Үнді музыкасындағы ырғақ өлшемі: Тала

Meter, time cycle measure in Indian music
meter in classical Indian music

A tala (IAST tāla) literally means a 'clap, tapping one's hand on one's arm, a musical measure'. It is the term used in Indian classical music similar to musical meter, that is any rhythmic beat or strike that measures musical time. The measure is typically established by hand clapping, waving, touching fingers on thigh or the other hand, verbally, striking of small cymbals, or a percussion instrument in the Indian subcontinental traditions. Along with raga which forms the fabric of a melodic structure, the tala forms the life cycle and thereby constitutes one of the two foundational elements of Indian music. Tala is an ancient music concept traceable to Vedic era texts of Hinduism, such as the Samaveda and methods for singing the Vedic hymns. The music traditions of the North and South India, particularly the raga and tala systems, were not considered as distinct till about the 16th century. There on, during the tumultuous period of Islamic rule of the Indian subcontinent, the traditions separated and evolved into distinct forms. The tala system of the north is called Hindustaani, while the south is called Carnaatic. However, the tala system between them continues to have more common features than differences. Tala in the Indian tradition embraces the time dimension of music, the means by which musical rhythm and form were guided and expressed. While a tala carries the musical meter, it does not necessarily imply a regularly recurring pattern. In the major classical Indian music traditions, the beats are hierarchically arranged based on how the music piece is to be performed. The most widely used tala in the South Indian system is Adi tala. In the North Indian system, the most common tala is teental. The basic rhythmic phrase of a tala when rendered on a percussive instrument such as tabla is called a theka. The beats within each rhythmic cycle are called matras, and the first beat of any rhythmic cycle is called the sam. An empty beat is called khali. The cyclic nature of a tala is a major feature of the Indian tradition, and this is termed as avartan. Both raga and tala are open frameworks for creativity and allow theoretically infinite number of possibilities, however, the tradition considers 108 talas as basic.

The roots of tala and music in ancient India are found in the Vedic literature of Hinduism. The earliest Indian thought combined three arts, instrumental music (vadya), vocal music (gita) and dance (nrtta). As these fields developed, sangita became a distinct genre of art, in a form equivalent to contemporary music. This likely occurred before the time of Yāska (~500 BCE), since he includes these terms in his nirukta studies, one of the six Vedanga of ancient Indian tradition. Some of the ancient texts of Hinduism such as the Samaveda (~1000 BCE) are structured entirely to melodic themes, it is sections of Rigveda set to music. The Samaveda is organized into two formats. One part is based on the musical meter, another by the aim of the rituals. The text is written with embedded coding, where svaras (octave note) is either shown above or within the text, or the verse is written into parvans (knot or member). These markings identify which units are to be sung in a single breath, each unit based on multiples of one eighth. The hymns of Samaveda contain melodic content, form, rhythm and metric organization. This structure is, however, not unique or limited to Samaveda. The Rigveda embeds the musical meter too, without the kind of elaboration found in the Samaveda. For example, the Gayatri mantra contains three metric lines of exactly eight syllables, with an embedded ternary rhythm. According to Lewis Rowell, a professor of music specializing in classical Indian music, the need and impulse to develop mathematically precise musical meters in the Vedic era may have been driven by the Indian use of oral tradition for transmitting vast amounts of Vedic literature. Deeply and systematically embedded structure and meters may have enabled the ancient Indians a means to detect and correct any errors of memory or oral transmission from one person or generation to the next. According to Michael Witzel,

The Vedic texts were orally composed and transmitted, without the use of script, in an unbroken line of transmission from teacher to student that was formalized early on. This ensured an impeccable textual transmission superior to the classical texts of other cultures; it is, in fact, something like a tape recording Not just the actual words, but even the long lost musical (tonal) accent (as in old Greek or in Japanese) has been preserved up to the present. The Samaveda also included a system of chironomy, or hand signals to set the recital speed. These were mudras (finger and palm postures) and jatis (finger counts of the beat), a system at the foundation of talas. The chants in the Vedic recital text, associated with rituals, are presented to be measured in matras and its multiples in the invariant ratio of 1:2:3. This system is also the basis of every tala. In the ancient traditions of Hinduism, two musical genre appeared, namely Gandharva (formal, composed, ceremonial music) and Gana (informal, improvised, entertainment music). The Gandharva music also implied celestial, divine associations, while the Gana also implied singing. The Vedic Sanskrit musical tradition had spread widely in the Indian subcontinent, and according to Rowell, the ancient Tamil classics make it "abundantly clear that a cultivated musical tradition existed in South India as early as the last few pre Christian centuries". The classic Sanskrit text Natya Shastra is at the foundation of the numerous classical music and dance of India. Before Natyashastra was finalized, the ancient Indian traditions had classified musical instruments into four groups based on their acoustic principle (how they work, rather than the material they are made of). These four categories are accepted as given and are four separate chapters in the Natyashastra, one each on stringed instruments (chordophones), hollow instruments (aerophones), solid instruments (idiophones), and covered instruments (membranophones). Of these, states Rowell, the idiophone in the form of "small bronze cymbals" were used for tala. Almost the entire chapter of Natyashastra on idiophones, by Bharata, is a theoretical treatise on the system of tala. Time keeping with idiophones was considered a separate function than that of percussion (membranophones), in the early Indian thought on music theory. The early 13th century Sanskrit text Sangitaratnakara (literally 'Ocean of Music and Dance'), by Śārṅgadeva patronized by King Sighana of the Yadava dynasty in Maharashtra, mentions and discusses ragas and talas. He identifies seven tala families, then subdivides them into rhythmic ratios, presenting a methodology for improvisation and composition that continues to inspire modern era Indian musicians. The centrality and significance of Tala to music in ancient and early medieval India is also expressed in numerous temple reliefs, in both Hinduism and Jainism, such as through the carving of musicians with cymbals at the fifth century Pavaya temple sculpture near Gwalior, and the Ellora Caves.

In the South Indian system (Carnatic), a full tala is a group of seven suladi talas. These are cyclic (avartana), with three parts (anga) traditionally written down with laghu, drutam and anudrutam symbols. Each tala is divided in two ways to perfect the musical performance, one is called kala (kind) and the other gati (pulse). Each repeated cycle of a tala is called an avartan. This is counted additively in sections (vibhag or anga) which roughly correspond to bars or measures but may not have the same number of beats (matra, akshara) and may be marked by accents or rests. So the Hindustani Jhoomra tal has 14 beats, counted 3+4+3+4, which differs from Dhamar tal, also of 14 beats but counted 5+2+3+4. The spacing of the vibhag accents makes them distinct, otherwise, again, since Rupak tal consists of 7 beats, two cycles of it of would be indistinguishable from one cycle of the related Dhamar tal. However the most common Hindustani tala, Teental, is a regularly divisible cycle of four measures of four beats each. The first beat of any tala, called sam (pronounced as the English word 'sum' and meaning even or equal) is always the most important and heavily emphasised. It is the point of resolution in the rhythm where the percussionist's and soloist's phrases culminate: a soloist has to sound an important note of the raga there, and a North Indian classical dance composition must end there. However, melodies do not always begin on the first beat of the tala but may be offset, for example to suit the words of a composition so that the most accented word falls upon the sam. The term talli, literally 'shift', is used to describe this offset in Tamil. A composition may also start with an anacrusis on one of the last beats of the previous cycle of the tala, called ateeta eduppu in Tamil. The tāla is indicated visually by using a series of rhythmic hand gestures called kriyas that correspond to the angas or 'limbs', or vibhag of the tāla. These movements define the tala in Carnatic music, and in the Hindustani tradition too, when learning and reciting the tala, the first beat of any vibhag is known as tali ('clap') and is accompanied by a clap of the hands, while an "empty" (khali) vibhag is indicated with a sideways wave of the dominant clapping hand (usually the right) or the placing of the back of the hand upon the base hand's palm instead. But northern definitions of tala rely far more upon specific drum strokes, known as bols, each with its own name that can be vocalized as well as written. In one common notation the sam is denoted by an 'X' and the khali, which is always the first beat of a particular vibhag, denoted by '0' (zero). A tala does not have a fixed tempo (laya) and can be played at different speeds. In Hindustani classical music a typical recital of a raga falls into two or three parts categorized by the quickening tempo of the music; Vilambit (delayed, i. e., slow), Madhya (medium tempo) and Drut (fast). Carnatic music adds an extra slow and fast category, categorised by divisions of the pulse; Chauka (one stroke per beat), Vilamba (two strokes per beat), Madhyama (four strokes per beat), Drut (eight strokes per beat) and lastly Adi drut (16 strokes per beat). Indian classical music, both northern and southern, have theoretically developed since ancient times numerous tala, though in practice some talas are very common, and some are rare.

Kāla refers to the change of tempo during a rendition of song, typically doubling up the speed. Onnaam kaalam is first speed, Erandaam kaalam is second speed and so on. Erandaam kaalam fits in twice the number of aksharaas (notes) into the same beat, thus doubling the tempo. Sometimes, Kāla is also used similar to Layā, for example Madhyama Kālam or Chowka Kālam.

Talas have a vocalised and therefore recordable form wherein individual beats are expressed as phonetic representations of various strokes played upon the tabla. Various Gharanas (literally 'Houses' which can be inferred to be "styles" – basically styles of the same art with cultivated traditional variances) also have their own preferences. For example, the Kirana Gharana uses Ektaal more frequently for Vilambit Khayal while the Jaipur Gharana uses Trital. Players from the Jaipur Gharana are also known to use Ada Trital, a variation of Trital for transitioning from Vilambit to Drut laya. The khali vibhag has no beats on the bayan, i. e. no bass beats this can be seen as a way to enforce the balance between the usage of heavy (bass dominated) and light (treble) beats or more simply it can be thought of another mnemonic to keep track of the rhythmic cycle (in addition to Sam). The khali is played with a stressed syllable that can easily be picked out from the surrounding beats. Some rare talas even contain a "half beat". For example, Dharami is an 11 1/2 beat cycle where the final "Ka" only occupies half the time of the other beats. This tala's sixth beat does not have a played syllable – in western terms it is a rest.

S. NoName of ragaPattern of the symbols of angasAksharas1Kanakaangi1 Anudhrutha, 1 Dhrutha, 1 Guru, 1 Laghu152Rathnaangi1 Guru, 1 Anudhrutha, 1 Laghu, 1 Dhrutha Sekara Viraamam, 1 Laghu203Ganamurthi1 Laghu, 2 Anudhruthas, 1 Laghu, 1 Dhrutha Sekara Viraamam, 1 Guru, 1 Anudhrutha224Vanaspathi1 Laghu, 2 Anudhruthas, 1 Guru, 1 Anudhrutha, 1 Laghu, 1 Dhrutha Sekara Viraamam225Maanavathi1 Laghu, 1 Dhrutha Sekara Viraamam, 1 Anudhrutha, 1 Laghu, 1 Anudhrutha, 1 Laghu, 1 Dhrutha Sekara Viraamam206Dhanarupi1 Guru, 1 Anudhrutha, 1 Laghu, 1 Dhritha157Senaavathi1 Gurus, 1 Dhrutha Sekara Viraamam, 1 Dhrutha, 1 Laghu, 1 Anudhrutha, 1 Laghu, 1 Dhrutha Sekara Viraamam258Hanumathodi1 Guru, 2 Anudhruthas, 1 Laghu, 1 Dhrutha, 1 Pluta, 1 Dhrutha, 1 Laghu349Dhenuka1 Pluta, 2 Anudhruthas, 1 Dhrutha1610Natakapriya3 Dhruthas, 1 Laghu, 1 Dhrutha1211Kokilapriya1 Guru, 1 Anudhrutha, 1 Dhrutha, 2 Laghus, 1 Dhrutha2112Rupaavathi1 Laghu, 1 Dhrutha Sekara Viraamam, 1 Laghu, 1 Anudhrutha, 1 Laghu, 1 Dhrutha Sekara Viraamam1913Gayakapriya1 Laghu, 1 Anudhrutha, 2 Dhruthas, 1 Laghu, 1 Dhrutha1514Vagula bharanam1 Laghu, 1 Anudhrutha, 2 Dhruthas, 1 Laghu, 1 Anudhrutha, 1 Dhrutha Sekara Viraamam, 1 Guru, 1 Dhrutha Sekara Viraamam2815Maya malava goulam1 Laghu, 2 Dhrutha Sekara Viraamam, 1 Laghu, 1 Dhrutha Sekara Viraamam, 1 Anudhrutha, 1 Laghu, 1 Anudhrutha, 1 Laghu, 1 Dhrutha Sekara Viraamam, 1 Anudhrutha3116Chakravaham1 Laghu, 1 Dhrutha Sekara Viraamam, 2 Laghus, 1 Dhrutha, 1 Laghu, 1 Dhrutha Sekara Viraamam2417Suryakantham1 Guru, 1 Dhrutha Sekara Viraamam, 1 Dhrutha, 1 Guru, 1 Pluta3318Haata kambari1 Guru, 2 Dhruthas, 1 Guru, 1 Laghu, 1 Dhrutha Sekara Viraamam2719Jankaradh wani1 Pluta, 3 Dhrutha Sekara Viraamams, 1 Pluta, 1 Dhrutha, 1 Anudhrutha3620Nata bhairavi1 Anudhrutha, 1 Dhrutha Sekara Viraamam, 1 Laghu, 2 Dhrutha Sekara Viraamams, 1 Laghu, 1 Anudhrutha1921Keeravani2 Dhrutha Sekara Viraamams, 1 Laghu, 1 Dhrutha, 1 Laghu, 1 Dhrutha1822Karahara priya2 Dhrutha Sekara Viraamams, 1 Guru, 1 Anudhrutha, 1 Dhrutha Sekara Viraamam, 1 Laghu, 1 Dhrutha2423Gowri manohari1 Laghu, 1 Dhrutha Sekara Viraamam, 2 Laghus, 1 Dhrutha, 2 Gurus, 1 Anudhrutha, 1 Dhrutha Sekara Viraamam3724Varuna priya1 Laghu, 1 Anudhrutha, 1 Dhrutha Sekara Viraamam, 1 Laghu, 1 Dhrutha, 1 Laghu, 1 Dhrutha2025Maara ranjani1 Laghu, 2 Dhrutha Sekara Viraamams, 2 Gurus, 2 Anudhruthas2826Charukesi1 Guru, 1 Dhrutha Sekara Viraamam, 1 Laghu, 1 Anudhrutha, 1 Laghu, 1 Dhrutha2227Sarasaangi1 Guru, 1 Dhrutha Sekara Viraamam, 1 Pluta, 1 Dhrutha, 1 Laghu2928Harikamboji1 Guru, 1 Anudhrutha, 1 Dhrutha Sekara Viraamam, 1 Guru, 1 Pluta, 1 Guru, 1 Anudhrutha4129Dheera sankara bharanam1 Guru, 2 Dhrutha Sekara Viraamams, 1 Guru, 1 Dhrutha Sekara Viraamam, 1 Dhrutha, 2 Laghus, 1 Anudhrutha, 1 Dhrutha Sekara Viraamam, 1 Guru, 1 Dhrutha Sekara Viraamam5030Nagaa nandhini1 Dhrutha, 1 Laghu, 1 Anudhrutha, 1 Laghu, 1 Dhrutha, 1 Guru, 2 Anudhruthas2331Yagapriya1 Dhrutha Sekara Viraamam, 2 Laghus, 1 Dhrutha1332Raga vardhini3 Laghus, 1 Anudhrutha, 1 Guru, 1 Dhrutha, 1 Anudhrutha2433Gangeya bhushani1 Guru, 1 Dhrutha, 1 Laghu, 1 Dhrutha Sekara Viraamam, 1 Dhrutha, 1 Laghu, 1 Dhrutha, 1 Laghu, 1 Dhrutha Sekara Viraamam, 1 Laghu, 1 Dhrutha3834Vaga dheeshwari1 Laghu, 1 Dhrutha, 1 Laghu, 1 Guru, 1 Dhrutha Sekara Viraamam, 1 Guru, Dhrutha, 1 Dhrutha Sekara Viraamam3435Soolini1 Laghu, 1 Dhrutha Sekara Viraamam, 1 Laghu, 1 Anudhrutha1236Chala Naata1 Laghu, 1 Dhrutha Sekara Viraamam, 1 Laghu, 2 Dhruthas1537Chalagam1 Guru, 1 Anudhrutha, 1 Laghu, 1 Guru, 1 Anudhrutha2238Jalaarnavam1 Guru, 1 Anudhrutha, 1 Laghu, 1 Anudhrutha, 2 Gurus, 1 Dhrutha3239Jaalavarali1 Guru, 1 Dhrutha Sekara Viraamam, 2 Laghus, 1 Anudhrutha, 1 Laghu, 1 Anudhrutha2540Navaneetham1 Anudhrutha, 1 Laghu, 1 Anudhrutha, 1 Dhrutha, 1 Laghu, 1 Dhrutha Sekara Viraamam1541Paavani1 Dhrutha Sekara Viraamam, 1 Laghu, 2 Anudhruthas942Raghupriya1 Dhrutha Sekara Viraamam, 1 Laghu, Anudhrutha, 1 Laghu, 1 Dhrutha1443Kavaambothi1 Laghu, 1 Guru, 1 Dhrutha Sekara Viraamam, 1 Pluta, 1 Guru, 1 Anudhrutha3644Bhavapriya1 Laghu, 1 Anudhrutha, 1 Laghu, 1 Anudhrutha, 1 Laghu, 1 Dhrutha1645Subha panthuvarali1 Laghu, 1 Dhrutha, 1 Laghu, 1 Anudhrutha, 1 Laghu, 1 Dhrutha Sekara Viraamam, 1 Laghu, 1 Dhrutha Sekara Viraamam, 1 Laghu, 1 Anudhrutha, 1 Laghu, 1 Anudhrutha3546Shadvitha maargini1 Guru, 1 Dhrutha, 1 Laghu, 1 Anudhrutha, 1 Guru, 1 Dhrutha, 1 Laghu, 1 Dhrutha Sekara Viraamam, 1 Laghu, 1 Dhrutha, 1 Laghu, 1 Dhrutha4447Swarnaangi1 Guru, 1 Laghu, 1 Dhrutha, 1 Pluta, 1 Dhrutha, 1 Laghu3248Divyamani1 Guru, 1 Anudhrutha, 1 Laghu, 1 Dhrutha, 1 Laghu, 1 Dhrutha, 1 Laghu, 1 Dhrutha2749Davalaambari1 Guru, 1 Anudhrutha, 1 Laghu, 1 Anudhrutha, 1 Laghu, 1Dhrutha Sekara Viraamam, 1 Laghu, 1 Dhrutha Sekara Viraamam2850Naama narayani1 Dhrutha, 1 Laghu, 2 Dhruthas, 1 Laghu, 1 Dhrutha, 1 Laghu, 1 Dhrutha2251Kaamavartha1 Dhrutha Sekara Viraamam, 1 Laghu, 1 Dhrutha, 1 Laghu, 1 Anudhrutha, 1 Pluta, 1 Anudhrutha2752Raamapriya2 Laghus, 1 Dhrutha, 1 Laghu, 1 Dhrutha1653Gamanashrama2 Laghus, 1 Dhrutha, 1 Anudhrutha, 1 Laghu, 1 Dhrutha1754Viswambari1 Laghu, 1 Anudhrutha, 1 Pluta, 1 Dhrutha Sekara Viraamam, 1 Laghu, 1 Dhrutha Sekara Viraamam2755Syamalangi1 Guru, 1 Laghu, 1 Dhrutha, 1 Laghu, 1 Dhrutha Sekara Viraamam, 1 Laghu2556Shanmukha priya1 Pluta, 1 Laghu, 1 Dhrutha, 1Dhrutha Sekara Viraamam, 1 Laghu, 1 Dhrutha2757Simhendra madhyamam1 Guru, 1 Kakapada, 1 Laghu, 1 Dhrutha, 1 Guru, 1 Dhrutha Sekara Viraamam, 1 Laghu, 1 Dhrutha, 1 Guru, 1 Dhrutha Sekara Viraamam, 1 Guru, 1 Dhrutha Sekara Viraamam6958Hemaavathi1 Pluta, 1 Laghu, 1 Dhrutha, 1 Laghu, 1 Anudhrutha, 1 Laghu, 1 Dhrutha Sekara Viraamam3059Dharmavathi1 Pluta, 1 Laghu, 1 Dhrutha, 1 Laghu, 1 Anudhrutha, 1 Laghu, 1 Dhrutha Sekara Viraamam3060Neethimathi1Dhrutha, 1Laghu, 1Dhrutha Sekara Viraamam, 1 Laghu, 1 Dhrutha, 1 Laghu, 1 Dhrutha Sekara Viraamam2261Kaanthamani2 Gurus, 1 Laghu, 1 Dhrutha, 1 Laghu, 1 Dhrutha2862Rishabhapriya1 Dhrutha Sekara Viraamam, 1 Laghu, 1 Dhrutha Sekara Viraamam, 1 Laghu, 1 Anudhrutha, 1 Laghu, 1 Dhrutha2163Lathaangi1 Laghu, 1 Pluta, 1 Anudhrutha, 1 Laghu2164Vachaspathi1 Laghu, 1 Dhrutha, 1 Laghu, 1 Dhrutha Sekara Viraamam, 1 Guru, 1 Anudhrutha, 1 Laghu, 1 Dhrutha Sekara Viraamam2965Mecha Kalyani1 Guru, 1 Anudhrutha, 1 Laghu, 1 Dhrutha Sekara Viraamam, 1 Dhrutha, 1 Laghu, 1 Dhrutha, 1 Laghu, 1 Dhrutha3066Chithraambari1 Laghu, 1 Dhrutha Sekara Viraamam, 1 Pluta, 1 Dhrutha Sekara Viraamam, 1 Laghu, 1 Dhrutha Sekara Viraamam2967Sucharithra1 Guru, 1 Laghu, 2 Dhrutha Sekara Viraamams, 1 Guru, 1 Anudhrutha2768Jyothi swarupini1 Kakapada, 1 Anudhrutha, 1 Laghu, 1 Dhrutha Sekara Viraamam, 1 Pluta, 1 Laghu, 1 Dhrutha, 1 Laghu, 1 Dhrutha4869Dathuvardhani1 Guru, 1 Dhrutha Sekara Viraamam, 1 Laghu, 1 Dhrutha Sekara Viraamam, 1 Laghu, 1 Anudhrutha, 1 Pluta, 1 Anudhrutha3670Naasikha bhushani1 Dhrutha, 1 Guru, 1 Dhrutha Sekara Viraamam, 1 Laghu, 1 Dhrutha, 1 Laghu, 1 Dhrutha Sekara Viraamam, 1 Laghu, 1 Dhrutha3271Kosalam1 Guru, 1 Anudhrutha, 2 Gurus, 1 Anudhruthas2672Rasikapriya1 Dhrutha Sekara Viraamam, 1 Guru, 1 Dhrutha Sekara Viraamam, 1 Laghu, 1 Dhrutha20