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How is the summer in north Norway? It’s spectacular, a stunner, is what it is: A once-in-a-lifetime experience.Lofoten on a sunny day. Not in Troms nor Finnmark, but close enough. (Image: tara)Also, summer in north Norway is a drama queen whose mood swings are legendary. You could have sideways drizzle and 10 degrees C (50 F) on one side of the ridge and sparkling sunshine and 20 C (70 F) on the other. Two hours later that could flip. That capriciousness isn’t the exception; it is just part and parcel with the experience.Sørdalen, near my mother’s home town, Setermoen. (Image: Embuz on Flickr)Okshornan, Senja, from Tungeneset, on a skitvær (blustery) day. (Image: Rune Gjeldnes)The one thing you can count on is that you won’t get hot. Temperatures will range from warm to chilly, depending on the time of day, where you are, and how the gods are feeling at that particular moment. Here’s the thing about going to north Norway: It is not a beach vacation. It is not a hotel vacation. It’s an experience vacation in a rugged and wild landscape, and it must be experienced outdoors. The weather is just part of it. Whether it’s sunny or stormy, bad weather isn’t bad, it just heightens the drama of the landscapes.That said, you’re not going to the Antarctic. Lots of people travel here on bicycles and motorbikes, camping out in tents. Just don’t expect bikini weather, is all I’m saying.To dress for the occasion, here’s what you bring:Shorts and t-shirt. When it’s nice, it’s nice.Rain shell and a packable down jacket or good fleece or wool sweater. The rain shell is to keep not just the drizzle off you but also the wind. You don’t want, however, a massive insulated parka, because sometimes it’s just too warm for that even if it’s wet or windy. You want layers so that you can adapt.Mid layers. Anything that zips is great, like hoodies. The weather changes often, so what you want to be able to do is peel layers off and put them back on easily.Hat. Get something water repellent. In between rain and sun, there’s a range of drizzle and fog.Wool socks. Wool keeps you warm even when wet.A set of long underwear. If you have those days with exceptionally bad weather, you’ll appreciate it.Rugged hiking shoes or boots. Waterproof or not is up to you. I prefer light shoes that drain, with wool socks for warmth, but Norwegians also often use Wellingtons — rubber boots. The landscape is frequently wet, there are lots of boggy and spongy ground, and you’ll be hiking through ankle-height heather and lingonberry ground cover covered in rain or dew. (Sandals? Not a good idea. You’ll constantly have twigs and pebbles wedge themselves in there.)Temperatures at night can get down to 5–10 C (40–50 F). Daytime highs above 25 C (77 F) can happen, but it’s unusual in most places and I wouldn’t count on it.Where should you go?Oh, but where should you not … Let’s assume you are independently mobile; you rent a car or motor home or you’re on a bike. This is a fairly sparsely populated part of the country, and though there are bus routes, they aren’t set up to take you to the last mile to scenic destinations.So you’re able to get around and you intend to cover some distance. You specifically asked about Troms and Finnmark, which, good for you — now you’re bypassing the overcrowded Lofoten islands, which is in Nordland.Going south to north, you could start inland, in the Bardu area. Altevatnet lake is gorgeous (Google map). My grandfather Ludvig used to take me there to fish the surprisingly abundant arctic char. Pan fry it with butter and salt. The entire area is lush and green in the summer. On overcast days, the clouds hang low on sheer mountainsides with waterfalls streaming down them.Sørdalen, Bardu. (Image: Norge på langs)Setermoen and the Bardu area are close to the Øvre Dividal National Park (Google map), which pretty much compresses the best of inner Troms in a nutshell — lush woodlands, clear, rushing streams, and Arctic tundra covered in lichens and dwarf birch and grazed by reindeer.You need to see the Atlantic coast, of course. Head out to Senja, a so far relatively undiscovered gem I write about here, Per Jorgensen's answer to What's the most beautiful body of water to visit during the summer? What's it like to be there? and here, Per Jorgensen's answer to What are some beautiful places to visit that most people don’t know due to being overshadowed by more popular tourist cities?The entire road that goes around the island is designated a National Scenic Road, and the coastline has all the jagged and wild majesty of Lofoten.Bergsbotn viewpoint, Senja. (Image: Nasjonale Turistveger)Bergsøyan, off Hamn i Senja. (Image: Folkebladet)Just bit further north, just off the road from Senja to Tromsø via Kvaløya, you have Sommarøy, another undiscovered pearl. This is where the local Tromsøværing will go for a tropical beach vacation.Just kidding about the “tropical” part, but not the beaches. The beaches are beautiful.(Image: Sommarøy Island - an island for all seasons)Tromsø itself is worth a stay. It’s big enough to qualify as a city by Norwegian standards, has a university, and sports cultural and nightlife besides attractions like the Ishavskatedralen (literally the “ice sea cathedral” — the Arctic Cathedral) and the Polaria aquarium.(Image: Visit Norway)From Tromsø to Nordkapp (North Cape), you’ll pass through Alta, where the influence of Sámi culture is quite strong and you can get a glimpse of the long history of settlement in the area visiting some of the thousands of petroglyphs.Some of the carvings in the area are over 4,000 years old, maybe including the one of the reindeer having a bowel movement above. (Source: Wikipedia)Do you like reindeer meat? Because this is how you get reindeer meat. I prefer cured or in skav (shavings cooked into a stew). (Image: Visit Norway)Nordkapp, the North Cape, pretty much speaks for itself. It’s a natural destination if you’re traveling that far north anyway. The actual northenmost point on the Eurasian continent, though, is not the dramatic cliff with its visitor center and parking lot full of tour buses but Knivskjellodden (Google map). If you hike out it — the paths are well marked, and the round trip is about 18 km (11 miles) — you can put your name in the visitor’s log and become part of an exclusive club of people who went further north than the North Cape.Nearby, from the tiny fishing village of Skarsvåg, within a short hike you have Kirkeporten, a natural rock formation .(Image: Northern Norway)Next go east to the Barents Sea coast and the Varanger peninsula (Google map), which is both in large parts a national park (in English halfway down the page) and a National Scenic Road. This, and the towns of Vardø, Vadsø, Båtsfjord, and Berlevåg are about as rugged as it gets. You are farther north than Murmansk, Russia, and the Gulf Stream isn’t much help anymore as far as the climate goes.(Image: Store Norske Leksikon)(Image: Up Norway)(Image: Up Norway)If at this point you haven’t had enough, you can also head inland and south to Karasjok, which is predominantly Sámi and seat of Sametinget, the Sámi Parliament of Norway.Sametinget. (Image: Life in Norway)Reindeer have the right of way. (Image: Špelas Diary)I’ll be up that way, on Senja, in a month, documenting the whole misadventure together with advice on lodging, getting around, and stuff to bring on Fjørdgasm: Norway on the half shell.In parting: When nature calls, make sure to save it for the world’s most scenic bathrooms.

According to the dictionary, the word classical means relating to ancient Greek or Latin literature, art, or culture or anything representing an exemplary standard within a traditional and long-established form or style. I hope nobody will argue with me on this saying its meaning and definitions differs as per different dictionaries. Be it a Language, Art or Music, not all the branch gets the name classical just because it is older but because of its richness. Likewise different countries will have different way of categorizing their own national classical music in their own nation specific criteria. So both Indian Classical Music and Western Classical Music (European some called it) must have something special and riches in them, that makes them classical, isn’t it? I will try to cover exclusive comparison on Western Classical music and Indian Classical music from multiple sources, so read it with patience. It will be best to read the entire article to get the whole message.Being an Indian I have high regards for Indian Classical Music and at the same time I have high regards for Western Classical Music equally. I am not an expert in any form of music but I am learning different forms of music like Western Classical, Indian Classical, Country, Bluegrass, Folk and Gospel but emphasizing more on Western and Indian Classical Music. Often I see this topic comes up and people started comparing both the music, and mostly on critical aspect. Why can’t both form of music be accepted, adopted and digested in neutral form for our own good? We are not comparing religion vs science here but doing art vs art comparison. Such perception just blocks our own capability of understanding and enjoying the glories of both the great forms of music which has evolved over generations and centuries. This comparison is not only seen on East vs West(Indian Classical vs Western classical music) but also on North vs South(Hindustani Classical vs Carnatic Classical) as well. I don’t see much of such comparisons and debates on Western Classical vs Jazz or Western Classical vs Russian Classical.This is a very vast topic and many discussion and debates has been already done on this topic along with multiple volumes of books that have been already published. My opinion and view on this topic is just to provide my viewpoints and some information that I have gathered over course of time. I am trying my best to be as neutral as possible and would try to compare in the simplest way possible without going much technical details into any particular point. Again I am not trying to compare with the intention to prove which is more superior than the other and vice versa, but just for the educational purpose only. I assume that those whoever knows to play any form of music practically whether vocal or instrument would already know some of the theory concept of a particular musical form. This comparison would be mostly done on theoretical approach rather than perception approach to explain in the best possible way to cover both the audience of Indian Classical and Western Classical music. Hope this article will give more information about both the forms of music in general.Indian Classical Music are too boring, Western Classical Music are too unpleasant for our ears, Western Classical Music lacks creativity, Indian Classical music has micro tonal pitches only, blah blah blah…Oh really? These are just the critic and perception which I would completely disagree on such points. Music is very subjective and everybody has different taste for different forms of music, but that does not justify such statements. I am going to share my viewpoint and information which should clear such myth and perception. Funny part is most of such critics do not even know the basics of Indian Classical music and basics of Western Classical music, and I can bet on that. Forget about being expert in any form of the classical music, but I get the feeling that they do not have basic understanding of either forms of classical music, if you will. Some authors do have sound knowledge and their comparison provides more information and ideas about music in general rather than critic, and they will always have neutral approach for such comparison. I don’t want to be criticizing such critics, but may I ask such critics to come out of such myth and perception and start exploring more? I am sure you will be grateful to learn how wonderful and rich both these forms of Classical music are, and you would start appreciating them.Not many Western musicians including casual music listener Indians know that there are 2 main branches of music in Indian Classical Music; Hindustani Music and Carnatic Music. So at times, it is best to be specific to mention which branch of Indian Classical Music we are referring to. Not any form of music in India is considered as Indian Classical music whatsoever. Hope this clears some of the first and foremost myth. Likewise not any form of music in the west is considered the Western Classical Music, but music of particular era generally accepted as being between about the year 1730 and the year 1820. Of course classical music period overlaps with other common practice period. Also not just any form of music from other parts of the world during 1730 to 1820 is considered Western Classical, but music from particular regions which are particularly in and around European regions (that may be the reason some refer it as European Classical music). Hope this clears the second myth both for some of the casual Western and Indian music listeners who are not yet aware of this fact.Before I jump directly into the comparison, I would like to highlight many of the similarities between different Indian Classical music and Western Classical music. Both Indian Classical muisic and Western Classical music has 7 basic Musical notes within an octave (C D E F G A B C) in Western Classical music, which are also called 7 basic Swaras within a Saptak (shadja , rishabh, gandhar, madhyam, pancham, dhaivat and nishad, and are shortened to Sa, Ri (Carnatic) or Re (Hindustani), Ga, Ma, Pa, Dha, and Ni and written S, R, G, M, P, D, N)also called Saptaswaras in Indian Classical Music. Octave in Western Classic music is equivalent to Saptak in Indian Classical music. Also both forms of music have the concept of accidentals notes like Sharps and Flats in Western Classical music other than Naturals. In Indian Classical Music notes or swaras are called Teevra for sharps, Komal for flats and Shudda for naturals. On top of this Carnatic music also has a note called “Chyuta” which means fallen. Also most of the other elements of music including Rhythm and Pitch are common in both forms of music, even though their usage and names might be different in both the forms.Below are the points in comparison of Western Classical Music and Indian Classical Music:1) Origin and Purpose:Many debates are also circulating around the point on which Music is older whether Indian Music or the Western Classical Music. Fact is nobody knows for sure or proves when Music in general has come to this world, or when it has evolved or started. Both Indian Classical and Western Classical music are centuries old and many theorists are claiming that music has evolved from early AD if not from BC through different generations. Both forms of classical music did not evolved or get classified directly as classical music from ancient times, but taken shape and evolved from other forms of music and then classified later by our generations. Also another fact is that music and instruments came first, and then classification and music theory came later. I would say both Western Classical and Indian Classical music may or may not be equally old, but what is most important to me is how much each of these music branch has made advancement in this field, and how much they have to offer us.Western Classical Music was believed to have derived its theory and concepts from Greek culture; however it reached its peak in and around European Region during 1730 and 1820 AD. One such proof is that Cycle of Fifth chart or table which was believed to have been derived from Pythagorean Interval (same person known in Mathematics field). Nobody has clear evidence on what basis and motive music has evolved in Western Classical but we can rest assure that it must be for combination of educational, entertainment and for devotional purpose. Western music evolved from Greek Culture (for educational purpose), Italian Concerto, Symphony, Opera or vice versa laid foundation from Baroque and Renaissance period (so entertainment purpose), and Gregorian Chant and Early European Church choirs and God worshiping activities(Devotional purpose).Indian Classical Music on the other hand has evolved from Medieval if not Ancient Indian culture. There were two branches of music in India which was categorized as Marga and Deshi. Marga was strictly following the fixed rules and principles of music evolved around the region; used for devotion to gods to worship and get blessings, later it evolved to Carnatic Classical Music. This branch of music evolved in Southern parts of India and has been region and culture specific since then. Deshi music on the other hand evolved in Northern parts of India influenced by different cultures like Persian, Moghul and other such cultures from neighboring kingdoms. This branch of music has evolved, transformed and taken shape from different cultures and different generations based on their popularity and pleasing taste. So we can say that this branch of music has evolved purely for the entertainment and pleasing purpose. It is this branch of music that we know today as Hindustani Classical Music.Below is my personal opinion and assumption. It is to be noted that often traders from around the world was travelling to different parts of the world throughout the centuries. For example traders from European and other parts of the world were coming to India to trade spices of India and vice versa for other purposes. Also Ancient Indian educational universities like Taxila and Nalanda were attracting many students from around the world. Other than Science and Math, huge Music knowledge exchanges must have also taken place. During that time Indian Music must have influenced European and other people around the world and vice versa. There was no concept of visa and media during those days, so during the course of time musical knowledge must have influenced one culture over other culture very often.2) Harmony vs Melody:I cannot emphasize enough on this point on how big or how great this difference is, and this is the sole reasons that sets apart Western Classical music and Indian Classical music fundamentally by huge huge and huge gap. Take a deep breath because you are about to make big discovery on both the classical forms of music and learn some secret. Read more, and you might want to spend more time to understand this point and concept. If needed please take your own time and read this point over again.When 3 or more musical notes or swaras of different pitches or shrutis are played or sounded together all at once, it is Harmony. On the other hand when 3 or more musical notes or swaras of same pitch or different pitches are played or sounded one after the other, it is called Melody. For example a piano chord or a guitar chord when played is a harmony, while some tune say Happy Birthday is played on single note at a time or arpigiated it is Melody. Harmony is technically called polyphonic while melody is technically called monophonic. In case of monophonic sound only one channel of sound wave is produced and does not get interference or disturbed within itself easily. While in polyphonic more than one channel of sound wave is produced which get disturbed or interference within the same medium and a resultant sound wave of greater, lower or of same amplitude is produced. Because of such wave interference another dimension of sound is added which are called consonant (pleasant sound) and dissonant (unpleasant sound). Such plays a big deal not only for oscilloscope to measure but also for human ear. Forgive me for getting into Physics, lets get going with other interesting stuff.Western Music has both Harmonic and Melodic musical interval concept. There is no concept of Harmony in Indian Classical Music but exclusively on Melody. Yes you read it right. What that is “PREPOSTEROUS”? Must be the word in your mouth right now. How is that even possible? Well the “RAGA” of Indian Classical music has it all the answers and reasons. Well folks if you are looking for the biggest and most distinct musical fundamental which differentiates Western Classical music and Indian Classical music, this is it. Yes even the person with basic knowledge of Western Classical Music Theory or Indian Classical Music Theory would already be guessing where it is heading right now. Now this must the core and clear evident why average Western Classical Musician cannot relate to Indian Classical Music and vice versa. This is the only reason why Indian Classical Music and Western Classical Music sound and feel so much different from each other in spite of having rhythm and pitch as common music element in both the musical forms.In simpler terms it means there is no concept of Chords, Chord Progression, Counter Point, Consonance & Dissonance and Triad in Indian Classical music. Yes you guys are reading it right and whosoever understands the Western Classical Music Theory would have already realized the magnitude of this point. For the sake of people who know Indian Classical music theory but not aware of Western Classical Music, imagine if we take away Raag or Raga from Indian Classical Music theory; how much void or incomplete it would be? In case some casual music listener Quorans who happen to see this post and reading with curiosity but going above their heads and below their feet, let me try to put it this way. Imagine if you are to take away all the Parts of Speech (Noun, Pronoun, Verb, Adverb, Adjective, Preposition, Conjunction and Interjection) from English Grammar, how much would you be left with; making some sense?Scale in Western Music means ascending or descending of a set of musical notes ordered by fundamental frequency or pitch, while Mode is a type of scale specifying from which degree of the scale it starts. Raag or Raga on the other hand is not just combination of precise scale and mode of melody, but also the emotion, mood and colour of the melodic phrases that are conveyed. Raga is very difficult to explain and I have not seen any complete definition. May be contextual aspect of Raga has not been completely discovered and understood till date as it was written in Sanskrit(almost extinct language) in more of Philosophical description. Technically Scales and Modes are equivalent to Raga without mood and emotions into consideration. Ragas in Indian Classical Music are also prescribed for the particular time of a day or a season to get best result, whereas in Western Classical music time of the day and season have no such impact. Even though Western Classical music has the concept of Harmony and Melody, not much melody is utilized in Western Classical Music.In Western Classical Music heart and soul of music lies on Harmony which gives the foundation for Chords building and Chord Progression. On the other hand, heart and soul of Indian Classical music is the Melody on which Raag or Raga is exclusively built on.The lack of harmony in Indian classical music is not due to the limitation of knowledge. It is because the emphasis on melody has been taken Indian Classical Music in such a direction that harmony is not even utilized at all. There are 7 known Musical Modes in Western Classical Music and they are Ionian, Dorian, Phrygian, Lydian, Mixolydian, Aeolian and Locrian. Harmony based Scaling and Chord Progression is done mainly on Ionian (Major) and Aeolian (Minor) in Western Classical Music, and other modes are not commonly used. There are 72 known Melakarta or Janaka Ragas (parent ragas) in Carnatic Music and 10 known Thaats(equivalent to melakarta) in Hindustani music at present. Some article claims that there are around 200 main ragas but not sure on that fact. These parent Ragas or Thaats can further be broken down into smaller forms of Thaats and Ragas (Janya ragas).Like Modes not all the Ragas are practised and has been shrinking with ages. Someone might already be comparing “Oh my goodness 7 Modes vs 72 Ragas or 7 Modes vs 10 Thaats”. Scientific truth is modes are polyphonic and ragas or thaats are monophonic, and we cannot compare them as they are completely different subject altogether.One truth that many Western Classical musicians will agree is that eastern music which includes Indian Classical music is more melodious. Well you know the reason now, why it is so. In short we can call that Indian Classical music is a melody specialist while Western Classical Music is a harmony specialist. So this must be one of the reasons why both Indian Classical and Western Classical music have earned the name Classical.When it comes to vocal singing and training method, in Hindustani Music Vocal is trained and practiced based on the Sargam, something like pitch based Moveable Do Solfege system in Western Music, on the other hand in Carnatic music Gamakas (also known as Gamak or Gamakam) to train and practice vocal (which involve forceful oscillations between adjacent and distant notes and the closest explanation to this a combination of glissando and vibrato). It is due to this rigorous practice of Gamkam, Carnatic vocalist can sing plain as well as with glissando+vibrato effect, but singing in both Western as well as in Hindustani is rather straight. Don’t believe me, listen to some Carnatic vocalist you will get the idea what I mean.3) Elements of Music:Biggest difference of Element of music in Indian Classical and Western Classical music lies on Melody vs Harmony, which I have explained above already.The other elements of music such as Pitch vs Shruti (except for semi tonal vs micro tonal), Tone Colour (no concept of sustaining sound in Indian Classical music) or Raga Colours, etc does not differ mush in both the forms of music.There is no concept of dynamics, articulation and augmentation dot of notes in Indian Classical music.There is a fixed structure musical form in Western Classical music, however in Indian Classical music we do have form but unique to each types of ragas that are performed.Another distinct difference is the usage of Rhythm or Taal or Laya in both the musical form. The rhythm in Western Classical music is usually fixed whether is it can either be a simple time signature or compound time signature or Irregular time signature. Tempo of a musical piece or a song has has fixed tempo like 100 bpm or 80bpm or tempo markings like Largo, Lento, Adagio, Allegro etc. Irrespective of the time signature types and tempo all the measure of each song or piece is supposed to be of the same speed. For example if it takes 4 second to play each a measure, it would take 800(4X200) seconds to play a song or piece of 200 measures, unless there are some exceptions like fermata, repeat sign etc whether there is a note to play or rest within a measure.However on the other hand, in Indian Classical Music tempo or Taal or Laya might increase of decrease during the same song based on the ragas played. Same song might have 3 different tempos like slow (Vilambit), medium (Maddhya) or fast (Drut). For example when a raga is performed in Hindustani music, tempo changes with each movement in raga. When First movement starts with Alap (slow), Jor (tempo gains), Jhala (final movement, with fastest tempo) and Gat (it is of fixed composition). A gat can be of any tala and can be spread from over 2 to 16 of its rhythmic cycles in any temp, slow or fast or medium.4) Canonized vs Evolving:Ever wondered when we read any book or article why is Indian Classical always related and explained with examples of Western Classical Music? The answer is that Western Music is canonized or standardized. This is one aspect or good point that we as eastern culture must learn to appreciate the western culture. They document everything be in the past or even in the present. Even the term canon did not appear till early 19th century, however the idea of generally accepted or generally categorizing any subject like art, culture, music or authoritative texts existed in the Western Culture for a very long time. Upon this fact and idea western music works written since 1600 were considered more serious and structured which are then categorized as Western Classical Music. It is because of this concept rules and foundation is laid out to categorized and understand. If there are multiple ways or rules are available to approach any concept, then as per canonized generally one rule will be set and then other rules relating to such concept will be added as exception. This is the reason we will see mountains of exception even in Western Classical Music for any particular concept or rule, at the same time one rule will be generalized while others are laid as exception. This is the reason Western Classical Music is learned and practiced from the music laid during the Classical Era without altering or changing the rules and exception laid and fixed at that era.On the other hand Indian Classical has been evolving from the time it started and is still evolving even to this day. Indian Classical Music is lately embracing and adopting scientific methods like tuning with equal temperament and referring absolute pitch for vocal (not just one’s natural singing vocal as it used to be) and instruments. Some of the Indian Classical musicians are even using Android App to tune their violins.5) Micro Tonal vs Semi Tonal:This is one of the distinct features but not a major feature that distinguishes Western Classical Music with Carnatic Music. I hope you guys did remembered that I mentioned that it is better to be specific sometimes when we refer Indian Classical. Now Like I said there are 2 branches of Indian Classical music, which are Carnatic and Hindustani music. Not both the branch of Indian Classical music is micro tonal but only Carnatic music. Yes Hindustani music is a semi tonal based music and not a micro tonal based music. This is the most common perception that many western musicians have about Indian Classical music.Both Western Classical music and Hindustani music is semi tonal based music but Carnatic Music is micro tonal music based. By semi tonal we mean there 7 basic musical notes and there are 12 sub musical notes and they are also called intervals or distance between notes in an octave. The smallest musical note in an octave of semi tonal based music is half note. This is the common feature which Western Classical and Hindustani Music shares. No wonder we do see that semi tonal pitch based western instruments like Guitar, Piano, Keyboard and Indian semi tonal pitch based instruments like Harmonium and Sitar are widely used in Hindustani Music. These instruments however cannot be used in Carnatic Music.In Carnatic music there are micro tonal notes. By microtonal we mean there are 7 basic musical notes and there are 22 sub musical note intervals commonly called micro tonal notes which are also called shrutis in Indian Classical music. Most of the readers must have seen either a keyboard or a piano or even harmonium. White keys are naturals(shudda) and black keys are flats or sharps(komal and teevra). In Semi tonal system say piano, the lowest note that one can play theoretically and practically is black key. However in micro tonal saptak system there are smaller notes that one can play theoritically or practically which might appear as grey colour in a piano. Spacing of such micro tonal keys are not same if if you just add each grey keys between white and black like you might imagine on a piano. Notes and tuning system itself is different within an octave and a saptak. Micro tonal notes are smaller than semi tonal notes and vibrates between the semi tonal notes . Please check the link I have provided on shruti at wiki at point number 6 as tuning standardization, to get an idea.There are other branch of music in the world which also are micro tonal based music like Indonesian Gamelan music, Thai, Burmese, and African music just like Carnatic music in Indian Classical music. Not sure though how many intervals are there in each of those micro tonal music. Because in this type of music a micro tonal notes has to be produced only specific types micro tonal pitch based instruments like Violin, Veena and Tambura can only be used in Carnatic music.This is one of the ways we can identify whether the Indian Classical music we are watching or listening is Carnatic music or whether it is Hindustani music by identifying what musical instruments they uses. When one performs a particular music one must know what musical instrument one should use. For example someone trying to use Piano in a Carnatic music and shows frustration saying it cannot produce micro tonal notes which are lower than semi tonal (half note). Wait a minute don’t you think you are using a wrong instrument for another form of music? Imagine one drives a car which has only 5 gears and gets frustrated for not able to shift to 6th or 7th gear, doesn’t it sound funny?6) Tuning Standardization:Western Classical music has adopted and standardized its tuning system by following the concept of the Equal temperament through scientific approach.On the other hand Indian Classical Music has the concept of Just Intonation which is more of pure mathematical (harmonic progression) approach.By equal temperament we meant tuning between the notes within an octave, and not the base pitch reference. It also does not mean that there is equi-distant between the notes but means equal interval.For example, D/C = E/D and not D-C = E-D (division of pitch frequencies rather than subtraction of pitch frequencies).For easier comparison, lets say we set the same base pitch in Western and Indian tuning system which is A4=440, which give C4=261.6256 (Western) and Sa4=261.6256(Indian).Just for the sake of easier understanding, giving Sa shruti in India a number 4 representing that it is in the same octave of C4 as in Western music.Now between C4 and C5, the intervals are same which is 12 Equal Temperament (TET),However between Sa4 and Sa5, there are 22 shrutis which does not coincide(meet) at all those 12 TET as per Western tunning. Only coincdes at Octaves(C4 and Sa4, C5 and Sa5) and at only G perfectly.For more details please look at Shruti (music) - Wikipedia .By equal temperament we mean tuning of musical system in which every pair of adjacent notes is separated by the same interval. In other words it means that if we are to simply divide their above or larger note by it successive below or smaller note, we are going to get the same number.The basic formula for the frequencies of the notes of the equal tempered scale is given byfn = f0 * (a)nwhere,f0 = the frequency of one fixed note which must be defined. A common choice is setting the A above middle C (A4) at f0 = 440 Hz.n = the number of half steps away from the fixed note you are. If you are at a higher note, n is positive. If you are on a lower note, n is negative.fn = the frequency of the note n half steps away.a = (2)1/12= the twelth root of 2= the number which when multiplied by itself 12 times equals 2 = 1.059463094359...By the above statement it holds true whatever the pitch we set the musical instrument. For example right now internationally accepted concert pitch is set at A4=440 hz, it will also hold true for A4=432 hz. I am not even getting into the debate of 440 hz vs 432 hz or any other such pitch. In simple at least One pitch is set and standardized for tuning musical 12 interval based musical instrument. In equal temperament tunings, the generating interval is often found by dividing some larger desired interval, often the octave (ratio 2:1), into a number of smaller equal steps (equal frequency ratios between successive notes). In Western Classical music tuning system for the past few hundred years has been and remains twelve-tone equal temperament, which divides an octave into 12 equal parts all of which are equal on a logarithmic scale, with a ratio equal to the 12th root of 2 (12√2 ≅ 1.05946). That resulting smallest interval,  1⁄12 the width of an octave, is called a semitone or half step. This is the reason we do not have micro tonal pitch or a note any lower than semitone.In Western Classical tuning system it is frequency count based which is measured on hertz, while in Indian Classical music it is based on ratio and cents. One tuning system is not better than the other tuning. They serve different purposes according to different musical traditions. When an instrument is tuned to just intonation, it is more or less only able to play in one key, and to use limited chords and harmonies. This is perfectly suited to Indian music (which relies on elaborate melodies, drones and open intervals, but has no place for Western chord progressions and harmonies) and music of many other cultures. It is not known how frets are developed in veena to produce in such harmonic series. However it is evident that they must have done some experiment on Ek tara (one stringed instrument without frets) while chanting Samaveda Riks. Whatever it must be but those guys must have had very good hearing ears to have heard 22 distinct notes which they were able to hear from adjacent notes when rest of the world was able hear only 12 intervals. Jokes apart but the lack of noise pollution in these regions must have supported their 22 distinct hearing notes, which later evolved to be Carnatic Music.Then some experiment must have done on string length through nodes and came up with that idea. Some newer musician started adopting concept of equal temperament and lately Indian Classical music is moving towards that direction. In Western Classical Music, we have the octave number system like C4 for middle C. Likewise many newer Indian Classical musicians who have the knowledge of Western Music concept started using such number system to tune their instruments and at least relate such octaves and musical notes such as C or D equivalent instead of Sa, Re, etc. Also on top of that we do see the youngsters started using android app to tune their violin for the Carnatic violin. Not sure how much such tuning would impact on contextual aspect of such blended or blending music.This is the reason I have mentioned that one should know what musical instrument one should be using while performing which musical forms. For example if one performs piano or a guitar tuned in 12 interval equal temperament Carnatic music would sounds little awkward and one might be able to express or make it sound the way Carnatic music was intended to be played or performed.7) Improvisation vs Composition:This topic has been the biggest topic where musicians debate mostly on. As per my understanding improvisation is the early stage of composition. Improvisation may not necessary be just a mistake in music but an experiment to add, remove or replace the other elements of music to make it better and to perfection. The core difference between Improvisation and Composition of a Piece or Song lies on the stage at what level of completion such composing a musical piece or a song has taken place. Please note the difference of Composing (in the stage of work in progress of Composition which has not completed) vs Composed (Composition work has already been completed after all the experiment, correction or modification, which might also be called improvisation).Improvisation does takes place even in Western Music at the early stage of composition. There are some genius like musicians like Mozart and Beethoven who could visualize and conceptualize music in their brain on the go. Beethoven started to lose hearing due to accidental lead poisoning in his 20s and at the age of 46, he had completely lost his hearing. How could somebody compose such a masterpieces such as Fifth Symphony without even hearing how it might sound, but with just the musical elements in their head? These level of musicians must be the only bunch of composers who had the capability of composing music at one shot without any correction or improvising. However for most of the musician on the other hand while working on composition of a musical piece or song, constant experiment, alteration and improvisation may be done till he or she feels that it is perfect according to this work. Once a song or piece is composed(composition is done and completed) all the aspects or elements of music like time meter or duration of a piece, rhythm, tempo, dynamics, tone colour also called timbre, texture, etc. improvisation or correction has already taken place, it does not change as per the concept of Western Classical Music. A musical piece or song once composed has fixed duration and such fixed elements of music which lasts from 2 and half minutes to 7 minutes, depending on the measures and tempo of the musical piece.On the other hand in Indian Classical Music, like Jazz music basic pattern or musical form say a blueprint or skeletal is laid out for a musical piece or song. On top of this skeletal or pattern improvisation happens on the other elements of music such as taal or laya, shruthi, meend, gamakam, devotional element, verbal syllable, emotion, mood, tans, ornaments etc. for a musical piece or song. However such basic or the core skeletal or blue print of a musical piece or song remains unchanged. Such improvisation takes place while practicing alone, practicing with another musician or guru, and such improvisation happens even while performing at stage. This is the reason why the duration of performance goes longer in Indian Classical Music and in Jazz music which could last hours. Such kind of musical blue print might just be done spontaneous in minutes, hours or days but keep improvising on it. So as a Western Classical musician, a question comes on how long does one intend to keep doing such improvising on the same musical piece? Hope it will be completed someday soon, or why don’t you start another musical composition instead?So if anybody thinks that there is no scope of creativity at the time of performance in Western Classical music, that person is dead wrong. Nobody other than the composer would have the exact idea of number of hours, number of days, number of months, or even how many number of years he or she must have spent on so called creativity to perfect his single composition. Just by listening to the completed or finished composition with 2.5 minutes or 7 minutes duration of a musical piece or a song one should not judge to say that you do not have the scope of creativity while performing when enough creativity has already been given on the same composition. Such creativity what you are mentioning have already gone behind the scene into such composition. No Western Classical musician will even show up on stage with his Work in Progress Composition with the hope of opportunity or scope of creativity.In short a musical piece or a song in Western Classical Music has already been completed with enough creativity already given while composing time. Later we get to see a musician performing such musical piece or song exactly the way it is meant to be performed and written. In Indian Classical Music (like in Jazz) composition is still in the stage of improvising but has not really completed as per the Western Classical music concept. It is like Completed Vs Work In Progress piece of music. Simple example is dough vs bread. Come on guys its just the core principle and fundamental believe and concept, why do people have to debate over this point like children?Some of the obvious but are smaller and easier aspect to do the comparison are:1) Musical Instrument usage:Different musical instruments especially pitch based are used for different musical forms for a reason. Some percussion musical instruments are rhythm based and could be used as a common instrument.2) Language usage:Musical piece is the common language in the whole world. Most of the Western Classical songs during peak period were composed on Italian (Venice was the most happening place at that time), followed German, French etc. However in present day an age, Western Classical songs are also and can be composed in any language English, Chinese, Hindi, Greek or Avatar language. On the other hand Indian Classical songs are composed on South Indian languages on Carnatic and Hindi on Hindustani music. Likewise even in Indian Classical Language, there is restriction on language to compose a song.3) Vocal Range:In Indian classical music, vocal are practiced and composed on 3 octaves usually; Madhya Sthana(ones natural singing voice), Mandra Sthana(lower octave) and Tara Sthana. Please note these octaves in the true Indian Classical concept(older) does not have absolute pitch reference but just one’s natural singing voice. Whichever note the vocalist produced Sargam (solfege) is fixed there. In case of western Classical Music, if a song is written on C5, vocalist will adjust her vocal note and solfege at C5. Lately however as Indian Classical tuning is embracing and adopting absolute pitch, we can consider these octave ranges as Madhya Sthana to the octave middle C in a Piano, Mandra Sthana as one Octave below middle C and Tara Sthana as one octave above middle C. In Western Classical music vocal range usage are generally in 5 octaves (Bass in E2 to Soprano C6). There are vocalists though both in Indian and Western Classical music who can sing below and above the mentioned ranges, but in general most of the vocalist sing at that ranges. If somebody is interested, widest vocal range and lowest vocal range is Tim Storms (he can produce low notes below human hearing range) and the person with highest vocal range is Gregoria Brown(she can sing in her vocal as if she is whistling).4) Learning and Inheriting musical knowledge:In Western classical music, musical knowledge can be self taught through books or learn from musical schools. However in Indian Classical music one needs a guru or a teacher to learn musical knowledge. It is possible for one to learn Indian classical music on his own through books (not much well structure books like western music are available) but it would be very difficult. So in Indian Classical musical knowledge including musical piece or song is taught person to person.5) Songs Written vs Verbal:In Western Classical music songs are written on Staff notation (generalized musical symbols) which can be understood by any person of any generation or from another regions of the world, provided he or she also knows staff notation. In Indian classical music songs are verbal and oral and are not written on staff notation. Please do not be mistaken with the lyrics of the song and with the staff notation, they are completely different. There are new Indian Classical musicians who studies even Western music and posses the knowledge of reading and writing songs on staff notation, but it would be for western music based songs. Whatever the written form of Musial notes in Indian Classical are just numeric notation and mostly person specific.In Western Classical music when written has been composed with set 2 dimensional Rhythm and Pitch and other elements of music like tempo, dynamics, articulation, repetition, articulation etc. However only one dimension of music will be set in Indian Classical music like Laya (ryhthm) in Carnatic, then improvise the other elements of music which includes pitch, and Pitch or Swara in Hindustani music will be set and then other elements of music(including rhythm) will be improvised on it.Some of the common terms we hear but do not know the meaning to relate one another:1) Opera is the western music of enacting and singing involving telling a story of any character of any history or mythology. Ramleela (or Ramlila) is same as opera in India but it is confined and strictly to story telling of the Ramayana.2) Music is the term used in Western and Sangeet (or Sangeeta) is the same meaning in Sanskrit (or Hindi).3) Gati(Hindustani) or Laya(Carnatic) is Tempo.4) Matra (or Aksharas) is Beat and Rhythm (or Timing) is called Tala5) Vibhag is Measure (or Bar), and Avartan is Cycle6) Jaati (or Jati) means Rhythm Pattern (or Meter in Time Signature)7) Pitch is Tarakol (or Svaramaan), while Interval is called Shruti or Grama (older name).8) Octave is in Western music and Saptak is in Indian Classical music.9) Vocal is in English and Maukhik is in Hindi, Instrument are in English and Saadhan is in hindi.10) Scales can ascend or descend in Western music and it is called Aroha or Arohana(ascending) and Avaroha or Avarohana(descending) in Indian music.For some people who have come this far and still think Indian Classical music is too boring, would you mind to start exploring raga? If someone thinks that Western music lacks creativity, would you try to perform Moonlight Sonata exactly Beethoven has composed the way he has meant it to be performed? I am sure you will start realizing very soon how much we as a person (at least in my musical skill level) starts running out of such creativity skills but not the music itself. Also for somebody who still says Western music are not pleasant for your ears, I have some recommendations for you too. I have the feeling that you might not have listened enough (it takes time for anyone and not necessary to start liking from the first time) to some good Western Classical music but ended up listening to Beethoven’s bagatelle in Anu Malik version, or some punk music. It is said that nocturnes of Frederic Chopin can even melt the stone hearted person. Try listening to Frederic Chopin’s Nocturne (one being my favourite Opus 9 No 2 - Chopin Nocturne E Flat Major Op.9 No.2), it should melt your heart like a hot knife cutting any butter.Finally, I would like to close my article with this note. When we start comparing Western Classical music and Indian Classical music, it is not an apple to apple comparison but an apple to mango comparison. One being king of the fruit and other queen of the fruit, even though both are fruits but not of equal ground. It just because of the reason that both the musical forms are not built on the same principle and fundamental. Western music is built on Harmony and Indian music is built on Melody.Also when we start comparing even with Hindustani and Carnatic, it is like a mango to orange comparison, both are fruits and tastes sour but got distinct flavours of their own. The core fundamental difference on both the Indian Classical music lies on the fact that one being a 12 interval shrutis based music and other being 22 shrutis interval based music. Carnatic music is based on Laya(rhythm), while Hindustani Music is based on Tarakol (pitch).So we should start appreciating any forms of classical music that has evolved from long generations, that has been passed on from such musical geniuses for our generation and for many generations to come.I hope I have not hurt any sentiments or feelings of anybody through this article? Hope this article has provided some new information about music in general, which you might have not heard or read before by some of the readers. Any kind of question or discussion is welcome. I hope to learn some new things on music from each one of the readers as well. I am not an expert and still learning, if any suggestion or correction is provided, I would be much obliged.EDIT:For exclusive comparison and difference between Just Intonation and Twelve Equal Temperament tuning system, please read my post at:Praloy M Sangma's answer to What is the difference/ relationship between microtonal music, equal temperament and just intonation? .Thank you all for reading with patience.

Of course there were Belarusians, Russians, Rusyns, and Ukrainians. Although modern ideas of nationality and culture were just forming in a Europe still dominated by dynastic empires, these East Slavic peoples existed, they were each recognized as unique, and this was known far and wide.But terminology was different, too. Although Ukraine was known as Ukraïna since the 1500s, its people were more commonly called Ruthenians (rusychí, rusyný, or rusnaký), sometimes Cossacks or Zaporozhians (kozaký or zaporózhtsi), and later had the belittling epithet Little Russians (malorósy) applied, but only in the colonies of the Russian tsardom, which was declared an empire after it started to incorporate Ukraine. The modern name Ukraïntsi, Ukrainians, was popularized around the 1830s and 1840s in the Russian empire by literary heroes like Taras Shevchenko and Mykola Kostomarov, and accepted by Ukrainians as a self-appellation there and in the Austro-Hungarian empire by the beginning of the twentieth century.All four of these nations have undergone the successive traumas of colonization, the Russian Civil War, Stalinism, and the Second World War, and the suffocating effect of seven decades of Soviet rule. They found themselves in newly independent countries in 1992, and are still in the process of redefining themselves.Today, Ukrainians have a democratic nation-state that’s struggling to develop a modern civil identity. Self-identifying Rusyns are a small minority in Ukraine. Russians are the majority group in a multi-ethnic state, sharing the world’s largest polity with over 100 nations. And Belarusians live in Europe’s last dictatorship, which is tightly bound to, yet maintains independence from, its much larger eastern neighbour.English-language literature documents the Western historiography of Ukrainians in the Modern period:1594, R. Ashley, tr. L. le Roy, Of the Interchangeable Course, or variety of things in the whole world, 27:“Slauonian [is] vnderstood, and spoken by the Seruians, Mysians, Bosnians, Dalmatians, Croatians, Slauons, Carnians, Bohemians, Morauians, Slesites, Polaques, Mazouites, Pomerans, Cassubites, Sarbians, Ruthenians, and Moscouites.”1611, E. Aston, tr. J. Boemus, Manners, Lawes, & Customes of all Nations, 229:“There be some Ruthens towards the South, and Muscouites which dwell farre north, which obserue the Ceremonies of the Greeke Church, yeelding their obedience to the Bishoppe of Constantinople.”1651, Mercurius Politicus, (July 3–10), p 907:“Prince Ratziwil, from Littaw, is falne into the Cosacks Countrey, called Ukrain, and hath taken the chief City thereof, called Kiow : But hereof is no certainty.”1760, The Universal Magazine of Knowledge and Pleasure, v 27, London: J. Hinton:“To the south of the province of Smolensko you find the province of Kiovia, which is the Little Russia, the Red Russia, or the Ukrain, crossed by the Dnieper, which the Greeks call Boristhenes. . . . The Ukranians, called Cossacs, are a collected body of ancient Roxelans, Sarmatians, and Tartars.”1799, W. Tooke, View of the Russian empire during the reign of Catharine the second, and to the close of the present century, I. ii. i. 389:“The descendants of the novogorodian colony being now called Great-Russians, and the kievian Little-Russians.”1810, E. D. Clarke, Travels in various countries of Europe Asia and Africa, I.:viii. 127: “Among the Sclavonic, or, as he termed them, the Ruthenic manuscripts, there was a copy of the works of Virgil.” [Eneida, the 1798 epic poem by Ivan Kotlarevskyi, considered the first modern Ukrainian writer.]xi. 211: “We met frequent caravans of the Malo-Russians, who differ altogether from the inhabitants of the rest of Russia. Their features are those of the Polonese, or Cossacks. They are a much more noble race, and stouter and better looking people than the Russians, and superior to them in every thing that can exalt one set of men above another.”xv. 337: “The fifteen nations, whose representatives I observed at one time gathered together, were as follow: 1. Russians, . . . 6. Cossacks, . . . 13. Malo-Russians, . . .”1815, The Gentleman’s Magazine, LXXXV. ii. 114:“That by the Malo~russians and Ukrainers is meant the same people, none are ignorant.”1823, J. C. Robertson & T. Byerley, The Percy Anecdotes: Original and Select, XIII. ii. 79:“The sweetness and unlimited combination and range of the voice of the Ukrainians.”1848, J. G. Wilkinson, Dalmatia & Montenegro, I. 29,“The Little Russian, called the Rusniack, or Ruthenian, is perhaps the most harmonious of all the Slavonic dialects.”1849, Blackwood’s Edinburgh magazine, May 627/2:“The revolt of the Ruthene peasants of Galicia in 1846, who had massacred whole families of the Polish nobles, and the belief that the Austrian government had encouraged the revolt, had been slow to put it down, and had rewarded its leaders, produced agitation amongst the peasants in Hungary, and the greatest anxiety in the minds of the nobles.”1850, Proceedings of the Philological Society, 5 27,“The Ukraine, as you know, is the land of the Kosaks; they speak the Ruthenian dialect, which partake of the character both of the Polish and Russ. The Kosaks passed alternately from the domination of Poland to that of Russia, and vice versá, and their literature bears evident traces of the influence which either country has exercised over the national mind”1886, Encyclopædia Britannica, XXI. 80/2:“In western Russia, printing in Ukrainian is prohibited, and ‘Russification’ is being carried on among Ukrainians by the same means as those employed in Poland.”These quotations are collected in the Oxford English Dictionary, and “Citations:Ukraine,” in Wiktionary.Map: Guillaume le Vasseur de Beauplan, ca. 1639, Ukraina. North is down. The people around the title plate are clearly identifiable Ukrainians. Higher resolution available at the source.