This system is widely known to be the inspiration for the Western system of instrument classification put forth by Mahillon in 1880, which renames these groups-chordophones, membranophones, aerophones, and idiophones-basing the distinction on the way in which sound is created and not exclusively on construction.Ī note on spelling: All terms used for Indian musical instruments and musical concepts are common transliterations of the original terms. The ancient Hindu system divided instruments into four categories: stretched (strings 2008.141.2a,b), covered (drums 89.4.165), hollow (wind 1986.12), and solid (bells 89.4.154).
Throughout its history, the peoples of India have developed numerous systems for classifying musical instruments, many of which were based on morphological characteristics. Furthermore, often instruments that are slightly different in construction will be identified by the same name in both the south and the north, though they might be used differently. In fact, many of these instruments are often used in both North and South India, and there are many clear relationships between the instruments of both regions. The use of bamboo flutes, such as the murali, is common to both traditions as well as many other genres of Indian music. Instruments most commonly used in Hindustani classical music are the sitar, sarod, tambura, sahnai, sarangi, and tabla while instruments commonly used in Karnatak classical music include the vina, mrdangam, kanjira, and violin. Hindustani classical music is known largely for its instrumentalists, while Karnatak classical music is renowned for its virtuosic singing practices. New genres of music were formed as well, such as khyal and qawwali, that combine elements of both Hindu and Muslim musical practice. The barrel-shaped pakhavaj drum, which was the ancestor of both the tabla and the mrdangam, has been depicted in countless paintings and prints. Legend has it that the tabla was formed by splitting a pakhavaj drum in half, with the larger side becoming the bayan and the smaller side the dahini. New instruments were introduced, including the tabla and sitar ( 1999.399), which soon became the most famous Indian musical instruments worldwide. During this time, the music of North India began to acquire and adapt to the presence of Persian language, music, and musical instruments, such as the setar, from which the sitar got its name the kamanche ( 1998.72) and santur, which became popular in Kashmir and the rabab (alternately known as rebab and rubab), which preceded the sarod.
From the late twelfth century through the rise of British occupation, North India was under the control of a Muslim minority that was never able to extend its sphere of influence to South India. One of the main differences between North Indian and South Indian music is the increased influence of Persian music and musical instruments in the north. Within these rhythmic structures, musicians ( 1996.100.1) can create their own rhythmic patterns building off the compositional styles of others. Likewise, tala is a system of rhythmic structures based on the combination of stressed and unstressed beats. Ragas form a set of rules and patterns around which a musician can create his or her unique performance. The music of the Indian subcontinent is usually divided into two major traditions of classical music: Hindustani music of North India and Karnatak music of South India, although many regions of India also have their own musical traditions that are independent of these.īoth Hindustani and Karnatak music use the system of ragas-sets of pitches and small motives for melody construction-and tala for rhythm.
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