Also spelled:
vina
Hindi:
bin

veena, any of several stringed musical instruments of India, including arched harps (before 1000 ce), stick zithers, and lutes.

The North Indian version, the bin, is used in classical Hindustani music. Classified as a stick zither, it is about 4 feet (1.2 meters) in length, having a large resonating gourd under each end of its hollow wooden body, 24 high, movable frets, and four metal melody strings and three metal drone strings running along the length of the body. The musician, who plays the instrument in a seated position, holds it across his body at a 45-degree angle with one gourd resting on the left shoulder and the other gourd resting on the right knee or hip. The melody strings are plucked in a downward motion with a plectrum that is worn on the first and second fingers of the right hand, while the little finger of the right hand strums the drone strings in an upward motion. The fingers of the left hand are used to stop the strings. The bin was the dominant stringed instrument of Hindustani music in the 18th century, but in the 19th century its use declined in favor of the sitar, and it has since become nearly obsolete.

The veena of southern Indian Carnatic music is a long-necked lute with a pear-shaped wooden body attached to the neck, rather than the lower gourd found on the bin. Like the bin, it has 24 frets, four metal melody strings, and three metal drone strings. Musicians play the veena while in a seated position, holding the instrument across their lap in a nearly horizontal position, with the instrument’s body resting on the floor or supported by their right thigh and the gourd resting on their left thigh. The strings are plucked in a manner quite similar to that used in playing the bin. Of later origins than the bin, the veena was a favorite chiefly among amateur female vocalists, but it now occupies in Carnatic music the dominant position held by the sitar in Hindustani music.

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The Editors of Encyclopaedia BritannicaThis article was most recently revised and updated by Tamanna Nangia.
Hindi:
Hindustani Shastriya Sangeet or Uttar Bhartiya Shastriya Sangeet

Hindustani classical music, one of the two principal types of South Asian classical music, found mainly in the northern three-fourths of the subcontinent, where Indo-Aryan languages are spoken. (The other principal type, Carnatic music, is found in the Dravidian-speaking region of southern India.) The two systems diverged gradually, beginning in the 13th century, when the Islamic conquest of northern parts of the subcontinent introduced highly influential Arab and Persian musical practices that then merged with Hindu traditions. (The influences from Muslim cultures played virtually no role in the development of Carnatic music.)

Northern India shares with the south the use of ragas (melodic frameworks for improvisation and composition), the rhythmic principles of tala (cyclic metric patterns sometimes of great complexity), and the practice of nonmetric, rhythmically “free” improvisation. Although vocal music plays an important role, instrumental music is more important in Hindustani music than it is in Carnatic; there are some purely instrumental forms, such as the theme with variations known as gat.

The most prominent instruments of Hindustani music are the sitar (a long-necked fretted lute with about 30 melodic, drone, and sympathetic strings), sarod (a short-necked unfretted lute with sympathetic and drone strings), sarangi (a bowed fiddle), shehnai (an oboelike wind instrument), tabla (a set of two drums played by one musician, the right-hand drum carefully tuned), and tambura (a large long-necked lute with four strings, used only to play the supporting drone, a single repeated chord).

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A typical Hindustani performance, which may last well over an hour, begins with a long, nonmetric improvisation (alap) by the singer or melodic soloist, followed by jor, or improvisation without metric cycle but with a perceptible pulse, and eventually by the similar but faster jhala. Then follows the composed piece, which is performed with improvised variations—most typically khayal (a poetic form) in vocal music and gat, a short, rhythmically distinctive theme, in instrumental music. Here, the soloist is accompanied by the percussionist on tabla, and the improvisations often involve various kinds of virtuosic rhythmic competition and cooperation.

The centers of Hindustani music in the 21st century are the cities of Delhi, Kolkata (Calcutta), Varanasi, and Mumbai (Bombay), but, until the early part of the 20th century, smaller cities with princely courts, such as Jaipur, Agra, and Gwalior, played a major role. In the early 21st century, the practitioners of Hindustani music best-known outside the subcontinent included Ravi Shankar, Ali Akbar Khan, and Bismillah Khan.

Bruno Nettl