Shruti (music)

The shruti or śruti [ɕrʊtɪ] is the smallest interval of pitch that the human ear can detect and a singer or musical instrument can produce.^[1]^[2] The concept is found in ancient and medieval Sanskrit texts such as the Natya Shastra, the Dattilam, the Brihaddeshi, and the Sangita Ratnakara.^[1]^[3] Chandogya Upanishad speaks of the division of the octave in 22 parts.^[4]

The swara differs from the shruti: the shruti is the smallest gradation of pitch available, while a swara is the selected pitches from which the musician constructs the scales, melodies and ragas. The Natya Shastra identifies and discusses twenty two shruti and seven swara per octave.^[1]^[3]^[5]

It has been used in several contexts throughout the history of Indian music. Recent research has more precisely defined the term shruti, its difference from nada and swara, and identified positions on a string to play 22 shrutis.^[6]^[7]^[8]

The most well-known example of shrutis is probably the use of the ati-komal (extra flat) gandhar in raga Darbari. Others include the rishabh in Bhairav, the nishad in Bhimpalasi and Miya Malhar, and the gandhar in Todi.

^ ^a ^b ^c Ellen Koskoff (2013). The Concise Garland Encyclopedia of World Music, Volume 2. Routledge. p. 936. ISBN 978-1-136-09602-0.
^ N Ramanathan (1992). Jonathan Katz (ed.). The Traditional Indian Theory and Practice of Music and Dance. BRILL Academic. pp. 75–89, 143–144. ISBN 90-04-09715-5.
^ ^a ^b José Luiz Martinez (2001). Semiosis in Hindustani Music. Motilal Banarsidass. pp. 85–89. ISBN 978-81-208-1801-9.
^ Subhash Kak, The idea of 22 shrutis. Sandhan, vol. 1, pp. 69–79, 2001
^ Gareth Loy (2011). Musimathics: The Mathematical Foundations of Music. MIT Press. pp. 78–80. ISBN 978-0-262-29275-7.
^ Anandi Mishra (12 June 2016). "Young musicians fuse tradition with technology". Times of India.
^ DNA webdesk (14 July 2015). "#LifeIsMusic: Dr Vidayadhar Oke on the 22 Shrutis in Indian Classical Music". DNA India.
^ Oke, Vidyadhar (2011). Shrutigeeta. Madhav Rafter Publications. pp. 244–270. ISBN 978-81-922379-2-3.

[Koskoff936-1] Ellen Koskoff (2013). The Concise Garland Encyclopedia of World Music, Volume 2. Routledge. p. 936. ISBN 978-1-136-09602-0.

[2] N Ramanathan (1992). Jonathan Katz (ed.). The Traditional Indian Theory and Practice of Music and Dance. BRILL Academic. pp. 75–89, 143–144. ISBN 90-04-09715-5.

[Martinez86-3] José Luiz Martinez (2001). Semiosis in Hindustani Music. Motilal Banarsidass. pp. 85–89. ISBN 978-81-208-1801-9.

[4] Subhash Kak, The idea of 22 shrutis. Sandhan, vol. 1, pp. 69–79, 2001

[5] Gareth Loy (2011). Musimathics: The Mathematical Foundations of Music. MIT Press. pp. 78–80. ISBN 978-0-262-29275-7.

[timespune12june2016-6] Anandi Mishra (12 June 2016). "Young musicians fuse tradition with technology". Times of India.

[DNA14072015-7] DNA webdesk (14 July 2015). "#LifeIsMusic: Dr Vidayadhar Oke on the 22 Shrutis in Indian Classical Music". DNA India.

[shrutigeeta-8] Oke, Vidyadhar (2011). Shrutigeeta. Madhav Rafter Publications. pp. 244–270. ISBN 978-81-922379-2-3.

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