Music has been an essential part of Indian life since Vedic times, according to Dale Hoiberg and Indu Ramchandani. Even today, Vedic hymns are chanted at religious functions (p. 29). Hoiberg and Ramchandani observed that Indian music encompasses a wide range of instrumental and vocal traditions, including classical, religious, popular, theatrical, and modern (p. 29).
India is divided into two regions: the South, dominated by Hindus, and the North, dominated by Muslims. The classical music tradition in the South is called Carnatic music, while in the North it’s known as Hindustani. According to Reginald and Jamila Massey (p. 7), Indian music is rooted in nature. They also noted that Brahmin or religious gurus divided Indian music into two categories: Marga Sangeet – religious and sacred music pleasing to gods – and Desi Sangeet – secular or profane music pleasing to humans (p. 14).
According to Reginald and Jemila Massey, the Brahmin or Gurus who still reside in South India today devote their entire lives to the precise and proper chanting of religious texts in order to attain perfection. Indian traditional music is closely tied to their religious practices, as it is often used in worship ceremonies for their gods. The Masseys note that Indian music has been deeply rooted in temple culture since its inception. They also mention that when great temples were constructed in India, girls trained in music and dance were attached to them as a matter of fact (p. 27).
Peter Lavezzole noted that although both the South and the North anchored their classical music in the vocal tradition, the distinction between the North and South is telling because both traditions have their own vocal styles, instruments, and attitudes toward the music” (p. 3). Lavizzole pointed out that North India popularized instruments such as the sitar, sarod, and tabla while their South Indian counterpart is the much older vina or VEEna. The karnatac drums are also common in use with barrel-shaped miridangam and large rounded clay pot known as ghatam (p. 4).
In addition to these instruments, violin is also a predominant instrument in both South and North India which is used for vocals and as a solo instrument.
According to Peter Lavezzoli, vocal music is considered the highest form of music in India. They have always based their style of playing on the fluidity and expressiveness of the human voice (p. 4). This is because Indians believe that the human voice is the most fundamental instrument. Similarly, dancing, which most Indian women do, is very significant in India’s festivities and religious rituals. Shah has stated in his book that dancing in India is an attempt to reproduce the various aspects and phases of cosmic mysteries” (p. 122). It is indeed a symbolic art for them that holds importance as a pastime, in worship, and as part of dramas.
Traditional music in China
The traditional music in China was shaped by the old agrarian society with influences from Confucianism, Legalism, and Taoism ideologies. According to Isabel Wong, this old traditional music was reshaped due to challenges of Western commercial penetration and other social problems in the nineteenth century (as cited by Ellingham and Broughton, p. 37). Chinese traditional music did not survive the social and political chaos of the country, especially at the advent of communism, leaving it underdeveloped according to Ellingham and Broughton. However, Stephen Jones reports that in rural China, this traditional music has survived despite influence from the West (p. 33). According to Ellingham and Broughton, modern China revives this day’s traditional music which follows Confucian ideals of moderation and harmony (p. 34).
Chinese traditional music is characterized by different categories, influenced by various factors. Cantonese music of the 1920s and 1930s was slightly westernized due to the influence of the movie industry, fusing local traditional music with jazz. The revolutionary music of communism was symptomatic and generally march-like and optimistic. Guoyue or national music is the only Chinese music recently recorded, which was an artificial attempt to create a pan-Chinese style for the concert hall using Western light music” (Ellingham and Broughton, p. 34).
As the authors have stated, traditional music in most rural areas is obstinate and has survived the course of time. It distinguishes one region from another due to its varied styles. Han music, which comprises 93% of the population, is divided into four types: folk music, religious music, court music, and scholar-official or aristocratic music. Among most minority nationalities, folk and religious music are prevalent and considered as the basis for all other forms of traditional music (Penyeh and Tachaikov p.2). The themes of folk songs vary greatly as they speak about many subjects such as love, labor customs stories mystical religious themes among others.
Traditionally, Chinese music uses string instruments such as qin, pipa, zheng (zither), and flute; wind instruments namely sheng, dizi, xiao, suona and guanzi; and percussion. (Ellington and Broughton, p. 36)
Dancing in China is as ancient as writing and music. According to Chen, Chinese dance is characterized by bent hips, hands, and ankles. The movements are circular, just like Western dance styles. For the Chinese people, choreographic movements of different parts of the body – especially the hands and feet – are used to express their appreciation of spirits, describe everyday life and express emotions. As the author explained, dancing has been a very important part of traditional activities such as festivals, weddings and theatrical works; just like music.
Comparison and contrast.
Both India and China have traditional music, musical instruments, and dance styles that are patterned after their cultivated culture. These countries have had their traditional music and dance since the beginning of their existence, and they associate music and dancing with religion and tradition.
However, Indian music is much purer. It has been preserved and developed over the years, unlike China where social and political disturbances have hindered its growth. Most of China’s music has influences from the West, while Indian music is purely Indian along with its instruments. Additionally, Indian music is largely spiritual, while Chinese music and dance cater not only to the religious aspect of the country but also to people’s everyday experiences. Indian music is classified into two regions: South and North, while China has a wide variety of traditional music that varies from region to region.
Works Cited
Ellingham, M. and Broughton, S. (2000). World Music. London: Rough Guides.
Lavezzoli, P. (2006). The Dawn of Indian Music in the West. Continuum International Publishing Group.
Penyeh, T. and Tachaikov, B. (1998). Tradition and Change in the Performance of Chinese Music. London: Routledge.
Shah, KT. (2003). Splendor That Was India. Kessinger Publishing.
Internet Source
Chen, T. (2006). Custom, Cultures, and Social Forces.” H.T. Dance Company Inc.
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