LAYAKARI IN THE TALAS OF HINDUSTANI SANGIT AND MANIPURI NATA SANKIRTANA
DOI:
https://doi.org/10.29121/shodhkosh.v5.i4.2024.1972Keywords:
Tala, Layakari, Matra, Hindustani, Nata SankirtanaAbstract [English]
The basic intention of this written composition, as in a discourse, is to expound and purposefully to make known the young learners of music as to how much important the Layakari is in the study of music widely and comprehensively. When music is studied as a subject in schools, colleges, universities and music institutes, Layakari is so important for both theory and practical classes, and therefore, to make it known and learned in depth is of urgent necessity not only for theory but for practical enhancing the practical knowledge. The system of Layakari has been applied for dance, song and drum, and also for different vocal/musical instruments, even in the regulation of the Matra in quick successions of the speed 2, 3, 4 and even fractionalizing 11/2Matras for a Matra, etc. Though such a regulation has not been applied widely in Manipuri Nata Sankirtana Tala, there is a norm for playing the drum from slow Laya to Speedy Laya in respect of Rajmel. This paper focuses on Layakari in the Talas of Hindustani Sangit and Manipuri Nata Sankirtana.
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Copyright (c) 2024 Thingom Tilakchand Singh, Dr. Pooja Rathore, Dr. M. Thoiba Singh
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