THE CONCEPT OF TALA IN INDIAN CLASSICAL DANCE

Abstract

This study offers a detailed exploration of the concept of tala in Indian classical music, examining its historical,
structural, and philosophical aspects [1]. By analyzing ancient texts such as Sangita Darpana, Rangarnava, and
Sangeetha Rathnakara, the research traces the evolution of the term "tala" and underscores its pivotal role in
rhythmic organization within both Carnatic and Hindustani music traditions. The study highlights the sociocultural
significance of tala, extending beyond music to encompass dance and cultural rituals, where rhythm is
central to the human experience and life cycles. Through a comparative analysis of the tala systems in the two
traditions, it identifies key structural components like laghu, drutam, and anu drutam, demonstrating how these
variations influence rhythm, tempo, and emotional engagement with the music. The study also delves into the
spiritual and philosophical dimensions of tala, exploring its connection to divine principles of harmony and
balance. Despite challenges in accessing ancient texts and potential biases in interpretation, the research offers
valuable insights into tala’s complex nature. It opens avenues for future studies, suggesting further exploration
of regional variations, contemporary applications, and the integration of tala in global musical contexts,
fostering a deeper understanding of its cultural and aesthetic significance in Indian music [2].