Һиндустани классикалық музыкасындағы Жор бөлімі

In Hindustani classical music, the jor (Hindi: जोर, ; also spelt jod and jhor) is a formal section of composition in the long elaboration (alap) of a raga that forms the beginning of a performance. It comes after alap and precedes jhala, the climax. Jor is the instrumental equivalent of nomtom in the dhrupad vocal style of Indian music. Both have a simple pulse but no well defined rhythmic cycle.

Jor (or jod) is an instrumental interpretation of nomtom which is an introductory style that is characterised by its modest rhythm and lack of rhythmic cycle (also known as tal). Jor is present in most Hindustani classical music through the raga, as an articulate and rapid pulse that the alap transitions into, followed by jhala.

Indian classical music is divided into 2 sections: Hindustani and Carnatic Music. Both musical styles inhabit the core traditions of India culture, and are portrayed as one of the most prestigious types of music. These two traditional types of music are both defined by the Sanskrit term "sangita" which refers to the fusion of all the elements, of song, instrumental music and dance. Raga and Dhrupad are the two main forms of Hindustani classical music and form the prominent structure of Indian Classical Music. The musical section of Jor is prominent in Raga and follows the cyclical and linear progression of Hindustani music.

The transition between the three section, alap jor jhala, is continuous and each part builds from its predecessor. Jor (literal meaning, "join") acts the second introduction after the alap, within a raga performance. It follows a similar structure to alap, with a shift in rhythmic style. As the Raga transitions into the Jor, the pulse is introduced by the melody instrumentalist. The Jor utilises the features of scale and patterns in the previous section (Alap) and improvises to create a new variation of these features. During jor, the performance must maintain a steady pulse with the exclusion of drums, which remains the same throughout Alap, Jor and Jhala. In musical notation, jor follows the same notes as alap, with a constant steady beat between each. Narayan Similarly, the basic sound sequence in this section is formed by chikari events to evoke a prominent timbral rhythmic pattern. The relationship between the two, forms the definition of a bridge that is connected with the light characteristics of alap and followed by the controlled design of the raga, where the drums decide the join into the arrangement. The theme formed in the introduction of the Alap, is continued to Jor, where the drums and rhythmic beats are excluded, and the chosen melodic instrument is strummed at an accelerated pace or the performer increases the phrasing of each syllable.