Gata
From the Sanskrit gati (movement), the term gata refers to any form of instrumental composition set to a particular raga and tāla. Since the musical theme is freed from the literary aspects of the vocal genre, the gata shapes the melody from rhythmic syllables called bola. These syllables (dā, rā, dira, radā) correspond to the different strokes of the plectrum on the strings of the instrument.
Masit Khan, son of Firoz Khan (also known as Adarang, 1692-1776), played the sitar; a fretted instrument introduced in India probably by Kushrau Khan in the early 18th century. (Miner, 1997: 88; Slawek, 1987: 23) This musician is known for having created a standardized bola structure that can be used to compose musical themes in any raga without relying on vocal compositions. The type of gata developed by Masit Khan is known today as masitkhanī gata and is mostly played by the sitar and sarod players.
We find today a wide variety of gata other than the one created by Masit Khan. Some are inspired by vocal music, others are closely related to the distinctive characteristics of each instrument. For example, musicians playing a wind instrument, such as the bāṅsurī or the śehnāī or a bow type, like the sarangi or the violin may play gata in the vocal style (gāyakī aṅga) since their instruments can reproduce the inflections of the human voice quite faithfully. Whereas musicians playing string instruments, like sitar, sarod and santoor, may compose and play gata that exposes the specific qualities of their instruments (tantakāra aṅga). We should note, however, that this association between styles and instruments is by no means exclusive; both style (gāyakī and tantakāra) may be adopted for the same instrument and, moreover, it is also quite possible for a single musician to combine these two styles in his own playing.
Références :
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Miner, A. (1997). Sitar and Sarod in the 18th and 19th Centuries. Motilal Banarsidass Publishers Pvt. Limited.
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Slawek, S. (1987). Sitār Technique in Nibaddh Forms. Motilal Banarsidass.