Acoustic Analysis of Syllables of Tabla

By Dr. Rajeev Shukla

Musical sound contains multiple frequencies in harmonic and inharmonic ratios. Verification of Raman's model, effect of different parts of tabla on its tonal qualities and effect of sound and rhythm of tabla on human nature and behaviour have been studied in this book on the basis of results obtained by the experiments.

• Language: English
• Publisher: Sahityapedia Publishing
• Release date: Aug 23, 2023
• ISBN: 9789359240862

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Acoustic Analysis of Syllables of Tabla

Dr. Rajeev Shukla

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Sahityapedia Publishing

Noida, India – 201301

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Copyright © 2023 Dr. Rajeev Shukla

All Rights Reserved

First Edition – 2023

ISBN - 978-93-5924-086-2

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* * *

This thesis was submitted for Ph.D. in Bhatkhande Music Institute, Deemed to be University, Lucknow.

Dr. Rajeev Shukla

Dr. Rajeev Shukla is a renowned Tabla player of Banaras Gharana. He learned tabla from his father Pt. Sheetala Prasad Shukla in the early stage. He got his higher training from Pt. Sheetal Prasad Mishra and Guru Pt. Rang Nath Mishra ji of Banaras Gharana for almost 15 years in Guru shishya parampara. He is approved as an 'A' grade Tabla Player from All India Radio. He has been awarded from prestigious U. P. Sangeet Natak Academy award (state award of UP) for the year 2008 for his contribution in the field of Tabla.

He is NET qualified in music from UGC. He completed his Ph.D. in Tabla on the interdisciplinary topic, Acoustic Analysis of Syallables of Tabla from Bhatkhande Sanskriti Vishwavidyalay, Uttar Pradesh, Lucknow. He is also M.Sc. in Physics from University of Lucknow.

He has been awarded by various dignitaries such as by Smt Pratibha Pateel, the President of India in Mauritius for his rhythm ensemble in 2011, Shri Anirudhha Jagannath the President of Mauritius in 2012, by Defence Minister of India, Shri Rajnath Singh in 2022 and Prime Minister of Mauritius Shri Pravind Jagnauth in 2023.

He has performed in All over India, UK, Ireland, Fiji Islands, Gulf countries, Mauritius, Sri Lanka, Bangladesh and Nepal.

Dedicated to

My Respected Gurudev

Late Pt. Rangnath Mishra Ji

&

My Loving Family

ACKNOWLEDGEMENT

It gives me immense pleasure that I have an opportunity to place on record the contributions of several people who have been important in forming this thesis. I want to thank the almighty, my Guru Late Pt. Rang Nath Mishra ji and my parents for their blessings for this work. I have been benefited from numerous people during this work. First and foremost, I would like to express my sincere gratitude to my supervisor Dr. Manoj Kumar Mishra, Head, Department of Taal Vadya, Bhatkhande Sanskrit Vishwavidyalya, Lucknow for his continuous support in my research. His guidance helped me during the entire period of the writing of this thesis. Apart from this, I have learned from him how to remain calm in adverse situations, which is very necessary for a research career.

I express a deep sense of gratitude to Prof. (Dr.) Bal Chandra Yadav,Head, Department of Physics, Babasaheb Bhimrao Ambedkar (A Central) University, Lucknow, my Co-Supervisor, who has guided me a lot to deal with the physical aspects of the sound of music related to my research work. I especially thank him for showing enormous patience and giving exceptional support during my research work.

I am very thankful to Dr. S. C. Mishra, former Head, Department of Physics, B. S. N. V. P. G. College, Lucknow for giving me his valuable guidance. I am also thankful to my friend Dr. Navnit Mishra, Associate Professor in the Department of Physics, Brahmanand College, Kanpur for giving his innovative ideas for my research work.

I would like to express my heartfelt reverences towards Dr. Purnima Pande, former Vice-Chancellor of I. K. S. Vishvavidyalaya, Khaiaragarh & Bhatkhande Music Institute Deemed University, Lucknow, Ex- Chairperson of U. P. Sangeet Natak Akademy, Lucknow. I am extremely grateful to her for her valuable suggestions in writing the thesis and incredible support throughout my research work.

I am highly grateful to Shri Ranjan Kumar (IAS), Vice-Chancellor, Bhatkhande Music Institute Deemed To Be University, Lucknow for his valuable suggestions and inspiration. I am extremely thankful to Prof. Srishti Mathur, Head, Department of Vocal Music and Research Coordinator, Bhatkhande Music Institute Deemed To Be University, Lucknow for her continuous support in official matters during my Ph. D. work. I am extremely grateful to Dr. Ruchi Khare, Assistant Professor, Department of Dance, Bhatkhande Music Institute Deemed To Be University, Lucknow for her continuous help, support and cooperation during the entire period of my research.

I express my heartiest thanks to the library staff of Bhatkhande Music Institute, Babasaheb Bhimrao Ambedkar (A Central) University, Lucknow, and U. P. Sangeet Natak Academy, Lucknow for providing me valuable literary material.

I would also like to thank Prof. Kumkum Dhar, former Head, Department of Dance, Bhatkhande Music Institute Deemed To Be University, Lucknow, Pandit Amit Mukherjee, renowned Vocalist, and former Head – ITC, Kolkata, Dr. Rajeshwar Acharya, renowned Vocalist and Chairman of U. P. Sangeet Natak Akademy, Lucknow, Guru Sheetal Prasad Mishra, renowned Tabla player of Benares Gharana of Tabla, Ustad Ilmas Hussain Khan, renowned Tabla player of traditional family of Lucknow Gharana of Tabla for giving me their valuable inputs in my research work.

I express my gratitude to all my colleagues of U. P. Sangeet Natak Akademy and Kathak Kendra, Lucknow for giving me all official support, which made me comfortable during my research work.

In the end, I feel that I am running short of words to express my feelings for my father Late Shri Sheetala Prasad Shukla, my mother Late Smt. Prabhawati Devi Shukla and my sisters Dr. Shobha Tripathi and Smt. Sarla Sharma for their kind blessings and continuous support in my research work. I am also thankful to my loving son Chandra Mauli Shukla for cooperating me with my busy schedule during the entire process of my research work. I am immensely grateful to my wife Dr. Surabhi Shukla for her continuous support, motivation, love, and cooperation during my entire period of research.

Finally, I want to thank one and all who directly or indirectly helped me during my research work.

- DR. RAJEEV SHUKLA

List of Papers Presented in Seminars and Published in Journals

Attended the National Seminar held on Shastriya Sangeet Avam Vartman Parivesh (शास्त्रीय संगीत एवं वर्तमान परिवेश) during 16 & 17 March 2018, organized by Music Department of Shri Agrasen Kanya P. G. College, Varanasi. Presented paper in this seminar titled Bhartiya Sangeet Ke Prachar Avam Prasar me Electronic Avam Sanchar Madhyamo ki Bhoomika (भारतीय संगीत के प्रचार एवं प्रसार में इलेक्ट्रानिक एवं संचार माध्यमों की भूमिका).

Attended the International Workshop and Seminar during 21, 22 & 23 May, 2018, organized by Pt. Gurupada Sewadham, Lucknow in collaboration with Bhatkhande Music Institute Deemed To Be University, Lucknow.

Attended the International Seminar held on Traditional Music Education and Career Options during 28, 29 & 30 January 2019, organized by Bhatkhande Music Institute Deemed To Be University, Lucknow. Presented paper in this seminar titled Aadhunik Sandarbh me Sangeet Shikchhan ki Vibhinna Shikchhan Paddhatiyan (आधुनिक संदर्भ में संगीत की शिक्षण की विभिन्न शिक्षण पद्धतियाँ).

Attended the International Seminar held on Presentation and Techniques in Indian Music during 28 & 29 January 2020, organized by Bhatkhande Music Institute Deemed To Be University, Lucknow. Presented paper in this seminar titled Purpose of Education of Music.

Published Paper titled ‘‘तबले के वर्णों का वैज्ञानिक विश्लेषण’’ in prestigious journal ‘‘संगना’’ अंक 34&35 (अप्रैल 2019 & सितम्बर 2019½, ISSN 2454-8456, P- 88-95, Publisher-Sangeet Natak Academy, New Delhi, Govt. of India.

PREFACE

The history of the syllables of percussion instruments can be traced back from the Vedic period. These syllables are well defined in ‘Natyashastra’ written by Sage Bharat and ‘Sangeet Ratnaker’ written by Pt. Sharangdev of the medieval period. Music up to the medieval period was closely connected with spirituality. Gradually the aim of the music shifted from divinity to the entertainment of general people. Tabla emerged as the most popular Indian rhythm instrument from the beginning of the 20th century.

Tabla produces different syllables by the vibration of membrane tightened upon it. The vibrations start sound waves propagating through the air. Most musical instruments use resonance to amplify the sound waves and make the sound louder. Tabla has a complex structure. Talas (Composition of Definite Syllables) are composed according to the nature and style of singing (Music). This is evidence of Psycho-Acoustic treatment by tabla syllables in the field of Indian Music. The production of different syllables from different parts of tabla is the most important factor. The sound of tabla depends on various factors of its manufacturing and style of playing (fingering) of the tabla player. Hence, it was necessary to discuss the effect of different parts of tabla on its tonal quality and to analyze the acoustic characteristics of syllables of tabla on the scientific ground to explain the timbre characteristics of this instrument. This thesis has been divided into six chapters as follows:

Chapter 1 – Introduction

This chapter includes the origin of music, the evolution of musical instruments, classification of musical instruments, construction of tabla, tuning of tabla, basic terminology of tabla, acceptance, and establishment of tabla in the music world, ‘Rasa’, ‘Bhava’ and ‘Rhythm’. It describes the objective of the present scientific investigation of the syllables of tabla.

Chapter 2 -Characteristics of Sound Waves

Introduction of related physical parameters such as; Production of Sound - Longitudinal waves, Transverse waves, basic terminology related to wave motion – Amplitude, Time Period, Frequency, Wavelength, Wave – Velocity, etc are depicted in this chapter. This chapter also includes an explanation of characteristics of sound in reference of ‘Tabla’ – Loudness, Pitch, Quality, explanation of physical terms in reference of tabla, Physics of sound of Tabla, Musical Scale, etc.

Chapter 3 -Syllables of Tabla

Origin, history and number of syllables of tabla in the present scenario are described in this chapter. It also includes a brief description of Gharanas and the different styles of playing tabla.

Chapter 4 -Experimental Analysis of Syllables of Tabla

The method of an experimental analysis of syllables of tabla is described in Chapter 4. The experimental procedures, 3D (time, frequency, and amplitude) spectrum analysis of the syllables produced by both parts of tabla with Time – Amplitude graphs are covered in this chapter. It has also been tried to find some useful suggestions for a tabla player on the ground of appropriate use of these parameters in this chapter.

Chapter 5 -Application of Science in the Art of Playing of Tabla

Chapter 5 describes about the dependency of the sound of tabla on various factors of its manufacturing, the effect of different parts of tabla (skin, syahi, height, material, etc) on its tonal quality (acoustic character), and the effect of melody and rhythm of tabla on the human nature and behavior. This chapter also includes the interviews of eminent physicists and artists to correlate the scientific explanations with the artistic references.

Chapter 6 - Conclusions and Suggestions

Detail research work has been summarized in Chapter 6. This chapter also gives the guide lines for further research work in the field of scientific analysis with other parameters (such as skin material, wood, and metal materials, etc) of tabla in different physical conditions.

CONTENTS

Chapter 1 : Introduction

1.0 Introduction:

1.1 Origin of Music:

1.1.1 Origin of Music from Divinity:

1.1.2 Origin of Music from Nature:

1.2 Origin of Indian Musical Instruments:

1.3 Classification of Musical Instruments:

1.3.1 Tat Vadya (String Instruments / Chordophones):

1.3.1.1 Pluck Instruments or ‘Tantu Vadya’ (तंत्र वाद्य):

1.3.1.2 Bow instruments or ‘Gaja Vadya’ (गज वाद्य)

1.3.2 SushirVadya (Wind Instruments / Aerophones / (सुषिर वाद्य)

1.3.3 GhanVadya (Idiophones / घन वाद्य)

1.3.4. Avanaddha Vadya (Membranophones / अवनद्ध वाद्य):

1.4 Origin of Tabla:

1.4.1 TABLA’S ORIGIN FROM ‘TRIPUSHKARA’:

1.4.2 TABLA’S ORIGIN FROM ‘PAKHAWAJ’:

1.4.3 Tabla’s Origin From ‘TABAL – JUNG’:

1.5 Acceptance and Establishment of Tabla in the music world:

1.6 Construction of Tabla:

1.7 Basic Terminology of Tabla:

1.7.1 Tala (ताल):

1.7.2 Laya (लय):

1.7.3 Bole (बोल):

1.7.4 Theka (ठेका):

1.7.5 Matra (मात्रा):

1.7.6 Avartan (आवर्तन):

1.7.7 Vibhag (विभाग):

1.7.8 Tihai:

1.7.8.1 Damdar Tihai:

1.7.8.2 BedamTihai:

1.8 Tala Notation System:

1.8.1 BhatkhandeTala System:

1.8.2 Vishnu Digamber Tala System:

1.8.3 Carnatic Tala System:

1.9 Rasa, Bhava and Rhythm:

1.10 Status of work done in the Area:

1.11 Objective of Present Work:

Chapter 2 : Characteristics of Sound Waves

2.0 Introduction:

2.1 Production of Sound:

2.2 Types of Mechanical Waves:

2.2.1 Longitudinal Waves:

2.2.2 Transverse Waves:

2.3 Basic Terminology related to the Wave Motion:

2.3.1 Amplitude:

2.3.2 Time Period:

2.3.3 Frequency:

2.3.4 Wavelength:

2.3.5 Wave Velocity:

2.4 Explanation of Characteristics of Sound in reference of Tabla:

2.4.1 Loudness:

2.4.2 Pitch:

2.4.3 Timbre in Music:

2.5 Explanation of some important scientific terms in reference of ‘Tabla’:

2.5.1 Reflection and Echo:

2.5.2 Resonance:

2.5.3 Diffraction of Sound Waves:

2.5.4 Interference and Musical Beats:

2.5.6 Beat and Beat Frequency:

2.5.6.1 Tuning of Tabla:

2.5.7 Acoustics of an Auditorium:

2.5.8 Envelope in Musical Sound:

2.5.9 Harmonics and Overtones:

2.6 Physics of the sound of Tabla:

2.6.1 Bounded Medium:

2.6.2 Stationary Wave Formation in Tabla:

2.7 Musical Scale:

2.8 Mathematical relation in the notes of an Octave:

2.9 Conclusion:

Chapter 3 : Syllables of Tabla

3.0 Introduction:

3.1 History of Syllables of Tabla:

3.2 Number of Syllables:

3.2.1 Seven basic alphabets:

3.2.2 Ten basic alphabets:

3.3 Techniques of producing basics syllables of Tabla:

3.3.1 Syllables played only on Dahina/ Dayan/ Tabla:

3.3.1.1 ‘Ta’ (ता) of Lav:

3.3.1.2 ‘Ta’ or ‘Na’ (‘ता’ अथवा ‘ना’) at Chanti part:

3.3.1.3 Thaap ka ‘Taa’ (‘थाप का ता’):

3.3.1.4 ‘Tin’ (तिं):

3.3.1.5 ‘Tun’ or ‘Tu’ (‘तुं’ अथवा ‘तू’):

3.3.1.6 ‘Din’ or ‘Thun’ (‘दिं’ अथवा ‘थुं’):

3.3.1.7 ‘Tai’ or ‘Te’ or ‘Ti’ (‘ते’ अथवा ‘ति’):

3.3.1.8 ‘Tte’ or ‘Re’ (‘टे’ अथवा ‘र’)

3.3.1.9 ‘Te’ (ती) of Paschim Baaj:

3.3.1.10‘Re’ (‘र’–‘Dhe re’ Category):

3.3.1.11 ‘Na’ (‘न’– ‘Dhinagina’ category):

3.3.1.12 ‘Ra’ (ड़):

3.3.1.13 ‘Tra’ (‘त्र’):

3.3.1.14 ‘Tet’ or ‘Teg’ (तेत् अथवा तेग्):

3.3.2 Syllables produced by Bayan (Dagga):

3.3.2.1 ‘Ka’/ ‘Ke’/ ‘Kai’/ ‘Kat’ (का/की/के/कत्)

3.3.2.2 ‘Ga’ or ‘Ghai’ (‘ग’ अथवा ‘घे’) :

3.3.2.3 ‘Ghe’ (घी):

3.3.3 Joint Syallbles:

3.3.3.1‘Dha’ (धा):

3.3.3.2 ‘Dhin’ (धिं):

3.3.3.3 ‘Tin’ including Bayan (तिं):

3.3.3.4 ‘Dhe’ or ‘Dhet’ (‘धे’ अथवा ‘धेत्’):

3.3.3.5 ‘Dhee’ (धी- dhi re- category):

3.3.3.7 ‘Kran’ (क्रान):

3.4 Number of Syllables of Tabla in present scenario:

3.5 Gharanas of Tabla:

3.5.1 Delhi Gharana:

3.5.1.1 Literature of Delhi Gharana:

3.5.1.2 Playing Style of Delhi Gharana:

3.5.2 Ajrara Gharana:

3.5.2.1 Playing Style of Ajrara Gharana:

3.5.3 Lucknow Gharana:

3.5.3.1 Playing Style of Lucknow Gharana:

3.5.4 Farrukhabad Gharana:

3.5.4.1 Playing Style of Farrukhabad Gharana:

3.5.5 Benares Gharana:

3.5.5.1 Playing Style of Benares Gharana:

3.5.6 Punjab Gharana:

3.5.6.1 Playing Style of Punjab Gharana:

3.6 Style (Baaj) of playing of Tabla:

3.6.1 Purab Baaj:

3.6.2 Delhi (Pashchim) Baaj:

3.6.3 Khula Baaj:

3.6.4 Bandh Baaj (Closed Style):

3.7 Composition of Talas according to nature of syllables:

3.7.1 Talas composed with Open Syllables:

3.7.2 Talas composed with Bandh Syllables:

3.7.3 Talas composed for playing with Semi Classical Music:

3.7.4 Talas composed for playing with Light and Folk Music:

3.8 Effect of technology in playing of Tabla:

3.9 Conclusion:

Chapter 4 : Experimental Analysis of Syllables of Tabla

4.0 Introduction:

4.1 Experimental Procedure:

4.2 Instruments Used:

4.2.1 Five Dahinas and two Bayans:

4.2.2 Soundcraft live 8 mixer:

4.2.3 Condenser microphone – mxl 603:

4.3 Process of Data Analyzing:

4.4 Experiments with different Syllables:

4.4.1 Syllables played on Dahina:

4.4.1.1‘Ta’ from Lav part of Dahina:

4.4.1.2 Chanti Ka ‘Ta’:

4.4.1.3 ‘Thaap Ka Taa’ from Dahina of Lower Octave:

4.4.1.4 Syllable ‘Tin’:

4.4.1.5 Syllable ‘Tun’ :

4.4.1.6 Syllable ‘Tra’:

4.4.2 Syllables Played on Bayan only:

4.4.2.1 Syllable ‘Ga’ :

4.4.2.2 Syllable ‘Ka’:

4.4.3 Joint Syllables Played by Both Hands:

4.4.3.1 ‘Dha’:

4.4.3.2 Syllable ‘Kran’:

4.5 Conclusions:

Chapter 5 : Application of Science in the Art of Playing of Tabla

5.0 Introduction:

5.1 Structure of tabla and its tonal quality

5.1.1 Skin Quality: