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Hindustani classical music



The major vocal forms-cum-styles associated with Hindustani classical music are Dhrupad, Khayal, and Thumri. Other forms include Dhamar, Tarana, Trivat, Chaiti, Kajari, Tappa, Tap-Khayal, Ashtapadis, Dadra, Ghazal and Bhajan. Of these, some forms fall within the crossover to folk or Semi-Classical or Classical ('Light' Classical) music, as they often do not adhere to the rigorous rules and regulations of 'pure' Classical Music.

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Dhrupad

Main article: Dhrupad

Dhrupad is a yet older style of singing, traditionally performed by male singers. It is performed with a tanpura and a Pakhawaj as instrumental accompaniments. The lyrics, which sometimes were in Sanskrit centuries ago, are presently often sung in Brajbhasha, a medieval form of Hindi that was spoken in the Mathura area. The Rudra Veena, an ancient string instrument, is used in instrumental music in the style of Dhrupad.

Dhrupad music is primarily devotional in theme and content. It contains recitals in praise of particular deities. Dhrupad compositions begin with a relatively long and acyclic Alap, where the syllables of the following mantra is recited:

  "Om Anant tam Taran Tarini Twam Hari Om Narayan, Anant Hari Om Narayan".

The alap gradually unfolds into more rhythmic Jod and Jhala sections. This is followed by a rendition of Bandish, with the pakhawaj as an accompaniment. The greatest of Indian musicians, Tansen sung in the Dhrupad style. A lighter form of Dhrupad, called Dhamar, is sung primarily during the festival of Holi.

Dhrupad was the main form of northern Indian classical music until two centuries ago, but has since then given way to the somewhat less austere, khyal, a more free-form style of singing. Since losing its main patrons among the royalty in Indian princely states, Dhrupad ran the risk of becoming extinct in the first half of the twentieth century. Fortunately, the efforts by a few proponents from the Dagar family have led to its revival and eventual popularization in India and in the West.

Some of the best known vocalists who sing in the Dhrupad style are the members of the Dagar lineage, including the late Senior Dagar brothers, i.e. Us. Nasir Moinuddin Dagar and Us. Nasir Aminuddin Dagar, the late Junior Dagar brothers, i.e. Us. Nasir Zahiruddin and Us. Nasir Faiyazuddin Dagar, Us. Wasifuddin Dagar, Us. Fariduddin Dagar, Us. Sayeeduddin Dagar. Other leading exponents include the Gundecha brothers (i.e. Ramakant and Umakant Gundecha), Dr. Ritwik Sanyal and Pt. Uday Bhawalkar, who have received training from some of the Dagars. Leading vocalists outside the Dagar lineage include the Mallik family.

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Khayal

Main article: Khayal

Khayal is a form of vocal music in Hindustani music, adopted from medieval Persian music and based on Dhrupad music. Khayal, literally meaning "Thought" in Hindi/Urdu originally from Arabic, Khyal, is special as it is based on improvising and expressing emotion. A Khayal is a 4 to 8 lined lyric set to tune. The lyric is of an emotional account possibly from poetic observation. Khayals are also more popularly depicting emotional significance between two lovers, a situation evoking intense feeling, or situations of ethological significance in Hinduism and Islam.

Th importance of the Khayal's content is for the singer to depict, through music in the set raga, the emotional significance of the Khayal. The singer improvises and finds inspiration within the raga to depict the Khayal.

The origination of Khayal is controversial, yet it is accepted that this style was based on Dhrupad gayaki and influenced by Persian music. Many argue that Amir Khusrau created the style in the late 16th Century. This form was popularized by Mughal Emperor Hussain Shah Sharqi, an art connoisseur, through his court musician, Mohammad Shah. Other well-known composers of this period were Sadarang, Adarang, Manarang.

   "   Kaisku Marwa Jaayal Hamaraa
   More darawa nayan ghar kan warahe,
   
   Mohammad Shah ke Sadarangile,
   Prem Piya la Chapate Apne,
   Huntara Tana Mana Waarune   "
            - Mohammad Shah

This Khayal bandish in raga Bibhas was popularized by D.V. Paluskar. It is interesting how this bandish mentions three names; Mohammad Shah, Sadarang, and Prem Piya.

Later performers include Pt.Dattatreya Vishnu Paluskar, Faiyaz Khan, Pt.Vinayak Rao Patwardhan, Pt. Shankar Rao Vyas, Pt.Narain Rao Vyas,Pt.Balabhau Umdekar "Kundalguru" Ut.Nazakat Ali And Ut. Salamat Ali Khan, Pt.Eknath Sarolkar, Pt.Kashinath Pant Marathe, Ut.Bade Ghulam Ali Khan, Smt. Kesarbai Kerkar, Mogubai Kurdikar, Krishnarao Shankar Pandit,Amir Khan, Pt. Gajananrao Joshi, Pt. Ram Marathe, Pt. Ratnakar Pai, Pt. Kumar Gandharva, Pt. Jitendra Abhisheki, Pt. A. Kanan,Pt. Basavaraj Rajaguru and Mallikarjun Mansur.

Some of the present day vocalists are Rashid Khan, Pandit Jasraj, Bhimsen Joshi, Gangubai Hangal, Pt. Yeshwantbua Joshi, Girija Devi, Kishori Amonkar, Satyasheel Deshpande, Ustad Iqbal Ahmad Khan, Dr. Ishwarchandra Karkare,Dr. Rajshekhar Mansur, Pt Ulhas Kashalkar, Pt. Arun Bhaduri, Malini Rajurkar, Pt. Ajoy Chakrabarty, Prabakar Karekar, Alka Deo Marulkar, Aslam Khan, Sanjeev Abhyankar, Shruti Sadolikar, Ashwini Bhide, Padma Talkwalker, Arati Ankalikar-Tikekar, Maya Motegaonkar, Ajay Pohankar, Chandrashekar Swami, Pt. Venkatesh Kumar, Mashkoor Ali Khan,Vidushi Subhra Guha,Pt. Parameshwar Hegde, Indrani Choudhury, Pandit Ganapathi Bhatt, Pt.Madhav Gudi, Bhawani Angiras, Smt. Shashwati Mandal Paul, Pandit Nagaraj Havaldar, Pt. Somanath Mardoor, Pt.Panchakshariswamy Mattigatti, Pt. Shivanand Patil, Sandipan Samajpati,Manjiri Asanare-Kelkar, Sanjeev Chimmalgi

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Tappa

Tappa is a form of Indian classical vocal music whose specialty is its rolling pace based on fast, subtle, knotty construction. The arrangement of words, with the help of tone vibrations performed in an exquisite vocal style, create a charming atmosphere. It originated in the Punjab Gharana. Among the prominent living performers of this style is Smt. Girija Devi.

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Tarana

Another vocal form, Tarana are songs that are used to convey a mood of elation and are usually performed towards the end of a concert. They consist of a few lines of rhythmic sounds or bols set to a tune. The singer uses these few lines as a basis for very fast improvisation. In some sense the tarana can be compared to the Tillana of Carnatic music.

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Thumri

Main article: Thumri

Thumri is a semiclassical vocal form said to have begun with the court of Nawab Wajid Ali Shah, 1847-1856. There are three types of thumri: Punjabi, Lucknavi and poorab ang thumri. The lyrics are typically in a proto-Hindi language called Braj bhasha and are usually romantic.

Prominent recent performers of this genre are Bade Ghulam Ali Khan and Barkat Ali Khan, Girija Devi, Siddheshwari Devi, Begum Akhtar, Shobha Gurtu and Pandit Channulal Mishra.

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Ghazal

Ghazal is an originally Persian form of poetry. In the Indian sub-continent, Ghazal became the most common form of poetry in the Urdu language and was popularized by classical poets like Mir Taqi Mir, Ghalib, Zauq and Sauda amongst the North Indian literary elite. Vocal music set to this mode of poetry is popular with multiple variations across Iran, Afghanistan, Central Asia, Turkey, India and Pakistan. Ghazal exists in multiple variations, including folk and pop forms but its greatest exponents sing it in a semi-classical style.

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Instrumental music

Although Hindustani music clearly is focused on the vocal performance, instrumental forms have existed since ancient times. In fact, in recent decades, especially outside South Asia, instrumental Hindustani music is more popular than vocal music, perhaps because the lyrics in the latter are not comprehensible due to unfamiliarity with the language.

A number of musical instruments are associated with Hindustani classical music. The veena, a string instrument, was traditionally regarded as the most important, but few play it today and it has largely been superseded by its cousins the sitar and the sarod, both of which owe their origin to Persian influences. Other plucked/struck string instruments include the surbahar, sursringar, santoor, and various versions of the slide guitar. Among bowed instruments, the sarangi, esraj (or dilruba) and violin are popular. The bansuri (bamboo flute), shehnai, harmonium, and samvadini are important wind instruments. In the percussion ensemble, the tabla and the pakhavaj are the most popular. Various other instruments (including the Bulbul tarang and the piano) have also been used in varying degrees.

Some representative performers (these lists are by no means comprehensive nor are intended to be):

  • Veena: Dabir Khann, Birendra Kishore Roy Chowdhury, Zia Mohiuddin Dagar, Bahauddin Dagar, Asad Ali Khan, Suvir Misra, Jeff Lewis
  • Esraj: Ashesh Bandopadhyay, Ranadhir Roy
  • Harmonium: Pt. Gyan Prakash Gosh, Ustad Zamir Ahmed Khan, Ustad Bhure Khan

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Prominent performers

There have been many great exponents of Hindustani music. Some of them are Allauddin Khan, Girija Devi, Vilayat Khan, Bade Ghulam Ali Khan, Faiyaz Khan, Sharafat Hussain Khan, Abdul Karim Khan, Vasantrao Deshpande, Amir Khan, Dr Pandit Gokulotsavji Maharaj, D.V. Paluskar, Salamat Ali Khan, Mallikarjun Mansur, Omkarnath Thakur, Bismillah Khan, Gangubai Hangal, Bhimsen Joshi, Kishori Amonkar, Kumar Gandharva, Gundecha Brothers, Jasraj, Ravi Shankar, Nikhil Banerjee, Ali Akbar Khan, Pannalal Ghosh, Vijay Raghav Rao, Hariprasad Chaurasia, Zakir Hussain, Shruti Sadolikar-Katkar, Rajan and Sajan Mishra, Ulhas Kashalkar, Malini Rajurkar, Prabha Atre, Shivkumar Sharma, and Annapurna Devi.

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See also

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References

  1. ^ Excerpts from Bharatiya Sangeet Vadya - Swar in Sam Veda- Articles OMENAD
  2. ^ A Study of Dattilam: A Treatise on the Sacred Music of Ancient India, 1978, p 283, Mukunda Lāṭha, Dattila
  3. ^ The term sruti literally means "that which is heard". One of its senses refers to the "received" texts of the vedas, here it means notes of a scale
  4. ^ MusicalNirvana - Amir Khusro Dehlavi
  5. ^ Hindustani Sangeetha Padhathi (4 volumes, Marathi) (1909-1932). Vishnu Narayan Bhatkhande. Sangeet Karyalaya (1990 reprint). Originally in Marathi, this book has been widely translated.

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External links




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