music essay

z Class 6 4.15.19

§ Announcements

§ Review of last class

§ Go over quiz

§ Lecture on gharana and khandan

z Ustad Sultan Khan

4.15.40-9.27.11

z Announcements

§ ISA Cultural show on April 20 – Extra credit

§ Aashish Khan recital on April 28 – Extra credit

§ Extra credit directions posted on canvas

§ Assignment #1 posted

§ Summer course on Indian rhythm (second session)

§ Quiz #2

z Last class review

§ Social and musical distinction of soloist and accompanist

§ Authority in musical performance

z Practice listening quiz

z Terms

§ Gharana – (from ghar “house”) a school of playing in Hindustani music, named after the place from which the progenitor of that school was born.

§ Khandan – (from khaneh “house”) a family of musicians in which musical information is passed from one generation to the next

§ Kalawant – soloist (vocalist) class of musicians

§ Mirasi – accompanist class of musicians

§ Dharhi (Dhadhi) – accompanist class of musicians

§ Vani – Dhrupad lineages

z Questions to consider

§ How does one create authority in their craft?

§ How does one preserve authority?

§ How does social structure relate to this?

§ How are these rules broken?

z Gharana and Khandan

§ Socio-musical identities that are based on lineage

§ In Hindustani music, musicians are marked and authenticated by their lineage

§ Pedagogical (their teachers)

§ Hereditarily (their relatives)

z The production of a

socio-musical identity

§ Musicians are introduced by their musical lineage

§ Identity is also marked by the teacher and the musical family (gharana) to which they both belong

z Imdadkhani/Etawah gharana

Ustad Shujaat Khan

Ustad Shahid Parvez Khan

Ustad Nishat Khan

z Maihar gharana

Pandit Ravi Shankar

Ustad Ali Akbar Khan

Baba Allaudin Khan

z The production of a

socio-musical identity

§ Such an introduction marks a musician as both a person and a figure

§ An artist to whom we attribute particular musical features

§ A figure bearing the signs of a musical tradition

z The production of a

socio-musical identity

§ Socio-music identity – an identity based on musical heritage

§ A musician’s identity is defined by the identity of his or her teacher, whose identity is also marked by his or her teacher

§ In 19th century musicians began to place an emphasis on tracing their pedagogical lineage to Mian Tansen

§ Through step son (Bilas Khan) and daughter (Saraswati Devi)

z Three concepts of lineage

§ Vani

§ Old Dhrupad lineages (Gauri, Kandhar, Nauhar, Dagar)

§ Khandan

§ A musical family

§ Musical tradition passed down through successive generations

§ Gharana

§ A musical lineage passed down through at least three successive generations

z Khandani musicians

Ustad Akram Khan, Ustad Hashmat Ali, and Zalgai Khan, Ajrada gharana Salim Chishti Qawwals, Fatehpur Sikri

z Gharana musicians

Pandit Nikhil Banerjee Maihar gharana

Pandit Ravi Shankar Maihar gharana

z Khandan and gharana

§ Three castes of musicians § Kalawant

§ Solo vocalists

§ Stand as primary figures of musical authority

§ Mirasi

§ Accompanist class

§ Can become soloist if they renounce their accompaniment instrument (sarangi)

§ A Mirasi khandan can even achieve the status of gharana

§ BUT a Mirasi khandan will always have a lower status than a Kalawant gharana

§ Lower in prestige and authority

§ Dharhi (Dhadhi)

§ Accompaniment class; replaced by Mirasi

z Gharana

§ ”The concept [of gharana] be said to include, minimally,

§ “a lineage of hereditary musicians,

§ “their disciples,

§ “and the particular musical style they represent” (Neuman, p. 146)

§ Definition entails three elements

§ Descent

§ Learning

§ Marriage

z Gharana requirements entail

three elements

§ Descent: Require three generations of musicians § Implies that there need to be enough distinguished musicians to give it weight

§ Learning: Unique and distinct style

§ Makes a contribution to the development of the musical tradition

§ Marriage § Marriage lines determined structures of inclusion and exclusion to gharana

status

§ Traditionally, gharana-s did not have accompanists in them

§ If ancestors played the sarangi or tabla it discredits their claim to gharana

z Gharana and the politics of pedigree

§ “A gharana identity provides a shorthand notation for a musician’s pedigree, be it biological or a cultural inheritance or both” (Neuman, p. 165)

§ The politics of pedigree revolve around attempts to demonstrate the authenticity, age, and consequent purity of a lineage and the body of knowledge associated with it” (Neuman, p. 167)

z Gharana and the politics of pedigree

§ Therefore to lay a claim to gharana status is to lay claim to a level of authority otherwise not granted

§ Only vocalists could claim gharana status in the 19th and early 20th centuries

§ Instrumentalists and accompanists could not

§ 20th century

§ Solo instrumentalists gain the authority to lay claim to gharana status

§ Accompanists still could not

z Gharana and the politics of pedigree

§ In mid-, late-20th century accompanists gain credibility and recognition to lay claim to gharana status

§ Term bāj (”style”) to identify tabla gharana-s and styles

§ Delhi baj, Lucknow (Purab) baj

z Gharana

§ Gharana-s were, until the 1970s, largely associated only with the vocal traditions, not instrumental or accompanist traditions

§ Vocal–Yes

§ Instrumental–No

§ Gharana-s were, until the early 20th century, associated only with the Kalawant lineages

§ Orthodox soloists who had no accompanists in their genealogical background

§ Kalawant – (caste lineage of soloists) – YES

§ Mirasi – (caste lineage of accompanists) – NO

§ Dharhi – (caste lineage of accompanists) – NO

§ All of this changed as the accompanist class not only assumed the status of gharana but also came to dominate them

z Khandan, gharana, and vani

§ Khandan § Any hereditary lineage of an occupational specialty

§ Music, sculpture, woodworking, etc.

§ In music can be accompanist, vocalist, dhrupad, or khyāl

§ To be khandani then implies the inheritance of musical knowledge and style

§ Gharana § Vocal lineage of khyāl

§ Replaced Vani as central form of socio-musical identity

§ Vani § Dhrupad lineage, descendants of four court musicians of Akbar, including Tansen

§ Lineage identity that preceded gharana

z Gharana

§ This shift also led to a new socio-musical phenomenon, known as gharana “of the house”

§ “Ghar” means house

§ Traditionally gharana was named after a place rather than a person

§ Agra gharana

§ Gwalior gharana

§ More recently it is sometimes attached to an artist’s name

§ Imdadkhani gharana

§ Refers to a stylistic school

§ A musical family, marked by a certain style

§ Denotes a level of authority

z Gharana vs. khandan

§ Gharanas § Emphasized authority and purity of lineage

§ Vocalists, not instrumentalists

§ Soloists, not accompanists

§ Kalawant - vocal soloist caste

§ Mirasi and Dharhi are accompanist caste

§ Khandan § Refers to a lineage and the style of that lineage

§ Can have accompanists as well as soloists

§ Can have Mirasi/Dharhi castes as well as Kalawant

z Difference between

gharana and khandan Gharana Khandan

Lineage Yes Yes

Status of lineage Can be hereditary or non- hereditary

Implies hereditary status

Prestige Higher Lower

Vocalist only Yes No

Instrumental soloists Not until recently Yes

Accompanists Not until recently Yes

Caste Kalawant (until recently) Kalawant/Mirasi/Dharhi

Generations required Three Not specified (can be one)

z Class 7 4.17.19

§ Announcements

§ Review of last class

§ Lecture on Raga, melody, and improvisation

z Announcements

§ ISA Cultural show on April 20 – Extra credit

§ Aashish Khan recital on April 28 – Extra credit

§ Extra credit directions posted on canvas

§ Assignment #1 and lecture slides posted

§ Listening list posted

§ Summer course on Indian rhythm (second session)

§ Learn tabla and dholak!

z Last class review

§ Socio-musical identities in Hindustani music

§ Khandan

§ Gharana

§ Kalawant, Mirasi, Dhadhi

z Terms

§ Rāg (also raga) – A collection of musical pitches that serve as a basis of composition and improvisation. Translates to “coloring of the mind.”

§ Sargam – Notation system using syllables to represent individual notes of a raga.

§ Pakar – Meaning “to catch”; key phrases in a raag’s melodic movement.

z Raag

§ “The term raag has no counterpart in Western musical theory. The concept of raag is based on the idea that certain characteristic patterns of notes evoke a heightened state of emotion. These patterns of notes are a fusion of scalar and melodic elements, and each raga can be described in terms of its ascending and descending lines (which may involve ̳turns‘) as well as its characteristic melodic figures in which certain intervals are emphasized and attention is focused on particular notes”—Walter Kaufmann

z Raag

§ “Raga is often, and rightly, translated 'melody-type.’ A raga is not a ‘scale’; it is always more specific than a mere collection of pitch-classes and their aggregate intervals, both as to the ordering of scale-degrees and as to relative emphasis—Harold Powers

§ “The rag [is] a set of musical materials that together form a unique modal identity that serves as the basis for composition and improvisation”–Peter Row

z Raag

§ Expressed in the following ways:

§ Notes in a raag

§ Which notes are used

§ Note itinerary

§ How those notes are used

§ Note emphasis

§ Which notes are emphasized and which notes are not emphasized

§ Key phrases

z Sargam notation

Sa Re Ga Ma Pa Dha Ni Sa 1 2 3 4 5 6 7 1

§ Sargam – name comes from the first four notes

§ Sa, Re, Ga, Ma

z Raag rules

§ Sa = melodic foundation

§ All instruments are tuned to Sa

§ Tanpura, Tabla

§ Sa and Pa are ”fixed notes”

§ Form the main pitches of the drone

§ Other notes (Re, Ga, Ma, Dha, Ni) can be raised or lowered

§ Tivra – raised

§ Komal – lowered

z Raag rules

§ There are twelve possible notes in this system

§ Same as in Western European/American art music

§ Raag can be seven notes, must be at least five

Sa re Re ga Ga ma Ma Pa dha Dha ni Ni Sa

fixed komal tivra komal tivra komal tivra fixed komal tivra komal tivra fixed

1 2 3 4 5 6 7 8 9 10 11 12 1

C Db D Eb E F F# G Ab A Bb B C

z Raag

§ Expressed in the following ways:

§ Notes in a raag

§ Which notes are used

§ Note itinerary

§ How those notes are used

§ Note emphasis

§ Which notes are emphasized and which notes are not emphasized

§ Key phrases

z Raag Yaman

§ Sa, Re, Ga, Ma, Pa, Dha, Ni

§ All tivra notes

§ Rag Yaman – Ustad Vilayat Khan

Sa Re Ga Ma Pa Dha Ni 1 2 3 4 5 6 7

z Raag Bhairavi

§ Sa, re, ga, ma, Pa, dha, ni

§ All komal notes

§ Raag Bhairavi – Ustad Sardar Mado

Sa re ga ma Pa dha ni 1 2 3 4 5 6 7

z Raag Kalavati

§ Sa, Ga, Pa, Dha, ni

§ Raag Kalavati – Pandit Shivkumar Sharma

Sa Ga Pa Dha ni 1 2 3 4 5

z Santoor

Pandit Shivkumar Sharma

z Raag

§ Expressed in the following ways:

§ Notes in a raag

§ Which notes are used

§ Note itinerary

§ How those notes are used

§ Note emphasis

§ Which notes are emphasized and which notes are not emphasized

§ Key phrases

z Raag Yaman and Raag Bihag

§ Same sargam

§ Sa, Re, Ga, Ma, Pa, Dha, Ni

§ Different note itineraries

§ Ascending melodic motion

§ Descending melodic motion

z Raag Yaman and Raag Bihag

Ni Re Ga Ma Dha Ni Re 7 1 2 3 4 5 6 7 1 2

Sa Ga Ma Pa Ni Sa 7 1 2 3 4 5 6 7 1 2

Raag Yaman

Raag Bihag

Ascending melodic motion

Raag Yaman – Ustad Imrat Khan

Raag Bihag – Ustad Rashid Khan

z Surbahar

Ustad Imrat Khan

z Raag

§ Expressed in the following ways:

§ Notes in a raag

§ Which notes are used

§ Note itinerary

§ How those notes are used

§ Note emphasis

§ Which notes are emphasized and which notes are not emphasized

§ Key phrases

z Raag Marwa and Raag Puriya

§ Same sargam, different note emphasis

§ re, Ga, Ma, Dha, Ni

Dha Ni re Ga Ma Dha Ni re Ga 4 5 1 2 3 4 5 1 2

Dha Ni re Ga Ma Dha Ni re Ga 4 5 1 2 3 4 5 1 2

Raag Puriya

Raag Marwa

Raag Puriya – Pandit Bhimsen Joshi

Raag Marwa – Srmt Kishori Amonkar

z Raag

§ Expressed in the following ways:

§ Notes in a raag

§ Which notes are used

§ Note itinerary

§ How those notes are used

§ Note emphasis

§ Which notes are emphasized and which notes are not emphasized

§ Key phrases

z Pakar

§ Pakarna (Hindi/Urdu) – meaning “to catch”

§ Key phrases and melodic movements of a raag

§ Help identify and distinguish similar raag types

z Raag Bageshree

§ Sa, Re, ga, ma, Pa, Dha, ni

§ Pakar:

§ ma, Pa, Dha, ga, Re, Sa

§ Sa, ma, ga

§ Dha, ni, Re, Sa

Sa Re ga ma Pa Dha ni 1 2 3 4 5 6 7

Raag Bageshree – Ustad Shahid Parvez Khan

z Class 8 4.19.19

§ Announcements

§ Review of last class

§ Practice listening exam

§ Lecture on musical affect in Hindustani music

z Announcements

§ ISA Cultural show on April 20 (tomorrow!!!) – Extra credit

§ Aashish Khan recital on April 28 – Extra credit

§ Assignment #1

§ Listening list updated

§ Summer course on Indian rhythm (second session)

§ Learn tabla and dholak!

z Last class review

§ Raag

§ Scales–but more than just scales

§ 5, 6, or 7 notes

§ Scale itinerary

§ Note emphasis

§ Key phrase - pakar

z Practice listening quiz

z Terms

§ Affect – to have an effect on; make a difference to; move emotionally

§ Ras/Rasa – “Juice,” affective states that are evoked in performing arts

§ Jinn – In Islamic theology, supernatural beings that appear in animal and human forms; possess humans

z Musical affect

§ The ability of music to affect and/or evoke human emotion

§ Sometimes contains elements of the supernatural

§ Extra-musical affects

§ Music makes you feel emotion

§ Music has healing properties

§ Sufism, Bhakti

§ Relies not only on the power of the raag but the power of the performer

§ Associated with musicians of the past

z Ras

§ Ras, or Rasa

§ ”Juice,” or “essence”

§ Affective states

§ Detailed in Natyasāstra

§ Sanskrit treatise on performing arts (c. 200 BCE – 400 CE)

z Navaras

The nine moods Karuna Sadness, Pathos Shringār Love, joy Vita Heroism, valor Hāsya Laughter, comedy Raudra Anger Bhayānaka Fear Vibhātsa Disgust Adbhuta Surprise Shānti Peace

From the Natyasāstra, fourth century CE

z Raag

§ Can be divided into two major categories

§ Serious/heavy – strictly classical

§ Light – meant for non-classical genres

§ Folk music, devotional music

z “Serious” raag-s

§ Only played in classical music

§ Todi

§ Bhairav

§ Darbari

§ Ustad Mustaq Ali Khan – Raag Darbari

z Light raag-s

§ Used in ”lighter” musical genres

§ Thumri

§ Folk music

§ Devotional music

§ Pahari (“of the mountains”)

§ Ustad Din Mohammad Saqi – Safa Safa Miaid

§ Megh

z Time theory in Hindustani music

§ Certain raag correspond to particular times of day

§ Early morning, dawn, morning, afternoon, dusk, evening, night

§ Concert programs are decided according to when they occur

§ Evening program = evening raag-s to be performed

z

z Weather and raag

§ Certain raag are also connected to seasonal weather

§ Monsoon raag-s

§ Megh, Miyan ki Malhar

§ Veena Sahasrabuddhe – Raag Megh

§ Summer raag

§ Deepak

§ Spring time raag

§ Basant, Basant Bahar, Hindol

§ Ustad Sabri Khan – Raag Hindol

z Miyan ki Malhar

§ Rainy/monsoon season raag

§ Differing stories and myths about its connection to the monsoon rains

§ Akbar and Tansen

z Raag Deepak

§ Famous for its power to produce heat/light lanterns (deepak)

§ Tansen and raag Miyan Ki Malhar

§ Ram Chattur Mallick – Raag Deepak (17:36)

z Bilaskhani Todi

§ Created by the son of Tansen, Bilas Khan

§ Was so distraught by his father’s death that when he tried to sing his father’s favorite raag, Todi, some of the notes were altered

§ Associated with feelings of pathos

§ Morning time raag

§ Pandit Nikhil Banerjee – Raag Bilaskhani Todi

z Raag and the supernatural

§ Raag Malkauns

§ Associated to jinn-s (genies)

§ Jinn said to be attracted to raag Malkauns

§ To be played late at night (after midnight)

§ Some musicians admit to not practicing raag Malkauns when alone at night

§ Ustad Amjad Ali Khan – Raag Malkauns