This essay discusses the Organology of the instrument Santoor in all its cultural dimensions.
The beautiful sounds pattern commonly referred to as music requires the art of mastering the incorporation of various instruments to make it more lively and lovely. Multiple categories of devices are associated with the creation of a harmonious melody within the art. However, there are those instruments that traditionally have been known for their effectiveness in passing intended messages in music. Narrowing down to a single apparatus, the context will be exploring the santoor instrument that is linked with Indian culture and originality. Santoor, a musical instrument that has found its way to the music arena, is played using several hammers made of light wood. The apparatus takes a trapezoidal shape in nature. The overall shape, performing methods, as well as its tuning methods, follow the same channel as the Persian santur and the American dulcimer. Santoor’s basis can be traced back to similar instruments that are played through striking of cords by use of a hammer, dated back to the ancient Persians located at the Middle East of India.
Table of Contents
- Organology
- The Originality of Santoor
- The Cultural Background of Santoor
- Materials Used to Make the Santoor
- The Place Occupied by Santoor in the Indian Community
- The Traditional Practitioners of Santoor
Objectives and Key Themes
This text aims to explore the santoor, a musical instrument deeply rooted in Indian culture. It investigates the instrument's origins, construction, musical characteristics, and its place within Indian classical music. The study also touches upon the challenges faced in preserving the tradition of santoor playing.
- The origins and evolution of the santoor instrument.
- The materials and construction techniques used in creating a santoor.
- The santoor's unique tonal qualities and its place within Hindustani classical music.
- The cultural significance of the santoor in India, particularly in Kashmir.
- Challenges in preserving the traditional playing techniques of the santoor.
Chapter Summaries
Organology: This chapter introduces the santoor, a trapezoidal stringed instrument played with light wooden hammers. It draws parallels to the Persian santur and American dulcimer, tracing its origins to ancient Persia and China, while noting its relatively recent emergence in Indian classical music (within the last two centuries). The chapter details the instrument's construction, including its nine-bridge design, the arrangement of strings and bridges, and the creation of its sound box. The description emphasizes the santoor's ability to produce over three octaves of musical notes and highlights the complexities of its construction and tuning.
The Cultural Background of Santoor: This section delves into the cultural history of the santoor, highlighting its adoption into Hindustani classical composition. Its origins are traced back to Kashmir's Sufiana music, emphasizing its transformation from an accompaniment instrument to a solo instrument. The chapter discusses the variations in santoor designs across different regions and the ongoing evolution of the instrument, noting the lack of complete standardization in its construction. It explores the debate surrounding the santoor's journey from Persia to India, contrasting the instrument's historical presence with its modern form. The chapter connects the use of the santoor to the rich cultural heritage of Kashmir.
Materials Used to Make the Santoor: This section details the materials used in the construction of a classical santoor. The soundbox is typically made from mulberry, tun, or walnut wood, while the plank may utilize plywood, walnut, or pine. The bridges are typically made of rosewood, with ivory used at the top, and bones or stag horns (jawari) used to enhance the string's tone. The pegs and pins are made of iron coated in chromium. The strikers may be made of rosewood, walnut, or mulberry wood, with the size and weight of strikers influencing note sustenance. The chapter contrasts materials used in classical santoors with those used in the Sufiana santoors.
The Place Occupied by Santoor in the Indian Community: This section addresses the challenges faced in integrating the santoor into the Indian classical music tradition, given its staccato nature. The chapter explains that the santoor traditionally lacks the ability to produce techniques like Andolan, gamak, and meend, characteristic of Indian classical music. It details the innovative approaches taken by santoor players to overcome this limitation, including using accessories to create glide effects and employing contact microphones for a more sustained sound. The text explores experiments with strings, wood, and striker/bridge weight to enhance the instrument's tonal quality and sound sustainability.
Keywords
Santoor, Hindustani classical music, Sufiana music, Indian musical instrument, instrument construction, tonal qualities, cultural significance, Kashmir, musical tradition, preservation of tradition.
FAQ: A Comprehensive Language Preview of the Santoor
What is the main topic of this text?
This text provides a comprehensive overview of the santoor, a stringed musical instrument, focusing on its organology, cultural background, construction materials, place within Indian music, and the challenges in preserving its traditional playing techniques.
What are the key themes explored in the text?
Key themes include the origins and evolution of the santoor, its construction techniques and materials, its unique tonal qualities and place within Hindustani classical music, its cultural significance in India (particularly Kashmir), and the challenges in preserving traditional playing methods.
What aspects of the santoor's organology are discussed?
The text details the santoor's trapezoidal shape, its construction (including the nine-bridge design and arrangement of strings), its ability to produce over three octaves, and its relationship to similar instruments like the Persian santur and American dulcimer. It also explores the complexities of its construction and tuning.
What is the cultural background of the santoor?
The santoor's origins are traced to ancient Persia and China, with its adoption into Hindustani classical music and its strong connection to Kashmir's Sufiana music. The text discusses its transformation from an accompaniment instrument to a solo instrument, variations in design across regions, and the ongoing evolution of its construction.
What materials are used to make a classical santoor?
The soundbox is typically made from mulberry, tun, or walnut wood. The plank may be plywood, walnut, or pine. Bridges are usually rosewood with ivory at the top, and bones or stag horns enhance string tone. Pegs and pins are chromium-coated iron. Strikers can be rosewood, walnut, or mulberry wood, with their size and weight affecting note sustenance. Differences between classical and Sufiana santoor materials are also noted.
What is the santoor's place in the Indian community and what challenges does it face?
The text addresses the challenges of integrating the santoor's staccato nature into the Indian classical music tradition, as it traditionally lacks techniques like Andolan, gamak, and meend. It highlights innovative approaches used by players to overcome this, such as using accessories to create glide effects and contact microphones for a more sustained sound. Experiments with strings, wood, and striker/bridge weight to improve tonal quality and sound sustainability are also mentioned.
What are the chapter summaries provided in the text?
The text offers summaries for chapters covering organology, the cultural background of the santoor, materials used in its construction, and the santoor's place within the Indian community. Each summary provides a concise overview of the key information presented in that chapter.
What keywords are associated with this text?
Keywords include: Santoor, Hindustani classical music, Sufiana music, Indian musical instrument, instrument construction, tonal qualities, cultural significance, Kashmir, musical tradition, preservation of tradition.
- Quote paper
- Josephene Mutuo (Author), 2020, The instrument Santoor and its Organology, Munich, GRIN Verlag, https://www.grin.com/document/933808
