गीत
Raga, tala, and meaning carried by the human voice.
Indian classical vocal music, or gita, treats the human voice as the primary instrument, shaping raga, tala, and lyric across the Carnatic and Hindustani traditions through forms from dhrupad to khayal.
Singing sits at the origin of Indian classical music. Its roots reach back to the chanting of Vedic literature and to the Natya Shastra of Bharata Muni, and the 13th-century Sangita Ratnakara of Śārṅgadeva gave it a lasting framework by naming song as the first of the three arts of sangita. Around the 12th century the tradition divided. In the north, under Persian and Islamic influence, dhrupad gave way over time to khyal, and lighter forms such as thumri took shape. In the south the Carnatic tradition developed its own body of song, reaching a height in the 18th century with the Trinity of Tyagaraja, Muthuswami Dikshitar, and Syama Sastri, whose kritis remain central to the repertoire. The concert format that audiences know today was settled in the 1930s by Ariyakudi Ramanuja Iyengar. Through every change the voice stayed at the centre, the standard that instruments were built to imitate.
Indian classical singing rests on a simple idea: the human voice is the first and truest instrument, and every other instrument imitates it. A singer joins three strands in one breath. Raga supplies the melodic grammar and the mood. Tala supplies the cycle of time. Sahitya, the text, supplies meaning, and much of it is devotional. The goal is not a perfect rendering of a fixed song but a living interpretation, and the measure of a performance is manodharma, the improvisation a singer shapes in the moment within the raga's rules. Because so much depends on subtle movement between microtones and on the colour given to a word, the art cannot be learned from notation alone. It passes from teacher to student by example, ear, and long practice, in the north through the gharana lineage. A mature singer is judged by truth to the raga and feeling for the words, not by display.
Approfondissez certains aspects de cette discipline
Popular sub-disciplines within this tradition
Haveli Sangeet is the devotional music of Pushtimarg temples, performed during the eight daily darshans with repertoire created by the Ashtachap poets including Surdas.
Tarana is a fast-tempo vocal form using rhythmic syllables rather than meaningful text, showcasing vocal agility and serving as an energetic conclusion to khayal concerts.
The Padam is a compositional form featuring romantic poetry, developed for dance accompaniment, with Kshetrayya's Telugu texts addressing Krishna through the voice of various heroines.
Devarnama is a devotional song form from Karnataka's Haridasa tradition, composed in Kannada, with Purandaradasa ("father of Carnatic music") as the most celebrated composer.
Discover renowned Vocal performers and maestros
Khayal
Dhrupad
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