Raga Megh - Shiv Kumar Sharma - Essay Example

Raga Megh Raga is referred to as a melodic concept with ability of creating intense emotional communication. (Clayton, Martin, 29) There are a number of features that define the concept of Raga. Firstly, Raga is a distinct through specific sets of notes that are both ascending and descending. (Clayton, Martin, 26)The concept of raga is a complex concept which has undergone a number of changes. These changes have been prompted by changes in sociological, political economical and even technological dynamics in the India’s long history. (Clayton, Martin, 29) During the era of pre-Christian, Raga was useful in creating melodic basis for a broad spectrum of music art. This was regardless of whether they had a connection with the classical Sanskrit theatre, a contrast with the Jati whose basis was music melody perfectly for the theatre. In around 4th and 5th Century, Sanskrit theatre sharply declined. This made Jati to move out of vogue leaving raga to grow increasingly predominant in the development of the Indian melody. There are two categories under which the early music of India may be placed. This may be either religious or secular music. (Keil , Charles, 340) Classification of religious music may be as both extra- Vedic and Vedic music. Vedic music was noted to be exclusively religious while the Extra-Vedic, which is also known as Loukika was further categorized into two. These are the Gandarva and Deshi. These types of music were both known as Marga music and the Deshi music. (Keil , Charles, 341) Marga type of music had some forms of songs that were regarded as strict and with rigid rhythmic and melodic rules, as well as other norms of formalized grammar. Originally, such rules did not apply to Deshi music but with time, it adopted the Marga approach. (Keil , Charles, 343) It is based on this influence the Marga had on the Deshi that institution of Raga was founded in music in India. Apart from the entertainment part, Marga music also served different requirements of religion. (Ruckert, George, 43) These included mystic practices as well as in the theatre. In the case of theatre, the music was much controlled with the strict rules of the theatre that demanded that music operate within certain pre-determined rules. The rules suggested the use of orchestra known as Kupat. This was the Jatra which was also known to be non-“classical” genre with spectators all round. (Ruckert, George, 44) In the medieval times, Raga underwent some form of evolution based on political, social and cultural influences two categories of people were associated with music. These people included upanga, raga. It is based on this that variations on deshi raga were presented. (Ruckert, George, 43) Raga had gone through great changes in the medieval period, particularly when attempt was made to classify them differently. Several fanciful depictions were unleashed in both the form of conceptual and visual forms. Some were known as mata while others were known as Father Raga, others were consorts also known as Rigini, while some were sons also known as Putra Raga. Other Ragas were known as Daughters in-law also known to be Putravadhu. This classification was on the ground that some of the Ragas were known to be feminine while others were termed as masculine. Ordinarily in Sankrit, Raga has the meaning of mood and colour. It involves some particular guidelines and rules. These rules border factors like, the differentiation of words of Sanksrit, which start with “ra” such as ‘ranj, with the meaning of coloring with emotion. Raga has a number of attributes which are more than just mere classification but also the intension and purpose. In India, the performance of Raga is performed only on certain seasons or some particular times of the day, which is meant to evoke certain moods within self and listeners. This makes Raga to be much like painting and theatre which have always acted as communication media. Theoretically, there are over 1000 unique ragas; with some researchers pointing that there could be even of up to 75,000. (Keil , Charles, 347)However, practically, one is only able to find 50 ragas which are frequently used. Classification of some melodic aspects of raga requires certain five series of notes. These notes together with some grace tomes also known as micro-tones are then used together to create solos which are known to be lengthy. Another way that Raga may be created is through just having some melody originating from the Indian melodic modes. (Keil , Charles, 348) Characteristics of Raga can therefore be noted to be “which is special dhvani and bedecked with certain notes known as swara together with varna making it wonderful and multihued to people’s mind. (Keil , Charles, 340) The idea behind raga is that each of them is guided by certain rules. It is these rules that guide the melody which is presented by the raga. (Ruckert, George, 43) These rules are also classified as those oriented upwards, ‘aahroh’ and those that go downwards ‘aavroh’. Characterization of a raga usually goes by certain sequences of the notes. Even with these restrictions and guidelines on how a Raga should be players, it has been notes that sometimes a raga may play for longer hours. There have been many stories which have attempted to define raga. Some of these stories revolve around the yaman being played by legends. Some revolve around raga taught in a simple way to beginners, while some discusses a number of ways in which the music can last for severa days without being repeated at all. To master even the very simple ragas may be a difficult task that may take individuals some lifetime. What is normally expected in Indian music is improvisation and usually the soloist depends on the probability provided by the raga and the tala. In a simpler way, a raga mehg would mean some melodic framework. Within which some improvisation may take place. According to the Indian music, improvisation forms the bottom line of all the music. (Ruckert, George, 44) Though the soloist may be guided by the existing rules particularly those rules that govern tonality, they are always allowed some freedom of exposing the meaning of the raga by engaging in some imaginative aspects of the raga. This makes Indian music to have certain similarities with the western composers who insist that the music must always function in mind before it can follow certain form. There are certain reasons that form the background of the formation of Raga. (Ruckert, George, 46) One of the reasons is the belief by Indians that there is always some power being emitted by music. For this reason, there is always a need to form Raga in certain seasons. This may include the fact that music may be used to bring rain for the crops, or singing Shri during harvesting seasons, Pachama is also used to characterize the smell of air during spring and the performance of megh at the time of monsoon. (Ruckert, George, 43) Generally, there is a thought that improvisation operates within some space of a concentric circle. The most predefined material is the core, which is in the inner circle. It also has the outer circle and the frontier as well as the improvisational universe. It is within this concept that the guiding rules operate. There are several definitions that are made in India which are not allowed to be altered while developing megh raga. There guidelines are the patterns that must be followed especially in the order of the notes In conclusion, Raga in the India community is one of the classical forms of music which has resisted change over time and managed to retain its pristine nature. It is one of the unique form of music listened to around the world. Its message is deep and is usually has a deep religious meaning. Raga Megh is one of the important Ragas in the classical Indian music that is treated with sacredness as it is associated with rain that is a source of Livelihood of the Indian people. Work Cited Clayton, Martin. Time in Indian music: rhythm, metre, and form in North Indian rāg performance. Oxford: Oxford University Press, 2000. Print. Keil , Charles. "Motion and Feeling Through Music." The Journal of Asthetics and Art Criticism 24.No.3 (1966): 337-349. Print. Ruckert, George. Music in North India: experiencing music, expressing culture. New York: Oxford University Press, 2004. Print. Read More