Kan Agardeep

                                               KAN IN MISIC

Kan in hindustani classical music

"Kan" or "kaan" (pronounced as "kahn") is a term used in Hindustani classical music to refer to the ear. In Indian classical music, the ear plays a very important role, as it is the primary means through which a musician learns and appreciates music.

The development of a keen ear is considered essential for a student of Hindustani classical music. By listening carefully to their teacher's music and imitating it, a student can learn the nuances of the raga, the correct intonation and pronunciation of the notes, and the various embellishments and ornamentations that are characteristic of Hindustani classical music.

In addition to developing their own ears, musicians in Hindustani classical music also pay close attention to the ears of their audience. They strive to create music that is pleasing to the ear and that can evoke emotions and moods in the listener. The art of creating music that is both technically flawless and emotionally evocative is considered the hallmark of a master musician in Hindustani classical music.

Kan are the grace notes used in Hindustani Music. They are usually used to link different notes while performing. Kan is never pronounced fully and is played or sung in a very subtle manner. ... Often, a Kan is also used as a starting point for the Meend ornaments

The seven svara are Shadja (षड्ज), Rishabh (ऋषभ), Gandhar (गान्धार), Madhyam (मध्यम), Pancham (पंचम), Dhaivat (धैवत) and Nishad (निषाद). The svaras of the sargam are often learnt in abbreviated form: sā, ri (Carnatic) or re (Hindustani), ga, ma, pa, dha, ni

Kan are the grace notes used in Hindustani Music. They are usually used to link

different notes while performing. Kan is never pronounced fully and is played or

sung in a very subtle manner. The use of a note as a Kan with respect to another

note highly depends on the Raga. In fact, the usage of a note as a Kan on another

note sometimes is the differentiating feature between two Ragas. Often, a Kan is

also used as a starting point for the Meend ornaments. The pitch contour of a Kan

is presented in Figure

particle vowel

In Indian music, sometimes some subtle notes are used in the voices to enhance the beauty of singing and playing. By such use (touching of other notes on the main notes) the sweetness of the main notes increases.

When any other note is touched before or after singing a main note, then whatever note is touched is called particle note or grace note. There are two types of grace notes.

1. Preposition Particle: - The vowel which is touched before singing the desired vowel is called preposition. While writing the particle vowel, the particle vowel is written on the left side above the main vowel. Fifth note of musical scale. If Gapresa sings like this, then there is less ray on G.

2. Annexed particle: The vowel which is touched after singing the desired vowel is called annexed. While writing, particle vowels are written upwards towards the right side of the main vowel. For example, in the raga Shankara, in Gire Sa, there are both prefixes and suffixes before and after the first g.

speechless

While protecting the nature of the raga, the process of expanding the raga by taking the words (words) of the song in the notes contained in the raga is called Shabdalap.

talking

When the swaras of a raga are presented with words in a fast pace, it is called Boltan. That is, the words of the song are sung instead of singing in spoken language.

circulation

The act of playing the bols of any taal from even to even once is called Aavartan. That is, the time taken to come from even to even again once in a taal is called a rotation.

References:

Hindustani classic music. (n.d.). Kan. Hindustaniclassicalmusic. Retrieved March 8, 2023, from https://hindustaniclassicalmusicindia.blogspot.com/2022/03/blog-post.html?m=1

Kan. (n.d.). Brainly. Retrieved March 8, 2023, from https://brainly.in/question/8393564