In Carnatic music, Neraval also known as Niraval or Sahitya Vinyasa is the elaboration and improvisation of melody for a particular line. Usually, just one or two lines of text from the song (from the charanam part of the kriti) are sung repeatedly, but with improvised elaborations.[1] This elaboration remains within the framework of the original patterns of duration (talam),[2] and each word in the lines of text stay set within their original place (idam) in the tala cycle.[3] The lines are then also played at different levels of speed which can include double speed, triple speed, quadruple speed and even sextuple speed.[4] The neraval is one of the features in the extempore improvisation aspect (Manodharma Sangita) of Carnatic music, and is intended to highlight the Raga bhava effectively. It is usually performed by the more advanced performers.[1]
Sri Venkateshwara in Thodi at "Maarajanakam Madhavanamakam",
Notesedit
^ 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.
^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.
Referencesedit
Randel, Don Michael (2003). The Harvard Dictionary of Music. United States: Harvard University Press.
niraval, carnatic, music, neraval, also, known, sahitya, vinyasa, elaboration, improvisation, melody, particular, line, usually, just, lines, text, from, song, from, charanam, part, kriti, sung, repeatedly, with, improvised, elaborations, this, elaboration, re. In Carnatic music Neraval also known as Niraval or Sahitya Vinyasa is the elaboration and improvisation of melody for a particular line Usually just one or two lines of text from the song from the charanam part of the kriti are sung repeatedly but with improvised elaborations 1 This elaboration remains within the framework of the original patterns of duration talam 2 and each word in the lines of text stay set within their original place idam in the tala cycle 3 The lines are then also played at different levels of speed which can include double speed triple speed quadruple speed and even sextuple speed 4 The neraval is one of the features in the extempore improvisation aspect Manodharma Sangita of Carnatic music and is intended to highlight the Raga bhava effectively It is usually performed by the more advanced performers 1 Contents 1 Examples 2 Notes 3 References 4 See alsoExamples editThis section does not cite any sources Please help improve this section by adding citations to reliable sources Unsourced material may be challenged and removed July 2020 Learn how and when to remove this message Examples of Krithis containing lines best suited for neraval Vathapi Ganapathim in Hamsadhwani at Pranava Swarupa Vakratundam Balagopala in Bhairavi at Neela neeradha shareera dheerathara Entara Nithana in Harikambhoji at Sheshudu Shivuniki Bushudu Lakshmana Nidhichaala Sukhama in Kalyani raga at Mamathabandhanayutha Narasthuthi Sukhama or Sumathi Thyagaraja Keerthana Sukhama O Rangasayee in Kambhoji at Bhuloka Vaikuntam ithiyani Ennaganu Ramabhajana in Kamavardhini at Rama Chiluka Nokata Penchi Prema Matalalada Nerpi Raghuvara Nannu in Kamavardhini at Manasuna Niki Pakkala Nilabadi in Kharaharapriya at Tanuvurce vandana mona ninchuchu nara or Manasuna Palinchu Kamakshi in Madhyamavati at Kanthamagu Peru Pondhithivi Kaarunyamurthivai jagamu Rama Rama Gunaseema in Simhendramadhyamam at Munimaanasa dhama Mrughamatha Sulalama Rama nee Samanamevaru in Kharaharapriya at Paluku palukulaku tene Saroja Dhala Netri in Sankarabharanam at Sama Gana Vinodhini gunadhama Shyamakrishnanuthe Shambho Mahadeva in Kamavardhini at Shambho Mahadeva Sharanagathajana rakshaka Jagadoddharana in Kapi at Purandara Vithalana Narayana Ninna Namada in Shuddha Dhanyasi at Ento Purandaravithalarayana Sri Venkateshwara in Thodi at Maarajanakam Madhavanamakam Notes edit a b Higgins 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 Randel 2003 p562 Viswanathan amp Cormack 1998 p232 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 editRandel Don Michael 2003 The Harvard Dictionary of Music United States Harvard University Press Viswanathan T amp Cormack Jody 1998 In Nettl Bruno Russell Melinda 15 December 1998 In the Course of Performance Studies in the World of Musical Improvisation Chicago amp London University of Chicago Press ISBN 0 226 57411 3 See also editGlossary of Carnatic music Retrieved from https en wikipedia org w index php title Niraval amp oldid 1139385446, wikipedia, wiki, book, books, library,
