Chevrolet After almost a long time of scuffling with recollects, low margins, Indian and global economic crises, automobile. GM subsequently packed up its display in India. It will no longer sell motors in us of a, however, hold to apply it as an export hub. And with that, the Chevrolet, GM’s face within the country and one of the most offered. Regarded brands inside the car universe will take its wheels off the street. The organization explained its selection, announcing that GM is devoted to deploying its capital to better return projects. “We explored many options but decided the accelerated investment at the beginning deliberate for.
Indian Music Vs. Western Music us dollar to Indian rupee.
The Indian music characteristics are evident when you compare it with Western music. You will find some essential differences in both systems: Indian music is based on a melody, or single notes played in a given order. In contrast, Western music is based on harmony: a group of notes known as chords played together. Dr. Rabindranath Tagore, who was well familiar with both the systems, explained the difference as follows:
The world by daylight stands for Western music, a flowing concourse of vast harmony, composed of concord and discord and many disconnected fragments. And the night world stands for Indian music: one pure, deep and tender rage. Both touch our hearts, and yet both are contradictory in spirit. But this is natural. At the very root, nature is divided into two, day and night, unity and variety, finite and infinite.
Indian men live in the realm of the night; we are inspired by the sense of the One and Infinite. Indian music draws away from the listener beyond the boundaries of daily joys and sorrows. It takes us to the solitary space of renunciation, which exists at the root of the universe, while Western music leads us to dance through a limitless rise and fall of human joy and grief in Indian tribes. Indian classical music basically stirs our spiritual sense and discipline – a longing for a realization of self-salvation. Singing is a worshipping act and not an intellectual exhibition of mastery of the technique of a raga. In Western culture, singing is a formal and secular exercise and does not involve piety or devotion compared to Indian music.
The teacher-student (Guru-Shishya) tradition in Indian music is responsible for the deep dedication and attachment of the student to the teacher. In the West, a music teacher is taken as a hired person who teaches lessons, and there is no deep attachment between the teacher and student. Like Western music, Indian music is based on melody and rhythm, but it has no foundation of harmony, which is significant in Western music.
Indian music is “model” – based on the relationship between the permanent individual notes known as the tonic with the successive notes. This is why Tanpura (drone) is played in the background of Indian music, which reminds one of the tonic notes.
The Indian classical music system is horizontal; one note follows the other, while the Western music is vertical; many notes are played at a time. Yehudi Menuhin, the noted musician, highlights the differentiates both systems by describing Indian music as: “for appreciating Indian music one has to adopt a different set of values totally… one must orientate oneself and at least for the concerned period, forget the passing of time and sink into a thematic,
Almost hypnotic trance. The rhythmic and melodic features of Indian music that are repetitive acquires an extraordinary charm and fascination… despite the domination of this hypnotic mood’s domination, which is an Indian music characteristic, actively frees the mind.
The place of “composition” in these two systems is notably different. In Western music, the music is first composed by the composer and arranges in notation: then the musicians play this composition under the guidance of a music conductor. Here improvisation hardly takes place, and the performance value lies in the uniformity and the pre-determined conduct of tone and music speed (tempo).
In Indian music, while the melody, grammar, and rhythm are fixed, the ingenuity and skill of the musician lie in his creativity and improvisation, especially in mood evocation and rasa of a particular raga Indian people. In this context, an international musicologist has written: “In the West, solid blocks of music are constructed. Then, after carving out like building stones, the seven degrees of the diatonic scale lined up and placed on top of each other with cleverly worked out harmony and counterpoint. In this way, fantastic edifices in sound are erected.
In Indian classical music, no one can think of dividing sound into blocks; instead, it is refined into a wire-thin thread. The sound is stretched out to refine it to an extreme point of delicacy… No standard materials, no building of three or five floors, but just like silk thread which unfold and rises and falls and evokes a world of sensations and feelings.”
In the music of India, melody and rhythm offer a variety of subtleties, which is not possible in Western music. Indian notes are divided into shorties (22 microtones), whereas Western music consists of 12 semitones. The microtones are more subtle than semitones. These microtones adorned with grave tones (game as) create a magical effect.
Western music has the capacity to produce many feelings and moods. At the same time, Indian music has the capacity to produce a principal emotion or a mood in a rage. An Indian musician improvises with his own creative genius within a raga’s framework, but in Western classical music, except in jazz, such improvisation is inconceivable.
Moreover, the percussion in Indian music emphasizes its rhythm. Only by keeping one’s mind and ears open can one appreciate the melodies and sequences different from one’s own. This applies to Indian audiences attending Western music performances and to Western audiences attending music of India concerts. Just remember that both music systems are complementary, like two halves of classical music.