what is Indian music? (by E. Powell)

...let's be more specific, "what is North Indian classical music?"

Indian classical music is divided into two major categories; North Indian classical music (Hindustani sangeet), and South Indian classical music (Carnatic sangeet). The music and culture of North India began to experience significant Western influence from about the 13th century onward. Carnatic music, on the other hand, currently retains much more of it's original ancient character, as the invasions of antiquity reached not the southern half of the subcontinent.

The classical music of North India is acutely dissimilar to European classical music in that it is essentially improvised music, and is usually performed as a 'duo'; a 'soloist' with an 'accompanist' (a percussionist who is, in fact, also very much a soloist as well.). The structurally cyclic, and emotionally contemplative nature of this improvisation gives it a much stronger affiliation to Western jazz.

Although it's origins stretch back thousands of years, Hindustani music is today a contemporary art, ever evolving and absorbing new influences. It is said that it 'began' as devotional music and gradually developed over the centuries. For a large portion of this millennium past it was primarily a 'court' music, patronized by the Indian aristocracy only. This past century has seen the incorporation of even some sophisticated folkloric styles into this music, and a concurrent massive expansion in it's listeners' base.

To say that N. Indian classical music is 'modal' improvisation set to rhythmic cycles is an easily understandable but grossly simplified description. At it's core, it is a profound form of emotional expression, as the almost infinite number of modes used display colours ranging fully across the human spectrum of sentiments. It is a modern form of a pre-modern musical system. 'Pre-modern' in that it does not employ 'harmony' (the creation of which was the primary motivation behind the European development of the "equal tempered tuning system", which compromises tonal purity for the ability of an instrument to modulate into different keys.). Indian music retains the 'natural/pure' tuning system, and is therefore always played in just one tonal key center. This is the primary reason most Westerners tend to require a lengthy acclimatisation period of repeated listening before an appreciation is truly developed.

It is well worth the time and effort, as thousands will testify, this is a truly magnificent form of music offering peace, rejuvenation, exuberant pleasure, and deep satisfaction. There is nothing else quite like it!

"What do you 'hear' when you listen to 'sitar/tabla raga-music'?"

possible answer A: "It sounds like a neverending, directionless, wash of notes and sound."

possible answer B: "I hear a precise, logical, and systematic musical expression."

possible answer C: "I am transported into the spiritual realm of timeless oneness of all..."

These are all valid answers depending of course as much on your individual perception as on the musicians to whom you are listening. Although, if your answer was "A", do not be discouraged. A comprehensive, indepth study and analysis of the theory of Indian music is not required in order to greatly enhance your awareness (and listening pleasure) of what is going on 'inside' the music.
Those who's answer was "C" may note, "...the ethereal vibration emanated is so sublime that an attempt to understand it might interfere with it's healing power".
The meditative nature of North Indian classical music is one of it's attractive and distinguishing aspects, but appreciation only in the light of it's 'therapeutic' qualities (which are tremendous), would be to undervalue the art form and miss half the fun and beauty in it.
With a minimum of theoretical background and a certain amount of focused concentrated listening, one can quickly and easily develop the 'knack' of listening, in such a way as to make enough sence out of what the artist's are expressing, to dramatically enhance one's experience with this music.

You may then ask; "If 'Hindustani sangeet' is more than an eternal blur of sound, no matter how 'spiritual' it may be, what should I then listen for?"

The answer is 'rhythm and melody'. Perhaps the primary reason for most Westerners' initial difficulty in appreciating Indian music is the fact that we in the West have become accustomed to listening to music based on 'Harmony'. 'Musical Harmony' is the sound resulting from the interaction between melody and chordal movements beneath the melody. Indian music uses no 'Musical Harmony' since it is based on a melodic system which predates the invention of 'Harmony'. Western ears are so used to hearing chordal 'movement' underneath melodies that initially Indian music seems not to 'go anywhere'.

Next one may ask, "If Indian music has only rhythm and melody, and Western music has rhythm, melody AND chordal movement, then does that not mean that Western music is superior"?

Again the answer is simple: what Indian music may lack in Harmony is more than made up for by having highly sophisticated systems of rhythm and melody. To appreciate this one must admit that most Western music uses predominantly only 3 melodic scales, and about 2 or 3 rhythmic time-signatures. Indian music however draws from a backlog of dozens of primary scales with literally hundreds of derivatives, and rhythmically, could be decribed as complex mathematics in a musical form.

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