Classical music is bound by certain laws and restrictions having a definite standard and scale with 22 intervals. Folk music, on the other hand, has different forms depending on the region it belongs to. With flexibility in its expression, it is not bound by laws or any set pattern. Folk music has its peculiar expressions and emotions and has established a tradition of its own.
In classical music, emotions are expressed through a particular raga, though the lyric or composition has its own importance. Classical music can be effective if the musician renders the raga in its various stages and moods. This is not the case with folk music, where the musical notes have less value and the poetic content has greater impact and rhythm plays a very important role. Songs and lyrics of folk music portray the common life of the villagers.
AN APPRECIATION OF THE INTRICACIES OF raga' AND CLASSICAL MUSIC
The art of appreciation and listening of classical music requires a special approach. In this context, the requirements are love of music and sympathy towards the artist. The people having initial background knowledge of raga', notes, shrutis and taals are classified as ideal listeners.
The common listener has a general liking for music and has to cultivate and develop patience in listening to classical music. Such a listener may not appreciate the imaginative approach of the performer. To understand and appreciate a raga, one should know, understand and feel the inner meaning of the shrutis and how these create a desired effect on the mind and heart. Basically one has to be initiated into the art of listening to classical music.
The responsibility of a classical musician lies in the mode of his presentation to the listener, in his capacity to make 'perfect' and 'common' listeners understand and appreciate classical music. The classical musician should have the zeal as a missionary to create the true spirit and essence of classical music, so that he can help in the growth of an appreciative audience.
VOCAL MUSIC AND DIFFERENT STYLES OF SINGING
One distinguishing characteristic of Indian Music is the relationship of each swara(note) with the Shadja(tonic) which determines the placing of the swaras and the expression of each swara in the saptak (scale). Hence the constant playing of the drone is necessary. A singer is always accompanied by an instrument called ``Tanpura" which is tuned to suit his key note. It should be suitable for his voice, to suit one and a half octave above the tonic and one octave below. This range of his voice should be used effortlessly.
In sketching the outline of the raga, he improvises on the ascending and descending notes, observed the prescribed relation of ``King" and ``Queen" and the important group of notes which characterises the particular raga. After the Alap, he starts the actual raga, accompanied by the Tabla. 2. The Antara or the second half of the song, going upto the higher Sa and returning back. 3. Sancharee or using both halves of the song and complete octave with the ascent and descent. 4. Aabhog or the mixture of the above three, covering the three octaves.
In singing, the musician improvises the song with alap, or an improvisation of notes is slow tempo. The alap proceeds leisurely, without being particular about the time measure, but laden more with the emotional content of the raga. Then he starts the ``boltaan", an improvisation of notes in medium or fast tempo, with the wordings of the song with particular emphasis on rhythmic variations as the aim. The third is ``sargam", the improvisation of notes with short names, and these are produced in various rhythmic patterns with suitable combination. The last is ``taans", an improvisation of notes taken in slow, medium and fast tempo.
The main characteristic of classical music is the scope of systematic improvisation in the building up of the raga. An improvisation of the raga means a succession of musical sounds denoting the fertility of genius. A master musician always brings out startling new combinations. Every musician is supposed to improvise, but real improvisation is supposed to weave new patterns into the framework of a raga.
A great stress is laid on voice culture through a regular and systematic training. The following are some important rules for the vocalists to be observed --
Highly trained and melodious voice, with perfect control.
A thorough knowledge of most of the raga', the techniques and all the types of compositions.
Simple and pleasant expression of the face and hand gestures.
Thorough knowledge of tala theory and important talas.
Possession of a perfect tone, perfectly in tune, in relation to the notes used in his singing and a perfect understanding and a practice of the use of shrutis.
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