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Niraval

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InCarnatic music,Neraval also known as Niraval orSahitya Vinyasa is the elaboration and improvisation of melody for a particular line. Usually, just one or two lines of text from the song (from theanupallavi orcharanam part of thekriti) are sung repeatedly, but with improvised elaborations.[1] The part of lyrics is chosen which is self-contained in terms of its meaning and context and has an elegant structure amenable for repetition with variations. In general, such elaboration follow the rhythmic patterns in the original lyrics (talam),[2] and each word in the lines of text stay set within their original place (idam) in thetala cycle,[3] though minor variations that remain faithful to the syllabic patterns of the sahityam are considered fine. The lines are then also played at different levels of speed which can include double speed, triple speed, quadruple speed and evensextuple speed.[4] The neraval is one of the features in the extempore improvisation aspect (Manodharma Sangita) of Carnatic music, and is intended to highlight theRaga bhava effectively. It is usually performed by the more advanced performers.[1]

Examples

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Examples of Krithis containing lines best suited for neraval:

  • Vathapi Ganapathim inHamsadhwani at "Pranava Swarupa Vakratundam"
  • Balagopala inBhairavi at "Neela neeradha shareera dheerathara",
  • Entara Nithana inHarikambhoji at "Sheshudu Shivuniki Bushudu Lakshmana",
  • Nidhichaala Sukhama inKalyani (raga) at "Mamathabandhanayutha Narasthuthi Sukhama?" or "Sumathi Thyagaraja Keerthana Sukhama?"
  • O Rangasayee inKambhoji at "Bhuloka Vaikuntam ithiyani",
  • Ennaganu Ramabhajana inKamavardhini at "Rama Chiluka Nokata Penchi Prema Matalalada Nerpi",
  • Raghuvara Nannu inKamavardhini at "Manasuna Niki"
  • Pakkala Nilabadi inKharaharapriya at " Tanuvurce vandana mona ninchuchu nara" or "Manasuna"
  • Palinchu Kamakshi inMadhyamavati at "Kanthamagu Peru Pondhithivi Kaarunyamurthivai jagamu",
  • Rama Rama Gunaseema inSimhendramadhyamam at "Munimaanasa dhama Mrughamatha Sulalama",
  • Rama nee Samanamevaru inKharaharapriya at "Paluku palukulaku tene"
  • Saroja Dhala Netri inSankarabharanam at "Sama Gana Vinodhini gunadhama Shyamakrishnanuthe",
  • Shambho Mahadeva inKamavardhini at "Shambho Mahadeva Sharanagathajana rakshaka",
  • Jagadoddharana inKapi at "Purandara Vithalana"
  • Narayana Ninna Namada inShuddha Dhanyasi at "Ento Purandaravithalarayana"
  • Sri Venkateshwara inThodi at "Maarajanakam Madhavanamakam",

Notes

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  1. ^abHiggins, J. B. (1987). "Performing Arts in India: Essays on Music, Dance, and Drama".Asian Music.18 (2):103–118.doi:10.2307/833942.JSTOR 833942.
  2. ^Randel (2003), p562
  3. ^Viswanathan & Cormack (1998), p232
  4. ^Henry, E. O. (2002). "The Rationalization of Intensity in Indian Music".Ethnomusicology.46 (1). Society for Ethnomusicology:33–35.doi:10.2307/852807.JSTOR 852807.

References

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See also

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