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ථාටයක් (හින්දි: ठाट; මරාඨි: थाट; බෙංගාලි: ঠাট; also transliterated as thaat) is a in . Thāts always have seven different pitches (called ) and are a basis for the organization and classification of in North Indian classical music.
පද්ධතිය
නූතන ථාට පඬතිය විෂ්ණු නාරායන් භාත්ඛණ්ඩේ විසින් විසිවන දශකයේ මුල් දශකයේ නිමැවිණි. භාත්ඛණ්ඩේ modeled his system after the classification, devised around 1640 A.D. by the . Bhatkhande visited many of the ඝරණ (පාසල්) of උතුරු ඉන්‍දියානු සංගීතය, conducting a detailed analysis of Indian . His research led him to a system of ten thāts, each named after a prominent raga associated with it. Many correspond to one or other of the European . They are listed here according to their pitches; lower-frequency pitches are represented with lowercase letters and higher-frequency pitches with uppercase letters.
- බිලාවල් රාගය (=): S R G m P D N S'
- ඛමාජ් රාගය (=): S R G m P D n S'
- කාෆි රාගය (=): S R g m P D n S'
- ආශාවරී රාගය (=): S R g m P d n S'
- භෛරවී රාගය (=): S r g m P d n S'
- භෛරව රාගය: S r G m P d N S'
- යමන් රාගය (=): S R G M P D N S'
- මාර්වා රාගය: S r G M P D N S'
- පූර්වි රාගය: S r G M P d N S'
- තෝඩි රාගය: S r g M P d N S'
One can arbitrarily designate any pitch as Sa (the ) and build the series from there. While all thāts contain seven notes, many ragas (of the audav and shadav type) contain fewer than seven and some use more. A raga need not use every swara in a given thāt; the assignment is made according to whatever notes the raga does contain (but see note 5). The relatively small number of thāts (compared to the 72 of South Indian music) reflects Bhatkhande's compromise between accuracy and efficiency: The degree of fit between a raga and its thāt is balanced with the desire to keep the number of basic thāts small. Ambiguities inevitably arise. For example, Raga Hindol, assigned to Kalyan thāt, uses the notes S G M D N, which are also found in Marwa thāt. Raga Jaijaivanti contains both shuddha nishad and komal nishad (and sometimes both versions of gandhar as well), which by definition corresponds to no thāt. Bhatkande resolved such cases "by an ad hoc consideration, appealing to musical performance practice" (see Ramesh Gangolli's article, cited in note 4 above). Each thāt contains a different combination of altered (vikrt) and natural (shuddha) notes. The flattening or sharpening of pitches always occurs with reference to the interval pattern in Bilawal thāt.
In effect only scales are called "thāt." Bhatkhande applied the term "thāt" only to scales that fulfill the following rules:
- A thāt must have seven notes.
- The notes must be in sequence: Sa Re Ga Ma Pa Dha Ni (whether shuddha or vikrt—both versions of a single note are not allowed).
- A thāt, unlike a raga, does not have separate ascending and descending lines.
- A thāt has no emotional quality (which ragas, by definition, do have).
Thāt and time of performance
Ragas are normally ascribed to certain periods of the day and night (See ). 's Sangita-Makaranda, written sometime between 7th and 11th century, gives warnings to musicians against playing ragas at the incorrect time of day. Traditionally, disastrous consequences are to be expected. Bhatkhande stated that the correct time to play a raga had a relation to its thāt (and to its ).
මූලාශ්‍ර
- Vishnu Narayan Bhatkhande (1909–1932). Hindustani Sangeet Paddhati. Sangeet Karyalaya (1990 reprint). ISBN .
{{}}: CS1 maint: date format ()This is the four-volume work in which Bhatkhande, after thorough analysis, makes the case for the ten thāts. Originally written in , it has been widely translated. - Vishnu Narayan Bhatkhande (1974). A Short Historical Survey of the Music of Upper India. Indian Musicological Society.
- Ramesh Gangolli (1992-12-23). "Chatura Pandit : V.N.Bhatkhande". සම්ප්‍රවේශය 2007-04-11.
- Jairazbhoy (1995)
- Kaufmann (1968)
සාහිත්‍යය
- Jairazbhoy, N.A. (1995), The Rags of North Indian Music: Their Structure and Evolution, Bombay: Popular Prakashan
- Kaufmann, Walter (1968), The Ragas of North India, Calcutta, New Delhi, Bombay: Oxford and IBH Publishing Company
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
ථ ටයක හ න ද ठ ट මර ඨ थ ट බ ග ල ঠ ট also transliterated as thaat is a in Thats always have seven different pitches called and are a basis for the organization and classification of in North Indian classical music පද ධත යන තන ථ ට පඬත ය ව ෂ ණ න ර යන භ ත ඛණ ඩ ව ස න ව ස වන දශකය ම ල දශකය න ම ව ණ භ ත ඛණ ඩ modeled his system after the classification devised around 1640 A D by the Bhatkhande visited many of the ඝරණ ප සල of උත ර ඉන ද ය න ස ග තය conducting a detailed analysis of Indian His research led him to a system of ten thats each named after a prominent raga associated with it Many correspond to one or other of the European They are listed here according to their pitches lower frequency pitches are represented with lowercase letters and higher frequency pitches with uppercase letters බ ල වල ර ගය S R G m P D N S ඛම ජ ර ගය S R G m P D n S ක ෆ ර ගය S R g m P D n S ආශ වර ර ගය S R g m P d n S භ රව ර ගය S r g m P d n S භ රව ර ගය S r G m P d N S යමන ර ගය S R G M P D N S ම ර ව ර ගය S r G M P D N S ප ර ව ර ගය S r G M P d N S ත ඩ ර ගය S r g M P d N S One can arbitrarily designate any pitch as Sa the and build the series from there While all thats contain seven notes many ragas of the audav and shadav type contain fewer than seven and some use more A raga need not use every swara in a given that the assignment is made according to whatever notes the raga does contain but see note 5 The relatively small number of thats compared to the 72 of South Indian music reflects Bhatkhande s compromise between accuracy and efficiency The degree of fit between a raga and its that is balanced with the desire to keep the number of basic thats small Ambiguities inevitably arise For example Raga Hindol assigned to Kalyan that uses the notes S G M D N which are also found in Marwa that Raga Jaijaivanti contains both shuddha nishad and komal nishad and sometimes both versions of gandhar as well which by definition corresponds to no that Bhatkande resolved such cases by an ad hoc consideration appealing to musical performance practice see Ramesh Gangolli s article cited in note 4 above Each that contains a different combination of altered vikrt and natural shuddha notes The flattening or sharpening of pitches always occurs with reference to the interval pattern in Bilawal that In effect only scales are called that Bhatkhande applied the term that only to scales that fulfill the following rules A that must have seven notes The notes must be in sequence Sa Re Ga Ma Pa Dha Ni whether shuddha or vikrt both versions of a single note are not allowed A that unlike a raga does not have separate ascending and descending lines A that has no emotional quality which ragas by definition do have That and time of performanceRagas are normally ascribed to certain periods of the day and night See s Sangita Makaranda written sometime between 7th and 11th century gives warnings to musicians against playing ragas at the incorrect time of day Traditionally disastrous consequences are to be expected Bhatkhande stated that the correct time to play a raga had a relation to its that and to its ම ල ශ රVishnu Narayan Bhatkhande 1909 1932 Hindustani Sangeet Paddhati Sangeet Karyalaya 1990 reprint ISBN 8185057354 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 CS1 maint date format link This is the four volume work in which Bhatkhande after thorough analysis makes the case for the ten thats Originally written in it has been widely translated Vishnu Narayan Bhatkhande 1974 A Short Historical Survey of the Music of Upper India Indian Musicological Society Ramesh Gangolli 1992 12 23 Chatura Pandit V N Bhatkhande සම ප රව ශය 2007 04 11 Jairazbhoy 1995 Kaufmann 1968 ස හ ත යයJairazbhoy N A 1995 The Rags of North Indian Music Their Structure and Evolution Bombay Popular Prakashan Kaufmann Walter 1968 The Ragas of North India Calcutta New Delhi Bombay Oxford and IBH Publishing Company