UPMSP Class 12 Vocal Music flashcards

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

Sthayi

The first line of a khayal composition, set in the lower or middle register, usually beginning near sam; it is expanded in vilambit khayal through vistaar and alaap.

Antara

The second line of a khayal composition, which rises into the upper register (taar saptak) and contrasts melodically with the sthayi.

Sapat taan

A fast, straight melodic run through the raag's swars in ascending or descending order, without zigzag; a common taan type in drut khayal.

Vakra taan

A taan that moves in a zigzag or non-sequential pattern through the raag's notes rather than straight scale order, adding rhythmic and melodic interest.

Shruti

The smallest audible pitch interval in classical Indian theory; 22 shrutis are said to divide the octave, and the seven swars are selected from them.

Khali

An unaccented, empty beat in a taal cycle, shown by a wave of the hand rather than a clap; it marks a contrasting section of the theka.

Layakari

Rhythmic play by subdividing the basic laya, such as dugun (2x), tigun (3x), or chaugun (4x), while keeping the sam as the point of resolution.

Vadi and samvadi

Vadi is a raag's most important swar; samvadi is the second most important, usually a fourth or fifth away. Together they define the raag's character.

Teentaal theka

Sixteen matras in four vibhags of four; tali on 1, 5, 13, khali on 9; syllables: dha dhin dhin dha / dha dhin dhin dha / dha tin tin ta / ta dhin dhin dha.

Ektaal

A twelve-matra taal in six vibhags of two, with tali on 1, 5, 9, 11 and khali on 3 and 7; common in vilambit khayal.

Jhaptaal

A ten-matra taal in four vibhags of 2+3+2+3, with tali on 1, 3, 8 and khali on 6; theka: dhi na / dhi dhi na / ti na / dhi dhi na.

Rupak

A seven-matra taal in three vibhags of 3+2+2, unusual because its sam (matra 1) is khali; tali fall on matras 4 and 6.

Dadra taal

A six-matra taal in two vibhags of three, with tali on 1 and khali on 4; theka: dha dhi na / dha tu na. Common in thumri and light forms.

Keherwa

An eight-matra taal in two vibhags of four, with tali on 1 and khali on 5; theka: dha ge na ti / na ka dhi na. Widely used in light music.

Bhatkhande notation

Notation system using S R G M P D N, a line below for komal swars, a line above for tivra Ma, dots for octaves, and vertical bars for vibhags.

Paluskar notation

Vishnu Digambar Paluskar's notation system, using letters for swars with distinct marks for komal and tivra notes, dots for octaves, and lines for vibhags.

Dhrupad

The oldest major Hindustani vocal form, in four parts (sthayi, antara, sanchari, abhog), accompanied by pakhavaj, and usually set in Chautaal or Dhamar.

Thumri

A semi-classical lyrical form emphasizing expression and text over strict raag grammar, often in Khamaj, Kafi, Pilu, or Bhairavi, with bol-banao ornamentation.

Tarana

A fast vocal form using rhythmic syllables such as dha, ta, na, tom, and diri instead of meaningful text, often imitating instrumental sounds.

Tappa

A fast, highly ornamented semi-classical form with quick taans and loose raag boundaries, derived from the songs of camel riders in Punjab.

Ghazal

An Urdu poetic form set to music, built of couplets (sher) with matla, radif, and qafiya; it is not bound to a single raag.

Gharana

A school of Hindustani music tracing its lineage through a guru-shishya chain, with a distinctive vocal style, repertoire, and ornamentation.

Gwalior gharana

The oldest major khayal gharana, known for clear balanced swar, bol-vistar, and khayal in Teentaal; associated with Hassu and Haddu Khan.

Kirana gharana

A gharana known for slow, sustained vilambit khayal with nuanced shruti and meend, founded by Abdul Karim Khan and Abdul Wahid Khan.

Agra gharana

A gharana known for a forceful, deep voice, nom-tom alaap, and strong vilambit khayal; its most famous exponent was Faiyaz Khan.

V. N. Bhatkhande

Musicologist (1860-1936) who systematized Hindustani notation, wrote Hindustani Sangeet Paddhati, and founded the Marris College of Music in Lucknow.

V. D. Paluskar

Vocalist and educator (1872-1931) who founded the Gandharva Mahavidyalaya in 1901 and developed a notation system and mass music education.

Tansen

Court musician of Emperor Akbar (c. 1500-1589), traditionally credited with ragas such as Miyan ki Malhar and Miyan ki Todi, and a central figure in Hindustani legend.

Aahat and anahat naad

Aahat naad is struck, audible sound produced by vibration; anahat naad is unstruck, internal sound associated with yogic and metaphysical experience.

Pakad

A short, characteristic phrase of a raag that captures its essential movement and is used to identify and confirm the raag in performance.

Achala swar

The fixed swars Sa and Pa, which have no komal or tivra variants; all other swars can be altered in the raag system.

Gandharva Mahavidyalaya

Music institution founded by Vishnu Digambar Paluskar in 1901 at Lahore, which established formal examinations and standardized music education in India.