UPMSP Class 12 Vocal Music key terms

The fundamental concept of sound in Indian music, considered the basis of all musical expression. It is classified into ahata (struck) and anahata (unstruck) naad, with the former being the audible sound used in performance.

A microtonal interval, traditionally twenty-two in an octave, representing the smallest audible pitch difference. Shrutis are the basis for distinguishing swaras and are central to tuning and intonation in Hindustani music.

A musical note with a definite pitch. In Hindustani music, seven shuddha swaras (Sa Re Ga Ma Pa Dha Ni) and five vikrit swaras (komal and tivra) form the basic scale.

An octave consisting of seven swaras. It is categorized into mandra (lower), madhya (middle), and taar (upper) saptak, each used for different expressive effects in performance.

Tempo or speed in music. It is broadly classified as vilambit (slow), madhya (medium), and drut (fast), and is essential for rhythmic improvisation and composition.

A beat or count in a taal cycle. Matras are the basic units of rhythmic measurement, and their number defines the length of a taal, such as 16 matras in Teentaal.

The first and most important matra of a taal cycle, marking the point of rhythmic resolution. It is emphasized by a clap (tali) and is crucial for coordination between melody and rhythm.

A clap or hand gesture that marks specific matras in a taal, indicating stressed beats. Each taal has a fixed number of talis, which help in maintaining the cycle.

A wave of the hand that marks a weak or unstressed beat in a taal, often contrasting with tali. It is typically indicated by an empty beat and helps in identifying the cycle's structure.

A sixteen-matra taal divided into four vibhags of four matras each. Its theka is: dha dhin dhin dha | dha dhin dhin dha | dha tin tin ta | ta dhin dhin dha. It is one of the most common taals for khayal.

A twelve-matra taal divided into six vibhags of two matras each. Its theka is: dhin dhin | dha ge | tir kit | tu na | kat ta | dha ge. It is often used in vilambit khayal and dhrupad.

A ten-matra taal divided into four vibhags of 2+3+2+3 matras. Its theka is: dhi na | dhi dhi na | ti na | dhi dhi na. It is common in khayal and thumri.

A seven-matra taal divided into three vibhags of 3+2+2 matras. Its theka is: tin tin na | dhin na | dhin na. Sam is on khali, making it unique among common taals.

A six-matra taal divided into two vibhags of three matras each. Its theka is: dha dhi na | dha tu na. It is widely used in semi-classical forms like thumri and dadra.

An eight-matra taal divided into two vibhags of four matras each. Its theka is: dha ge na ti | na ka dhi na. It is common in folk and light music.

The basic rhythmic pattern of a taal, played on the tabla or pakhawaj, using specific bols. It serves as the foundation for keeping time and is essential for accompaniment and solo performance.

The art of manipulating laya (tempo) by creating rhythmic patterns at different speeds, such as double (dugun) or quadruple (chaugun) time. It demonstrates a performer's rhythmic control and creativity.

A notation system devised by V.N. Bhatkhande, using symbols like S r R g G m M P d D n N for swaras, with horizontal lines for octaves and vertical lines for vibhags. It is widely used for documenting Hindustani compositions.

A notation system created by Vishnu Digambar Paluskar, using numbers 1-7 for shuddha swaras and symbols for komal/tivra, with octaves indicated by dots above or below. It is an alternative to Bhatkhande's system.

The oldest surviving style of Hindustani classical vocal music, characterized by a serious and devotional tone, with elaborate alaap and a four-part structure (sthayi, antara, sanchari, abhog). It is usually performed with pakhawaj accompaniment.

A semi-classical vocal form similar to dhrupad but more playful, often associated with the Holi festival. It is set to the Dhamar taal (14 matras) and features rhythmic play and expressive lyrics.

A semi-classical vocal form known for its romantic and devotional lyrics, with emphasis on expression (bhava) and flexible rhythm. It often uses Dadra or Keherwa taal and allows improvisation within a loose structure.

A semi-classical vocal form characterized by rapid, intricate taans and a lively tempo, often sung in Punjabi or Braj language. It demands great vocal agility and is usually set in fast Teentaal or Sitarkhani.

A poetic form of Urdu origin, typically expressing love and loss, sung in a semi-classical style with emphasis on lyrical expression. It is set to various taals and allows for melodic improvisation.

A devotional song, often in a simple melodic structure, dedicated to a deity. It can be classical or semi-classical and is usually set to Keherwa or Dadra taal.

A fast-paced vocal composition using syllables like 'ta', 'na', 'dhi', 're' instead of meaningful lyrics, often performed at the end of a khayal recital. It showcases rhythmic and melodic virtuosity.

The most prominent form of Hindustani classical vocal music, characterized by a slow (vilambit) or fast (drut) composition with improvisation through alaap and taans. It allows for individual expression and is central to modern concert repertoire.

A school or tradition of Hindustani music, defined by a distinct style of presentation, repertoire, and pedagogical lineage. Major vocal gharanas include Gwalior, Kirana, Agra, Jaipur-Atrauli, and Patiala.

The oldest khayal gharana, known for its emphasis on clear swara production, systematic alaap, and use of simple taans. It is characterized by compositions in a straightforward style and is considered the fountainhead of khayal singing.

A khayal gharana known for its slow, meditative vilambit khayal, emphasis on precise intonation and sustain, and use of intricate taans. It is associated with Abdul Karim Khan and Abdul Wahid Khan.

A khayal gharana known for its robust and forceful singing, emphasis on rhythmic play, and use of powerful taans. It is associated with Faiyaz Khan and has a rich repertoire of vilambit khayal.

A pioneering musician and musicologist who founded the Gandharva Mahavidyalaya in 1901, promoting institutional music education and creating a notation system. He worked to popularize Hindustani music among the masses.

A musicologist who systematized Hindustani ragas into ten thats, wrote the first modern notation system, and authored 'Hindustani Sangeet Paddhati'. He also organized the first All India Music Conference in 1916.

A melodic framework in Indian music, defined by a set of swaras, aroha-avaroha (ascending/descending patterns), and characteristic phrases. It evokes a specific mood and is the basis for improvisation.

The slow, improvised introduction of a raag, exploring its notes and mood without rhythmic accompaniment. In khayal, it is often followed by taans and is essential for establishing the raag's identity.

A fast, melodic improvisation using rapid note patterns, often sung in khayal and other forms. Taans demonstrate technical virtuosity and are classified into various types such as simple, gamak, and layakari taans.

Modern trends in Indian music, including the influence of technology, recording, and institutional education. It encompasses new compositional styles, fusion, and the use of notation and media in music education.