a brief summary of indian music

8/3/2019 A Brief Summary of Indian Music

1/5

1

A brief summary of Indian music

Indian Classical Music

BY

K.DEEPA

Indian classical music is based on the ragas ("colors"), which are scales and

melodies that provide the foundation for a performance. Unlike western classical

music, that is deterministic, Indian classical music allows for a much greaterdegree of "personalization" of the performance, almost to the level of jazz-like

improvisation. Thus, each performance of a raga is different. The goal of the raga

is to create a trancey state, to broadcast a mood of ecstasy. The main differencewith western classical music is that the Indian ragas are not "composed" by a

composer, but were created via a lengthy evolutionary process over the centuries.

Thus they do not represent mind of the composer but a universal idea of the world.They transmit not personal but impersonal emotion. Another difference is that

Indian music is monodic, not polyphonic. Hindustani (North Indian) ragas are

assigned to specific times of the day (or night) and to specific seasons. Many ragasshare the same scale, and many ragas share the same melodic theme. There are

thousands of ragas, but six are considered fundamental: Bhairav, Malkauns, Hindol,

Dipak, Megh and Shree. A raga is not necessarily instrumental, and, if vocal, it isnot necessarily accompanied. But when it is accompanied by percussion (such as

tablas), the rhythm is often rather intricate because it si constructed from a

combination of fundamental rhythmic patterns (or talas). The founder of theKarnataka school is considered to be Purandara Dasa (1494). Carnatic music is

mostly vocal and devotional in nature, and played with different instruments than

Hindustani music (such as the mridangam drum, the ghatam clay pot, the vina sitaras opposed to sitar, sarod, tambura and tabla). The fundamental format of Carnatic

songs is the "kriti", which are usually set in the style of a raga (the raga serves as

the melodic foundation). The golden age of Carnatic music was the age of SyamaSastri, who died in 1827, of Tyagaraja, who died in 1847 and who composed the

Pancharatna Krithis as well as two "operas", Prahalada Bhakti Vijayam and Nauca

Charitam, and of Muthuswami Dikshitar, who died in 1835 after composing the

Kamalamba Navavarnams and the Navagraha krithis.


2/5

2

Interest in Indian music (until then largely unknown in the west) was triggered by

Bangladesh-born sarod player Ali Akbar Khan's 1955 concert in New York.Eventually, western curiosity for Indian music wed the hippy ethos and (thanks

mainly to the Byrds' Eight Miles High) "raga-rock" became a sonic emblem of the

Sixties. His album Music of India - Morning and Evening Ragas (1955), containingtwo side-long ragas (the traditional Rag Sindhu Bhairavi and his own Rag Pilu

Baroowa), was the first Indian classical recording to appear in the West, and the

first recording of ragas on an LP. The popularity of his and Shankar's concerts ledto a stream of recordings in the Sixties, mostly featuring 20-minute long ragas:

several EPs from 1961 to 1964, later collected on Sarod (1969), Traditional

Music of India (1962), The Soul of Indian Music (1963), Ustad Ali Akbar Khan

(1964), The Master Musicians of India (1964), Classical Music of India (1964),The Soul of Indian Music (1965), Sarod (1965), Two Ragas for Sarod (1967), etc.

In 1967, Khan founded the Ali Akbar College of Music in the San Francisco Bay

Area, to provide education in the classical music of North India. Among his laterperformances, there are still impressive ones such as Raga Basant Mukhari, off

Artistic Sound of Sarod (1985). He remained faithful to his roots longer than

other Indian performers, eventually experimenting with synthesizers on Journey

(1991) and with instruments of the western symphonic orchestra on Garden of

Dreams (1994), basically a raga symphony for a chamber orchestra.

Another disciple of Ali Akbar Khan's father Allaudin Khan, sitar player Ravi

Shankar, would become the star of Indian music. He first toured the west in 1956,when he was already a veteran and made friends among pop stars (George Harrisonof the Beatles became his student in 1966). Among his historical performances are

his masterpiece Raga Jog, from Three Ragas (1961), the Raga Rageshri, on

Improvisations (1962), and the Ragas and Talas (1964), containing the Raga Jogiyaand the Raga Madhu Kauns. Improvisations (1962), a collaboration with flutists Paul

Horn and Bud Shank, was the first meeting of jazz and raga. Shankar pioneered

the "east-west" fusion with West Meets East (1967), a terrible collaboration withBritish violinist Yehudi Menuhin containing both a raga and a sonata. Shankar was

also instrumental in turning the raga into a product of mass consumption (heperformed at both the 1967 Monterey Festival, the 1969 Woodstock Festival andthe 1971 Concert for Bangla Desh), but he soon repudiated his "pop" period and

returned to classical music. Nonetheless, he continued to experiment with western

music (he performed with western symphonic orchestras and soloists), and, later,starting with Tana Mana (1987), even with electronic keyboards. He is a composer,


3/5

3

not only a performer, including two sitar concertos (the second, Raga-Mala,

debuted in 1980).

The same sitarist, Diwan Motihar, plus Keshav Sathe on tabla and Kasan Thakur ontamboura, recorded Jazz Meets India (october 1967) with a European quintet led

by Swiss pianist Irene Schweizer and featuring German trumpeter Manfred

Schoof and drummer Mani Neumaier.

Another precursor of the "east meets west" movement was Shankar's favoritetabla player Allah Rakha, who recorded a duo with jazz drummer Buddy Rich, Rich

A La Rakha (1968).

Shankar frequently performed with tabla player Alla Rakha. His son Zakir Hussain,

also a virtuoso of the tablas, came to the USA in the late 1960s and went on to

star in two of the most progressive projects of world-music, Mickey Hart's DigaRhythm Band: Diga (1976) and jazz guitarist John McLaughlin's Shakti. Hussain's

Making Music (1987), featuring Hariprasad Chaurasia on bansur, Jan Garbarek on

saxophone and John McLaughlin on guitar, was a milestone in jazz-Indian fusion.

In the 1970s Debashish Bhattacharya reinvented the Hawaian slide guitar as a raga

instrument by addings resonating strings and droning strings and developing the

lightning-speed three-finger picking technique displayed on recordings such as

Raga Ahir Bhairav(1993).

A younger influential sitar player in the "tantrakari ang" (the instrumental style ofmusic) was Nikhil Banerjee (widely considered the century's greatest virtuoso),

while "gayaki ang" (the vocal style) was represented by Vilayat Khan and, at the end

of the 20th century, Shahid Parvez.

Instrumental masters (ustad) of other instruments included bansur (bamboo flute)player Hariprasad Chaurasia, particularly the Rag Ahiv Bhairav(1987) and the 69-

minute performance of his Rag Lalit (1988), and violinist Lakshminarayana

Subramaniam, devoted to jazz-Indian fusion on Garland (1978) and Spanish Wave

(1983).

In 1989 John McLaughlin hired an Indian percussionist, Trilok Gurtu, the son of

vocalist Shobha Gurtu, who had already played with Don Cherry and with Oregon.

Gurtu's own Usfret (1988) offered an intense mix of Indian vocals, jazz-rock and

world-music.


4/5

4

Ilaiyaraaja (born Gnanadesikan Rasaiya) experimented a fusion of Bach and raga on

How To Name It? (1988).

Vocal music

However, Indian classical music is mainly a vocal (not only instrumental) art.

"Khayal" emerged over the centuries as the vernacular (and romantic) version of

"dhrupad" (the oldest extant vocal religious and aristocratic style). Both the sitar

and the tabla were probably introduced (in the 18th century) to complement khayal

singing.

Miyan Tansen, who lived at the court of the Mughal emperor Akbar in the 16th

century, is credited with codifying Hindustani (north Indian) vocal music, notably

the dhrupad style that he learned from his teacher Swami Haridas. He composed

the Darbari Kanada, Miyan ki Todi, Miyan ki Malhar and Miyan ki Sarang ragas.Among the greatest Hindustani vocalists before the partition of India and Pakistan

were Bade Ghulam Ali Khan from Punjab and Amir Khan from north-central India.

The greatest interpreters of "khayal" documented on record were probably the

Pakistani brothers Nazakat Ali Khan and Salamat Ali Khan, who debuted in 1941.

A number of musical schools ("gharanas") developed in North India (Hindustan).

The Patiala Gharana of Punjab has been one of the most influential schools (Ali Buxin the early 20th century, his son Bade Ghulam Ali Khan, and, in the 1990s, Rashid

Khan).

In the early decades of the 20th century Abdul Karim Khan created the Kirana

gharana, while Alladiya Khan created the Atrauli-Jaipur gharana.

The austere, pure Pakistani-born vocalist Pandit Pran Nath, a master of the Kiranastyle since 1937, moved to the USA in 1970, performing the first morning ragas

ever in the USA. His emphasis on perfect intonation and emotional subtlety

influenced minimalist composers LaMonte Young and Terry Riley. He only recordedthree albums: Earth Groove (1968), containing two traditional ragas, Raga Bhupali

Maha Dev and Raga Asavari, Ragas Yaman Kalyan and Punjabi Berva (1972),

containing his Raga Yaman Kalyan, Ragas of Morning and Night (1986), containingtwo 1968 compositions (Raga Darbari and Raga Todi). He also composed Raga Anant

Bhairavi (1974), Raga 12-note Bhairavi (1979), Darbar Daoun (1987), and Aba Kee

Tayk Hamaree (1989) for voice and string quartet.


5/5

5

Since 1973, the stormy voice of Nusrat Fateh Ali Khan interpreted the hypnotic

litanies of Pakistan's "qawwali" (sufi devotional music). His lengthy improvised vocalacrobatics are best represented by the colossal Ni Main Jana Jogi De and Yeh Jo

Halka Halka Saroor Hai on The Day The Night The Dawn The Dusk (1991) and by

the live performances of Intoxicated Spirit (1996). "Discovered" by Peter Gabriel,Ali popularized the style for the British audience with Shahen-Shah (1989). After

the westernized format of Mustt Mustt (1990), basically electronic funk-rock with

dub overtones, he delivered the four soaring tours de force of Shahbaaz (1991),accompanied only by droning harmonium and frenzied tablas, the Devotional and

Love Songs (1993) with guitar and mandolin juxtaposed to harmonium and tablas,

and The Last Prophet (1994), which focused on call-and-response group singing. He

died in 1997 at 41, having recorded some 120 albums.

Vocalist Lakshminarayana Shankar has often wasted his talent in light, pop efforts,

but at least Pancha Nadai Pallavi (1991), which features three fourths of Shakti,

is a dramatic and austere work in the classical tradition.

a brief summary of indian music

Documents