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ඛ්යාල් (හින්දි: ख़्याल, උර්දු: خیال) is the modern genre of classical singing in . Its name comes from an Arabic word meaning "imagination". It is thought to have developed out of the qawwal singing style. It appeared more recently than , is a more free and flexible form, and it provides greater scope for . Like all , ඛ්යාප් is , with a single line and no parts. The modes are called , and each raga is a complicated framework of melodic rules.
කරුණාකර මෙම ලිපිය සිංහල භාෂාවට පරිවර්තනය කිරීමෙන් දායකවන්න.
Characteristics
ඛ්යාල් bases itself on a
piusha]]' of short songs (two to eight lines); a ඛ්යාප් song is called a bandish. Every singer generally renders the same bandish differently, with only the text and the raga remaining the same. ඛ්යාප් bandishes are typically composed in a variant of Urdu/Hindi, and sometimes in , or , and these compositions cover diverse topics, such as romantic or divine love, praise of kings or gods, the seasons, dawn and dusk, and the pranks of Krishna, and they can have symbolism and imagery . The bandish is divided into two parts — the sthayi (or asthayi) and the antara. The sthayi often uses notes from the lower octave and the lower half of the middle octave, while the antara ascends to the tonic of the upper octave and beyond before descending and linking back to the sthayi . The singer uses the composition as raw material for improvisation, accompanied by a or such as the or playing off the singer's melody line, a set of two hand drums (the ), and a in the background. The role of the accompanist playing the melody-producing instrument is to provide continuity when the singer pauses for breath, using small variations of the singer's phrases or parts thereof. While there is a wide variety of that could be used by the percussionist, ඛ්යාප් performances typically use Ektaal, Jhoomra, Jhaptaal, Tilwada, Teentaal, Rupak, and Adachautaal .
A typical ඛ්යාල් performance uses two songs — the බඩා ඛ්යාල් or great ඛ්යාල්, in slow tempo (), comprises most of the performance, while the chhota ඛ්යාල් (small ඛ්යාල්), in fast tempo (), is used as a finale and is usually in the same raga but a different තාල . The songs are sometimes preceded by improvised to sketch the basic raga structure without drum accompaniment; alap is given much less room in ඛ්යාල් than in dhrupad.
As the songs are short, and performances long (half an hour or more), the lyrics lose some of their importance. Improvisation is added to the songs in a number of ways: for example improvising new melodies to the words, using the syllables of the songs to improvise material (, ), singing the names of the scale degrees — sa, re, ga, ma, pa, dha and ni () — or simply interspersing phrases sung on vowels, usually the vowel A, ආකාර් තාන්. are one of the major distinguishing features of the ඛ්යාල් . Now and then, the singer returns to the song, especially its first line, as a point of reference. Besides the vilambit (slow) and drut (fast) tempos, a performance may include ati-vilambit (ultra-slow), madhya (medium speed) and ati-drut (super-fast) tempos. Song forms such as , or are sometimes used to round off a ඛ්යාල් performance.
ඉතිහාසය
Khayal was popularized by Niyamat Khan (a.k.a. Sadarang) and his nephew Firoz Khan (a.k.a. Adarang), both musicians in the court of Muhammad Shah Rangile (1719–1748). It seems likely that ඛ්යාල් already existed at the time, although perhaps not in the present form . The compositions of Sadarang and Adarang employ the theme of Hindi love-poetry. The ඛ්යාල් of this period also acquired the dignity of Dhrupad and the manner of the veena in its glide or , plus a number of musical that were introduced into the body of the composition []. The system arose out of stylistic rendering of the ඛ්යාල් by various subsequent generations of musicians. The gharanas have distinct styles of presenting the ඛ්යාල් — how much to emphasize and how to enunciate the words of the composition, when to sing the sthayi and antara, whether to sing an unmetered alap in the beginning, what kinds of improvisations to use, how much importance to give to the rhythmic aspect, and so on.
With India united into a country from various scattered princely states, with royal courts and the zamindari system abolished, and with modern communications and recording technology, stylistic borders have become blurred and many singers today have studied with teachers from more than one gharana. This used to be uncommon, and a few decades ago teachers used to forbid students to even hear other gharana singers perform, not allowing them to buy records or listen to the radio []. Today, as always, a singer is expected to develop an individual style, albeit one that is demonstrably linked to tradition.
මූලාශ්ර
- Menon, Raghava R. (1995). The Penguin Dictionary of Indian Classical Music. Penguin Books (India) Ltd. p. 95. ISBN .
{{}}: Cite has empty unknown parameter:|coauthors=() - Bagchee, Sandeep (1998). Nād: Understanding Rāga Music. BPI (India) PVT Ltd. pp. 121–125. ISBN .
{{}}: Cite has empty unknown parameter:|coauthors=() - Wade, Bonnie (September 1973). "Chĩz in Khyāl: The Traditional Composition in the Improvised Performance". Ethnomusicology. 17 (3). Society for Ethnomusicology: 446. සම්ප්රවේශය 2009-09-30.
බාහිර සබැඳුම්
- ඛ්යාල් පිළිබඳ බිඳක් Retrieved 2007-06-10
- Khyal - Fantasy in Music 2007-06-07 at the Wayback Machine Retrieved 2007-06-10
විකිපීඩියාව, විකි, සිංහල, පොත, පොත්, පුස්තකාලය, ලිපිය, කියවන්න, බාගන්න, නොමිලේ, නොමිලේ බාගන්න, mp3, වීඩියෝ, mp4, 3gp, jpg, jpeg, gif, png, පින්තූරය, සංගීතය, ගීතය, චිත්රපටය, පොත, ක්රීඩාව, ක්රීඩා., ජංගම දුරකථන, android, ios, apple, ජංගම දුරකථන, samsung, iphone, xiomi, xiaomi, redmi, honor, oppo, nokia, sonya, mi, පීසී, වෙබ්, පරිගණකය
ඛ ය ල හ න ද ख य ल උර ද خیال is the modern genre of classical singing in Its name comes from an Arabic word meaning imagination It is thought to have developed out of the qawwal singing style It appeared more recently than is a more free and flexible form and it provides greater scope for Like all ඛ ය ප is with a single line and no parts The modes are called and each raga is a complicated framework of melodic rules ම ම ල ප ය පර වර තනය කළ ය ත ය කර ණ කර ම ම ල ප ය ස හල භ ෂ වට පර වර තනය ක ර ම න ද යකවන න Characteristicsඛ ය ල bases itself on a ul piusha of short songs two to eight lines a ඛ ය ප song is called a bandish Every singer generally renders the same bandish differently with only the text and the raga remaining the same ඛ ය ප bandishes are typically composed in a variant of Urdu Hindi and sometimes in or and these compositions cover diverse topics such as romantic or divine love praise of kings or gods the seasons dawn and dusk and the pranks of Krishna and they can have symbolism and imagery The bandish is divided into two parts the sthayi or asthayi and the antara The sthayi often uses notes from the lower octave and the lower half of the middle octave while the antara ascends to the tonic of the upper octave and beyond before descending and linking back to the sthayi The singer uses the composition as raw material for improvisation accompanied by a or such as the or playing off the singer s melody line a set of two hand drums the and a in the background The role of the accompanist playing the melody producing instrument is to provide continuity when the singer pauses for breath using small variations of the singer s phrases or parts thereof While there is a wide variety of that could be used by the percussionist ඛ ය ප performances typically use Ektaal Jhoomra Jhaptaal Tilwada Teentaal Rupak and Adachautaal A typical ඛ ය ල performance uses two songs the බඩ ඛ ය ල or great ඛ ය ල in slow tempo comprises most of the performance while the chhota ඛ ය ල small ඛ ය ල in fast tempo is used as a finale and is usually in the same raga but a different ත ල The songs are sometimes preceded by improvised to sketch the basic raga structure without drum accompaniment alap is given much less room in ඛ ය ල than in dhrupad As the songs are short and performances long half an hour or more the lyrics lose some of their importance Improvisation is added to the songs in a number of ways for example improvising new melodies to the words using the syllables of the songs to improvise material singing the names of the scale degrees sa re ga ma pa dha and ni or simply interspersing phrases sung on vowels usually the vowel A ආක ර ත න are one of the major distinguishing features of the ඛ ය ල Now and then the singer returns to the song especially its first line as a point of reference Besides the vilambit slow and drut fast tempos a performance may include ati vilambit ultra slow madhya medium speed and ati drut super fast tempos Song forms such as or are sometimes used to round off a ඛ ය ල performance ඉත හ සයKhayal was popularized by Niyamat Khan a k a Sadarang and his nephew Firoz Khan a k a Adarang both musicians in the court of Muhammad Shah Rangile 1719 1748 It seems likely that ඛ ය ල already existed at the time although perhaps not in the present form The compositions of Sadarang and Adarang employ the theme of Hindi love poetry The ඛ ය ල of this period also acquired the dignity of Dhrupad and the manner of the veena in its glide or plus a number of musical that were introduced into the body of the composition තහව ර කර න ම ත The system arose out of stylistic rendering of the ඛ ය ල by various subsequent generations of musicians The gharanas have distinct styles of presenting the ඛ ය ල how much to emphasize and how to enunciate the words of the composition when to sing the sthayi and antara whether to sing an unmetered alap in the beginning what kinds of improvisations to use how much importance to give to the rhythmic aspect and so on With India united into a country from various scattered princely states with royal courts and the zamindari system abolished and with modern communications and recording technology stylistic borders have become blurred and many singers today have studied with teachers from more than one gharana This used to be uncommon and a few decades ago teachers used to forbid students to even hear other gharana singers perform not allowing them to buy records or listen to the radio තහව ර කර න ම ත Today as always a singer is expected to develop an individual style albeit one that is demonstrably linked to tradition ම ල ශ රMenon Raghava R 1995 The Penguin Dictionary of Indian Classical Music Penguin Books India Ltd p 95 ISBN 0 14 051324 8 a href wiki E0 B7 83 E0 B7 90 E0 B6 9A E0 B7 92 E0 B6 BD E0 B7 8A E0 B6 BD Cite book class mw redirect title ස ක ල ල Cite book cite book a Cite has empty unknown parameter coauthors help Bagchee Sandeep 1998 Nad Understanding Raga Music BPI India PVT Ltd pp 121 125 ISBN 81 86982 07 8 a href wiki E0 B7 83 E0 B7 90 E0 B6 9A E0 B7 92 E0 B6 BD E0 B7 8A E0 B6 BD Cite book class mw redirect title ස ක ල ල Cite book cite book a Cite has empty unknown parameter coauthors help Wade Bonnie September 1973 Chĩz in Khyal The Traditional Composition in the Improvised Performance Ethnomusicology 17 3 Society for Ethnomusicology 446 සම ප රව ශය 2009 09 30 බ හ ර සබ ඳ ම ඛ ය ල ප ළ බඳ බ ඳක Retrieved 2007 06 10 Khyal Fantasy in Music 2007 06 07 at the Wayback Machine Retrieved 2007 06 10