This is an unedited version of a piece that was published in the DNA, July 1, 2006
The need to articulate musical concepts related to technique, repertoire and more, has been an ongoing pursuit for many scholars of Hindustani music. The introduction of the print medium in India, enabled scholars, other intellectuals and musicians to communicate music-related material to the music loving public since the nineteenth century. But there has been a palpable divide between the scholastic and performing streams of Hindustani music with practitioners of both viewing each other with suspicion and antagonism.
In such an atmosphere, the contribution of eminent scholar-musician Dr. Ashok Ranade assumes special significance, as he has successfully brought together the two streams through his writings in English and Marathi, and through related work spanning over three decades. He has maintained consistently that performers have always theorized, but that they must now articulate these concepts, particularly so if they believe others do a shoddy job of it!
His own training in vocal music with learned musicians belonging to diverse styles, and his research in folk and other forms of music have made him a proud inheritor of a rich and large body of knowledge. This strong foundation and his incessant inquiry into the nuances of the performing and scholastic traditions, has led Dr. Ranade to make one of the most seminal contributions to the world of Indian music in the form of his latest publication Music-contexts: A Concise Dictionary of Hindustani Music. The work defines and records a host of technical terms related to repertoire, performance practice, and specific occasions that occur in the musicians’ milieu. It also provides the reader with etymological details. But above all, it demystifies North Indian music by moving away from the conventional adjectival approach that most other endeavours of this nature have adopted in the past.
Addressing the heterogeneous nature of Indian music, Dr. Ranade has always spoken in favour of breaking down preconceived hierarchies and barriers within musical categories and genres. His writings on folk music, theatre music and Hindi film music substantiate his claim and his forthcoming publication entitled Hindi Film Song: Music without Boundaries promises to be a real treat for music lovers in this context.
A staunch believer in the inseparable relationship between the practice and theory of music, Dr. Ranade has not restricted himself to writing on music and theatre. He has lent his expertise to composition for film, theatre, and art music. His thematic concerts, workshops and lectures are a sheer treat to students of music and theatre and performers like me. The incisive interviews he conducted with many notable musicians during the days of black and white television are still fresh in my memory.
One of India’s pioneer ethnomusicologists, Dr. Ranade’s perceptive vision has given definite shape to several important institutions in the country, which have in turn benefited students of music in a major way. Feted by several prestigious non-government organizations in India and abroad, Dr. Ranade continues to work tirelessly to disseminate information related to Hindustani music in all its splendour.
