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Taala, Taal or Taalantainmah (Sanskrit ''tāla'' Telugu ''tāḷaṁ'', literally a "clap"), is the term used in Indian classical music for the rhythmic pattern of any composition and for the entire subject of rhythm, roughly corresponding to metre in Western music, though closer conceptual equivalents are to be found in the older system of rhythmic mode and its relations with the "foot" of classical poetry, or with other Asian classical systems such as the notion of ''usul'' in the theory of Ottoman/Turkish music. A ''tala'' is a regular, repeating rhythmic phrase, particularly as rendered on a percussive instrument with an ebb and flow of various intonations represented as a ''theka'', a sequence of drum-syllables or ''bol''. Indian classical music, both northern and southern, has complex, all-embracing rules for the elaboration of possible patterns and each such pattern has its own name, though in practice a few ''talas'' are very common while others are rare. The most common instrument for keeping rhythm in Hindustani music is the ''tabla'' (also transliterated as ''Tabala''), while in Carnatic music it is the ''mridangam'' (also transliterated as ''mridang''). Some of commonly attributing tala or more often boles of theka are as follow; "char matra" (dhin dha teen na) "chaau matra" (dha dhi na dha tee na) "saat matra" (ten ten na dhin na dhin na) "aath matra" (dha ge na te na ka dhi nee) and many more such matras are formed . ==Terminology== Each repeated cycle of a ''tala'' is called an ''avartan''. This is counted additively in sections (''vibhag'' or ''anga'') which roughly correspond to bars or measures but may not have the same number of beats (''matra, akshara'') and may be marked by accents or rests. So the Hindustani ''Jhoomra tal'' has 14 beats, counted 3+4+3+4, which differs from ''Dhamar tal'', also of 14 beats but counted 5+2+3+4. The spacing of the ''vibhag'' accents makes them distinct, otherwise, again, since ''Rupak tal'' consists of 7 beats, two cycles of it of would be indistinguishable from one cycle of the related ''Dhamar tal''.〔Kaufmann(1968)〕 However the most common Hindustani ''tala'', ''Teental'', is a regularly-divisible cycle of four measures of four beats each. The first beat of any ''tala'', called ''sam'' (pronounced as the English word 'sum' and meaning even or equal, archaically meaning nil) is always the most important and heavily emphasised. It is the point of resolution in the rhythm where the percussionist's and soloist's phrases culminate: a soloist has to sound an important note of the raga there, and a North Indian classical dance composition must end there. However, melodies do not always begin on the first beat of the ''tala'' but may be offset, for example to suit the words of a composition so that the most accented word falls upon the ''sam''. The term ''talli'', literally "shift", is used to describe this offset in Tamil. A composition may also start with an anacrusis on one of the last beats of the previous cycle of the ''tala'', called ''ateeta eduppu'' in Tamil. The ''tāla'' is indicated visually by using a series of rhythmic hand gestures called ''kriyas'' that correspond to the ''angas'' or "limbs", or ''vibhag'' of the ''tāla''. These movements define the ''tala'' in Carnatic music, and in the Hindustani tradition too, when learning and reciting the ''tala'', the first beat of any ''vibhag'' is known as ''tali'' ("clap") and is accompanied by a clap of the hands, while an "empty" (''khali'') vibhag is indicated with a sideways wave of the dominant clapping hand (usually the right) or the placing of the back of the hand upon the base hand's palm instead. But northern definitions of ''tala'' rely far more upon specific drum-strokes, known as ''bols'', each with its own name that can be vocalized as well as written. In one common notation the ''sam'' is denoted by an 'X' and the ''khali'', which is always the first beat of a particular ''vibhag'', denoted by '0' (zero).〔Chandrakantha Music of India http://chandrakantha.com/faq/tala_thalam.html 〕 A tala does not have a fixed tempo (''laya'') and can be played at different speeds. In Hindustani classical music a typical recital of a raga falls into two or three parts categorized by the quickening tempo of the music; ''Vilambit'' (delayed, i.e., slow), ''Madhya'' (medium tempo) and ''Drut'' (fast). Carnatic music adds an extra slow and fast category, categorised by divisions of the pulse; ''Chauka'' (1 stroke per beat), ''Vilamba'' (2 strokes per beat), ''Madhyama'' (4 strokes per beat), ''Dhuridha'' (8 strokes per beat) and lastly ''Adi-dhuridha'' (16 strokes per beat). 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Tala (music)」の詳細全文を読む スポンサード リンク
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