BSEH Secondary Music Vocal flashcards

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

Nada

In Hindustani music, nada is sound. It is classified as ahata (struck or produced) and anahata (unstruck or cosmic). Musical nada possesses pitch, volume, and timbre, forming the basis of all musical expression.

Shruti

Shruti denotes a microtonal interval. Bharata's Natyashastra establishes 22 shrutis per octave. They define the precise intonation of swaras and are essential for accurate raga rendering.

Vadi and Samvadi

Vadi is the principal note of a raga, and samvadi is the second most important. Their interval is usually a fourth or fifth. Anuvadi notes support, while vivadi notes are dissonant and avoided.

Pakad

Pakad is a characteristic catch-phrase of a raga that reveals its essential melodic identity. It helps musicians and listeners recognize the raga quickly, especially in improvisation and performance.

Alankar

Alankar refers to melodic ornamentation in Hindustani music. Types include meend (glide), kan (grace note), gamak (oscillation), murki (quick turn), and khatka (cluster). Each raga permits specific alankars.

Gharana

Gharana is a stylistic school of Hindustani vocal music, such as Gwalior, Agra, Jaipur-Atrauli, Kirana, and Patiala. Each gharana has distinctive ornamentation, repertoire, and pedagogical lineage.

Thaat

Thaat is a parent scale system of ten scales codified by Bhatkhande. Ragas are classified under thaats such as Bilawal, Khamaj, Kafi, Asavari, Bhairavi, Bhairav, Kalyan, Marwa, Poorvi, and Todi.

Swaralipi

Swaralipi is the notation system for Hindustani music. It uses Sa Re Ga Ma Pa Dha Ni with symbols for komal and tivra swaras, dots for octave registers, and bar lines for tala divisions.

Samay (Time Theory)

Samay assigns ragas to specific prahars (three-hour periods) of the day. For example, Bhairav is morning, Yaman is early night, and Bageshri is late night. This governs performance timing.

Sthayi and Antara

Sthayi is the first section of a composition, set in the lower or middle register. Antara is the second section, in the higher register. Together they form the core of a bandish in khayal.

Raga Yaman

Yaman uses tivra Ma and all other shuddha swaras. Its aroha is Ni Re Ga Ma(tivra) Dha Ni Sa; avaroha is Sa Ni Dha Pa Ma(tivra) Ga Re Sa. Vadi is Ga, samvadi Ni, time early night.

Teental

Teental is a 16-matra tala with four vibhags of 4 matras each (4+4+4+4). Tali falls on 1, 5, 9, and 13; khali on 5. Its theka is Dha Dhin Na Tin Na Tin Na Dhin.

Jhaptal

Jhaptal is a 10-matra tala with vibhags 2+3+2+3. Tali is on 1, 3, and 8; khali on 6. Its theka is Dhi Na Dhi Dhi Na Ti Na Dhi Dhi Na.

Layakari

Layakari is rhythmic variation in tala. Types include barabar (1:1), dugun (2:1), tigun (3:1), chaugun (4:1), aad (3:2), and kuwaad (5:4). It demonstrates control over laya.

Tihai

Tihai is a rhythmic phrase repeated three times, ending on sam. The repetitions plus a pause must equal the tala cycle. It is used to conclude compositions and improvisations.

Rupak Tala

Rupak is a 7-matra tala with vibhags 3+2+2. Its sam is khali (wave), while tali falls on 4 and 6. The theka is Tin Tin Na Dhin Na Dhin Na.

Amir Khusrau

Amir Khusrau (1253–1325) was a poet-musician in the Delhi Sultanate. He is credited with introducing qawwali, tarana, and several ragas. His contributions bridged Persian and Indian musical traditions.

Tansen

Tansen (c. 1500–1586) was a court musician of Akbar and a disciple of Swami Haridas. He composed ragas such as Miyan ki Malhar and Miyan ki Todi. His legendary performances are celebrated in Indian music history.

Bhatkhande

Vishnu Narayan Bhatkhande (1860–1936) was a musicologist who authored Hindustani Sangeet Paddhati. He created the 10-thaat system and a notation system, and founded the Marris College of Music.

Bhimsen Joshi

Bhimsen Joshi (1922–2011) was a Kirana gharana vocalist and recipient of the Bharat Ratna. He was renowned for khayal, bhajan, and abhang, and popularized Marathi devotional music globally.

Natyashastra

Natyashastra, attributed to Bharata (c. 200 BCE–200 CE), is a foundational Sanskrit treatise on performing arts. It codifies raga, tala, rasa, and stagecraft, shaping Indian music theory.

Dhrupad

Dhrupad is the oldest surviving Hindustani vocal form. It has four sections: sthayi, antara, sanchari, and abhog. It is sung in a slow tempo and accompanied by pakhawaj, with Dagar and Darbhanga traditions.

Khayal

Khayal is a Hindustani vocal form that emerged in the 18th century. It is more ornamental and flexible than dhrupad, with two sections: sthayi and antara. The gharana system developed around it.

Thumri

Thumri is a semiclassical vocal form developed in Lucknow and Banaras in the 19th century. It expresses romantic and devotional themes with flexible raga usage and lyrical ornamentation.

Tanpura

Tanpura is a four-stringed drone instrument providing a continuous harmonic reference. Strings are tuned to Pa-Sa-Sa-Sa or Ma-Sa-Sa-Sa. It is played with fingers and has no frets.

Tabla

Tabla is a pair of drums: dayan (right, treble) and bayan (left, bass). Strokes include Dha, Dhin, Na, Tin, Ta, Ge, and Ke. It accompanies Hindustani vocal and instrumental music.

Pakhawaj

Pakhawaj is a barrel-shaped drum used for dhrupad and dhamar. Its strokes include Dha, Dhin, Ta, Tin, Na, Ge, and Ghe. It has a lower pitch than tabla and is played horizontally.

Sarangi

Sarangi is a bowed string instrument played with fingernails. It is used to accompany Hindustani vocalists and is known for imitating vocal nuances such as meend and gamak.

Alap

Alap is the unmetered, slow introductory section of a raga performance. It unfolds the raga's notes and mood without rhythmic accompaniment, often followed by jod and jhala.

Bandish

Bandish is a composed piece in Hindustani vocal music, set to a raga and tala. It typically has sthayi and antara sections, with sam as the point of resolution.

Raga Bhairav

Bhairav uses komal Re and Dha. Its aroha is Sa Re(k) Ga Ma Pa Dha(k) Ni Sa; avaroha is Sa Ni Dha(k) Pa Ma Ga Re(k) Sa. Vadi is Re, samvadi Dha, time morning.

Tarana

Tarana is a fast vocal composition using rhythmic syllables such as nom tom, tana, and dere, instead of lyrics. It is often in drut laya and attributed to Amir Khusrau.

Theka Recitation

Theka recitation involves speaking tala mnemonic syllables while marking tali with claps and khali with waves. It is essential for practical tala examination and maintaining steady laya.