Niraval

From Bharatpedia, an open encyclopedia
Information red.svg
Scan the QR code to donate via UPI
Dear reader, We need your support to keep the flame of knowledge burning bright! Our hosting server bill is due on June 1st, and without your help, Bharatpedia faces the risk of shutdown. We've come a long way together in exploring and celebrating our rich heritage. Now, let's unite to ensure Bharatpedia continues to be a beacon of knowledge for generations to come. Every contribution, big or small, makes a difference. Together, let's preserve and share the essence of Bharat.

Thank you for being part of the Bharatpedia family!
Please scan the QR code on the right to donate.

0%

   

transparency: ₹0 raised out of ₹100,000 (0 supporter)


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 patters 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]

Examples[edit]

Examples of Krithis containing lines best suited for neraval:

  • 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",
  • 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",
  • Sri Venkateshwara in Thodi at "Maarajanakam Madhavanamakam",

Notes[edit]

  1. 1.0 1.1 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.
  2. Randel (2003), p562
  3. Viswanathan & Cormack (1998), p232
  4. Henry, E. O. (2002). "The Rationalization of Intensity in Indian Music". Ethnomusicology. Society for Ethnomusicology. 46 (1): 33–35. doi:10.2307/852807. JSTOR 852807.

References[edit]

See also[edit]