Indian Classical Music and Sikh Kirtan

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JATI: Ancient melodic scheme. Any of the three classes or raga depending on five, six, or seven notes.
JHALA: Third part of a raga played on an instrument, after the jor.
JODI: Literally a pair (of drums), also called tabla.
JOR: The sound part of a raga played on an instrument, after the alaap.
KAFI: A Hindustani raga, a form of poetical composition.
KEHRVA: Hindustani tal of four matras and one beat (sometimes played as four and four beats).
KHALI: An important interval in tal called 'empty' or vacant. It is indicated by a wave of the hand.
KHAYAL: A fixed form of Hindustani compostion. Literally it means 'imagination'.
KIRTAN: Singing of the hymns of the Sikh Gurus, also singing praises of God.
KIRTANIYA: A singer of Sikh sacred music, a ragi who can perform kirtan.
KOMAL: Flat or tender note like r, g, d, n.
KRITI: A form of devotional composition also called kirtanam in Karnatak music.
KUNDALINI: The spiritual power at the root of the spine (muldhara) which has to rise through the nine chakras (stages) to the head to give immense joy and enlightenment.
LAGHU: An interval of one short syllable (in a tal of three or more units)
LAYA: The tempo of the raga, as distinct from beats of tal.
MADHYA SAPTAK: Middle octave.
MANDRA SAPTAK: Lower octave denoted by a dot under the note.
MANJIRA: A pair of small hand cymbals made of meta. They are called jalva in Southern India.
MATRA: Metrical or rhythmic unit.
MEEND: A slide from one note to another so as to link their sounds.
MELA: Scale in Karnatak music.
MOORCHANA: Modes or scales of music before the formation of raga system. Extending of a note to another in ascending or descending scale.
MURLAI: A flute, usually associated with Lord Krishna who played it beautifully.
NAD: Primal sound or resonant sound.
NAVA RASA: The nine emotions or moods expressed in music according to Indian aesthetics.
PAKAD: The particular and characteristics notes of a Hindustani raga.
PAKHAWAJ: North Indian drum (same as mridangam) with two sides.
PARTAL: Singing of different parts of one and the same hymn in different tals.
PURVANG: Literally, the first limb of ther lower tetrachord of a scale (SA to MA)
QAWALI: Muslim devotional or light composition often accompanied by rhythmic clapping.
RABAB: A Stringed instrument played witha wooden plectrum.
RABINDRA SANGEET: Bengali songs set to music by Rabindranath Tagore.
RAGA: A melody-scheme or a particular arrangement of notes and melodic patterns.
RAGI: A Sikh devotional singer who can recite Gurbani in classical ragas, class of musicians origninated by Guru Arjan.
RAGAMALA: a) A composition listing different raga families; b) a musical piece displaying different ragas.
RASA: The emotional effect or aesthetic relish of a raga.
RUPAK TAL: A rhythm of seven matras and three beats.
SADHANA: Serious and devoted practice for spiritual or musical training.
SAM: The first and most important beat in a Hindustani rhythm (tal)


JATI: Ancient melodic scheme. Any of the three classes or raga depending on five, six, or seven notes.
JHALA: Third part of a raga played on an instrument, after the jor.
JODI: Literally a pair (of drums), also called tabla.
JOR: The sound part of a raga played on an instrument, after the alaap.
KAFI: A Hindustani raga, a form of poetical composition.
KEHRVA: Hindustani tal of four matras and one beat (sometimes played as four and four beats).
KHALI: An important interval in tal called 'empty' or vacant. It is indicated by a wave of the hand.
KHAYAL: A fixed form of Hindustani compostion. Literally it means 'imagination'.
KIRTAN: Singing of the hymns of the Sikh Gurus, also singing praises of God.
KIRTANIYA: A singer of Sikh sacred music, a ragi who can perform kirtan.
KOMAL: Flat or tender note like r, g, d, n.
KRITI: A form of devotional composition also called kirtanam in Karnatak music.
KUNDALINI: The spiritual power at the root of the spine (muldhara) which has to rise through the nine chakras (stages) to the head to give immense joy and enlightenment.
LAGHU: An interval of one short syllable (in a tal of three or more units)
LAYA: The tempo of the raga, as distinct from beats of tal.
MADHYA SAPTAK: Middle octave.
MANDRA SAPTAK: Lower octave denoted by a dot under the note.
MANJIRA: A pair of small hand cymbals made of meta. They are called jalva in Southern India.
MATRA: Metrical or rhythmic unit.
MEEND: A slide from one note to another so as to link their sounds.
MELA: Scale in Karnatak music.
MOORCHANA: Modes or scales of music before the formation of raga system. Extending of a note to another in ascending or descending scale.
MURLAI: A flute, usually associated with Lord Krishna who played it beautifully.
NAD: Primal sound or resonant sound.
NAVA RASA: The nine emotions or moods expressed in music according to Indian aesthetics.
PAKAD: The particular and characteristics notes of a Hindustani raga.
PAKHAWAJ: North Indian drum (same as mridangam) with two sides.
PARTAL: Singing of different parts of one and the same hymn in different tals.
PURVANG: Literally, the first limb of ther lower tetrachord of a scale (SA to MA)
QAWALI: Muslim devotional or light composition often accompanied by rhythmic clapping.
RABAB: A Stringed instrument played witha wooden plectrum.
RABINDRA SANGEET: Bengali songs set to music by Rabindranath Tagore.
RAGA: A melody-scheme or a particular arrangement of notes and melodic patterns.
RAGI: A Sikh devotional singer who can recite Gurbani in classical ragas, class of musicians origninated by Guru Arjan.
RAGAMALA: a) A composition listing different raga families; b) a musical piece displaying different ragas.
RASA: The emotional effect or aesthetic relish of a raga.
RUPAK TAL: A rhythm of seven matras and three beats.
SADHANA: Serious and devoted practice for spiritual or musical training.
SAM: The first and most important beat in a Hindustani rhythm (tal)

Displaying Page 96 of 100