An important embellishment in music-making, vocal as well as instrumental. In it, musical notes are so produced as to touch upon the lower as well as the upper adjacent notes by resorting to a vibratory mode of vocalizing or playing.
The term meaning 'solid' refers to one of the four instrumental classes, the other three being avanaddha, sushira, and tala. Members of the ghana class are technically described as idiophones or autophones as the entire body of the concerned instrument phonates when played. The obvious examples are cymbals, rattles, gongs, and clappers. Instruments such as jhanj, kartal, morchang, and different kinds of bells abound in India. They are mostly employed to create rhythm. Primitive, folk, devotional, and popular categories of music use them in appreciable measure.
A school of thought in music which determines the nature, proportion, aim, and actual rendering of each technical feature in music-making. It is a formulation of the basic musical philosophy or ideology which influences conception, teaching, learning, perfor mance, reception, and codification of music in its major aspects.
A popular poetico-musical form of Hindustani semi-art or light music with considerable assimilation of initial Persian and later Urdu poetic influences.
The basic gamut of notes employed in the early music-tradition.The ancient tradition was stated to have employed three grama-s, beginning from either shadja, madhyama, or gandhara note. Later, the third grama, based on gandhara reportedly went out of vogue as it required moving in an usually high range of notes.