CLASS-10 NIOS HINDUSTANI MUSIC LESSON-8 BRIEF STUDY OF CONTENTS OF SANGEET PARIJAT

 

Lesson-8

BRIEF STUDY OF CONTENTS OF

SANGEET PARIJAT

INTEXT QUESTIONS 8.1

1. When was Sangeet Parijat written?

Ans: 17th century A.D

2. How many pure and modified notes did Pt. Ahobal establish on the string of a Vina ?

Ans: 7 pure and 5 flat notes

3. The pure scale of Sangeet Parijat is similar to which present day scale?

Ans: Kafi

4. How many shlokas are found in Sangeet Parijat ?

Ans: 708

5. Which method of combining notes does Pt. Ahobal discuss in Murcchana and Svara Prastara ?

Ans: Khanda-Meru

6. Name the four types of Varnas given in Sangeet Parijat.

Ans: Sthayi, Arohi, Avarohi , Sanchari

7. How many Alankaras does Pt. Ahobal mention according to Sanchari Varna?

Ans: 38

8. Name the seven pure Jatis given in Sangeet Parijat.

Ans: Shadji, Arsabhi, Gandharvi, Madhyama, Pancami, Dhaivati, Naisadi

9. Name the five Gitis given in Sangeet Parijat.

Ans: Shuddha, Bhinna, Gaudi, Vesara, Sadharani

10. How many Ragas have been given in Sangeet Parijat?

Ans: 122

11. What are the five parts of a Prabandha according to Sangeet Parijat ?

Ans: Udgraha, Melapaka, Dhruva, Antara, Abhoga

INTEXT QUESTIONS 8.2

12. Name the four types of instruments described by Pt. Ahobal?

Ans: Tata, Anaddha, Sushir, Ghana

13. How many Vinas has he mentioned?

Ans: Eight

14. How many percussion instruments has he mentioned?

Ans: Eight

15. What are the tenfold ancient elements of Tala as given in Sangeet Parijat?

Ans: Kaal, Marga, Kriya, Anga, Graha, Jati, Kala, Laya, Yati and Prastara

16. How many notes did Pt. Ahobal establish on a string of a Vina ?

Ans: Twelve

17. What was the original number of notes mentioned by Pt. Ahobal ?

Ans: Twenty nine

18. In what way does Pt. Ahobal provide a means for computing the frequency of notes?

Ans: He demonstrates the distance between notes on the string of a Vina

19. How many Gramas does Pt. Ahobal refer to ?

Ans: Three

TERMINAL EXERCISE

1. How does Pt. Ahobal differentiate between Shruti and Svara ?

Ans: Pt. Ahobal, in his treatise Sangeet Parijat, differentiates between Shruti and Svara as follows:

• Shruti is the smallest perceptible unit of pitch in Indian classical music. It is defined as the smallest difference in pitch that can be heard by the human ear.
• Svara is a discrete pitch or note. It is defined as the smallest unit of pitch that is used in Indian classical music.

2. Discuss the analysis of notes in Sangeet Parijat. How is it significant in the modern context?

Ans: Pt. Ahobal's analysis of notes in Sangeet Parijat is significant in the modern context for a number of reasons.

First, Ahobal's analysis provides a systematic and scientific approach to understanding the pitch system of Indian classical music. He identifies seven pure (Shuddha) and twenty-two modified (Vikrit) notes. However, he also states that only seven pure and five modified notes are necessary for practical usage.

3. Discuss the concept of Grama and Murcchana as given in Sangeet Parijat.

Ans: Grama

In Sangeet Parijat, Pt. Ahobal defines the concept of Grama as follows:

• Grama is a group of seven notes in ascending or descending order.
• There are three Gramas in Indian classical music: Shadja Grama, Madhyama Grama, and Gandhara Grama.

Shadja Grama is the most important Grama, and it is the basis for most ragas. Madhyama Grama and Gandhara Grama are less common, but they are still used in some ragas.

The following table shows the seven notes of each Grama:

Grama	Notes
Shadja Grama	Shadja, Rishabha, Gandhara, Madhyama, Panchama, Dhaivata, Nishadha
Madhyama Grama	Madhyama, Panchama, Dhaivata, Nishadha, Shadja, Rishabha, Gandhara
Gandhara Grama	Gandhara, Madhyama, Panchama, Dhaivata, Nishadha, Shadja, Rishabha

4. Discuss Prabandha according to Sangeet Parijat.

Ans: In Sangeet Parijat, Pt. Ahobal defines Prabandha as follows:

• Prabandha is a long, structured piece of music that is typically sung or played on a melodic instrument.
• Prabandhas are typically divided into five parts: Udgraha, Melapaka, Dhruva, Antara, and Abhoga.

Udgraha is the opening section of the Prabandha. It is typically short and simple, and it serves to introduce the raga and tala.

Melapaka is the second section of the Prabandha. It is typically longer and more complex than the Udgraha, and it explores the raga in more detail.

Dhruva is the third section of the Prabandha. It is the most important section of the Prabandha, and it is typically repeated several times. The Dhruva section is typically a showcase for the musician's skills and artistry.

Antara is the fourth section of the Prabandha. It is typically shorter and more lyrical than the Dhruva section, and it often expresses a different mood or atmosphere.

Abhoga is the fifth and final section of the Prabandha. It is typically a free-flowing improvisation that allows the musician to express themselves fully.

5. Explain the contributions of Pt. Ahobal and their impact on present day Hindustani music.

Ans: Pt. Ahobal's contributions to Hindustani music are immense and far-reaching. His most important work is Sangeet Parijat, a treatise on Indian classical music that was written in 1650 AD.

Sangeet Parijat is a comprehensive and systematic work that covers all aspects of Indian classical music, including the following:

• The pitch system of Indian classical music, including the concepts of Shruti and Svara
• The structure of ragas, including the concepts of Grama and Murcchana
• The different types of Prabandhas
• The techniques of improvisation

6. Discuss the Vadya Tala Kanda of Sangeet Parijat.

Ans: The Vadya Tala Kanda of Sangeet Parijat is a section that deals with the instruments and rhythms of Indian classical music.

Vadya refers to instruments, and Tala refers to rhythm.

In this section, Pt. Ahobal discusses the following topics:

• The different types of instruments used in Indian classical music
• The history and development of Indian classical instruments
• The construction and playing techniques of Indian classical instruments
• The different types of rhythms used in Indian classical music
• The history and development of Indian classical rhythms
• The theory of rhythm in Indian classical music

Types of Instruments

Pt. Ahobal identifies the following main types of instruments used in Indian classical music:

• Swara Vadya (Melodic Instruments)
• Stringed instruments: Sitar, Sarod, Veena, Tanpura, etc.
• Wind instruments: Flute, Shehnai, Bansuri, etc.
• Percussion instruments: Tabla, Pakhawaj, Mridanga, etc.
• Tala Vadya (Rhythmic Instruments)
• Percussion instruments: Tabla, Pakhawaj, Mridanga, etc.
• Ghat Vadya (Percussion Instruments that are played with the hands)
• Hand claps, finger snaps, etc.
• Avadhani (Percussion Instruments that are played with the feet)
• Foot stomps, etc.

History and Development of Instruments

Pt. Ahobal discusses the history and development of Indian classical instruments. He states that the earliest Indian instruments were probably made from natural materials, such as bamboo and wood. These instruments were used for religious and ceremonial purposes.

Over time, Indian instruments became more sophisticated. They were made from more durable materials, such as metal and ivory. They also became more complex in terms of their construction and playing techniques.

Construction and Playing Techniques

Pt. Ahobal provides detailed information on the construction and playing techniques of Indian classical instruments. He discusses the materials used to make the instruments, the shape and size of the instruments, and the different ways that the instruments can be played.

Types of Rhythms

Pt. Ahobal identifies the following main types of rhythms used in Indian classical music:

• Tala (Metrical Rhythm)
• Simple Talas: 1, 2, 3, 4, etc.
• Compound Talas: 5, 7, 9, etc.
• Laya (Non-Metrical Rhythm)
• Free-flowing rhythm that is not based on a fixed meter

History and Development of Rhythms

Pt. Ahobal discusses the history and development of Indian classical rhythms. He states that the earliest Indian rhythms were probably simple and repetitive. Over time, Indian rhythms became more complex and sophisticated.

Theory of Rhythm

Pt. Ahobal provides a detailed explanation of the theory of rhythm in Indian classical music. He discusses the different elements of rhythm, such as the beat, the measure, and the tala. He also discusses the different ways that rhythm can be used to create different moods and atmospheres.

The Vadya Tala Kanda of Sangeet Parijat is a valuable resource for anyone interested in learning about the instruments and rhythms of Indian classical music. It provides a comprehensive and systematic overview of these topics.