Asian music south

Description:This chanting is based on three tones ; the udatta and the nonaccented syllables called prachaya are recited at a middle tone, the preceding anudatta syllable at a low tone, and the following svarita syllable either at the high tone when the syllable is short or as a combination of middle tone and high tone. Most of the leading North Indian singers, however, have been using the harmonium as a secondary melody instrument for many years and have continued to do so in concerts and on recordings. They begin with an elaborate alapa followed by the more rhythmic but unmeasured non-tom using meaningless syllables such as te, re, na, nom, and tom. Tala, like raga, serves as a basis for composition and improvisation. In the larger cities there are performances of Western chamber music and occasionally symphony concerts, as well as popular dance music, rock, and jazz in the night clubs. The ragas were personified and associated with particular scenes, some of which were taken from Hindu mythology, while others represented aspects of the relationship between two lovers. The songs are passed on from one generation to another, and in most cases the composers are unknown.

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