Khartal
Illustration — Close-up of a pair of khartal blocks • Illustration — Close-up of a khartal • Illustration — Player of khartal sheets, Rajasthan Khartal is an ancient instrument mainly used in devotional / folk songs. It has derived its name from Sanskrit words ‘kara’ meaning hand and ‘tala’ meaning clapping. This wooden clapper is a Ghana Vadya which has discs or plates that produce a clinking sound when clapped together.
Khartal

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- percussion instrument.
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Illustration — Close-up of a pair of khartal blocks • Illustration — Close-up of a khartal • Illustration — Player of khartal sheets, Rajasthan Khartal is an ancient instrument mainly used in devotional / folk songs. It has derived its name from Sanskrit words ‘kara’ meaning hand and ‘tala’ meaning clapping. This wooden clapper is a Ghana Vadya which has discs or plates that produce a clinking sound when clapped together.
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Overview
It falls under the class of idiophones of self-sounding instruments that combine properties of vibrator and resonator. Usually made of wood or metal, a khartal player will hold one ‘male’ and ‘female’ khartal in each hand. The ‘male’ khartal is usually thicker and is held with the thumb while the ‘female’ khartal is usually thinner and is mainly balanced on the ring finger, which represents the fire element. It is associated with the sun and the root chakra. Its force is associated with staying power, stamina, and the power to be assertive. A pair of wooden castanets with bells attached to them was the earliest form of the khartal. These pieces of wood are not connected in any way. They can be clapped together at high speeds to make rapid, complex rhythms. Aside from being an excellent accompaniment instrument, the khartal is valued for being a highly portable percussion instrument. It consists of a pair of wooden blocks with jingles or crotales (kartals mean crotales). One pair is used in one hand of the musician. These pieces can be clapped together at high speeds to make fast complex beats. Kartals (small sheets). It consists of a pair of thin, hard wooden pieces similar to the percussion bones (instrument). These are used in Rajasthan. The karatalas are small cymbals, also known as manjeera. These are used in devotional chants. In Maharashtra Kartals are better known as Chipaḷyā (Marathi: चिपळ्या). It is commonly used in religious song like Kirtans and Bhajans. In Bangladesh and West Bengal, kartals (Bengali: খরতাল) are commonly used in religious song like Kirtans and Bhajans. In Odisha, they are better known as dāsåkāṭhi (Odia: ଦାସକାଠି), which is an almost similar instrument. It is most notably employed in a folk theatre form that derives its name from the instrument itself, dāsåkāṭhiā (Odia: ଦାସକାଠିଆ). The Rāmåtāḷi (Odia: ରାମତାଳି) is a larger variant that is associated with the Ramayana, according to a traditional Odia legend. The Bhojpuri Folk genre Biraha uses a version of Kartal which consists of two pair of tapered metal rods, each approximately nine inches in length. This version of Kartal was invented by Biraha singer Bihari Lal Yadav and only used while singing Biraha. The singer holds the pair in his hands and strike them to produce music while singing. In Telugu language, the word Karatāḷa Dhvani is most commonly used for sound produced from clapping hands.
Khartal is a percussion instrument.
Notes from the source article
Cited by Wikipedia
Notes from the source article
These works are cited by the source article, in its own numbering. They are recorded as its citations, not as sources VALÉORINE has verified.
- 1.Norbert Beyer: Indien. VIII. Musikinstrumente. In: Ludwig Finscher (Hrsg.): Die Musik in Geschichte und Gegenwart. Sachteil 4, Bärenreiter, Kassel 1996, Sp. 744
- 2.Bigamudre Chaitanya Deva, 1978, S. 54f.
- 3.Bigamudre Chaitanya Deva, 1978, S. 59
- 4.Curt Sachs: The History of Musical Instruments. W.W. Norton & Co., New York 1940, S. 71
- 5.Alastair Dick, 2014, S. 116
- 6.Bigamudre Chaitanya Deva, 1978, S. 56
- 7.Curt Sachs, 1940, S. 69
- 8.Walter Kaufmann: Altindien. Musikgeschichte in Bildern. Band II. Musik des Altertums. Lieferung 8. Deutscher Verlag für Musik, Leipzig 1981, S. 31, 40
- 9.orissa.oriyaonline.com
- 10.YouTube XsDFa2N9Dqo Dandya Raas of Gujarat
- 11.David B. Reck: Musical Instruments: Southern Area. In: Alison Arnold (Hrsg.): Garland Encyclopedia of World Music. Band 5: South Asia: The Indian Subcontinent. Routledge, London 1999, S. 367f.
- 12.The Manganiyar Musicians. mamekhan.com
- 13.Nazir A. Jairazbhoy: Music in Western Rajasthan: Stability and Change. In: Yearbook of the International Folk Music Council, Bd. 9, 1977, S. 50–66, hier S. 55
- 14.Albert A. Stanley: Catalogue of the Stearns Collection of Musical Instruments. The University of Michigan, Ann Arbor, 2. Auflage 1921, Position 66 auf S. 63 (bei Internet Archive)
- 15.Sibyl Marcuse: Musical Instruments: A Comprehensive Dictionary. A complete, autoritative encyclopedia of instruments throughout the world. Country Life Limited, London 1966, S. 285f
- 16.Herbert Arthur Popley: The Music of India. Association Press, Kalkutta 1921, S. 124 (bei Internet Archive)
- 17.Herbert Arthur Popley, 1921, S. 123f.
- 18.David B. Reck: Musical Instruments: Southern Area. In: Alison Arnold (Hrsg.): Garland Encyclopedia of World Music. Band 5: South Asia: The Indian Subcontinent. Routledge, London 1999, S. 364
- 19.Allyn Miner: Musical Instruments: Northern Area. In: Alison Arnold (Hrsg.): Garland Encyclopedia of World Music. Band 5: South Asia: The Indian Subcontinent. Routledge, London 1999, S. 347
- 20.YouTube MURpJYlM_Lc Kabir Das Sant play Ektara and Khartal
- 21.Gajathri Rajapur Kassebaum, Peter J. Claus: Karnataka. In: Alison Arnold (Hrsg.): Garland Encyclopedia of World Music. Band 5: South Asia: The Indian Subcontinent. Routledge, London 1999, S. 389
- 22.Dilip Ranjan Barthakur: The Music and Musical Instruments of North Eastern India. Mittal Publications, Neu-Delhi 2003, S. 107
- 23.Jahnovi Brahma, Tribeni Mandal, P. Gajurel, B. Singh, P. Rethy: Traditional knowledge of musical instruments used by the Bodo tribes of Northeast India, BTC, Assam. In: International Journal of Scientific and Research Publications, Bd. 5, Nr. 5, Mai 2015, Abbildung S. 4
- 24.Alastair Dick, 2014, S. 116
- 25.David Dennen: The Third Stream: Oḍiśī Music, Regional Nationalism, and the Concept of “Classical”. In: Asian Music, Bd. 41, Nr. 2, Sommer/Herbst 2010, S. 149–179, hier S. 157
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