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From Library of Congress Genre/Form Terms

Gats (Music)

  • Gats for melodic instruments.
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  • Form

    • Gats (Music)
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  • Sources

    • found: Work cat.: Classical music of north India [videorecording] : gat in raga pilu : tintal, sixteen-beat rhythmic cycle, 1969?
    • found: Khan, V. Sitar, Raga Ghaara, alap, gat Trital, c1979.
    • found: Khan, A.A. Raga Durga : brief alap, Madhyalaya gat & Rezakhani gat, 198-.
    • found: The new Harvard dict. of music, 1986 (Gat [Hin.]. (1) A Hindustani composition for melodic instruments. The rhythmic pattern for a gat in a slow meter of 16 beats (vilambit tīntāl) is fixed and begins on the 12th beat. (2) A type of rhythmic composition for tablā)
    • found: Chandrakantha and David Courtney's homepage, Oct. 9, 2012: Indian classical music > Genre (Instrumental Music - Classical Instrumental Music - Hindustani Instrumental Forms - Traditional Instrumental Form - Alap; Jor; Jhala; Masitkhani Gat; Razakhani Gat; Gat in its most general sense means a fixed composition. As such, you find gats for both melodic instruments as well as rhythmic instruments like the tabla. However, the most usual use of the word implies the fixed composition for melodic instruments. Gat is a structure very much like like the sthai in the vocal tradition. It has a fully developed cycle and is invariably accompanied by the tabla. There are two basic approaches; masitkhani and razakhani. The masitkhani gat is the basic slow gat while the razakhani is fast. In recent years, the distinction between the two styles has become blurred. Furthermore, the contemporary structure of both the fast and slow sections seems to have morphed away from the styles developed by Raza Khan and Masit Khan. Other Instrumental Styles: Alap; Jor (Jod); Jhala)
    • found: Classical music of India, via Friends of Indian Music and Dance website, Oct. 9, 2012 (Traditionally, most performances of Hindustani music begin with alap--an extensive solo exploration of the raga by the instrumentalist. ... After the alap, the instrumentalist is joined by the accompanying drummer, and together they enter the section of the raga known as the gat. Here we are introduced to the rhythmic basis of Indian music: the tala. A tala is a cycle of a fixed number of beats repeated over and over again, and played as distinct patterns of strokes on the accompanying drums. There are many different talas (6 beats, 7, 10, 12, 14, etc.), and each one has a different rhythmic mood. Except for alap, every piece of Indian classical music is played within a particular tala. The gat begins with the instrumentalist playing a rhythmic/melodic theme within the raga. Through this theme, the soloist thus establishes the tala within which the raga will now progress. Often, the tala will not be announced prior to the performance, and is chosen on the spot by the instrumentalist. Even the accompanying drummer may not know what the rhythmic cycle will be and must infer from the first hearing of the theme what patterns to play on the drums. The gat proceeds with the drummer supporting the soloist while variations are made and the raga is further explored. The two musicians interact rhythmically throughout the performance, always meeting on the first beat of the rhythmic cycle. This dynamic interchange becomes more prevalent as the raga progresses.)
    • found: Grove music online, Oct. 9, 2012 (Gat (Hin.: 'a [manner of] going'). A term used in North Indian art music. (1) A composition for sitār, sarod or other melody instrument in a particular rāg and tāl. Two common gat types for sitār, the Masītkhānī and Razākhānī, are distinguished by their rhythmic plucking-patterns. (2) A type of composition for the drum tablā, often characterized by unusual rhythmic devices. (3) A type of dance composition)
    • found: Encyc. Britannica online, Oct. 9, 2012 (Hindustani music, one of the two principal types of South Asian classical music, found mainly in the northern three-fourths of the subcontinent ... Northern India shares with the south the use of ragas (melodic frameworks for improvisation and composition), the rhythmic principles of tala (cyclic metric patterns sometimes of great complexity), and the practice of nonmetric, rhythmically "free" improvisation. Although vocal music plays an important role, instrumental music is more important in Hindustani music than it is in Karnatak; there are some purely instrumental forms, such as the theme with variations known as gat.)
  • General Notes

    • Gats for melodic instruments.
  • Change Notes

    • 2014-12-10: new
    • 2015-12-15: revised
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