Raga Music | Indian Classical | Hindustani

Dhrupad and Dhamar

2010-08-01T22:49:00.000-07:00

Some of the widely sung, prevalent styles today in North India Classical music are: Dhrupad, Dhamar, Khayal, Tarana, Tappa and Thumri. Other minor modes include Dadra, Sawani, Chaiti, Kajari, Hori. Let us begin by looking at Dhrupad and Dhamar.

Dhrupad: Literally it is formed of two words - 'dhruva' meaning fixed and 'pada' meaning text. It is the origin and foundation of North Indian Classical music, from which other forms have been derived. In Dhrupad there are no apparent decorative touches; only 'meend' (glide from note to note), and 'gamak' (heavy oscillation between notes) are allowed.The songs are pieces of pure poetry, comprising of moral principles, devotional themes, description of seasons etc. It is very difficult to render this solemn style of singing or playing, and that is why the exponents of this style were and are very few.

Dhamar: A style of singing called 'pakki-hori' is set to a rhythm of 14 beats known as 'dhamar' (taal). This is known as 'Dhamar'. A Dhrupad singer also masters Dhamar and it is sung right after Dhrupad. In fact, Dhamar is considered part and parcel of Dhrupad. It generally depicts incidents connected to Holi and romantic situations between Krishna and Radha.

Guru-Shishya Parampara - 3

2010-01-11T21:18:00.000-08:00

There was a time when musicians did not have to worry much about the material side of life, for their artistry was widely proclaimed and the patronage of royalty and wealthy people provided them with all the necessities of life. In turn, they were able to accept into their homes a number of disciples, and all their time could be devoted solely to music. The disciples could spend years living with their Guru, learning and serving him, and absorbing their Guru's tradition and style, which they would later pass on themselves.

What was taught in through the Guru-Shishya Parampara was more than knowlegde about music, more than technique, style or aesthetics of Raga music. What was transmitted was a life, a whole range of values and perceptions.

Times changed, patronage withered, and Gurus had to fend for themselves. Many of them were forced to move to larger cities where they began to support themselves and their families by giving concerts. If the disciples followed Gurus to the cities, they would not only have to find a place to stay and practice, but they would also have to provide their own food and clothing. That is briefly how the wonderful tradition faded almost completely today. However, there are artists with a vision, who have revived it and are trying to keep the Parampara alive in whatever way possible.

Learning with a Guru is a slow and meaningful process and there is no short cut to learning Indian Classical Music. Months of repeated practice brings a very tiny sign of progress. But, in the case of a talented student, one can reduce many years of haphazard study to perhaps give years of planned , organised and concentrated work. But what is five years when the greatest of musicians say that it would take them lives to satisfy themselves. Yet, fixed years of study create a base for students to take off from and give them a set of skills and techniques to explore further.

Guru-Shishya Parampara - 2

2009-12-07T03:23:00.000-08:00

"The main features of a fruitful Guru-Shishya relationship led to (1) purity of mind and body, humility, a sense of service, and a devotional and spiritual attitude; (2) a thorough grounding of technique and science of music; (3) the gradual development of the disciple as he sits behind his guru at concerts and joins in when asked, but does not perform by himself until his guru finds him fit to do so; and (4) freedom from economic worries by the disciple, living and serving his guru, as a member of his family."
Pandit Ravi Shankar (My Music, My Life)

Guru-Shishya Parampara - 1

2009-12-05T00:10:00.000-08:00

In the process of learning, the first part comes through the teacher; the second part through the practice and devotion of the student himself; the third part emerges from the contact and interaction with other students; the last is the product of the alchemy of time.

Music leads to liberation

2009-12-04T23:57:00.000-08:00

He who has mastered the art of playing the Veena, who is versed in the science of notes and sounds, and knows the Talas, can easily tread the path to Moksha - the ultimate Liberation.

Tala - rhythm and cycle

2009-12-04T23:31:00.000-08:00

Tala is the measure of time - sound, silence, rest, variation of intensity and tempo, all play important roles. The word rhythm could be equivalent of Tala, but this is not an entirely true description. As Swara is the inner face of a note, so Tala is the inner face of a rhythm and demands an equally arduous seeking.
The structures of Tala are closed loops rather than open ended infinite series of rhythm. Round and round in repeated cycles, the Tala passes from stress to release.

Swara - the hidden note

2009-12-04T23:17:00.000-08:00

The acquisition of Swara is the core and substance of Indian music. The Ragas are passing, changing; what is stable and eternal is the Swara. If a seeker of music does not understand Swara and its function, he is said to demean the art to the level of mere entertainment which it was never intended to be.Whenever Indian music has been true to itself, its seeking has always been after the Swara.
In Raga music, one seeks to get to the Swara, which is not merely a frequency or a note. At most, we can try and define it as the hidden side of a note. This seeking is the most awesome challenge for a true musician; it is a necessary process of the growth of the human spirit.

Raga - an aesthetic projection

2009-11-02T03:59:00.000-08:00

The Raga is, as the wise declare, the sequence of musical notes and the play of sound which delights the hearts of men.

"A Raga is an aesthetic projection of the artist's inner spirit; it is a representation of his most profound sentiments and sensibilities, set forth through tones and melodies. But the notes of a Raga, by themselves have no vitality or force. The musician must breathe life into each Raga as he unfolds and expands it. A characteristic of the Raga, impossible to describe but brought to it by the performing artist, is the prana_the life. Through guidance of the Guru, and by his own talent and genius, the musician learns how to make the bare notes vibrate, pulsate, come alive."
(from 'My Music, My Life' - Pandit Ravi Shankar)

Raga - based on a scale

2009-11-02T03:50:00.000-08:00

As for a slightly practical aspect, a Raga must belong to a scale, and, only those notes found in that particular scale pattern can be used in the given Raga. There are ten parental scales. Originally there were seventy two parental scales, a foundation that has not seen any change as far as the South Indian Classical music in concerned. In the North Indian Classical music, these scales are called Thaat. One can imagine the number of combinations and compositions that can come out of these seventy two scales. Out of the myriad possibilities, only several hundred Ragas are in use today. It is evident why the artist's search does not end in one life, and the thirst is carried forward from life to life, from generation to generation.

What is a Raga?

2009-10-30T22:40:00.000-07:00

There is a saying in Sanskrit, "ranjayati iti raagah" - that which colours the mind is the Raga. A Raga is the melodic framework, established by tradition or born and inspired in the spirit of a master-musician. The beauty of a Raga leads the listener to a serene and peaceful frame of mind and brings him pure joy.

Samaya: There is a tradition of rendering a Raga within a time-frame (samaya), because Ragas have hours and sometimes seasons prescribed to them. For example, Yaman is an evening Raga, Darbari is rendered at night, Todi, in the morning and Brindavani Sarang in the afternoon. It is believed that to make the most of the tones and the notes, to be most creative with the given sounds of a Raga, the time-laws of the Raga help. In fact, most musicians would say that it is a must to follow this. Keeping the time in mind is believed to provide the right psycho-physical ambiance for original creation. Or, we can also say, that time has its occult impact on us, to the artist and the listener, and we tune ourselves with greater ease to a certain level of vibration and awareness at certain times.

Dhyana: It is said that each Raga has a dhyana, a meditative presence, associated with it. It is not difficult to accept that Ragas have life in them. Or, for those who think deeper, they can well understand if we say that every Raga has a soul, a life and a journey. A Raga is eternally becoming, blossoming out into new vivid forms through the musician.

Musical Notes

2009-10-04T00:12:00.001-07:00

'Sa' is like the cry of the peacock,
'Re' is like that of the bull,
'Ga' is like the b;eating of the goat
and 'Ma' like the call of the crane,
the cuckoo sings in Spring with the sound of 'Pa'
'Dha' is like the neighing of the horse
and 'Ni' like the trumpeting of the elephant.

All these interesting derivations of the musical interevals were devised by old scholars, who realised that the cries of many animals are amde up of two distintct notes. If the lower note is placed as 'Sa', then the different intervals can be determined from the different animal cries.

History of Raga Music - The Recent Times

2009-07-15T10:35:00.000-07:00

In the beginning of British rule , Classical Music was pushed to the background, until towards the middle of the twentieth century when two illustrious musicians gained prominence. They were Pandit Vishnu Digambar Paluskar and Pandit Vishnu Narayan Bhatkhande.

Pandit V.N. Bhatkhande was an exceptional musicologist and he established as many schools of music as he could. He also realised that education was no more complete without books, even in the field of music. For the first time, he promoted mass education in music through his books.

Pandit V.D. Paluskar, on the other hand, spread the charm of music through his concerts, and successfully nade an impact on the masses. Among many others, these two artists revived the ancient art form and encouraged the spread of North Indian music.

History of Raga Music - post Moghul period

2009-07-15T09:52:00.000-07:00

Music made a quick comeback during the reign of Muhammad Shah (1719-1748 A.D). Muhammad Shah made the best of all good things in life so much so that he was popularly known as Muhammad Shah 'Rangeela'. Among his court musicians were two famous musicians, Sadarang and Adarang. These two great musicians composed hundreds of songs sung to this day. They evolved the Khayal style of singing, which was considered more light and 'colourful' than the Dhrupad to the listeners.

Akbar and others

2009-05-24T05:35:00.000-07:00

In the 16th century, music had reached its zenith in the flourishing court of Emperor Akbar (1556 - 1605 A.D). The emperor himself was a great connoisseur of art and culture. It is said, that at point, he had as many as thirty six experts in music in his court. Three of the most famous and accomplished musicians of Akbar's time were Tansen, Baiju Bawra and Ramdas.

Jahangir's reign was also considered to be glorious for Indian Classical Music; his son Shah Jahan was a also a lover of art and music. Unfortunately Aurangzeb turned out to be quite different in his taste and he decided not to allow it in the Islamic religion. He even tried oput ways of insulting the propagation of music in many ways.

History - Fifteenth Century

2009-05-24T05:06:00.000-07:00

Towards the 15th century , a writer-musician by the name of Lochana wrote 'Raga Tarangini' where he classified the 'group system' known as 'Thaat' as the origin of Ragas.

Raja Mansingh of Gwalior was the founder of the Gwalior Gharana and a great patron in Dhrupad style. His wives were also proficient singers and are credited with the composition of many melodies.

Towards the end of 15th century the Bhakti movement came up and all over North India, which was a tremendous help to spread classical and light calssical music among the masses.

History - Amir Khusro

2009-05-17T02:16:00.000-07:00

Allaudin Khilji (1296 A.D - 1316 A.D) had a court minister named Hazrat Amir Khusro who was highly gifted in music with an exceptionally innovative mind. To put it in brief, his contribution to Hindustani Classical Music is unmatched. It is said that he created the Sitar (probably inspired by the Veena and other string instruments of Persia). The modification of the Pakhawaj into the Tabla is also credited to him.

It has also been said that Amir Khusro introduced many styles of singing including Khayal, Tarana, Ghazal and Qawali. He is credit for some most popular Ragas like Yaman, Poorya and Poorvi.

Another musician, Nayak Gopal, in the court if Allaudin Khilji, is remembered for his musical talent. Tradition says that he invented several Ragas including Pilu and Sarang.

History of Raga Music - Around 12th Century

2009-05-17T02:11:00.000-07:00

Between 1210 A.D. and 1247 A.D, Sharangadev, who was a great musician in the court of the Yadav kings of Devgiri (later named Daulatabad) wrote his famous book Sangeeta Ratnakara. This book actually gave a sound and scientific basis to music.

There was a slight setback tio the music of North India in the first half of the 12th century due to the constant military encounters between the Hindus and Muslims. In the latter half of that century, Jayadev, the famous poet-musicologist wrote his beautiful book of lyrics called Geeta Govinda. The songs spoke of Krishna, Radha and the Gopis - of love and longing and the joy and sorrow that revolves around these emotions. These songs written in pure Sanskrit were set to tune based on the Jati music and were known as Prabandha.

Later, Sanskrit was replaced by a language that was more commonly followed in that region. The local language - mainly around Uttar Pradesh - was called Braj Bhasha or Brij Bhasha. This dialect gradually became the predominent medium of expression even in music.

History - The Moghul Period

2009-05-15T22:20:00.000-07:00

There came a crucial and important period for North Indian Classical Music - the Moghul period. The Moghuls are remembered for various harms they inflicted on India at that period - looting, shattering ancient and divinely temples, imposing religion on many - but if we look at music, there is no major harm done in that field. It is also stated very commonly that they are the ones who brought Music from the temples. It is amazing that while making it mundane and vulgar, they have also enriched it.

When the Moghuls first came to India, all the books on Classical Music were in Sanskrit. Although they could hardly understand them, they gradually developed an interest, and became aprt and parcel of this art from. They later introduced new musical instruments and of course many new melodies. India was honored with many great milestones of Hindustani Classical Music in this period.

History - Bharata Muni and the division of Classical Music

2009-05-15T21:47:00.000-07:00

Approximately in the period between 400 A.D and 500 A.D Bharata wrote his famous treatise, the Natyashastra. The Hindu philosophy and literature unanimously regards Natyashastra as the most authentic book on dance, drama and music. It truly contains the root of all Indian aesthetics. There have been several scholars who have given their commentaries and interpretations of Natyashastra.

Bharata's son Dattila is also credited with a book named Dattilam. Another writer named Matanga wrote a book known as Brihaddeshi, around the 8th century.

The period from 400 A.D to 1100 A.D. shows considerable progress in sorting and organizing of classical music. It is said that Jatis were subsequently divided into six principle basic melodies and soon afterwards two branches of classical music came into existence: Northern or Hindustani school, and the Southern or Carnatic school.

History of Raga Music - from the Epics

2009-05-15T21:39:00.000-07:00

The relation of Raga Music with the epics is quite deep. It is resumed that Ravana (of Ramayana) was a very great musician. Another part of Ramayana recounts that when Lakshmana entered the inner chambers of Sugreeva, her was enchanted by the sweet music of the Veena.

In Mahabharata we have clear references to the seven music notes (swaras).

History of Raga Music - 1000 B.C to 1000 A.D

2009-05-15T21:31:00.000-07:00

It appears that a form of classical music known as 'Jati' came into vogue in the period between 1000B.C and 1000 A.D. The Buddhist and Jain scriptures also contain reference to 'Jati' music along with some crude sketches of the Veena.

History - From the Vedic Age

2009-05-14T21:30:00.000-07:00

There are references dating back to the Vedic Age (2000 B.C - 1000 B.C.) that mention quite a few musical instruments. While the Sama Veda gives three types of notes with which the Vedas are chanted - udatta, anudatta, swarita (out of which developed the rest of the notes, to complete the octave) in the Rig Veda, the Veena, the flute and the Damaru are mentioned.

Legends – Part Two

2009-05-14T03:14:00.000-07:00

Here are two more interesting legends that tell us of the beginnings of Indian Classical Music.

Once, when Lord Shiva saw Parvati in a reposeful pose, he was inspired to create the Rudra Veena, and from the five mouths facing five directions emanated five Ragas: Bhairav from the east, Hindol from the west, Megh from the south, Deepak from the north and Shree from the sky above. To this list of Ragas, there was added by Parvati herself, which was Kaushik.

Yet another legend says that Shiva was so enamored of Paravati that he seated her on a throne and and expressed a desire to dance before her. Many other Gods joined Nataraj. Goddess Saraswati played the Veena, Indra, the flute, Brahman played the Kartaal, and Goddess Lakshmi sang to the accompaniment of the Mridanga played by Lord Vishnu.

It is said that Lord Shiva gave the wealth of music to Bharata Muni, who spread it on earth.

Another legend says that Lord Shiva made a gift of music to Narada as a reward for his penance.

Legends of Raga Music - Part One

2009-05-14T02:58:00.000-07:00

We have many different versions and legends, which could be some scattered clues for us to learn a little about the history of Indian Classical Music. These are mostly found in old religious treatises and epics.

One legend has it that Brahma, the Creator taught classical music to Shiva, who passed it on to Saraswati, the Goddess of Learning. Hence, Saraswati is the described in the ancient books as 'Veenapustaka-dharini'. This very form of music came to be handed down in succession to the sage Narada, the celestial Gandharvas and Kinnarasand finally to Bharata Muni and Hanuman.

Another legend says that Lord Shiva made a gift of music to Narada as a reward for his penance.