About the Book
Ever wondered
how late Pandit Ravi Shankar went beyond cultural boundaries to propagate
Hindustani classical music and impact the global music scene? How did Ustad
Amjad Ali Khan fight emotional and financial setbacks to settle into musical
harmony with destiny? How did Begum Akhtar's soulful voice inspire a reluctant
percussionist to dedicate his life to vocal music and emerge as the legendary
Pandit Jasraj? How did late Dr Gangubai Hangai break away from the shackles of
social ostracism to emerge as a legend of her times?
Beyond Music - Maestros in Conversation delves into candid
opinions on issues, revealing thoughts on music-making and emotional sagas of
some of the most accomplished, revered classical musicians-- Dr Prabha Atre,
Pandit Vishwa Mohan Bhatt, Dr N. Rajam, Vidushi Shanno Pandit Jasraj, Pandit
Shiv Kumar SH Pandit Hariprasad Chaurasia, to name a few.
This book is
not just about music; it is an exciting journey into the minds of musicians,
bringing alive the fragrance their musical thinking.
A must read
for all Hindustani classical music connoisseurs.
About the Author
Geeta Sahai is
a writer, broadcaster and documentary filmmaker. Her short stories have won
International awards and have been included in an international
anthology-Undiscovered Gems. She was associated with worldspace Satellite Radio
for nearly ten years as Programme Director-Radio Gandharv-24x7 Hindustani
Classical Music Station. She has made many introspective documentary films
Currently, She is working on a project on women maestros of Hindustani
classical music of early 20th century.
Foreword
I remember as a
child I was often taken to classical music concerts, listening to great
maestros, at times tagging along with my father, Pandit L.K. Pandit, to their
houses or artistes visiting our home in Gwalior and Delhi, both. I had been
with them as a child, and now as a practising musician. I always thought that I
knew them pretty well, their inner world. But this book Beyond Music-Maestros in Conversation by Geeta Sahai and
Shrinkhla Sahai-is a pleasant surprise. Through the book I came to know several
incidents, facts and their thought process, closely. It goes to the credit of
both the writers that the maestros bared their soul in the free-wheeling
conversations that not only talk about music as an academic subject but also
foray into sensitive issues pertaining to the growth of musicians as maestros.
This book is
the product of a passion of the authors for music in all its forms. I have
known few people with a passion for music and for interviewing maestros, as
strong as that of the book's authors. I came to know Geeta Sahai nearly ten
years ago when she interviewed me. It was one of the most in depth interviews
that I ever faced. It was exhaustive to visit my real self and also very
satisfying, to get an opportunity to share my deepest thoughts on so many
aspects of music and life. During my visit to Radio Gandharv's studio (24 X 7
Hindustani classical music station on Worldspace Satellite Network) in Delhi, I
met and interacted with Shrinkhla Sahai. I was amazed at her musical knowledge,
zest for doing new things, researching and putting knowledge in a most
innovative manner on the radio. Indian classical music needs people like Geeta
and Shrinkhla who know how to reach out.
Both the
authors succeed in bringing about that same knowledge, clarity and passion for
music to this book. As I turned page after page of the book and read interviews
one after the other, it was as if each interview opened a new window into the
life of an artiste. For instance, in his interview my father and guru, Pandit
L.K. Pandit revealed, 'I used to sit in the central park at Connaught Place for
hours in the evening and do my practice ... there was no one to rent a house to
a gaanewala.' One can imagine
the pain that he must have gone through at that point of his life. Only the
authors could have inspired the artistes to revisit their painful, hidden
memories!
These
twenty-five interviews are mirror to the inner trials and tribulations of an
artiste. With the focus being on life and challenges of the musical world, the
lucid language and various musical perspectives make the book thought provoking
and an interesting read. It offers students, researchers and connoisseurs' deep
insights into the rich and diverse world of Hindustani classical music.
Retrospectively
speaking, Hindustani classical music has, over the centuries, survived and
maintained its sanctity. The explanations and critical explorations that
maestros have revealed in their interviews deepen our understanding of
traditional music, its heritage, the musical trajectory, gharanas and above all the continued
importance of our traditional music in the present high-tech. hurried world. In
fact, these interviews unravel new ideas and illuminate grey areas of
Hindustani classical music. Some of the important questions, like time
classification of ragas or the relevance of gharanas have also been debated and maestros have come up with
their candid views.
I am confident
that this book with its long list including most of the revered names of
today's musical fraternity like late Pandit Ravi Shankar, late Vidushi Dr
Gangubai Hangal, late Vidushi Dhondutai Kulkarni, would certainly be useful and
offer an exceptionally rich experience for musicians, music lovers, researchers
and music students.
I am honoured
and grateful for this opportunity to pen my thoughts.
I wish the authors,
with whom over the years I have developed a special bond, best of luck in their
endeavour.
Introduction
Music is a
universal language. So it is generally believed. Yet, the vocabulary of
Hindustani classical music has a niche circle of connoisseurs. Seeing an
artiste on stage and experiencing their music is just the tip of the iceberg.
It takes years of training, skill, discipline and riyaaz to master the grammar of the art form that appears to be
an effortless master stroke to spectators and listeners. The truth is that
behind the syntax and emotion of each taan,
murki, gamak, alaap and pukar that
leaves devoted listeners spellbound, there is a deep-rooted ideology and
perspective on music and life. This compilation of interviews with maestros of
Hindustani classical music is an endeavour to share those aspects through the
musicians' own words and to present a kaleidoscope of their unknown world.
Hindustani
classical music has a spectrum of sub-genres within vocal and instrumental
styles ranging from dhrupad, dhamaar,
khayal, thumri, dadra, tappa and more. These have evolved over time and
musical aesthetics have been heavily influenced by sites and modes of
production and reception of music. At the turn of the twentieth century, the
royal court was the main system of patronage for classical music. While dhrupad and khaya/were accepted as the respected genres performed by male
musicians, forms like thumri and
dadra were associated with
courtesans and relegated to the realm of petty entertainment. These women
musicians faced social ostracisation for a major part of the twentieth century.
Even today, these forms are most often categorised as 'semi-classical' music
though many musicians disagree with this nomenclature. 'I do not consider thumri semi-classical. I think thumri is a form of pure classical
music and I am fighting for it to be recognised as such,' says Vidushi Savita
Devi. Somewhat similar are the views of Vidushi Girija Devi, 'Thumri is like a garden having
various flowers. The singer plucks flowers of different hues and fragrances and
makes a bouquet of different ragas. Of course one has to see that the
combination of ragas is acceptable. We cannot sing thumri without having a knowledge of khayal.'
Here we must
point out that while we use the commonly accepted term 'Hindustani classical
music' throughout this book, many performers and scholars prefer to use 'North
Indian classical music,' and often musicians associate their gayaki to a particular gharana.
Gharana, or a musical style, is the foundation of
the unique features on which most artistes have built their individual
signatures. Gharana literally
means household and denotes a formally structured system of musically and
socially distinct singing styles. An important aspect of Indian classical
music, gharana signifies a
musical lineage, a socio-cultural position and musical ideology. The names of gharanas are linked to their
geographical origins, for instance Gwalior gharana, Jaipur-Atrauli gharana,
Agra gharana, Patiala gharana, Kirana gharana, Banaras gharana, and so on. While some
musicians associate the purity and authenticity of classical music largely on
the premise of the traditional roots of their style in a particular gharana- 'Each gharana is unique. For example, in
Agra gharana gayaki they used
to start with madhya laya and alaapchari, bol-baant was
characteristic to Agra gharana, while
in Kirana gharana the emphasis
is on the notes, behlava; so
you see each gharana has
something special and unique,' says Pandit Jasraj. But there are many who find
the concept of gharana irrelevant
in the contemporary context when there are myriad influences and
assimilations-'Society has undergone change, our perspective has changed and
that reflects in our music as well. Technological exposure has blurred all
distinctions between gharanas,' opines
Pandit L.K. Pandit. Again Pandit Ajoy Chakrabarty feels, 'See, even earlier
this concept of gharana was
archaic. It had no meaning. Four artistes belonging to one gharana will sing differently. Music
depends on one's individuality, thinking, values, culture and humanity. Of
course, a basic line of thinking is maintained in a gharana. In that way gharanas
are important.'
These are some
examples of the debates and discussions that are alive and in circulation today
in the world of music. In these interviews, we have raised pointed questions
connected with such issues and musicians have candidly expressed their views.
Today, the circumstances of presenting music have completely altered. As
pointed out by veteran artistes in this volume, the disappearance of royal
patronage after Independence: ('Earlier, during the era of nawabs and kings, there was complete
state patronage. An artiste had to just concentrate on his music. For all the
twenty-four hours of the day he was busy thinking or composing music.' Pandit
L.K. Pandit), the emergence of radio as a medium and the current dependence on
corporate sponsorship, drastically transformed musical styles.
The impact of
globalisation and commercialisation are also much- debated topics. 'One must
change as per the place and environment. One has to adapt to change. We,
classical musicians cannot live in our ivory tower. The distance between the
artiste and the audience must decrease,' feels Pandit Vishwa Mohan Bhatt. On
the contrary some feel that classical music is an abstract art and 'is not the
music of masses. It is the product of a more deliberate aesthetic shaping
process. A lot of thinking and experimentation has gone behind its formation.
To expect classical music to become as popular as film music would be wrong'
(Dr Prabha Atre). Disagreeing with such notions was the view of Pandit Jasraj,
who says, 'I just don't agree with those people who are suggesting that
classical music is not for the masses. If music is not for the masses then how
can you call it music?'
The most
controversial and debated topic has been the day-part time classifications of
the ragas. While some maestros feel that the time classification theory is no
longer required, others disagree. 'It is our tradition, there is a reason
behind it and we should definitely follow it' (Dr Gangubai Hangal). 'I see
changes happening ... personally, I do not like listening to evening or night
ragas in the morning ... but after forty-fifty years it [doing away with time
classification theory] might happen' (Dr N. Rajam).
Initially many
musicians were hesitant about sharing their inner world, their untold
struggle-'But my music says everything I want to express, why talk!' It was
slightly difficult to convince them of the relevance of in-depth interviews for
preserving music history as well as generating more ideas and dialogues about
music. It was pertinent for us to go beyond music to unravel the mystic and the
mundane aspects in their respective musical experiments. We were adamant to
bring to a large audience their articulations, their thoughts, the process of
music making, learning and teaching, and the trials and tribulations of their
life journey.
We also knew
the importance of making their invisible world accessible to the non-initiated
listener who is intrigued and interested in music yet is intimidated by the
idea of classical music. While voicing for the changes and the current growing
popularity of the World music or Fusion music, Dr N. Rajam opines, 'Any art
form should not be static. If it is static, it ceases to be an art form. It has
to constantly grow, evolve. Change is necessary. But to change for the sake of
change is not healthy. We cannot just overlook or bypass all the musical rules and
regulations, made by our ancestors. We cannot just negate all those points and
bring about change. No, that is not good. While keeping in mind those points,
changes should be brought about; but not blindly.'
Hindustani
classical musicians have often lamented about the diminishing audience interest
in classical music in India and the absence of knowledgeable rasikas as in the earlier times. This
compilation is also an attempt at bridging that gap between the layman who
thinks 'I don't understand classical music' and the musician who feels an
absence of appreciative listeners. The lacunae in integrating music education
as part of school curriculum and the absence of media support are issues raised
by many musicians in this book. In this context, we believe, it is critical to
think and talk about music, to engage with the polemics and politics of music
as an essential aspect of society. We see this book as one of the ways of
opening and inviting music lovers into that conversation.
As the fields
of ethnomusicology, cultural studies and performance studies are in their
nascent stage and emerging fast, the locus of research in these disciplines has
also shifted from the technical aspects of music alone to encompass the
cultural and social aspects. This volume presents an overview of the Hindustani
classical music world in the first decade of the twenty-first century and
therefore is an important link in the trajectory of music history and
research-the history of an oral tradition of transmission of knowledge.
It is our
humble attempt to expand the boundaries that accompany the realm of classical
music to a global community that wants to know more about the stars of the
musical firmament. For many, who might not even be familiar with the musical
styles within the classical genres, this might be a route to engaging with the
music by first encountering the human side of these larger- than-life
personalities. And that aspect is truly universal and humbling.
Contents
FOREWORD |
9 |
|
INTRODUCTION |
11 |
|
Dr
Gangubai Hangal |
17 |
|
Vocal |
||
Pandit
Ravi Shankar |
27 |
|
Sitar |
||
Vidushi
Shanno Khurana |
39 |
|
Vocal |
||
Ustad
Sabri Khan |
49 |
|
Sarangi |
||
Vidushi
Dhondutai Kulkarni |
57 |
|
Vocal |
||
Vidushi
Girija Devi |
67 |
|
Vocal |
||
Dr
N. Rajam |
73 |
|
Violin |
||
Pandit
Jasraj |
87 |
|
Vocal |
||
Dr
Prabha Atre |
97 |
|
Vocal |
||
Vidushi
Shanti Hiranand |
117 |
|
Vocal |
||
Pandit
L.K. Pandit |
133 |
|
Vocal |
||
Pandit Debu Chaudhuri |
141 |
|
Sitar |
||
Pandit Shiv Kumar Sharma |
157 |
|
Santoor |
||
Pandit Hariprasad Chaurasia |
165 |
|
Flute |
||
Vidushi Savita Devi |
175 |
|
Vocal |
||
Ustad Amjad AIi Khan |
183 |
|
Sarod |
||
Pandit Bhajan Sopori |
199 |
|
Santoor |
||
Pandit Vishwa Mohan Bhatt |
211 |
|
Mohan
Veena |
||
Pandits Rajan & Sajan Mishra |
225 |
|
Vocal |
||
Vidushi Shruti Sadolikar |
237 |
|
Vocal |
||
Pandit Ajoy Chakrabarty |
253 |
|
Vocal |
||
Ustad Mashkoor AIi Khan |
263 |
|
Vocal |
||
Dr Arawind Thatte |
271 |
|
Harmonium |
||
Ustad Shujaat Khan |
283 |
|
Sitar |
||
Ustad Wasifuddin Dagar |
301 |
|
Vocal |
||
GLOSSARY |
309 |
|
INDEX |
319 |
|
About the Book
Ever wondered
how late Pandit Ravi Shankar went beyond cultural boundaries to propagate
Hindustani classical music and impact the global music scene? How did Ustad
Amjad Ali Khan fight emotional and financial setbacks to settle into musical
harmony with destiny? How did Begum Akhtar's soulful voice inspire a reluctant
percussionist to dedicate his life to vocal music and emerge as the legendary
Pandit Jasraj? How did late Dr Gangubai Hangai break away from the shackles of
social ostracism to emerge as a legend of her times?
Beyond Music - Maestros in Conversation delves into candid
opinions on issues, revealing thoughts on music-making and emotional sagas of
some of the most accomplished, revered classical musicians-- Dr Prabha Atre,
Pandit Vishwa Mohan Bhatt, Dr N. Rajam, Vidushi Shanno Pandit Jasraj, Pandit
Shiv Kumar SH Pandit Hariprasad Chaurasia, to name a few.
This book is
not just about music; it is an exciting journey into the minds of musicians,
bringing alive the fragrance their musical thinking.
A must read
for all Hindustani classical music connoisseurs.
About the Author
Geeta Sahai is
a writer, broadcaster and documentary filmmaker. Her short stories have won
International awards and have been included in an international
anthology-Undiscovered Gems. She was associated with worldspace Satellite Radio
for nearly ten years as Programme Director-Radio Gandharv-24x7 Hindustani
Classical Music Station. She has made many introspective documentary films
Currently, She is working on a project on women maestros of Hindustani
classical music of early 20th century.
Foreword
I remember as a
child I was often taken to classical music concerts, listening to great
maestros, at times tagging along with my father, Pandit L.K. Pandit, to their
houses or artistes visiting our home in Gwalior and Delhi, both. I had been
with them as a child, and now as a practising musician. I always thought that I
knew them pretty well, their inner world. But this book Beyond Music-Maestros in Conversation by Geeta Sahai and
Shrinkhla Sahai-is a pleasant surprise. Through the book I came to know several
incidents, facts and their thought process, closely. It goes to the credit of
both the writers that the maestros bared their soul in the free-wheeling
conversations that not only talk about music as an academic subject but also
foray into sensitive issues pertaining to the growth of musicians as maestros.
This book is
the product of a passion of the authors for music in all its forms. I have
known few people with a passion for music and for interviewing maestros, as
strong as that of the book's authors. I came to know Geeta Sahai nearly ten
years ago when she interviewed me. It was one of the most in depth interviews
that I ever faced. It was exhaustive to visit my real self and also very
satisfying, to get an opportunity to share my deepest thoughts on so many
aspects of music and life. During my visit to Radio Gandharv's studio (24 X 7
Hindustani classical music station on Worldspace Satellite Network) in Delhi, I
met and interacted with Shrinkhla Sahai. I was amazed at her musical knowledge,
zest for doing new things, researching and putting knowledge in a most
innovative manner on the radio. Indian classical music needs people like Geeta
and Shrinkhla who know how to reach out.
Both the
authors succeed in bringing about that same knowledge, clarity and passion for
music to this book. As I turned page after page of the book and read interviews
one after the other, it was as if each interview opened a new window into the
life of an artiste. For instance, in his interview my father and guru, Pandit
L.K. Pandit revealed, 'I used to sit in the central park at Connaught Place for
hours in the evening and do my practice ... there was no one to rent a house to
a gaanewala.' One can imagine
the pain that he must have gone through at that point of his life. Only the
authors could have inspired the artistes to revisit their painful, hidden
memories!
These
twenty-five interviews are mirror to the inner trials and tribulations of an
artiste. With the focus being on life and challenges of the musical world, the
lucid language and various musical perspectives make the book thought provoking
and an interesting read. It offers students, researchers and connoisseurs' deep
insights into the rich and diverse world of Hindustani classical music.
Retrospectively
speaking, Hindustani classical music has, over the centuries, survived and
maintained its sanctity. The explanations and critical explorations that
maestros have revealed in their interviews deepen our understanding of
traditional music, its heritage, the musical trajectory, gharanas and above all the continued
importance of our traditional music in the present high-tech. hurried world. In
fact, these interviews unravel new ideas and illuminate grey areas of
Hindustani classical music. Some of the important questions, like time
classification of ragas or the relevance of gharanas have also been debated and maestros have come up with
their candid views.
I am confident
that this book with its long list including most of the revered names of
today's musical fraternity like late Pandit Ravi Shankar, late Vidushi Dr
Gangubai Hangal, late Vidushi Dhondutai Kulkarni, would certainly be useful and
offer an exceptionally rich experience for musicians, music lovers, researchers
and music students.
I am honoured
and grateful for this opportunity to pen my thoughts.
I wish the authors,
with whom over the years I have developed a special bond, best of luck in their
endeavour.
Introduction
Music is a
universal language. So it is generally believed. Yet, the vocabulary of
Hindustani classical music has a niche circle of connoisseurs. Seeing an
artiste on stage and experiencing their music is just the tip of the iceberg.
It takes years of training, skill, discipline and riyaaz to master the grammar of the art form that appears to be
an effortless master stroke to spectators and listeners. The truth is that
behind the syntax and emotion of each taan,
murki, gamak, alaap and pukar that
leaves devoted listeners spellbound, there is a deep-rooted ideology and
perspective on music and life. This compilation of interviews with maestros of
Hindustani classical music is an endeavour to share those aspects through the
musicians' own words and to present a kaleidoscope of their unknown world.
Hindustani
classical music has a spectrum of sub-genres within vocal and instrumental
styles ranging from dhrupad, dhamaar,
khayal, thumri, dadra, tappa and more. These have evolved over time and
musical aesthetics have been heavily influenced by sites and modes of
production and reception of music. At the turn of the twentieth century, the
royal court was the main system of patronage for classical music. While dhrupad and khaya/were accepted as the respected genres performed by male
musicians, forms like thumri and
dadra were associated with
courtesans and relegated to the realm of petty entertainment. These women
musicians faced social ostracisation for a major part of the twentieth century.
Even today, these forms are most often categorised as 'semi-classical' music
though many musicians disagree with this nomenclature. 'I do not consider thumri semi-classical. I think thumri is a form of pure classical
music and I am fighting for it to be recognised as such,' says Vidushi Savita
Devi. Somewhat similar are the views of Vidushi Girija Devi, 'Thumri is like a garden having
various flowers. The singer plucks flowers of different hues and fragrances and
makes a bouquet of different ragas. Of course one has to see that the
combination of ragas is acceptable. We cannot sing thumri without having a knowledge of khayal.'
Here we must
point out that while we use the commonly accepted term 'Hindustani classical
music' throughout this book, many performers and scholars prefer to use 'North
Indian classical music,' and often musicians associate their gayaki to a particular gharana.
Gharana, or a musical style, is the foundation of
the unique features on which most artistes have built their individual
signatures. Gharana literally
means household and denotes a formally structured system of musically and
socially distinct singing styles. An important aspect of Indian classical
music, gharana signifies a
musical lineage, a socio-cultural position and musical ideology. The names of gharanas are linked to their
geographical origins, for instance Gwalior gharana, Jaipur-Atrauli gharana,
Agra gharana, Patiala gharana, Kirana gharana, Banaras gharana, and so on. While some
musicians associate the purity and authenticity of classical music largely on
the premise of the traditional roots of their style in a particular gharana- 'Each gharana is unique. For example, in
Agra gharana gayaki they used
to start with madhya laya and alaapchari, bol-baant was
characteristic to Agra gharana, while
in Kirana gharana the emphasis
is on the notes, behlava; so
you see each gharana has
something special and unique,' says Pandit Jasraj. But there are many who find
the concept of gharana irrelevant
in the contemporary context when there are myriad influences and
assimilations-'Society has undergone change, our perspective has changed and
that reflects in our music as well. Technological exposure has blurred all
distinctions between gharanas,' opines
Pandit L.K. Pandit. Again Pandit Ajoy Chakrabarty feels, 'See, even earlier
this concept of gharana was
archaic. It had no meaning. Four artistes belonging to one gharana will sing differently. Music
depends on one's individuality, thinking, values, culture and humanity. Of
course, a basic line of thinking is maintained in a gharana. In that way gharanas
are important.'
These are some
examples of the debates and discussions that are alive and in circulation today
in the world of music. In these interviews, we have raised pointed questions
connected with such issues and musicians have candidly expressed their views.
Today, the circumstances of presenting music have completely altered. As
pointed out by veteran artistes in this volume, the disappearance of royal
patronage after Independence: ('Earlier, during the era of nawabs and kings, there was complete
state patronage. An artiste had to just concentrate on his music. For all the
twenty-four hours of the day he was busy thinking or composing music.' Pandit
L.K. Pandit), the emergence of radio as a medium and the current dependence on
corporate sponsorship, drastically transformed musical styles.
The impact of
globalisation and commercialisation are also much- debated topics. 'One must
change as per the place and environment. One has to adapt to change. We,
classical musicians cannot live in our ivory tower. The distance between the
artiste and the audience must decrease,' feels Pandit Vishwa Mohan Bhatt. On
the contrary some feel that classical music is an abstract art and 'is not the
music of masses. It is the product of a more deliberate aesthetic shaping
process. A lot of thinking and experimentation has gone behind its formation.
To expect classical music to become as popular as film music would be wrong'
(Dr Prabha Atre). Disagreeing with such notions was the view of Pandit Jasraj,
who says, 'I just don't agree with those people who are suggesting that
classical music is not for the masses. If music is not for the masses then how
can you call it music?'
The most
controversial and debated topic has been the day-part time classifications of
the ragas. While some maestros feel that the time classification theory is no
longer required, others disagree. 'It is our tradition, there is a reason
behind it and we should definitely follow it' (Dr Gangubai Hangal). 'I see
changes happening ... personally, I do not like listening to evening or night
ragas in the morning ... but after forty-fifty years it [doing away with time
classification theory] might happen' (Dr N. Rajam).
Initially many
musicians were hesitant about sharing their inner world, their untold
struggle-'But my music says everything I want to express, why talk!' It was
slightly difficult to convince them of the relevance of in-depth interviews for
preserving music history as well as generating more ideas and dialogues about
music. It was pertinent for us to go beyond music to unravel the mystic and the
mundane aspects in their respective musical experiments. We were adamant to
bring to a large audience their articulations, their thoughts, the process of
music making, learning and teaching, and the trials and tribulations of their
life journey.
We also knew
the importance of making their invisible world accessible to the non-initiated
listener who is intrigued and interested in music yet is intimidated by the
idea of classical music. While voicing for the changes and the current growing
popularity of the World music or Fusion music, Dr N. Rajam opines, 'Any art
form should not be static. If it is static, it ceases to be an art form. It has
to constantly grow, evolve. Change is necessary. But to change for the sake of
change is not healthy. We cannot just overlook or bypass all the musical rules and
regulations, made by our ancestors. We cannot just negate all those points and
bring about change. No, that is not good. While keeping in mind those points,
changes should be brought about; but not blindly.'
Hindustani
classical musicians have often lamented about the diminishing audience interest
in classical music in India and the absence of knowledgeable rasikas as in the earlier times. This
compilation is also an attempt at bridging that gap between the layman who
thinks 'I don't understand classical music' and the musician who feels an
absence of appreciative listeners. The lacunae in integrating music education
as part of school curriculum and the absence of media support are issues raised
by many musicians in this book. In this context, we believe, it is critical to
think and talk about music, to engage with the polemics and politics of music
as an essential aspect of society. We see this book as one of the ways of
opening and inviting music lovers into that conversation.
As the fields
of ethnomusicology, cultural studies and performance studies are in their
nascent stage and emerging fast, the locus of research in these disciplines has
also shifted from the technical aspects of music alone to encompass the
cultural and social aspects. This volume presents an overview of the Hindustani
classical music world in the first decade of the twenty-first century and
therefore is an important link in the trajectory of music history and
research-the history of an oral tradition of transmission of knowledge.
It is our
humble attempt to expand the boundaries that accompany the realm of classical
music to a global community that wants to know more about the stars of the
musical firmament. For many, who might not even be familiar with the musical
styles within the classical genres, this might be a route to engaging with the
music by first encountering the human side of these larger- than-life
personalities. And that aspect is truly universal and humbling.
Contents
FOREWORD |
9 |
|
INTRODUCTION |
11 |
|
Dr
Gangubai Hangal |
17 |
|
Vocal |
||
Pandit
Ravi Shankar |
27 |
|
Sitar |
||
Vidushi
Shanno Khurana |
39 |
|
Vocal |
||
Ustad
Sabri Khan |
49 |
|
Sarangi |
||
Vidushi
Dhondutai Kulkarni |
57 |
|
Vocal |
||
Vidushi
Girija Devi |
67 |
|
Vocal |
||
Dr
N. Rajam |
73 |
|
Violin |
||
Pandit
Jasraj |
87 |
|
Vocal |
||
Dr
Prabha Atre |
97 |
|
Vocal |
||
Vidushi
Shanti Hiranand |
117 |
|
Vocal |
||
Pandit
L.K. Pandit |
133 |
|
Vocal |
||
Pandit Debu Chaudhuri |
141 |
|
Sitar |
||
Pandit Shiv Kumar Sharma |
157 |
|
Santoor |
||
Pandit Hariprasad Chaurasia |
165 |
|
Flute |
||
Vidushi Savita Devi |
175 |
|
Vocal |
||
Ustad Amjad AIi Khan |
183 |
|
Sarod |
||
Pandit Bhajan Sopori |
199 |
|
Santoor |
||
Pandit Vishwa Mohan Bhatt |
211 |
|
Mohan
Veena |
||
Pandits Rajan & Sajan Mishra |
225 |
|
Vocal |
||
Vidushi Shruti Sadolikar |
237 |
|
Vocal |
||
Pandit Ajoy Chakrabarty |
253 |
|
Vocal |
||
Ustad Mashkoor AIi Khan |
263 |
|
Vocal |
||
Dr Arawind Thatte |
271 |
|
Harmonium |
||
Ustad Shujaat Khan |
283 |
|
Sitar |
||
Ustad Wasifuddin Dagar |
301 |
|
Vocal |
||
GLOSSARY |
309 |
|
INDEX |
319 |
|