Hinduism and Buddhism in Indonesia - (c. AD 1)

Indonesia is a nation in Southeast Asia. Comprising 17,508 islands, it is the world's largest archipelagic state. With a population of 222 million people in 2006, it is the world's fourth most populous country and today the most populous Muslim-majority nation, although officially it is not an Islamic state.

The name Indonesia derives from the Latin Indus, meaning "India", and the Greek nesos, meaning "island."

The name dates to the 18th century, far predating the formation of independent Indonesia.

In 1850, George Earl, an English ethnologist, proposed the terms Indunesians — and, his preference, Malayunesians — for the inhabitants of the "Indian Archipelago or Malayan Archipelago."

In the same publication, a student of Earl's, James Richardson Logan, used Indonesia as a synonym for Indian Archipelago.

However, Dutch academics writing in East Indies publications were reluctant to use Indonesia. Instead, they used the terms Malay Archipelago (Maleische Archipel); the Netherlands East Indies (Nederlandsch Oost Indië), popularly Indië; the East (de Oost); and even Insulinde.

From 1900, the name Indonesia became more common in academic circles outside the Netherlands, and Indonesian nationalist groups adopted it for political expression.

Bastian, of the University of Berlin, popularized the name through his book Indonesien oder die Inseln des Malayichen Archipels, 1884–1894. The first Indonesian scholar to use the name was Suwardi Suryaningrat (Ki Hajar Dewantara), when he established a press bureau in the Netherlands with the name Indonesisch Pers-bureau in 1913.

During the early centuries A.D., elements of Indian civilization, especially Hinduism and Mahayana Buddhism, were brought to Sumatra and Java and stimulated the emergence of centralized states and highly organized societies. Scholars disagree on how this cultural transfer took place and who was involved. Apparently, traders and shippers, not just Indian but Indonesian as well, were primarily responsible. Small indigenous states existed in the coastal regions of western Indonesia at a time when Indian Ocean trade was flourishing.



Bali is an Indonesian island located at 8°25′23″S, 115°14′55″ECoordinates: 8°25′23″S, 115°14′55″E, the western most of the Lesser Sunda Islands, lying between Java to the west and Lombok to the east. It is one of the country's 33 provinces with the provincial capital at Denpasar towards the south of the island.

With a population recorded as 3,151,000 in 2005, the island is home to the vast majority of Indonesia's small Hindu minority. 93.18% of Bali's population adheres to Balinese Hinduism, while most of the remainder follow Islam. It is also the largest tourist destination in the country and is renowned for its highly developed arts, including dance, sculpture, painting, leather, metalworking and music.



Balinese culture was strongly influenced by Indian, and particularly Hindu culture, in a process beginning around the 1st century AD.

Indonesia is culturally diverse, and every one of the 18,000 islands has its own cultural and artistic history and character. This results hundreds of different forms of music, which often accompanies dance and theater. The musics of Java, Sumatra, Bali, Flores and other islands have been documented and recorded, and research by Indonesian and international scholars is ongoing.



[Balinese Gamelan Gong Gede]

The most popular and famous form of Indonesian music is gamelan, an ensemble of tuned percussion instruments that include metallophones, drums, gongs and spike fiddles along with bamboo flutes. Similar ensembles are prevalent throughout Indonesia and Malaysia, but gamelan is from Java, Bali and Lombok. There are rivalries between different regions' variations of gamelan, especially Java and Bali.

Bali is home to several unique kinds of gamelan, including the gamelan jegog, gamelan gong gede, gamelan gambang, gamelan selunding and gamelan semar pegulingan, the cremation music angklung and the processional music bebonangan. Modern popular styles include gamelan gong kebyar, dance music which developed during the Dutch occupation and 1950s era joged bumbung, another popular dance style. In Balinese music you can also hear metallophones, gongs and xylaphones.



Balinese music can be compared to Javanese music, especially that of the pre-Islamic period. During that time, Javanese tonal systems were imported to Bali.



[Balinese Gamelan Gong Kebyar]

Indonesia - Bali - Gamelan Gong Kebyar: Baris; Gambang Betjak (Pelog)






[A passage of music utilizing the Pelog Scale]


Balinese gamelan, a form of Indonesian classical music, is louder, swifter and more aggressive than Javanese music. Balinese gamelan also features more archaic instrumentation than modern Javanese gamelans. Balinese instruments include bronze and bamboo xylophones. Gongs and a number of gong chimes, are used, such as the solo instrument trompong, and a variety of percussion instruments like cymbals, bells, drums and the anklung (a bamboo rattle).



There are two sizes of bamboo flutes, both used in theatrical music,



and a rebab (two-stringed spike fiddle).

Sekehe Gambuh: Sekar Leret (Pelog)



A gamelan as a set of instruments is a distinct entity, built and tuned to stay together -- instruments from different gamelan are not interchangeable.

The word "gamelan" comes from the Javanese word "gamel," meaning to strike or hammer, and the suffix "an," which makes the root a collective noun.

The gamelan has an old and mysterious origin. Apparently it predates the Hindu-Buddhist culture that dominated Indonesia in its earliest records, and instead represents a native art form.

In Javanese mythology, the gamelan was created by Sang Hyang Guru in Saka era 167 (c. AD 230), the god who ruled as king of all Java from a palace on the Maendra mountains in Medangkamulan (now Mount Lawu). He needed a signal to summon the gods, and thus invented the gong. For more complex messages, he invented two other Gongs, thus forming the original gamelan set.

There are a wide variety of gamelan ensembles, distinguished by their collection of instruments and use of voice, tunings, repertoire, style, and cultural context. In general, no two gamelan ensembles are the same, and those that arose in prestigious courts are often considered to have their own style. Certain styles may also be shared by nearby ensembles, leading to a regional style.

The varieties are generally grouped geographically, with the principal division between the styles favored by the Balinese, Javanese, and Sundanese peoples.

In Indonesia, gamelan usually accompanies dance, wayang puppet performances, or rituals or ceremonies. Typically players in the gamelan will be familiar with dance moves and poetry, while dancers are able to play in the ensemble. In wayang, the dalang (puppeteer) must have a thorough knowledge of gamelan, as he gives the cues for the music. Gamelan can be performed by itself - in "klenengan" style, or for radio broadcasts.

In Bali, the Gamelan instruments are all kept together in the balai banjar, a community meeting hall which has a large open space with a roof over top of it with several open sides. The instruments are all kept here together because they believe that all of the instruments belong to the community as a whole and no one person has ownership over an instrument. Not only is this where the instruments are stored, but this is also the practice space for the sekaha (Gamelan orchestra). The open walls allow for the music to flow out into the community where the rest of the people can enjoy it.

The sekaha is led by a single instructor whose job it is in the community to lead this group and to come up with new songs. When they are working on a new song, the instructor will lead the group in practice and help the group form the new piece of music as they are practicing. When the instructor creates a new song, he leaves enough open for interpretation that the group can improvise and as a group they will be writing the music as they are practicing it.

The Balinese Gamelan groups are constantly changing their music by taking older pieces they know and mixing them together as well as trying new variations on their music. Their music is always constantly changing because they believe that music should grow and change; the only exception to this is with their most sacred songs which they will not change. A single new piece of music can take several months before it is completed.

Men and women usually perform in separate groups, with the exception of the pesindhen, the female singer who performs with male groups.

In the West, gamelan is often performed in a concert context, but may also incorporate dance or wayang.

The tuning and construction of a gamelan orchestra is a complex process. Javanese gamelans use two tuning systems: pelog and slendro.

In gamelan, pélog has seven notes to the octave, with uneven intervals, usually played in five note subsets of the seven-tone collection (typically corresponding to the Western [Do] Mi Fa Sol La Ti Do), while sléndro is a system with five notes to the octave, fairly evenly spaced, but roughly corresponding to the Chinese major pentatonic (Do Re Mi Sol La Do). This results in sound quite different from music played in a western tuning system. Many gamelan orchestras will include instruments in each tuning, but each individual instrument will only be able to play notes in one. The precise tuning used differs from ensemble to ensemble, and give each ensemble its own particular flavour. The intervals between notes in a scale are very close to identical for different instruments within each gamelan, but the intervals vary from one gamelan to the next.

Pelog is one of the two essential scales of gamelan music native to Bali and Java, in Indonesia.

Since the tuning varies so widely from island to island, village to village, and even gamelan to gamelan, it is difficult to characterize in terms of intervals. One rough approximation expresses the seven pitches of Central Javanese pelog as a subset of 9-tone equal temperament. An analysis of 27 Central Javanese gamelans by Surjodiningrat (1972) revealed a statistical preference for this system of tuning.

As in slendro, although the intervals vary from one gamelan to the next, the intervals between notes in a scale are very close to identical for different instruments within the same Javanese gamelan. This is not the case in Bali, where instruments are played in pairs which are tuned slightly apart so as to produce interference beating. The beating is ideally at a consistent speed for all pairs of notes in all registers. This contributes to the very "agitated" and "shimmering" sound of gamelan ensembles. In the religious ceremonies that contain Gamelan, these interference beats are meant to give the listener a feeling of a god's presence or a stepping stone to a meditative state.

In Bali, all seven tones are used in gamelan semar pegulingan and gamelan gambuh. All seven tones are rarely heard in a single traditional composition. Like in Java, five-tone modes are used. There are three modes, selisir, tembung and sunaren. Gamelan gong kebyar instruments have five keys in the pelog selisir mode. Unlike Java, there are only five names for the notes, and the same five names are used in all three modes. The modes all start on the note named ding, and then continue going up the scale to dong, deng, dung and dang. This means that the same pitch will have a different name in a different mode.

Colin McPhee remarked, "Deviations in what is considered the same scale are so large that one might with reason state that there are as many scales as there are gamelans." However, this view is contested by some teachers of gamelan, and there have been efforts to combine multiple ensembles and tuning structures into one gamelan to ease transportation at festival time. One such ensemble is gamelan Manikasanti, which can play the repertoire of many different ensembles.

Balinese gamelan instruments are commonly played in pairs which are tuned slightly apart to produce interference beats, ideally at a consistent speed for all pairs of notes in all registers. It is thought that this contributes to the very "busy" and "shimmering" sound of gamelan ensembles. In the religious ceremonies that contain gamelan, these interference beats are meant to give the listener a feeling of a god's presence or a stepping stone to a meditative state.

The gamelan has been appreciated by several western composers of classical music, most famously Claude Debussy who heard a Javanese gamelan play at the Paris Exposition of 1889 (World's Fair). (The gamelan Debussy heard was in the slendro scale and was played by Central Javanese musicians.

Despite his enthusiasm, direct citations of gamelan scales, melodies, rhythms, or ensemble textures have not been located in any of Debussy's own compositions. However, the equal-tempered whole tone scale appears in his music of this time and afterward, and a Javanese gamelan-like heterophonic texture is emulated on occasion, particularly in Pagodes, from Estampes (solo piano, 1903), in which the great gong's cyclic punctuation is symbolized by a prominent perfect fifth.

Direct homages to gamelan music are to be found in works for western instruments by Béla Bartók, Francis Poulenc, Olivier Messiaen, Colin McPhee, Benjamin Britten, Steve Reich, Philip Glass, Lou Harrison, and Peter Sculthorpe.

György Ligeti wrote a piano étude called Galamb Borong influenced by gamelan.

King Crimson, while not using gamelan instruments, used interlocking rhythmic paired guitars that were influenced by gamelan.

Gamelan gong kebyar is a modern style or genre of Balinese gamelan music. Kebyar means "the process of flowering," and refers to the explosive changes in tempo and dynamics characteristic of the style. It is the most popular form of gamelan in Bali, and its best known musical export.

The main instrumental forces of the gong kebyar orchestra are metallophones. There are typically four pemades and four kantillan - collectively known as the gangsa - which play the most complex parts. There are either one or two ugal, which play an ornamented version of the main melody - the pokok - of the piece. Lower pitched metallophones - jublag, jegogan, and sometimes penyacah - play increasingly abstracted versions of that melody. All of these instruments metallophones are played in pairs, with each pair tuned slightly apart. This produces a beating effect (ombak) and creates an overall shimmering, pulsating quality.

Other instruments in the orchestra include the reong - a set of twelve bossed bronze "pots"; the ketuk - another "pot" similar in appearance but larger than an individual reong; the gongs, which mark the essential structural points in the music; kendang - the drums, which control the tempo of ensemble and reinforce the meter; ceng-ceng - small, mounted hand cymbals which play fast, intricate parts, usually along with the reong; suling - flutes, which play somewhat improvised ornaments on the pokok; and, occasionally, the rebab - a spike fiddle, which plays along with the suling.

Gong kebyar music is based on a five-tone scale called pelog selisir (tones 1, 2, 3, 5, and 6 of the 7-tone pelog scale), and is characterized by brilliant sounds, syncopations, sudden and gradual changes in sound colour, dynamics, tempo and articulation, and complex, complementary interlocking melodic and rhythmic patterns called kotekan.

The music is divided into 4 beat groups called Keteg, this whole rhythmic cycle is called the gongan. The gongs divide gongan into sections, gong ageng, the largest gong, marks the end of gongen, the smaller gongs mark the 4th or 8th keteg and the smallest gongs outline the pulse.

Balungan instruments (1-octave metallophones) decorate and embellish the theme. Panususan instruments (larger metallophones) decorate and embellish theme.

The kebyar style developed out of older ensembles and first emerged in the early 20th century.



[Jaw Harp (Genggong)]

Sekehe Genggong: Frog Song: Flute Solo




[Gender Wayang]

Gender Wayang (Shadow Puppets) (Slendro)




Shadow play ( shadow puppetry is an ancient form of storytelling and entertainment using opaque, often articulated figures in front of an illuminated backdrop to create the illusion of moving images. It is popular in various cultures. At present, more than 20 countries are known to have shadow show troupes.

Shadow puppetry originated during the Han Dynasty when one of Emperor Wu of Han's concubines died. The emperor was devastated, and he summoned his court officers to bring his beloved back to life. The officers made a shape of the concubine using donkey leather. Her joints were animated using 11 separate pieces of the leather, and adorned with painted clothes. Using an oil lamp they made her shadow move, bringing her back to life. Shadow theatre became quite popular as early as the Song Dynasty when holidays were marked by the presentation of many shadow plays. During the Ming Dynasty there were 40 to 50 shadow show troupes in the city of Beijing alone. In the 13th century, the shadow show became a regular recreation in the barracks of the Mongolian troops. It was spread by the conquering Mongols to distant countries like Persia, Arabia, and Turkey. Later, it was introduced to other Southeastern Asian countries. The earliest shadow theatre screens were made of mulberry paper. The storytellers generally used the art to tell events between various war kingdoms or stories of Buddhist sources. Today, puppets made of leather and moved on sticks are used to tell dramatic versions of traditional fairy tales and myths. In Gansu province, it is accompanied by Daoqing music, while in Jilin, accompanying Huanglong music forms some of the basis of modern opera.

In Indonesia (notably Java and Bali), shadow puppet plays are known as wayang kulit. In Javanese, Wayang means shadow or imagination, while Kulit means skin and refers to the leather that puppets are made from. Stories presented are usually mythical and morality tales. There is an educational moral to the plays which usually portray a battle between good and evil, with good always winning and evil running away (but eventually to return). The Indonesian shadow plays are sometimes considered one of the earliest examples of animation.
The puppets are made primarily of leather and manipulated with sticks or buffalo horn handles. Shadows are cast using an oil lamp or, in modern times, a halogen light, onto a cotton cloth background. They are often associated with gamelan drum music (or Pinpeat orchestral in Cambodia). Shadow plays are very popular even today. They are performed during sacred temple ceremonies, at private functions, and for the public in the villages. A performance can last all night long, sometimes up to six hours or until dawn.

UNESCO designated Wayang Kulit as a Masterpieces of the Oral and Intangible Heritage of Humanity on November 7, 2003.



Slendro is a pentatonic scale, one of the two most common scales (laras) used in Indonesian gamelan music, the other being pélog. Its five pitches are roughly equally spaced within the octave, nevertheless approximately corresponding to the visual above.

From one region of Indonesia to another the slendro scale often varies widely. The amount of variation also varies from region to region. For example, Slendro in Central Java varies much less from gamelan to gamelan than it does in Bali, where ensembles from the same village may be tuned very differently.

As in pelog, although the intervals vary from one gamelan to the next, the intervals between notes in a scale are very close to identical for different instruments within the same gamelan. It is common in Balinese gamelan that instruments are played in pairs which are tuned slightly apart so as to produce interference beating which are ideally at a consistent speed for all pairs of notes in all registers. It is thought that this contributes to the very "busy" and "shimmering" sound of gamelan ensembles. In the religious ceremonies that contain Gamelan, these interference beats are meant to give the listener a feeling of a god's presence or a stepping stone to a meditative state.

For the instruments that do not need fixed pitches (such as suling and rebab) and the voice, other pitches are sometimes inserted into the scale. The Sundanese musicologist/teacher R. Machjar Angga Kusumadinata identified 17 vocal pitches used in slendro.[ These microtonal adjustments bear some similarity to Indian śruti.

Number Major scale Example frequency

1 C# +10 cents 280Hz
2 D# +40 cents 318Hz
3 F# -20 cents 366Hz
5 G# +15 cents 412Hz
6 A# -40 cents 483Hz

For experienced participants in gamelan music, the pelog and slendro scales each have a particular feeling, related to the rituals and circumstances in which the scale is used. For example, in Bali, slendro is felt to have a sad sound because it is used as the tuning of gamelan angklung, the traditional ensemble for cremation ceremonies.

The connotation also depends on the pathet (roughly, the mode) used. There are three slendro pathet used in Javanese gamelan, nem, sanga, and manyura. That is the order in which they appear in a wayang performance, which historically used only slendro pathet. Consequently, they have the implications of where they appear in the evening.

The origin of the slendro scale is unknown. It is similar to scales used in Indian and Chinese music as well as other areas of Asia and they all may have a common origin. This is very difficult if not impossible to determine.

Even within Indonesia it is difficult to determine the evolution of scales. For example, scales used in Banyuwangi, at the eastern tip of Java, are very similar to scales used in Jembrana, a short distance away on Bali. There is probably no way to document which region influenced the other, or if they both evolved together.



Dance Drama



In Hinduism, dance is an accompaniment to the perpetual dissolving and reforming of the world. The creative and reproductive balance is often personified as Shiva's wife, Durga, sometimes called Uma, Parvati, or Kali. This has significance in Balinese Hinduism, since the common figure of Rangda is similar in many ways to Durga.

In Bali there are various categories of dance (i.e. barong, legong, kecak) including epic performances such as the omnipresent Mahabharata and Ramayana. Bali dancers learn the craft as children from their mothers as young as age 4.

In Balinese dance the movement is closely associated with the rhythms produced by the gamelan. Multiple levels of articulations in the face, eyes, hands, arms, hips, and feet are coordinated to reflect layers of percussive sounds. The number of codified hand positions and gestures, the mudras, is higher in India than in Java or Bali. It has been speculated that they have been forgotten as the dance was transmitted from India to Java. Hand positions and gestures are nonetheless as important in Javanese and Balinese dance as in India. Whether in India, Indonesia or Cambodia, hands have a typically ornamental role and emphasize the dance's delicate intricacy.


Sumatra (also spelled Sumatera) is the sixth largest island in the world (approximately 470,000 km²) and is the largest island entirely in Indonesia (two larger islands, Borneo and New Guinea, are partially in Indonesia).

Sumatra was known in ancient times by the Sanskrit names of Swarnadwīpa ("Island of Gold") and Swarnabhūmi ("Land of Gold"), due likely to the gold deposits of island's highlands.[1] Arab geographers referred to the island as Lamri (Lamuri, Lambri or Ramni) in the 10-13th centuries, in reference to a kingdom near modern day Banda Aceh which was the first landfall for traders. Late in the 14th century the name Sumatra became popular, in reference to the kingdom of Samudra which was a rising power. European writers in the 19th century found that the indigenous inhabitants did not have a name for the island



Sumatra - Gending Keteng Keteng

Jesus (c. 4 BC - AD 29) - Christianity - Liturgy

Jesus of Nazareth (7–2 BC/BCE to 26–36 AD/CE), also known as Jesus Christ, is the central figure of Christianity, revered by most Christians as the incarnation of God, and is also an important figure in several other religions.



[St. Ambrose (c. 338 – 4397) - Ambrosian Chant]

The name "Jesus" is an Anglicization of the Greek Iēsous, itself a Hellenization of the Hebrew Yehoshua or Hebrew-Aramaic (Yeshua), meaning "YHWH rescues." "Christ" is a title derived from the Greek Christós, meaning the "Anointed One," which corresponds to the Hebrew-derived "Messiah."

The main sources of information regarding Jesus' life and teachings are the gospels. Most scholars in the fields of history and biblical studies agree that Jesus was a Galilean Jew, was regarded as a teacher and healer, was baptized by John the Baptist, and was crucified in Jerusalem on orders of Roman Governor Pontius Pilate, on the charge of sedition against the Roman Empire.

Most critical scholars believe that ancient texts on Jesus' life are at least partially accurate.

Scholars do not know the exact year or date of Jesus' birth or death. The Gospel of Matthew and the Gospel of Luke place Jesus' birth under the reign of Herod the Great, who died in 4 BC, although the Gospel of Luke also describes the birth as taking place during the first census of the Roman provinces of Syria and Iudaea in 6 AD/CE.

Scholars generally assume a date of birth between 6 and 4 BC/BCE.

Jesus' ministry followed that of John the Baptist.

The Gospels name Pontius Pilate as the Roman prefect that had Jesus crucified, and Pilate was prefect of Judea between AD 26 and 36 AD.

The common Western standard for numbering years is based on an early medieval attempt to count the years from Jesus' birth.

While Christmas, in honor of Jesus's birth, is celebrated on December 25, there is no indication that this was his actual birthday. Jesus was executed after Passover, a Jewish holiday occurring in northern spring. Some Christians commemorate Jesus's crucification on Good Friday and celebrate his resurrection on Easter Sunday.

The Bible's four canonical gospels are the main sources for the traditional Christian biography of Jesus's life. Scholars, although considering the gospel accounts to be historically useful, differ widely as to their reliability. Each gospel portrays Jesus' life and its meaning differently.

To combine these four stories into one story is tantamount to creating a fifth story, one different from each original.

According to Matthew and Luke, Jesus was born in Bethlehem of Judea to Mary, a virgin, by a miracle of the Holy Spirit. The Gospel of Luke gives an account of the angel Gabriel visiting Mary to tell her that she was chosen to bear the Son of God (Luke 1:26–38). According to Luke, an order of Caesar Augustus had forced Mary and Joseph to leave their homes in Nazareth and come to the home of Joseph's ancestors, the house of David, for the Census of Quirinius.
After Jesus's birth, the couple was forced to use a manger in place of a crib because of a shortage of accommodation (Luke 2:1–7). According to Luke, an angel announced Jesus' birth to shepherds who left their flocks to see the newborn child and who subsequently publicized what they had witnessed throughout the area (The First Noël). Matthew tells of the "Wise Men" or "Magi" who brought gifts to the infant Jesus after following a star which they believed was a sign that the King of the Jews had been born (Matthew 2:1–12).

Jesus's childhood home is identified as the town of Nazareth in Galilee. Except for a journey to Egypt by his family in his infancy to escape Herod's Massacre of the Innocents and a short trip to Tyre and Sidon (in what is now Lebanon), the Gospels place all other events in Jesus' life in ancient Israel.

According to Matthew, the family remained in Egypt until Herod's death, whereupon they returned to Nazareth to avoid living under the authority of Herod's son and successor Archelaus (Matthew 2:19–23).

All three synoptic Gospels describe the Baptism of Jesus by John the Baptist, an event which Biblical scholars describe as the beginning of Jesus' public ministry. According to these accounts, Jesus came to the Jordan River where John the Baptist had been preaching and baptizing people in the crowd. Matthew describes John as initially hesitant to comply with Jesus's request for John to baptize him, stating that it was Jesus who should baptize him. Jesus persisted, "It is proper for us to do this to fulfill all righteousness" (Matthew 3:15). After Jesus was baptized and rose from the water, Mark states Jesus "saw the heavens parting and the Spirit descending upon Him like a dove. Then a voice came from heaven saying: 'You are My beloved Son, in whom I am well pleased'" (Mark 1:10–11). The Gospel of John does not describe the baptism, but it does attest that Jesus is the very one about whom John the Baptist had been preaching -- the Son of God.

Following his baptism, Jesus was led into the desert by God where he fasted for forty days and forty nights (Matthew 4:1–2). During this time, the devil appeared to him and tempted Jesus three times. Each time, Jesus refused temptation with a quotation of scripture from the Book of Deuteronomy. The devil departed and angels came and brought nourishment to Jesus (Matthew 4:1–11, Mark 1:12–13, Luke 4:1–13).

The Gospels state that Jesus, as Messiah, came to "give his life as a ransom for many" and "preach the good news of the Kingdom of God."

Over the course of his ministry, Jesus is said to have performed various miracles, including healings, exorcisms, walking on water, turning water into wine, and raising several people, such as Lazarus, from the dead (John 11:1–44, Matthew 9:25, and Luke 7:15).

The Gospel of John describes three different passover feasts over the course of Jesus' ministry. This implies that Jesus preached for a period of at least "two years plus a month or two," although some interpretations of the Synoptic Gospels suggest a span of only one year.

The focus of his ministry was toward his closest adherents, the Twelve Apostles, though many of his followers were considered disciples. The Twelve Apostles and others closest to Jesus were all Jews as shown by Jesus's statements that his mission is directed only to those of the house of Israel (Matthew 15:24, Matthew 10:1-6) and by the fact that only after the death of Jesus did the apostles agree with Paul that the teaching of the gospel could be extended to uncircumcised Gentiles (Acts 15:1–31, Galatians 2:7-9, Acts 10:1–11:18). Jesus led an apocalyptic following. He preached that the end of the current world would come unexpectedly, and that he would return to judge the world, especially according to how they treated the vulnerable; for this reason, he called on his followers to be ever alert and faithful. Jesus also taught that repentance was necessary to escape hell, and promised to give those who believe in him eternal life (John 3:16–18).

At the height of his ministry, Jesus attracted huge crowds numbering in the thousands, primarily in the areas of Galilee and Perea (in modern-day Israel and Jordan respectively).[26] Some of Jesus' most famous teachings come from the Sermon on the Mount, which contained the Beatitudes and the Lord's Prayer. Jesus often employed parables, such as the Parable of the Prodigal Son and the Parable of the Sower. His teachings encouraged unconditional self-sacrificing God-like love for God and for all people. During his sermons, he preached about service and humility, the forgiveness of sin, faith, turning the other cheek, love for one's enemies as well as friends, and the need to follow the spirit of the law in addition to the letter.

Jesus often met with society's outcasts, such as the publicani (Imperial tax collectors who were despised for extorting money), including the apostle Matthew; when the Pharisees objected to Jesus' meeting with sinners rather than the righteous, Jesus replied that it was the sick who need a physician, not the healthy (Matthew 9:9–13). According to Luke and John, Jesus also made efforts to extend his ministry to the Samaritans, who followed a different form of the Israelite religion. This is reflected in his preaching to the Samaritans of Sychar, resulting in their conversion (John 4:1–42).

According to the synoptic gospels, Jesus led three of his apostles -- Peter, John, and James -- to the top of a mountain to pray. While there, he was transfigured before them, his face shining like the sun and his clothes brilliant white; Elijah and Moses appeared adjacent to him. A bright cloud overshadowed them, and a voice from the sky said, "This is my beloved son, with whom I am well pleased."

The gospels also state that toward the end of his ministry, Jesus began to warn his disciples of his future death and resurrection (Matthew 16:21–28).

In the account given by the synoptic gospels, Jesus came with his followers to Jerusalem during the Passover festival where a large crowd came to meet him, shouting, "Hosanna! Blessed is he who comes in the name of the Lord! Blessed is the King of Israel!"

Following his triumphal entry, Jesus created a disturbance at Herod's Temple by overturning the tables of the moneychangers who set up shop there, and claiming that they had made the Temple a "den of robbers" (Mark 11:17). Later that week, Jesus celebrated the Passover meal with his disciples -- an event subsequently known as the Last Supper -- in which he prophesied that he would be betrayed by one of his disciples, and would then be executed. In this ritual he took bread and wine in hand, saying: "this is my body which is given for you" and "this cup which is poured out for you is the New Covenant in my blood," and instructed them to "do this in remembrance of me" (Luke 22:7–20). Following the supper, Jesus and his disciples went to pray in the Garden of Gethsemane.

While in the Garden, Jesus was arrested by temple guards on the orders of the Sanhedrin and the high priest, Caiaphas (Luke 22:47–52, Matthew 26:47–56). The arrest took place clandestinely at night to avoid a riot, as Jesus was popular with the people at large (Mark 14:2). Judas Iscariot, one of his apostles, betrayed Jesus by identifying him to the guards with a kiss. Simon Peter, another one of Jesus' apostles, used a sword to attack one of Jesus' captors, cutting off his ear, which, according to Luke, Jesus immediately healed miraculously.

Jesus rebuked the apostle, stating "all they that take the sword shall perish by the sword" (Matthew 26:52). After his arrest, Jesus' apostles went into hiding.

During the Sanhedrin Trial of Jesus, the high priests and elders asked Jesus, "Are you the Son of God?" When he replied, "You are right in saying I am," they condemned Jesus for blasphemy (Luke 22:70–71). The high priests then turned him over to the Roman procurator Pontius Pilate, based on an accusation of sedition for forbidding the payment of taxes Luke 23:1-2 and claiming to be King of the Jews.[32] When Jesus came before Pilate, Pilate asked him, "Are you the king of the Jews?" to which he replied, "It is as you say." According to the Gospels, Pilate personally felt that Jesus was not guilty of any crime against the Romans, and since there was a custom at Passover for the Roman governor to free a prisoner (a custom not recorded outside the Gospels), Pilate offered the crowd a choice between Jesus of Nazareth and an insurrectionist named Barabbas. The crowd chose to have Barabbas freed and Jesus crucified. Pilate washed his hands to indicate that he was innocent of the injustice of the decision (Matthew 27:11–26).

According to all four Gospels, Jesus died before late afternoon at Calvary, which was also called Golgotha. The wealthy Judean Joseph of Arimathea, a member of the Sanhedrin according to Mark and Luke, received Pilate's permission to take possession of Jesus' body, placing it in a tomb.[33] According to John, Joseph was aided by Nicodemus, who joined him to help bury Jesus, and who appears in other parts of John's gospel (John 19:38–42). The three Synoptic Gospels tell of the darkening of the sky from twelve until three that afternoon; Matthew also mentions an earthquake (Matthew 27:51).

According to the Gospels, Jesus rose from the dead on the third day after his crucifixion.

The Gospel of Matthew states that an angel appeared near the tomb of Jesus and announced his resurrection to Mary Magdelene and "another Mary" who had arrived to anoint the body (Matthew 28:1–10). According to Luke there were two angels (Luke 24:4), and according to Mark there was a youth dressed in white (Mark 16:5). The "longer ending" to Mark states that on the morning of his resurrection, Jesus first appeared to Mary Magdalene (Mark 16:9). John states that when Mary looked into the tomb, two angels asked her why she was crying; and as she turned round she initially failed to recognize Jesus until he spoke her name (John 20:11–18).

The Acts of the Apostles state that Jesus appeared to various people in various places over the next forty days. Hours after his resurrection, he appeared to two travelers on the road to Emmaus (Luke 24:13–35). To his assembled disciples he showed himself on the evening after his resurrection (John 20:19). Although his own ministry had been specifically to Jews, Jesus is said to have sent his apostles to the Gentiles with the Great Commission and ascended to heaven while a cloud concealed him from their sight. According to Acts, Paul of Tarsus had a vision of Jesus during his Road to Damascus experience. Jesus promised to come again to fulfill the remainder of Messianic prophecy.

***



[Peter Paul Rubens - The Apostle Paul]

Christianity began as a Jewish sect.

The Christian Church traces its history to Jesus and the Twelve Apostles, and saw the early bishops of the Church as the successors of the Apostles in general. Central to the doctrines of the Roman Catholic, Orthodox and Anglican Churches is Apostolic Succession, the belief that the bishops are the spiritual successors of the original twelve apostles, through the historically unbroken chain of consecration.

From the beginning, Christians were subject to various persecutions. This involved even death for Christians such as Stephen and James, son of Zebedee.



[It was said by Suetonius and Cassius Dio that Nero sang the "Sack of Ilium" in stage costume while the city burned. Popular legend claims that Nero played the fiddle at the time of the fire, an anachronism based merely on the concept of the lyre, a stringed instrument associated with Nero and his performances (There were no fiddles in 1st-century Rome). However, Tacitus's account has Nero in Antium at the time of the fire. Tacitus also said that Nero playing his lyre and singing while the city burned was only rumor.]

Larger-scale persecutions followed at the hands of the authorities of the Roman Empire, beginning with the year 64, when, as reported by the Roman historian Tacitus, the Emperor Nero blamed them for that year's great Fire of Rome. According to Church tradition, it was under Nero's persecution that early Church leaders Peter and Paul were each martyred in Rome. Further widespread persecutions of the Church occurred under nine subsequent Roman emperors including Domitian, Decius and Diocletian. From the year 150, Christian teachers began to produce theological and "apologetic" works aimed at defending the faith. These authors are known as the Church Fathers, and study of them is called Patristics. Notable early Fathers include Ignatius of Antioch, Polycarp, Justin Martyr, Irenaeus, Tertullian, Clement of Alexandria and Origen.



Christianity was legalized in the fourth century, when Constantine I issued the Edict of Milan in 313. Constantine was instrumental in the convocation of the First Council of Nicaea in 325, which sought to address the Arian heresy and formulated the Nicene Creed, which is still used by the Roman Catholic Church, Eastern Orthodoxy, Anglican Communion, and many Protestant churches.

***

Generally it is theorized that the Apostles obeyed the command "do this in memory of me," said during the Last Supper, and performed the liturgy in the houses of Christians. Besides repeating the action of Jesus, using the bread and wine, and saying his words (known as the words of the institution), the rest of the ritual seems to have been rooted in the Jewish Passover Seder, and synagogue services, including singing of hymns (especially the Psalms, often responsively) and reading from the Scriptures (Bible).

Until the 4th century, when the church established a Biblical canon, a manner of things were read during the liturgy besides the Prophets, including papal encyclicals. Many elements of these liturgies began to be fixed in several popular settings, and a book called the Apostolic Constitutions, from the fourth century, shows an outline for the liturgy which is incorporated in almost all Western and Eastern rites. This includes the use of the prayer known as the Sanctus, which is prefaced by a long introduction; it also includes a fairly fixed series of prayers leading up to the consecration.

Vestments worn by the Bishops and Priests at this point were academic robes of the educated class. Later, as fashions changed the styles for the clergy remained the same and were embellished. Following the custom of the synagogue, the liturgy was normally sung. Many places divided the congregation into male and female. At some point both Western and Eastern churches adopted the use of curtains to mask the clergy at the altar at certain points; this curtain became the rood screen and altar rails in western churches, and iconostasis in the Byzantine East, while still being used in Armenian and Syriac Churches.

The language used in most of the liturgies was Greek. Later a Pope from Africa, where Latin was the vernacular, convinced the Roman Church to use Latin instead. As Christianity spread to different nations around the Mediterranean, several distinct traditions developed, each with a different liturgical language: the Alexandrine Tradition (Coptic), Syriac Tradition (Syriac), Byzantine Tradition (Greek), Armenian Tradition (Armenian), and the Latin Tradition (Latin). These basic traditions gave rise to several distinct rites. The Coptic and Ethiopic rites came from the Alexandrine Tradition; The Chaldean, Malabar, Syriac, Malankar, and Maronite rites developed from the Syriac Tradition; the Greek and Slav variants of the Byzantine liturgy emerged from the Byzantine Tradition; the Armenian rite developed from the Armenian Tradition; and the Roman, Ambrosian, and Mozarabic rites came from the Latin Tradition.

The liturgy of the western Church was heavily affected by the decisions to allow the Priests to say the mass separate from the bishops (usually almost every public liturgy was celebrated by the bishop, as Christianity spread out of the major urban centers this became more difficult). Thus much of the western rite involved paring down the ceremony to apply to a priest. This did not occur as much in the eastern churches.

Asia Minor (Turkey) - Seikilos (b. c. 30 BC)

Turkey stretches across the Anatolian peninsula in western Asia and Thrace (Rumelia) in the Balkan region of southeastern Europe. Turkey borders eight countries: Bulgaria to the northwest; Greece to the west, Georgia to the northeast; Armenia, Azerbaijan (the exclave of Nakhichevan), and Iran to the east; and Iraq and Syria to the southeast. The Mediterranean Sea and Cyprus are to the south; the Aegean Sea and Archipelago are to the west; and the Black Sea is to the north. Separating Anatolia and Thrace are the Sea of Marmara and the Turkish Straits (the Bosporus and the Dardanelles), which are commonly reckoned to delineate the border between Asia and Europe, thereby making Turkey transcontinental.

Due to its strategic location astride two continents, Turkey's culture has a unique blend of Eastern and Western tradition. A powerful regional presence in the Eurasian landmass with strong historic, cultural and economic influence in the area between the European Union in the west and Central Asia in the east, Russia in the north and the Middle East in the south, Turkey has come to acquire increasing strategic significance.

The Anatolian peninsula (also called Asia Minor), comprising most of modern Turkey, is one of the oldest continually inhabited regions in the world due to its location at the intersection of Asia and Europe. The earliest Neolithic settlements such as Çatalhöyük (Pottery Neolithic), Çayönü (Pre-Pottery Neolithic A to Pottery Neolithic), Nevali Cori (Pre-Pottery Neolithic B), Hacilar (Pottery Neolithic), Göbekli Tepe (Pre-Pottery Neolithic A) and Mersin are considered to be among the earliest human settlements in the world.



The settlement of Troy started in the Neolithic and continues into the Iron Age. Through recorded history, Anatolians have spoken Indo-European, Semitic and Kartvelian languages, as well as many languages of uncertain affiliation. In fact, given the antiquity of the Indo-European Hittite and Luwian languages, some scholars have proposed Anatolia as the hypothetical center from which the Indo-European languages have radiated.

The first major empire in the area was that of the Hittites, from the 18th through the 13th century BC. Subsequently, the Phrygians, an Indo-European people, achieved ascendancy until their kingdom was destroyed by the Cimmerians in the 7th century BC.

The most powerful of Phrygia's successor states were Lydia, Caria, and Lycia. The Lydians and Lycians spoke languages that were fundamentally Indo-European, but both languages had acquired non-Indo-European elements prior to the Hittite and Hellenistic periods.

***


Trojan Horse, from the movie Troy (2004)]

In Greek mythology, the Trojan War was waged against the city of Troy by the Achaeans after Paris of Troy stole Helen from her husband Menelaus, the king of Sparta. The war is among the most important events in Greek mythology, and was narrated in many works of Greek literature, including the Iliad and the Odyssey by Homer. The Iliad relates a part of the last year of the siege of Troy, while the Odyssey describes the journey home of Odysseus, one of the Achaean leaders. Other parts of the war were told in a cycle of epic poems, which has only survived in fragments. Episodes from the war provided material for Greek tragedy and other works of Greek literature, and for Roman poets like Virgil and Ovid.

The war originated from a quarrel between the goddesses Athena, Hera and Aphrodite, after Eris, the goddess of strife and discord, gave them a golden apple, sometimes known as the Apple of Discord, marked "for the fairest". The goddesses went to Paris, who judged that Aphrodite, as the "fairest", should receive the apple. In exchange, Aphrodite made Helen, the most beautiful of all women, fall in love with Paris, who took her to Troy. Agamemnon, king of Mycenae and the brother of Helen's husband Menelaus, led an expedition of Achaean troops to Troy and besieged the city for ten years. After the deaths of many heroes, including the Achaeans Achilles and Ajax, and the Trojans Hector and Paris, the city fell to the ruse of the Trojan Horse. The Achaeans slaughtered the Trojans and desecrated the temples, thus earning the gods' wrath. Few of the Achaeans returned safely to their homes and many founded colonies in distant shores. The Romans later traced their origin to Aeneas, one of the Trojans, who was said to have led the surviving Trojans to Italy.

The Ancient Greeks thought the Trojan War was a historical event that had taken place in the 13th or 12th century BC, and believed that Troy was located in modern day Turkey near the Dardanelles. By modern times both the war and the city were widely believed to be non-historical. In 1870, however, the German archaeologist Heinrich Schliemann excavated a site in this area which he identified as Troy; this claim is now accepted by most scholars.

Whether there is any historical reality behind the Trojan War is an open question. Many scholars believe that there is a historical core to the tale, though this may simply mean that the Homeric stories are a fusion of various tales of sieges and expeditions by Mycenaean Greeks during the Bronze Age. Those who believe that the stories of the Trojan War derive from a specific historical conflict usually date it to the 12th or 11th centuries BC, often preferring the dates given by Eratosthenes, 1194–1184 BC, which roughly corresponds with archaeological evidence of a catastrophic burning of Troy VIIa.

***

Starting around 1200 BC, the west coast of Anatolia was settled by Aeolian and Ionian Greeks. The entire area was conquered by the Persian Achaemenid Empire during the 6th and 5th centuries and later fell to Alexander the Great in 334 BC.

Anatolia was subsequently divided into a number of small Hellenistic kingdoms (including Bithynia, Cappadocia, Pergamum, and Pontus), all of which had succumbed to Rome by the mid-1st century BC.



The Epitaph of Seikilos is the oldest surviving example of a complete musical composition, including musical notation, from anywhere in the world. The song, the melody of which is recorded, alongside its lyrics, in the ancient Greek musical notation, was found engraved on a tombstone, near Aidin, Turkey (not far from Ephesus). The find has been dated variously from around 200 BC to around AD 100.

Epitaph of Seikilos (AD 1)

Norton History of Music Version



Musique de la Grece Version



Oxford History of Music Version




This can be heard as being in the A Mixolydian mode (Do Re Mi Fa Sol La Te Do),

and could be solfeged as

Do Sol Sol
Mi Fa Sol Fa
Mi Fa Sol Fa Mi
Re Do Re Te
Do Mi Sol Fa Mi Fa
Mi Do Re Te
Do Mi Re Fa Sol Mi
Do Do La Sol

The pitch, rhythms, and modal interpretation above are all open to question.

Also enscribed on the stone is:

"I am a tombstone, an icon. Seikilos placed me here as an everlasting sign of deathless remembrance."

While older music with notation exists, including the Delphic Hymns, all previous notations are fragmentary. short, composition.

[6970 Seikilos / South India]

India - The Vedas (150 BC) - Carnatic Music

India is a country in South Asia. It is the seventh largest country by geographical area, the second most populous country, and the most populous democracy in the world.

Bounded by the Indian Ocean on the south, the Arabian Sea on the west, and the Bay of Bengal on the east, India has a coastline of 7,517 kilometers (4,671 mi).

It borders Pakistan to the west; China, Nepal, and Bhutan to the north-east; and Bangladesh and Burma to the east. India is in the vicinity of Sri Lanka, the Maldives, and Indonesia in the Indian Ocean.


Home to the Indus Valley Civilization (c. 3000–1500 BC, Mature period 2600–1900 BC), and a region of historic trade routes and vast empires, the Indian subcontinent was identified with its commercial and cultural wealth for much of its long history.


Carnatic music ( Karnatak music or Karnatik music, and originally called Karṇāṭaka sangīta or is known as one of the two styles of Indian classical music, the other being Hindustani music. Its classical tradition is from the southern part of the Indian subcontinent, and its area roughly corresponds to the four modern states of South India: Andhra Pradesh, Karnataka, Kerala, and Tamil Nadu.

The main emphasis in Carnatic music is on vocal music; most compositions are written to be sung, and even when played on instruments, they are meant to be performed in a singing style (known as gāyaki).

Like Hindustani music, Carnatic music rests on two main elements: rāga, the modes or melodic formulæ, and tāḷa, the rhythmic cycles.

Like all art forms in Indian culture, Carnatic music is believed to have a divine origin -- it is believed to have input from the Devas and Devis.

However, it is also generally accepted that the natural origins of music were an important factor in the development of Carnatic music.

Ancient treatises describe the connection of the origin of the swaras, or notes, to the sounds of animals and birds, and man's keen sense of observation and perception that tried simulating these sounds - after hearing and distinguishing between the different sounds that emanated from bamboo reed when air passes through its hollows, man designed the first flute. In this way, music is venerated as an aspect of the supreme (nāda brāhmam).

Folk music is also said to have been a natural origin of Carnatic music, with many folk tunes corresponding to certain Carnatic ragas.

The Vedas are generally accepted as the main probable source of Indian music. The Sama Veda is said to have laid the foundation for Indian music, and consists mainly of hymns of Rigveda, set to musical tunes which would be sung using three to seven musical notes during Vedic sacrifices.

The Vedas are arguably the oldest sacred texts that are still used. Most Indologists agree that an oral tradition existed long before a literary tradition gradually sets in from about the 2nd century BC.

Due to the ephemeral nature of the manuscript material (birch bark or palm leaves), surviving manuscripts rarely surpass an age of a few hundred years.

Michael Witzel gives a time span of c. 1500 BC to c. 500-400 BC. He gives 150 BC as a terminus for all Vedic Sanskrit literature


India - South - Karnataka Sangita (Vina Lute)



The Yajur-Veda, which mainly consists of sacrificial formulae, mentions the veena as an accompaniment to vocal recitations during the sacrifices.

References to Indian classical music are made in many ancient religious texts, including epics like the Ramayana and Mahabharata. The Yajnavalkya Smriti mentions "The one who is well versed in veena, one who has the knowledge of srutis and one who is adept in tala, attains salvation without doubt."

Carnatic music is based on music concepts mentioned in Bharata's Natya Shastra.

The Natya Shastra mentions many musical concepts (including swara and tala) that continue to be relevant to Carnatic music today.

***

Bharata was an ancient Indian musicologist who authored the Natya Shastra, a theoretical treatise on ancient Indian dramaturgy and histrionics, dated to between roughly 400 BC and 200 BC. Indian dance and music find their root in the Natyashastra. Besides propounding the theory of three types of acting Bharata discussed in detail classical Indian vocal / instrumental music and dance since they are integral to Sanskrit drama. The classical dance form Bharata Natyam is codified in the Natya Shastra. Bharata classified Sanskrit theatrical forms (Natya\Rupaka) into ten types; what is known to the west as drama is but one among these, namely, Nataka.

Bharata also outlines a set of rasas or moods / emotions which were to be influential in defining the nature of Indian dance, music, and theater.

The Natya Shastra comprises 36 chapters and it is probable that it was a creation of many more than one scholar. Bharata is considered as the father of Indian theatrical art forms.

***

A clear demarcation between Hindustani music and Carnatic music can be seen in the latter half of the 14th century, as the word "Carnatic" came to represent South Indian classical music as a separate system of music.


A unique development in the art of instrumental Carnatic music took shape under the patronage of the kings of the Kingdom of Mysore in the 18th through 20th centuries. The composers used to play their compositions on instruments such as the veena, rudra veena, violin, tambura, ghata, flute, mridangam, nagaswara, swarabhat.

Śruti commonly refers to musical pitch.

It is the approximate equivalent of a tonic (or less precisely a key) in Western music; it is the note from which all the others are derived. It is also used in the sense of graded pitches in an octave. While there are an infinite number of sounds falling within a scale (or raga) in Carnatic music, the number that can be distinguished by auditory perception is twenty-two (although over the years, several of them have converged). In this sense, while shruti is determined by auditory perception, it is also an expression in the listener's mind.

Swara refers to a type of musical sound that is a single note, which defines a relative (higher or lower) position of a note, rather than a defined frequency.

Swaras also refer to the solfege of Carnatic music, which consist of seven notes, "sa-ri-ga-ma-pa-da-ni" (compare with the Hindustani sargam: sa-re-ga-ma-pa-dha-ni or Western do-re-mi-fa-so-la-ti). These names are abbreviations of the longer names shadja, rishabha, gandhara. madhyama, panchama, dhaivata and nishada. Unlike some other music systems, every member of the solfege (called a swara) has three variants. The exceptions are the drone notes, shadja and panchama (also known as the tonic and the dominant), which have only one form; and madhyama (the subdominant), which has two forms. A 7th century stone inscription in Kudumiyan Malai[22] in Tamil Nadu shows vowel changes to solfege symbols with ra, ri, ru etc. to denote the higher quarter-tones. In one scale, or ragam, there is usually only one variant of each note present. The exceptions exist in "light" ragas, in which, for artistic effect, there may be two, one ascending (in the arohanam) and another descending (in the avarohanam).

A raga in Carnatic music prescribes a set of rules for building a melody - very similar to the Western concept of mode.

It specifies rules for movements up (aarohanam) and down (avarohanam), the scale of which notes should figure more and which notes should be used more sparingly, which notes may be sung with gamaka, which phrases should be used, phrases should be avoided, and so on.

In Carnatic music, the sampoorna ragas (those with all seven notes in their scales) are classified into a system called the melakarta, which groups them according to the kinds of notes that they have. There are seventy-two melakarta ragas, thirty six of whose madhyama (subdominant) is sadharana (perfect fourth from the tonic), the remaining thirty-six of whose madhyama (subdominant) is prati (an augmented fourth from the tonic). The ragas are grouped into sets of six, called chakras ("wheels", though actually segments in the conventional representation) grouped according to the supertonic and mediant scale degrees. There is a system known as the 'Katapayadi sankhya to determine the names of Melakarta Ragas.

Ragas may be divided into two classes: janaka ragas (i.e melakarta or parent ragas) and janyaragas (descendant ragas of a particular janaka raga). Janya ragas are subclassified into various categories themselves.

Tala refers to the beat set for a particular composition (a measure of time). Talas have cycles of a defined number of beats and rarely change within a song. They have specific components, which in combinations can give rise to the variety to exist (over 108), allowing different compositions to have different rhythms.

Carnatic music singers usually keep the beat by moving their hands up and down in specified patterns, and using their fingers simultaneously to keep time. Tala is formed with three basic parts (called angas) which are laghu, dhrtam, and anudhrtam, though complex talas may have other parts like plutam, guru, and kaakapaadam. There are seven basic tala groups which can be formed from the laghu, dhrtam, and anudhrtam:

Dhruva tala

Matya tala

Rupaka tala

Jhampa tala

Triputa tala

Ata tala

Eka tala

A laghu has five variants (called jaathis) based on the counting pattern. Five jaathis times seven tala groups gives thirty-five basic talas, although use of other angas results in a total of 108 talas.

There are four main types of improvisation in Carnatic music, but in every type, adhering to the scale and phrases of the raga is required.

This is the exposition of the ragam of the song that is being planned to be performed. A performer will explore the ragam first by singing lower octaves then moving up to higher ones and touching various aspects of the ragam while giving a hint of the song to be performed. It is a slow improvisation with no rhythm.

Theoretically, this ought to be the easiest type of improvisation, since the rules are so few, but in fact, it takes much skill to sing a pleasing, comprehensive (in the sense of giving a "feel for the ragam") and, most importantly, original raga alapana.

This is usually performed by the more advanced concert artists and consists of singing one or two lines of a song repeatedly, but with improvised elaborations. Niraval comes out of manodharma sangeetha, where the selected line is repeated within the tala timing to bring out the beauty of both the raaga, and the line or composition being rendered.

The most elementary type of improvisation, usually taught before any other form of improvisation. It consists of singing a pattern of notes which finishes on the beat and the note just before the beat and the note on which the song starts. The swara pattern should adhere to the original raga's swara pattern, which is called as aarohanam-avarohanam.

This form of improvisation was originally developed for the veena and consists of expanding the raga with syllables like tha, nam, thom, aa, nom, na, etc.

In contrast to Hindustani music of the northern part of India, Carnatic music is taught and learned through compositions, which encode many intricate musical details, also providing scope for free improvisation. Nearly every rendition of a Carnatic music composition is different and unique as it embodies elements of the composer's vision, as well as the musician's interpretation.

A Carnatic composition really has two elements, one being the musical element, the other being what is conveyed in the composition. It is probably because of this fact that most Carnatic music compositions are composed for singing. In addition to the rich musical experience, each composition brings out the knowledge and personality of the composer, and hence the words are as important as the musical element itself. This poses a special challenge for the musicians because rendering this music does not involve just playing or singing the correct musical notes; the musicians are expected to understand what was conveyed by the composer in various languages, and sing musical phrases that act to create the effect that was intended by the composer in his/her composition.

There are many types/forms of compositions. Geethams and swarajatis (which have their own peculiar composition structures) are principally meant to serve as basic learning exercises, and while there are many other types/forms of compositions (including padam, javali, and thillana), the most common forms are the Varnam, and most importantly, the kriti (or kirtanam), which are discussed below.

Varnam is a special item which highlights everything important about a raga, known as the sanchaaraas of a raga - this includes which notes to stress, how to approach a certain note, classical and characteristic phrases of a raga, the scale of the raga, and so on. Though there are a few different types of varnams, in essence, they all have a pallavi, an anupallavi, muktayi swaras, a charanam, and chittaswaras.

They are sung in multiple speeds, and are very good for practice.

In concerts, varnams are often sung at the beginning as they are fast and grab the audience's attention.

Carnatic songs (kritis) are varied in structure and style, but generally consist of three units, including Pallavi -- the equivalent of a refrain in Western music.


Carnatic music concerts are usually performed by a small ensemble of musicians who sit on a slightly elevated stage. Carnatic music concerts can be vocal recitals, accompanied by supporting instruments, or purely instrumental concerts, but irrespective of whether it is a vocal or purely instrumental concert, what is featured in a typical concert are compositions which form the core of this music. The lead-musician must also choose a signature octave based on his/her (vocal) range of comfort. However, it is expected that a musician maintains that same pitch once it is selected, and so to help all the performers maintain the selected pitch, the tambura is the traditional drone instrument used in concerts. However, tamburas are increasingly being replaced by śruti boxes, and now more commonly, the "Electronic tambura"
In a vocal recital, a concert team may have one or more vocalists, accompanied by instrumentalists. Other instruments such as the veena and/or flute can be found to occasionally accompany a lead vocalist, but usually a vocalist is supported by a violin player (who sits on his/her left), and a few percussion players including at least a mridangam (who usually sits on the other side of the vocalist, facing the instrumentalist). Other percussion instruments that are also used include the ghatam, kanjira and morsing, which also accompany the main percussion instrument and play almost in a contrapuntal fashion along with the beats. The objective of the accompanying instruments is far more than following the melody and keeping the beats. The accompaniments form an integral part of every composition presented, and they closely follow and augment the melodic phrases outlines by the lead singer. The vocalist and the violinist take turns while elaborating or while exhibiting creativity in sections like raga, niraval and kalpanaswaram. Unlike Hindustani music concerts, where an accompanying tabla player can keep beats without following the musical phrases at times, in Carnatic music, the accompaniments have to know follow intricacies of the composition since there are percussion elements such as eduppu, in several compositions. Some of the best concerts feature a good bit of interaction with the lead musicians and the accompaniments exchanging notes, and accompanying musicians predicting the lead singer musical phrases.

A contemporary Carnatic concert (called a kutcheri) usually lasts about three hours, and usually comprises a number of varied compositions. Carnatic songs are composed in a particular raga, which means that they do not deviate from the notes in the raga. Each composition is set with specific notes and beats, but performers improvise extensively. Improvisation occurs in the melody of the composition as well as in using the notes to expound the beauty of the raga.

Concerts usually begin with a varnam or an invocatory item which will act as the opening piece. The varnam is composed with an emphasis on swaras of the raga, but will also have lyrics, the saahityam. It is lively and fast to get the audience's attention. An invocatory item, may alternatively, follow the varnam.

After the varnam and/or invocatory item, the artist sings longer compositions called kirtanas (commonly referred to as kritis). Each kriti sticks to one specific raga, although some are composed with more than one raga; these are known as ragamalika (a garland of ragas).
After singing the opening kriti, usually, the performer sings the kalpanaswaram of the raga to the beat. The performer must improvise a string of swaras in any octave according to the rules of the raga and return to beginning of the cycle of beats smoothly, joining the swaras with a phrase selected from the kriti. The violin performs these alternately with the main performer. In very long strings of swara, the performers must calculate their notes accurately to ensure that they stick to the raga, have no awkward pauses and lapses in the beat of the song, and create a complex pattern of notes that an experienced audience can follow.

Performers then begin the main compositions with a section called raga alapana exploring the raga. In this, they use the sounds aa, ri, na, ta, etc. instead of swaras to slowly elaborate the notes and flow of the raga. This begins slowly and builds to a crescendo, and finally establishes a complicated exposition of the raga that shows the performer's skill. All of this is done without any rhythmic accompaniment, or beat. Then the melodic accompaniment (violin or veena), expounds the raga. Experienced listeners can identify many ragas after they hear just a few notes. With the raga thus established, the song begins, usually with lyrics. In this, the accompaniment (usually violin, sometimes veena) performs along with the main performer and the percussion (such as a mridangam). In the next stage of the song, they may sing niraval or kalpanaswaram again.

In most concerts, the main item will at least have a section at the end of the item, for the percussion to perform solo (called the tani avartanam). The percussion performers perform complex patterns of rhythm and display their skill. If multiple percussion instruments are employed, they engage in a rhythmic dialogue until the main performer picks up the melody once again. Some experienced artists may follow the main piece with a ragam thanam pallavi mid-concert, if they do not use it as the main item.

Following the main composition, the concert continues with shorter and lighter songs. Some of the types of songs performed towards the end of the concerts are tillanas and thukkadas - bits of popular kritis or compositions requested by the audience. Every concert that is the last of the day ends with a mangalam, a thankful prayer and conclusion to the musical event.
Audience

The audience of a typical concert has a reasonable understanding of Carnatic music. It is also typical to see the audience tapping out the tala in sync with the artist's performance. As and when the artist exhibits creativity, the audience acknowledge it by clapping their hands. With experienced artists, towards the middle of the concert, requests start flowing in. The artist usually plays the request and it helps in exhibiting the artist's broad knowledge of the several thousand kritis that are in existence.

Karnataka Sangita (Venu Flute)

Athenian (b. c. 168 BC) - Delphic Hymn (c. 138 BC)

The First Delphic Hymn, from Ancient Greece, is the earliest unambiguous surviving example of notated music from anywhere in the western world.


The Hymn, written to Apollo, was found inscribed in stone in Delphi in 1893 by a French archaeologist;


all that is known about its composer is that it was written by an Athenian, since the part of the inscription giving the name of the composer is difficult to read.



It was probably written for the boys choir at the Pythian Games in 138 BC.

The Pythian Games (Delphic Games) were one of the four Panhellenic Games of Ancient Greece, a forerunner of the modern Olympics, held every four years at the sanctuary of Apollo at Delphi.

They were held in honor of Apollo two years before and after each Olympic Games, and between each Nemean and Isthmian Games. They were founded sometime in the 6th century BC, and, unlike the Olympic Games, also featured competitions for music and poetry. The music and poetry competitions pre-dated the athletic portion of the games, and were said to have been started by Apollo after he killed Python and set up the oracle at Delphi. Otherwise, the athletic events were the same as the Olympic Games. A four-horse chariot race was held in a hippodrome in the plain, not far from the sea, in the place where the original stadium was sited.

The winners received a wreath of bay laurels from the city of Tempe in Thessaly. Smaller Pythians were celebrated in many other cities of Asia Minor and Greece.

During the Delphic Games, which lasted three months, the Holy Delphic Peace was announced. The ceasefire guaranteed the people – participants and spectators – to travel without risk to the Games and back to their homeland. The enthusiasm of the public is bequeathed. Scores of people flock out of entire Greece, bringing in substantial revenue to the city. The Agora, the Market took place during the Games, and became a very important significant emporium for the Arts.

In 394 AD Theodosius I, Emperor of Rome and Byzantium, banned the Delphic Games as a heathen event.

Unfortunately the testimonials and documents covering the Delphic Games were mainly destroyed through human violence and natural catastrophes. All the remaining resources highlight the glory and glamour of the Games. The records of Aristoteles present an overview about the festivities: the Games lasted for six to eight days and were started by a Holy Game, which showcased the victory of Apollo over Python. In a festive and glamorous Procession a “Festival Sacrifice” was performed in the Temple of the Apollo. After four days of festivities the Games began.

The Music and Theatre Play competitions were carried out in the Theatre, the athletic contests in the Stadium of Delphi. The chariot races were held in the nearby plain of Krisa, taking into account the hilly landscape of Delphi.



The musical disciplines included:

One Hymn addressed to Apollo
Kithara and Flute with or without singing
Acting and Dance Competitions
Painting Competitions

The Delphic Games were honorary Games. The winners did not receive any prize money, but a Laurel Twig, a token sacred to Apollo. The cities supported their representatives with all measures available, to succeed as good as possible at the Games.

First Delphic Hymn




The Hymn is monophonic, consisting of a single melodic line, and it is in the cretic meter, which is quintuple. It is in the Dorian mode -- not the Dorian mode as known in the present day, but rather as it originally was in Ancient Greece, roughly corresponding to the present day Phrygian, although the piece can also be heard as G Lydian (the names of the modes were mixed up by Anicius Manlius Severinus Boethius, who translated ancient Greek theoretical writings into Latin in the 6th century, and the confusion has remained).

In addition to being the earliest surviving substantial fragment of ancient music, the First Delphic Hymn is also the longest; unfortunately it is not a complete composition (the Seikilos epitaph, dated anywhere between the 2nd century BC and the 1st century AD, is the earliest surviving complete piece of music).


While the kithara is thought to have been used for the first section of the hymn, the second section has been considered to have been performed on the aulos (double oboe); it is also considerably chromatic. Whether the performer played the same music as the singer(s) in unison, or embellished the melodic line in a heterophonic texture, or played a drone, or improvised some form of counterpoint, are unknown; reconstructions of ancient Greek music are highly controversial.

[6850 Carnatic Music / 6832 Delphic Hymn]