The Indian music characteristics are apparent when comparing it with Western music. Both in the systems you’ll find some essential variations: the Indian music is dependant on tune or single notes performed inside a given order, as the Western music is dependant on harmony: several notes referred to as guitar chords performed together.
Dr. Rabindranath Tagore who had been well acquainted with both systems, described the main difference the following: “The planet by daylight means Western music that is a flowing concourse of vast harmony, made up of concord and discord and lots of disconnected fragments. And also the night world means Indian music: one pure, deep and tender raga. Both, touches our heart, but both of them are contradictory in spirit. However this is natural. Nature, in the very root is split into two, night and day, unity and variety, finite and infinite.
Indian men reside in the world of night we’re inspired through the feeling of the main one and Infinite. Indian music draws away the listener past the limitations of daily joys and sorrows and takes us towards the solitary space of renunciation which exists at the bottom from the world, while Western music leads us to bop via a unlimited fall and rise of human pleasure and grief.
” Indian classical music essentially stirs our spiritual sense and discipline – a desiring realization from the self salvation. Singing is really a worshipping act and never an intellectual exhibition of mastery around the manner of a raga. In Western culture, singing is really a formal and secular exercise, and doesn’t involve piety or devotion when compared with Indian music
The teacher-student (Guru-Shishya) tradition in Indian music accounts for the deep dedication and attachment from the student towards the teacher. In the western world, a music teacher is taken like a hired individual who teaches training and there’s no deep attachment between your teacher and student.
Like Western music, Indian music too is dependant on tune and rhythm, however it doesn’t have first step toward harmony that is so significant in Western music. Indian music is “modal” – in line with the relationship between your permanent individual notes referred to as tonic, using the successive notes. Because of this , why Tanpura (drone) is performed without anyone’s knowledge of Indian music which reminds among the tonic notes.
The Indian classical stereo system is horizontal one note follows another, as the Western music is vertical many notes performed at any given time. Yehudi Menuhin, the noted music performer, highlights the differentiates both systems by describing Indian music as: “for appreciating Indian music one must adopt totally another group of values… you have to orientate yourself and a minimum of for that concerned period, your investment passing of your time and merely permeate a type of thematic, almost state of hypnosis. The rhythmic and melodic options that come with Indian music which are repetitive, acquires an remarkable charm and fascination… regardless of the domination of the hypnotic mood’s domination, that is an Indian music characteristic, positively frees your brain.”
The area of “composition” during these two systems is particularly different. In Western music, the background music is first composed through the composer and arranges it in notation: then your musicians play this composition underneath the guidance of the music conductor. Here improvisation hardly happens, and also the performance value is based on the uniformity and also the pre-determined conduct of tone and music speed (tempo). In Indian music, as the tune grammar and rhythm is bound, the resourcefulness and talent from the music performer is based on his creativeness and improvisation, particularly in mood evocation and rasa of the particular raga.
Within this context, an worldwide musicologist has written: “In the western world, solid blocks of music are built. After carving out like building gemstones, the seven levels of diatonic scale, arranged and placed on the top of one another with cleverly labored out harmony and counterpoint. In this manner fantastic edifices in seem are erected.
In Indian classical music, no-one can consider dividing seem into blocks rather it’s refined right into a wire-thin thread. The seem is extended to refine it for an extreme reason for delicacy… No standard materials, no building of three or five floors, but simply like silk thread which unfold and increases and falls and evokes an enormous amount of sensations and feelings.”
In music asia, tune and rhythm offer a number of subtleties, which isn’t possible in Western music. Indian notes are split into units known as shruties (22 microtones), whereas Western music contain 12 semitones. The microtones tend to be more subtle than semitones. These microtones adorned with gracetones (gamakas) produce a magical effect.
Western music has got the capacity of manufacturing many feelings and moods. While Indian music, has the ability to create a principal emotion or perhaps a mood inside a raga. An Indian music performer improvises together with his own creative genius inside a raga’s framework, however in Western classical music, with the exception of jazz, this kind of improvisation is impossible. Furthermore, the percussion in Indian music emphasizes its rhythm. It is just through keeping a person’s mind and ears open that certain has the capacity to understand the tunes and sequences not the same as a person’s own. This is applicable to Indian audiences attending Western music performances, and also to Western audiences attending music asia concerts. Keep in mind the both music systems are complementary, like two halves of classical music.