Copyright by Jeffrey Michael Grimes 2008 - The University of Texas ...

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8. Regional Musical Aesthetics…………………..…………………………………...422 Conclusion…………………………………………..…………………………………464 References……………………………………………………………………………..473 Vita..................................................................................................................................483 x
Introduction Region as a Factor in Understanding Modern Hindustani Music In analyzing any “classical” or “cultivated” music tradition, undoubtedly the most important (non-musical) factor in shaping the tradition is its source of patronage. Ethnomusicologists who study these traditions are, in particular, attracted to this side of the issue as it is this, looking beyond the internal dynamics of the art in order to explain it, that for many ethnomusicologists defines the discipline or field as such. And of course, the specifically economic side is what most interests those ethnomusicologists who work from a broadly Marxist perspective. 1 Further, musicians belonging to the Hindustani classical tradition (to limit it to those with whom I have personally had contact) will themselves readily say that, for them, economic concerns prevail over all others. After all, without making enough money to survive, there can be no music career. What separates the outlook of these two very broad groups, though, is that these musicians tend to see economics as the only non-musical factor in their lives and careers that has any importance other than music. In other words, other variables such as religion, caste, economic class, ethnicity, regional origin, and, to a large extent, gender, are regarded as relatively, if not entirely, unimportant. It is clear that this ideology or discourse is one that has been shaped and influenced by a large number of people over time and which has its roots both in South Asia and in the West. At this point, though, I simply wish to point this out, not to explain it, a much more difficult and time-consuming 1 see Qureshi (2002) for a South Asianist example 1
Page 1 and 2: Copyright by Jeffrey Michael Grimes
Page 3 and 4: The Geography of Hindustani Music:
Page 5 and 6: great musical knowledge, which both
Page 7 and 8: The Geography of Hindustani Music:
Page 9: Chapter: Table of Contents Introduc
Page 13 and 14: Bakhle’s work is not musicologica
Page 15 and 16: dependent on their informants. Keep
Page 17 and 18: assumption on which this study is b
Page 19 and 20: as “basically non-linguistic phen
Page 21 and 22: available in attempts to establish
Page 23 and 24: Hubli, as well as Goa. There are a
Page 25 and 26: ethnically Bengali or Marathi, but
Page 27 and 28: egion after Independence. Perhaps t
Page 29 and 30: music that leads to the discovery o
Page 31 and 32: the question at hand.” I would ag
Page 33 and 34: ethnomusicological or otherwise, de
Page 35 and 36: important region for the cultivatio
Page 37 and 38: in the context of region. Thus, it
Page 39 and 40: In terms of who I interviewed, ther
Page 41 and 42: observation as the starting point f
Page 43 and 44: more critical studies which seek to
Page 45 and 46: This is the “Outside View,” an
Page 47 and 48: 1. Possible Objections to the Assoc
Page 49 and 50: strictly musical criteria. Of these
Page 51 and 52: tutelage of the raaj gaayak (chief
Page 53 and 54: details of what they were teaching
Page 55 and 56: Considering VDP’s nationalist cre
Page 57 and 58: as his parents were music lovers, a
Page 59 and 60: formulating a new body of theory wh
Page 61 and 62:
Lucknow (later re-named Bhatkhande
Page 63 and 64:
already mentioned, music colleges i
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a united front, if you will, to for
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one”(1980:155). I will discuss wh
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Indian life, particularly in contra
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hierarchical structure in which eac
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carved from the multi-linguistic Ma
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which the country might have faced
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should be created. This decision wa
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comes up short. All these phenomena
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language and region. Along with thi
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the Samyukta Mahrashtra Samithi (SM
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incompatible or contradictory). Jul
Page 87 and 88:
difficult to assess at any rate), b
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these terms might be utilized in ev
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positive evidence in proving the im
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the most ubiquitous type of music i
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has become an established force on
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discussion primarily to performing
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every aspect of the performance, fr
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aspect of the tradition, but musici
Page 103 and 104:
Another thing I liked about classic
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nothing regional about Hindustani m
Page 107 and 108:
others who identify themselves as e
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ecause, as the early gharaanedaar m
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That performing musicians should en
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outside of Khyal. According to Neum
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types of musicians in caste terms a
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the importance of heredity as an in
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musicianship of the individual prac
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“Dhrupadiyas [Dhrupad singers] an
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gharana or of an individual singer
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cum performers who have managed to
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of India. The other factor of impor
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the access to good Gurus, I feel th
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secondarily in terms of tabla playe
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3. Khyal in Maharashtra Considering
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saarangiya started playing a partic
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Hindus has proven to have been fort
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institutions, to the extent that mu
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period of discipleship under Devjib
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Joshibua also was a regular user of
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Khyal gharana). Besides Yashwantbua
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gharaanedaar stalwarts themselves s
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music upon first hearing the great
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As Wade notes, Abdul Karim initiall
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Maharashtrian musical circles as
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for her part, was another singer fr
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well-known Kishori Amonkar was inco
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While he did well with Sanskrit, it
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darbaar. He heard Bhaskarbua sing a
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that was universally admired. It sh
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I would argue that there are two br
Page 167 and 168:
to the Hindustani music establishme
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Systematic rhythmic variations are
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Maharashtrian contemporaries. It do
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closest thing there is to an all-In
Page 175 and 176:
As Charles Capwell, in his article
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Of course, it is all the more telli
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of the Vishnupur gharana, two stand
Page 181 and 182:
The season for these North Indian p
Page 183 and 184:
The influence of Bade Ghulam is the
Page 185 and 186:
Bengali singers have distorted what
Page 187 and 188:
If we look back to some of the nota
Page 189 and 190:
and longtime Calcutta resident Vija
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So, within this excerpt, we find tw
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analysis of audio recordings of pas
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Calcutta, has the SRA helped to de-
Page 197 and 198:
Before concluding this section on K
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others to the list, including Niyam
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Khan, who had migrated with Wajid A
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Maharashtra, this specific phenomen
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esponsible for the melodic aspects
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potentially accompany singers from
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notably Dhrupad singing) have survi
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styles of accompaniment, straight T
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the case - other tabla players have
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outside of their allotted solos as
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agas. There is an important distinc
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positively, so to speak, in order t
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instrument, but also play their own
Page 223 and 224:
Ustads brought their comparatively
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historically been a prohibition aga
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more later, MK studied for signific
Page 229 and 230:
Turning to Amir Hussain’s discipl
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Nikhil Ghosh, not vice-versa. Thira
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as a respectable, middle class saar
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mRidaangam (barrel-shaped drum) pla
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was originally ‘Thirku’ (from t
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After a later visit to Lahore where
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in Calcutta has basically always be
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As I noted in Chapter 4, Nanhe Khan
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oader level of genre. Also, not to
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him to learn from some of the great
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College of Music in San Rafael, Cal
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uying public, which in turn has res
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also been used, mainly because it p
Page 255 and 256:
NG frequently used the term “weig
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course, follows the above quotation
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(1993:50). The chief virtue of thes
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technique, this means lifting the t
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generalizations about tabla style i
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practice present in the Farukhabad.
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on Khyal vocal music rather than on
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approach in the chapters on Khyal a
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instrumental music exceeded vocal m
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prominence, the use of characterist
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Khyal-style taan-s into sitar), and
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in vocal music…not their counterp
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taan-s or complex, overly intellect
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automatically the emotional content
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singers have rarely had access to t
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that they clearly do not treat thei
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(even if I disagreed), I also was s
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allegiance to their Guru. The point
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dhrupadiya Tansen of the court of t
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Of the two types of gat (instrument
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elements on a large scale into sita
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what he called “The Rajasthan Bin
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percussion-accompanied pada-s (comp
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traditional biinkaar-s, who as Bhat
Page 303 and 304:
vocalists almost universally use Mi
Page 305 and 306:
gat-s may or may not constitute a p
Page 307 and 308:
The full-scale Dhrupad aalaap which
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Maihar style (interview, 2005). Of
Page 311 and 312:
To this, Raja adds that AK and his
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meant that the sitar had to be stre
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effect,” in which the tempo sligh
Page 317 and 318:
partly to blame for inconsistent an
Page 319 and 320:
known representatives, while their
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Bangladesh), and the father of Amir
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especially demanding technique on s
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his family. As such, his sons Ayaan
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instrumental music has flourished t
Page 329 and 330:
informants and the secondary source
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healthier and physically stronger o
Page 333 and 334:
for artists to imitate (or in some
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In Maharashtra, which had switched
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Introduction Part Two: the “Outsi
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complete departure from the Bhatkha
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It is for this reason, among many o
Page 343 and 344:
Raja introduces, by way of a discus
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that in my opinion, the limitations
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fairly accessible semi-classical ge
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Distinction: A Social Critique of t
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efers to it at another point, is
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“middle-brow taste” corresponds
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non-native Hindi speakers in Bombay
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(though it depends on the singer) i
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classical music, I will never shift
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hythmic, do not, in Ray’s estimat
Page 363 and 364:
to tie Bengali traditions to North
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agas and talas than were common for
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of varied forms of tunes from diffe
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more interested here in both the pe
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of all this was that, in his later
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head of the performer. As Ray notes
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particularly its de facto founder,
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among others, Sashti (6 beats), Rup
Page 379 and 380:
Having said all this, I should reit
Page 381 and 382:
Bengali authorities do tend to deva
Page 383 and 384:
Chatterjee gives the impression bot
Page 385 and 386:
music”; it is instead “Bengali
Page 387 and 388:
continue to feel that Rabindrasangi
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principles that are unique to Benga
Page 391 and 392:
“great” above “little” (to
Page 393 and 394:
When we also consider that NaaTya S
Page 395 and 396:
vertically-operated front curtain,
Page 397 and 398:
later dramas that drew more and mor
Page 399 and 400:
contexts. Thus, Tembe was simply th
Page 401 and 402:
music in all its majesty became a d
Page 403 and 404:
the use of abhang or Marathi devoti
Page 405 and 406:
of large numbers of Marathi singers
Page 407 and 408:
sweet singing versus “robust,”
Page 409 and 410:
someone singing Khyal or Thumri in
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drama and then hear the composition
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would no doubt reject such an overl
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Rabindrasangiit and Marathi NaaTya
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This is rather the point, though. I
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forms can also fill this role), has
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capacity to talk about them”(ibid
Page 423 and 424:
attitudes toward change and such co
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explained, Bengali society immediat
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emancipation, though, was alienatio
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opportunities due to the sizeable n
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authority, cultural experimentation
Page 433 and 434:
more commercially successful or to
Page 435 and 436:
The pronunciation issue is much big
Page 437 and 438:
climate help to explain why these U
Page 439 and 440:
in terms of the latter, there was V
Page 441 and 442:
themselves see landscape as a metap
Page 443 and 444:
appropriate. It is true that many M
Page 445 and 446:
correspondences. I will start with
Page 447 and 448:
Regarding the Bengali language, it
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extraordinary physical homogeneity,
Page 451 and 452:
possibility they, in particular, ha
Page 453 and 454:
theater music drew from both catego
Page 455 and 456:
style, Bengali musicians continue t
Page 457 and 458:
singers. This type of taan is, in a
Page 459 and 460:
more than NG did in our interview.
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of that emotion, feeling, or value
Page 463 and 464:
temporal, but rather both. And so i
Page 465 and 466:
style characteristic of each region
Page 467 and 468:
histories of classical music in Mah
Page 469 and 470:
have been seen by certain scholars,
Page 471 and 472:
First, the dominant ras in the styl
Page 473 and 474:
with smaller circles that lie withi
Page 475 and 476:
a few of my interlocutors that were
Page 477 and 478:
committed to a methodology that inc
Page 479 and 480:
the music works,” is totally disp
Page 481 and 482:
matter to say that American culture
Page 483 and 484:
References Armstrong, Robert Plant.
Page 485 and 486:
Gottlieb, Robert S. 1993. Solo Tabl
Page 487 and 488:
Naimpalli, Sadanand. 2005. Theory a
Page 489 and 490:
Schwartzberg, Joseph E. 1985. Facto
Page 491 and 492:
Datar, D.K. 2005. Interview. Bombay
Page 493:
VITA Jeffrey Michael Grimes was bor
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