First appeared in www.scroll.in on August 22, 2015. Musicians across cultures have been fascinated by mathematics and numbers. This is also true of Indian musicians. Practitioners and scholars of Hindustani music have alluded to numbers in various ways. The connection between numbers and mathematics on the one hand and rhythm on the other is an obvious one. From highly evolved conceptual structures like cross-rhythms and mathematically constructed rhythmic phrasing to fit into specific number of matras or time units,
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First appeared in www.scroll.in on August 15, 2015. Raagmala or a “garland of raags”, also known as raagsagar or “sea of raags”, is a form that has been popular in Hindustani instrumental renditions. Unlike its vocal counterpart, the instrumental raagmala is more fluid as it is not restricted by a poetic text. As discussed in this column last week , raagmalas that are sung have a series of raags that are strung together with the names of each raag appearing in the text
First appeared in www.scroll.in on August 8, 2015. For many, the term raagmala or “garland of raags” conjures up images of Raag Mala paintings from the medieval period. These works incorporate elements of painting, poetry and music, standing witness to a time when the arts were treated as a composite whole. Not only do the works portray the painters’ visual interpretation of the raags, but some include descriptive verses for the raags. These paintings were based on the prevalent classification of
First appeared in www.scroll.in on August 1, 2015. Vilayat Hussein Khan, revered guru from the Agra gharana, taught several vocalists, many of who were well-known performers who did not belong to his family. Evidently, he was generous in imparting knowledge that he had assimilated from several eminent musicians. Last week, this column featured some 78 rpm and 45 rpm discs that Vilayat Hussein Khan recorded between the 1930s and the 1960s. Some of his recordings made by the All
First appeared in www.scroll.in on July 25, 2015. The guru-shishya relation today is no longer what it once was. In the past, the search for a guru for Hindustani music was arduous. The shishya (disciple) had to locate a good guru and convince the master of his or her capabilities and dedication. The shishya was often expected to perform menial tasks in the guru’s household in the hope that the guru would turn benevolent at some point and impart
First appeared in www.scroll.in on July 18, 2015. Systems of philosophy that emerged from the Indian subcontinent influenced the arts of the region in many ways and over several centuries. Although these influences may have lost their original context and meaning, they have often been reinterpreted to suit changing times or to cater to specific interest groups in society. One such influence is related to the role of the guru in an individual’s search for knowledge, be that of
First appeared in www.scroll.in on July 11, 2015. For decades now, All India Radio has disseminated various aspects of state policy and continues to address citizens in its role as the government’s Akashvani (literally “voice from the skies” or a “celestial announcement”). Originally begun in the 1920s as an amateur effort, broadcasting in India took a definite shape with the establishment of privately run radio clubs at Bombay, Calcutta and Madras. But they soon closed down due to financial
First appeared in www.scroll.in on July 4, 2015. The name Lalit brings to mind several associations, not all of which are pleasant in present times. Notwithstanding the constant reference to it in the past two weeks or so, for the Hindustani music lover, the name immediately brings to mind an important raag that is performed at dawn. Raag Lalit is lent a special flavour by a vakra or crooked movement and the chromatic use of the shuddha or natural
First appeared in www.scroll.in on June 27, 2015. This week, our series on the harmonium, comes to a close with a focus on musicians from Karnataka and Bengal. Looking back at the tracks featured over the past three weeks, one cannot but be amazed by the diversity of technique and presentation that harmonium players have evolved over the past century and more. Recorded music is evidence enough for those who continue to condemn the instrument for its limitations. Indeed, performers have candidly
First appeared in www.scroll.in on June 20, 2015. Maharashtra and Bengal have perhaps produced more harmonium players than elsewhere and there are many reasons for that. For one, musicians from these regions were among the first to experiment with this non-Indian instrument and adapt it to suit Hindustani music, among other genres. Craftsmen based in both regions also contributed hugely to customising the instrument to accommodate specific musical requirements. In addition, the harmonium found receptive students among middle-class families,