Jhumair and Domkach are Nagpuri folk music. Lavani comes from the word Lavanya which means "beauty". This is one of the most popular forms of dance and music that is practiced all over Maharashtra.
It has, in fact, become a necessary part of the Maharashtrian folk dance performances. Traditionally, the songs are sung by female artists, but male artists may occasionally sing Lavanis. The dance format associated with Lavani is known as Tamasha.
Lavani is a combination of traditional song and dance, which particularly performed to the enchanting beats of 'Dholaki', a drum-like instrument. The dance is performed by attractive women wearing nine-yard saris. They are sung in a quick tempo.
Lavani originated in the arid region of Maharashtra and Madhya Pradesh. Music of Manipur and Manipuri dance are heritage of Manipuri people.
According to tradition of the Manipuri people in the Himalayan foothills and valleys connecting India to Burma, they are the Gandharvas celestial musicians and dancers in the Vedic texts,  and historic texts of Manipuri people calls the region as Gandharva-desa. The ancient Sanskrit texts such as the Mahabharata epic mentions Manipur , where Arjuna meets and falls in love with Chitragada. Lai Haraoba dance likely has ancient roots and shares many similarities with dance postures of Nataraja and his legendary disciple called Tandu locally called Tangkhu.
Hadrani Marfa , or simply Marfa music, introduced during 18th century in Hyderabad State by the East African Siddi community from Afro-Arab music of Hadhramawt in Yemen , is a form of celebratory rhythmic music and dance among the Hyderabadi Muslims , played with high tempo using Marfa instrument , daff , Dhol , sticks ,   steel pots and wooden strips called thapi.
Mizo Music originated when couplets were developed during the settlement of Thantlang in Burma between — CE, and folk songs developed during this period were dar hla songs on gong ; Bawh hla War chants , Hlado Chants of hunting ; Nauawih hla Cradle songs A greater development of songs can be seen from the settlement of Lentlang in Burma, estimated between late 15th to 17th Century CE.
The pre-colonial period, that is from the 18th to 19th century was another important era in the history of Mizo folk literature. Prior to the annexation by the British Government, the Mizo occupied the present Mizoram for two centuries. In comparison with the folk songs of Thantlang and Lentlang settlement, the songs of this period are more developed in its number, form and contents.
The languages are more polished and the flows also better. Most of the songs of this period are named after the composers.
Jayadeva , the 12th century sanskrit saint-poet, the great composer and illustrious master of classical music, has immense contribution to Odissi music. During his time Odra-Magadhi style music got shaped and achieved its classical status. He indicated the classical ragas prevailing at that time in which these were to be sung. Prior to that there was the tradition of Chhanda which was simple in musical outline.
A couple of treatise namely, Sangita Sarani and Sangi Narayana , were also written in the early path of the 19th century. Odissi Sangita comprises four classes of music namely Dhruvapada , Chitrapada , Chitrakala and Panchal , described in the ancient oriya music texts. The chief Odissi and Shokabaradi. Odissi Sangita music is a synthesis of four classes of music, i.
Dhruvapada , Chitrapada , Chitrakala and Panchal , described in the above-mentioned texts. They have distinctive characteristics in the music of Bengal , popular in India and Bangladesh. Tagore wrote some 2, songs in Bengali , now known as Rabindra Sangeet , using classical music and traditional folk music as sources. Rajasthan has a very diverse cultural collection of musician castes , including Langas , Sapera , Bhopa , Jogi and Manganiyar lit.
Rajasthan Diary quotes it as a soulful, full-throated music with harmonious diversity. The melodies of Rajasthan come from a variety of instruments. Percussion instruments come in all shapes and sizes from the huge Nagaras and Dhols to the tiny Damrus.
The Daf and Chang are a favorite of Holi the festival of colours revelers. Rajasthani music is derived from a combination of string instruments, percussion instruments and wind instruments accompanied by renditions of folk singers. It enjoys a respectable presence in Bollywood music as well. Sufi folk rock contains elements of modern hard rock and traditional folk music with Sufi poetry. While it was pioneered by bands like Junoon in Pakistan it became very popular, especially in north India.
More recently, the sufi folk rock song "Bulleya" from the film Ae Dil Hai Mushkil became a mammoth hit. This is a genre of Nepali folk song of the Tamang people and popular amongst the Nepali speaking community in West Bengal, Sikkim and around the world. It is accompanied by Tamang instruments, the Madal , Damphu and Tungna , although nowadays musicians have taken to modern instruments.
A Tamang Selo can be catchy and lively or slow and melodious, and is usually sung to convey sorrow, love, happiness or day-to-day incidents and stories of folklore. She has sung nearly songs through her musical career spanning 40 years. Uttarakhandi folk music had its root in the lap of nature and the hilly terrain of the region. A number of Gurukuls , such as that of Alauddin Khan at Maihar , flourished.
Meanwhile, Hindustani classical music has become popular across the world through the influence of artists such as Ravi Shankar and Ali Akbar Khan. The Gandharva Veda is a Sanskrit scripture describing the theory of music and its applications in not just musical form and systems but also in physics, medicine and magic.
The rhythmic organization is based on rhythmic patterns called tala. The melodic foundations are called ragas. One possible classification of ragas is into "melodic modes" or "parent scales", known as thaats , under which most ragas can be classified based on the notes they use.
Thaats may consist of up to seven scale degrees, or swara. Hindustani musicians name these pitches using a system called Sargam , the equivalent of the Western movable do solfege :.
Both systems repeat at the octave. The difference between sargam and solfege is that re, ga, ma, dha, and ni can refer to either "Natural" shuddha or altered "Flat" komal or "Sharp" teevra versions of their respective scale degrees. As with movable do solfege, the notes are heard relative to an arbitrary tonic that varies from performance to performance, rather than to fixed frequencies, as on a xylophone.
The fine intonational differences between different instances of the same swara are called srutis. The three primary registers of Indian classical music are mandra lower , madhya middle and taar upper. Since the octave location is not fixed, it is also possible to use provenances in mid-register such as mandra-madhya or madhya-taar for certain ragas.
A typical rendition of Hindustani raga involves two stages:. Hindustani classical music is primarily vocal-centric, insofar as the musical forms were designed primarily for a vocal performance, and many instruments were designed and evaluated as to how well they emulate the human voice.
The major vocal forms or styles associated with Hindustani classical music are dhrupad , khyal , and tarana. Light classical forms include dhamar , trivat , chaiti , kajari , tappa , tap-khyal , ashtapadis , thumri , dadra , ghazal and bhajan ; these do not adhere to the rigorous rules of classical music.
Dhrupad is an old style of singing, traditionally performed by male singers. It is performed with a tambura and a pakhawaj as instrumental accompaniments. Electric forest by agum.
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