard bol (syllabic) pattern of a tala played on tabla, e.g., Teental theka: Dha Dhin Dhin Dha | Dha Dhin Dhin Dha | Dha Tin Tin Ta | Ta Dhin Dhin Dha.

Palta

A rhythmic-melodic exercise in Indian music notation where swaras are arranged in ascending/descending patterns over a tala cycle for practice.

Srimanta Sankardeva

Assamese saint-reformer (1449–1568) who composed Borgeets and Ankiya Naats, introduced Sattriya culture, and used Brajavali language for devotional works.

Madhavdeva

Disciple of Sankardeva (1489–1596), composed Borgeets and the Naam Ghosa, and expanded Sattriya music and Vaishnava devotional literature in Assam.

Tansen

Court musician of Emperor Akbar (c. 1500–1586), credited with ragas like Miyan ki Malhar and Darbari Kanada, and one of the Navaratnas.

V. N. Bhatkhande

Hindustani musicologist (1860–1936) who systematized ragas into 10 thaats, wrote 'Hindustani Sangeet Paddhati', and developed a notation system.

V. D. Paluskar

Hindustani musician (1872–1931) who revived classical music, founded Gandharva Mahavidyalaya in 1901, and promoted music education and notation.

Bishnu Prasad Rabha

Assamese cultural icon (1909–1969) who composed Bihu geet and modern Assamese songs, and promoted folk music, dance, and progressive ideals.

Jyoti Prasad Agarwala

Assamese poet, playwright, and music director (1903–1951) who composed Bihu geet and introduced Assamese film music with 'Joymoti'.

Tata instruments

String instruments in the Natya Shastra classification, including sitar, sarod, veena, and tanpura, played by plucking or bowing.

Sushira instruments

Wind instruments in Indian classification, such as bansuri (flute), shehnai (reed), nadaswaram, and pepa (buffalo horn) of Assam.

Avanaddha instruments

Membrane or drum instruments, including tabla, pakhavaj, mridangam, dhol, and khol, where sound is produced by striking a stretched skin.

Ghana instruments

Solid or idiophone instruments without strings or membranes, such as taal (cymbals), gogona (jaw harp), and ghatam (clay pot).

Pepa

A wind instrument of Assam made from buffalo horn, used in Bihu music, producing a loud, reedy tone.

Gogona

A bamboo jaw harp of Assam, played by women in Bihu performances, producing a rhythmic twanging sound.

Alap

The unmetered, slow introductory section of a Hindustani raga presentation, exploring the raga's notes and mood before the rhythmic composition.

Bandish

A composed song in Hindustani music with sthayi (first section) and antara (second), set in a raga and tala, serving as the basis for improvisation.

Alapana

In Carnatic music, the free, unmetered melodic improvisation that introduces a raga before the composition, similar to Hindustani alap.

Pakad

A characteristic catch-phrase of swaras that identifies a raga, e.g., Yaman's pakad 'Ni Re Ga, Re Sa' with teevra Ma, used for recognition in viva.