WHERE DOES THY PAST GLORY DISAPPEAR : FUTURE RESPONSIBILITIES : Dr. Snigdhatanu Banerjee.

                       The practice of Art, Literature and Culture signifies the progress of a Nation with the cultivation of Science and Technology. Scientific development and technology secure man’s easy living where as deep inclination to art and culture leads a nation to mental broadness and humanity. The cultural heritage of India is considered with great regard. Music is treated as a part of India’s civilization and the Folk culture of India has been continuing from time immemorial. The folk, tribal and ethno impact enriched the world of Indian music. In the Primitive Age people used to expressed themselves through various sounds and gestures. After the discovery of swaras (musical notes) people expressed their feelings through songs, dances with instruments and even sounds produced by hands. The Muslim rulers invaded India many a times and in course of time a new chapter of cultural tradition was directed towards evolution. The Topic of my discussion will be restricted to Hindustani Classical Vocal Music i.e, Dhrupad and Khayal through which Raga (base of Indian Music) can easily be executed.

                        At the very beginning there was no existence of Raga. Only regional songs were in practice. The great Musicologists (one who knows the laws of music and can explain them as well) of the Gandharva Period assimilated the Regional (Deshi) or Folk tunes of India and classicized (modified) them with certain rules and elevated those tunes as ragas named ‘Abhijata (classic/ aristocrat) Deshi Ragas’. In the journey of evolution, Abhijata Deshi Raga was transformed into ‘Prabandha’ and further transformation of Prabandha caused the shapes of  Dhrupad, Dhamar, Khayal etc. ---- different forms of Hindustani Classical Vocal Music.

                         In the Vedic Age the tradition of ‘Acharya (pathfinder, exponent of high esteem having profound knowledge in any subject) was prevalent. There was the existence of parampara (tradition) of ‘Acharya and Shishya’ (Shishya means disciple). The objective of Acharya-Shishya Parampara was to generate a number of wise, dedicated disciples. The education system was temple-oriented and all the subjects were discussed and cultivated with logic. Important concepts and theories of music were taken unanimously by the Musicologists. So, most of the time the concepts in the music treatise by the musicologists of ancient ages are found no difference.

                        At the same time there was an existence of performers who used to sing or play instruments or dance. They earned their livelihood by performing music before the common people as well as the aristocrat families. The logic portions were neglected in   their music which made the difference between that of Acharya-Shishya Parampara.

The age of Sultanate (from1192 AD to 1526 AD) and the age of Mughals (from 1556AD to 1757 AD) are considered the medieval period in the history of India. The tradition of Acharya and Shishya was in danger at that time.  Some of the Acharyas managed to shift

themselves from North India to South India. They started modifying the tunes of the regional music and brought about the advancement in South Indian Classical music. In North India, court music took the place of temple oriented music. The mere musician class established their footings in the court and got the privilege of being patronized by the emperors and royal families as a result. This musician class, during the middle half of 18^th century enabled to establish the exclusive innovative style of their performance, which is known as ‘Gharana’.  Gharana is an exclusive character of Hindustani music.

                        ‘Raga’ is the soul of Indian music which expresses the appropriate sentiment. Indian Classical music can be divided into two parts mainly – Hindustani music or North Indian music and Carnatic music or South Indian music. Ofcourse, a parallel stream of music has been continuing from time immemorial. They were called regional songs. The transformation of these regional tunes and their entrance in the classical music as ‘Deshi (regional) ragas’ have already been said. In this way the world of classical music began to be enriched.

                         Let’s get into this world and find the origin of the two Music Forms (style) and their development and at the same time the new trend of performance in this modern age.

                          Dhrupad and Khayal ---- both of these forms were included as court music. Raja Maan Singh Tomar, the king of Gwalior (from 1485 – 1516 AD) along with the court musician Nayak Bakhsoo and others like Nayak Bhanu ,  Nayak Lohang  enabled to shape the unique style and ‘Dhrupad’ was established. Dhrupad claims the first classical music form in the Royal Court, though moderation of Khayal gayaki started earlier. In the reign of the Mughal Emperor Shahjahan the form of Khayal was promoted to court music.

                          The origin of the word ‘Khayal’ is Arabic, which means imagination, quality, aristocrat, classic etc. In the evolution of Khayal, there were three stages. The first stage was modified by Amir Khusro (from 1253 AD to 1324 AD) and his followers. These lyric based songs were sung with medium and fast tempo. This type of music was the eulogy of the Mohammad with a typical embellishment of notes known as ‘Fikraband (quick movement of swaras). Another modification by Sultan Hussain Sah Sharki of Jaunpur (middle of 15^th century), was known as ‘Chutkal Khayal’. Lastly, the exponent

of Seni gharana and court musician of the Emperor Mohammad Shah (from 1719 AD to 1748 AD) Sah Sadarang, pseudo name of Ustad Niyamat Khan, introduced ‘Kalavanti Khayal’ which was vilambit (slow tempo) comparatively with the aforesaid styles. Present Khayal Gayaki is much influenced by the latest style. Tabla is used as the accompanying instrument and Ektaal, Teentaal, Tilwada, Jhumra, Adachautaal, Jhaptaal, Rupak etc. are used in Khayal.

                        Let’s have a look on the other form of Hindustani Classical Vocal Music. Dhrupad generally consists of four stanzas named ‘Sthai’, ‘Antara’, ‘Sanchari’ and ‘Aabhog’ and talas like ‘Chautaal’, ‘Jhaptaal’, ‘Sultaal’, ‘Tivra’ etc. are used.  Pakhawaj is the accompanying instrument here. ‘Alaap’, the essential part of this form helps an artist to reveal the actual character and sentiment of the raga. Shruti (micro tone) ‘Meend’, ‘Gamaka’ and several alankars (embellishment) are used in this singing. ‘Bolbaat’ (distribution of syllable/words) and ‘Layakaari’ (variation of chhanda) are used in the rendition of the Vandish (composition).

                         Till 14^th century all compositions bound with raga and tala were called ‘Pada’. Ancient ‘Dhruba-Pada’ under ‘Salagasuda’ Prabandha (type/class of Prabandha) resulted into Dhrupad through evolution for many years. On those period ‘Baan’ or ‘Baani’ was in vogue and that character was of four types. They were ‘Gaurhaar’, ‘Khandahaar’, ‘Daagur’ and ‘Nauhaar’ ---- special musical character or articulation of the regions Gwalior, Rajasthan, Delhi and Punjab respectively. With the raise of the ‘Gharanas’ and slow abolition of ‘Baans’ a new trend appeared in Hindustani Classical Vocal Music which is called ‘Gayaki’, speciality of gharana.

                        To understand the ‘Gayaki’ we have to know what the ‘Gharana’ is. An exclusive style in the performance (gayaki) only appears when a performer undergoes the tutelage of a guru (pathfinder or trainer) for years. He (the learner) learns the discipline of steps of the form, character of the raga and how to unfold those ragas with proper articulation (application of Shruti i.e, microtone) and the exercise of voice culture in vocal music. So, the discipline (regularity and punctuality) and rigorous (proper and systematic) practice are responsible for the performer to develop his gayaki. Only gharana system (because “Acharya-Shishya Parampara” is no more today) is effective for a performer to build up his gayaki.

                        Now the time has come to think over. Hindustani music is losing its glory day by day. The Indians once very much aware, are quite indifferent to rag-raginis (traditional melodies of India) and our heritage today. Why this situation has happened and we are going to forget Dhrupad and Khayal Gayaki that started their journey hundreds of years ago? We should look into this matter and identify the reason, at the same time for a solution to get rid of this hostile situation.

                        A positive sign of the gharana system is versatility. In this system the followers of the exponent do not merely imitate the devices or steps. There should be a consistency of steps in the performance among the followers that resemble one to another and prove the continuity of this system. According to musicologists the flow of the system is considered as ‘Gharana’ when there at least three generations are seen to have set their consistency of performance. The traditional Vandish (composition) carries the quintessence of phrases of ragas. Without Taleem (exclusive and systematic training) from a guru, the disciple is not able to find out the actual phrases of the raga. Nowadays in most of the cases the beginners and the learners learn to sing the notation of the Vandish being unaware of the conception of the phrases. So, they are only familiar with the tunes of the compositions by which the mood of the raga cannot be properly expressed.  

                        By dint of this system the same raga appears with its various kinds and is included into the treasure of the gharanas. Some gharanas encourage going on research to

form intricate and exclusive character of ragas by mixing two or more basic ragas.

A gharana is alive by its dynamic character. Unfortunately scarcity of able and well versed Maestros of the gharanas has made the present situation of Hindustani music more intricate and the Gayaki is in distress.

                        In Dhrupad style maximum use of Chautaal is observed to be accompanied (though the culture of this form is on the wane, Dhrupad is now limited to the syllabus of music in the college or school). Performance of Dhrupad is decreasing. In the music institutions ‘Layakari’ (dwigun, trigun etc.) is given preference rather than ‘Alaap’ which carries the fragrance of the form and purity of the raga. In Khayal also Vilambit Ektaal and Drut Teentaal are frequently used. The authority of the music institutions should arrange Seminars and Workshops where rest of the Taals are entertained by the Performers and Experts. Side by side the performance of unconventional or rare ragas or special ragas of particular gharanas along with the basic ragas should be encouraged. On behalf of the government active initiative to organize Indian Classical Music Conference, seminars and workshops simultaneously will help people know the reality in the field of evolution and style.

                        Nowadays a peculiar trend of composing new ragas is coming up. The huge treasure of Indian rag-raginis is not easy digestive and one more addition to this   creates intricacy and confusion. In many cases it is seen that the new melody already exists by another name. There are certain rules to be maintained to create a raga and genius like Pt. Ravishankar, Ustad Ali Aakbar Khan are not born everyday. Moreover, a clear conception of ragas of same group, idea of ragas and their treatment according to ‘Thaat’ and ‘Anga’ enable a Gharana Artist to build up new raga. Performance of Hindustani Vandish (composition) accompanied with Western musical instruments and orchestra is another day by day increasing peculiarity. Assuming the symmetry among the ‘Swaras’ of Indian and Western Music they use to perform perhaps being unaware of the application Shrutis in Indian Classical Music. 

                          This is an alarming phase in Hindustani music that the interest of learning and listening rag-raginis among the youngsters is going downward. Then what is the way to regain the glory of Hindustani Classical Music? The performers as well as the researchers and musicologists should sit together to find the present trend of music. They have to evaluate all the ragas still prevalent in all the gharanas and have to come to a conclusion about the application of the ragas whether being properly sung or not. The researchers at the same time will put down the course of Gayaki (exclusive style of singing of gharana) of the present age. Then only the proper improvement and the awareness about Hindustani Classical Music among the mass people may arise.