Music is universal, yet a personal experience. In other words, while it is shared by all, each of us experiences music differently. Our tastes and preferences vary and the genre we lean towards differ not just between individuals. They also differ within the same person throughout the span of their life.
Music manifests in culture and religion, connecting large numbers of people on both, conscious & subconscious levels. We see this in Church choirs, Mosques, and Temple prayers. Music can also serve to unite people of different time periods, as with the contemporary and evolving genre of ‘fusion’. Music can also serve as a medium of communication, or rather, language for those in different countries! We see so many cross collaborations these days with Indian Raags being played on atypical instruments. Some of these include the Oud or even fretless Indian instruments that can play quarter tones.
What are Raags
Have you ever heard of a ‘Raag’ before? What does the word mean to you? Many artists are challenging the status quo and are trying to unravel age-old human conditioning to certain sounds and rhythms. They are challenging the original ideas of what a Raag should sound like. Or, for that matter, even how a Raag should be identified. Of course, that then touches upon the deeper underpinnings of how raags basically associate with certain human emotions.
Raags are essentially built upon a minimum of 5 notes organized into an ascending (Arovanam) and a descending sequence (Avarohanam). The structure and nuances of the ascending and descending sequences are quite often unique to each Raag. For example, in Raag Desh, the ascending sequence is pentatonic whilst the descent is heptatonic. Each raag has its own unique essence known as ‘pakar’ as well as a structured frequency of certain notes in which ‘vadi’ is the most prominent note followed by the ‘samvadi’, the second most prominent note. Additionally, various improvisations such as the timing between notes, stress and sustain on certain notes, etc. can further be used to temper a Raag albeit within the confines of the aforementioned note sequences. This, coupled with the tonal interval differences, explain why raags with the same notes can sound different. Now, let’s dive a little deeper into the concept of tonality.
What is ‘tonality’ in Raags?
A tonal interval is essentially the ratio of each interval’s frequency with the ‘root’ note (e.g. Sa). Focusing on tonal intervals, studies have shown that they can be manipulated to elicit a different type of emotions. For example, during an Alaap (Expression of raga via a slow tempo not bound to any rhythmic cycle) an increased frequency of occurrence of major intervals (i.e. Shuddh swaras /natural notes) induces more positive emotions whereas an increased frequency of occurrence of minor intervals (i.e. Komal swaras / Flat notes) induces more negative emotions. In fact, the raags with a higher occurrence of notes Shuddh Re (Major Second) and Shuddh Ga (Major Third) were associated with stronger emotions relating to ‘calmness’.
Raags with a higher occurrence of notes Komal Re (Minor second) and Komal Dha (Minor 6th) were associated with stronger emotions relating to ‘sadness’. Now, during the gat (an expression of the raag most often rendered at a faster tempo bound to a rhythmic cycle) of the ragas, higher emotional arousal was observed. The emotion associated with calmness during an Alaap was perceived as ‘happy’ whilst the emotion associated with sadness during an Alaap was perceived as ‘tense’.
Having said that, do we actually feel these emotions? Or do we merely perceive these emotions? Can we actually use these methods to manipulate emotion? Is it possible to change human conditioning?
Interested in learning Indian Classical Music?
The world of Indian classical music is fascinating! An art born centuries ago, Indian Classical music has evolved as time goes on, yet it still retains its soulfulness. This style of music is appreciated the world over for the songs are perfect in both, grandeur and succinctness. Indian classical music has two styles – Hindustani Classical, typical of the northern part of the country, and Carnatic Classical, which evolved in South India. Thus, it truly represents the rich cultural and spiritual heritage of India. In a way, you could say that it encapsulates the eminence and evolution of music through the ages, and is, therefore, a true testament to the greatness of India.
While learning classical music may sound complex, it can be made simplified when you learn it online with IndianRaga. As the best music academy, IndianRaga lets you learn Indian Classical Music online. Whether you’re a beginner who is just starting out on your journey as a singer, or an adult looking to finally pursue your passion, you aren’t too young or too old to join a class. Learn the nuances of Indian Classical Music through teachers who are established singers in their own right, with a curriculum that incorporates learning the basics using a modern approach.
