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

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James Fernandez, Robert Plant Armstrong, and Charles Keil in order to further tease out the implications of this metaphor. 36
1. Possible Objections to the Association of Hindustani Classical Music with Regional Culture(s) When we take a bit more in-depth look at why the musicians who were my interlocutors so frequently denied the importance of region in their music specifically or in Hindustani music generally, we find a few recurring themes amongst their beliefs about their own personal background, regionalism, and the nature of the tradition itself. The etiquette of Hindustani performers, namely their aforementioned hesitation to speak about other artists in a fashion that even approaches criticism in a public or semi-public context, is one of the most important factors. As with any generalization, this does not apply to every performer, or even everyone I spoke with, but it is true of the vast majority of artists. This hesitancy leads us to another factor, one that no one I interviewed openly stated, but one that I will argue is crucial in this context – that regionalism is a regressive force in Indian politics and society and one that is generally the province of marginalized groups, i.e. those of low caste or low economic class. Beyond this, there is a very strongly held, though again rarely stated, belief amongst almost all members of Indian society who are familiar with Hindustani music that it is primarily a national tradition with consistency, continuity, and coherence that cuts across regional or state boundaries. Third, there is the notion that modernity and/or globalism have worked as a homogenizing forces in Indian music and culture generally to the extent that classical music has not only become more standardized across India but even has started to lose its 37
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 and 10: Chapter: Table of Contents Introduc
Page 11 and 12: Introduction Region as a Factor in
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: This is the “Outside View,” an
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
Page 65 and 66: a united front, if you will, to for
Page 67 and 68: one”(1980:155). I will discuss wh
Page 69 and 70: Indian life, particularly in contra
Page 71 and 72: hierarchical structure in which eac
Page 73 and 74: carved from the multi-linguistic Ma
Page 75 and 76: which the country might have faced
Page 77 and 78: should be created. This decision wa
Page 79 and 80: comes up short. All these phenomena
Page 81 and 82: language and region. Along with thi
Page 83 and 84: the Samyukta Mahrashtra Samithi (SM
Page 85 and 86: incompatible or contradictory). Jul
Page 87 and 88: difficult to assess at any rate), b
Page 89 and 90: these terms might be utilized in ev
Page 91 and 92: positive evidence in proving the im
Page 93 and 94: the most ubiquitous type of music i
Page 95 and 96: has become an established force on
Page 97 and 98:
discussion primarily to performing
Page 99 and 100:
every aspect of the performance, fr
Page 101 and 102:
aspect of the tradition, but musici
Page 103 and 104:
Another thing I liked about classic
Page 105 and 106:
nothing regional about Hindustani m
Page 107 and 108:
others who identify themselves as e
Page 109 and 110:
ecause, as the early gharaanedaar m
Page 111 and 112:
That performing musicians should en
Page 113 and 114:
outside of Khyal. According to Neum
Page 115 and 116:
types of musicians in caste terms a
Page 117 and 118:
the importance of heredity as an in
Page 119 and 120:
musicianship of the individual prac
Page 121 and 122:
“Dhrupadiyas [Dhrupad singers] an
Page 123 and 124:
gharana or of an individual singer
Page 125 and 126:
cum performers who have managed to
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of India. The other factor of impor
Page 129 and 130:
the access to good Gurus, I feel th
Page 131 and 132:
secondarily in terms of tabla playe
Page 133 and 134:
3. Khyal in Maharashtra Considering
Page 135 and 136:
saarangiya started playing a partic
Page 137 and 138:
Hindus has proven to have been fort
Page 139 and 140:
institutions, to the extent that mu
Page 141 and 142:
period of discipleship under Devjib
Page 143 and 144:
Joshibua also was a regular user of
Page 145 and 146:
Khyal gharana). Besides Yashwantbua
Page 147 and 148:
gharaanedaar stalwarts themselves s
Page 149 and 150:
music upon first hearing the great
Page 151 and 152:
As Wade notes, Abdul Karim initiall
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Maharashtrian musical circles as
Page 155 and 156:
for her part, was another singer fr
Page 157 and 158:
well-known Kishori Amonkar was inco
Page 159 and 160:
While he did well with Sanskrit, it
Page 161 and 162:
darbaar. He heard Bhaskarbua sing a
Page 163 and 164:
that was universally admired. It sh
Page 165 and 166:
I would argue that there are two br
Page 167 and 168:
to the Hindustani music establishme
Page 169 and 170:
Systematic rhythmic variations are
Page 171 and 172:
Maharashtrian contemporaries. It do
Page 173 and 174:
closest thing there is to an all-In
Page 175 and 176:
As Charles Capwell, in his article
Page 177 and 178:
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
Page 191 and 192:
So, within this excerpt, we find tw
Page 193 and 194:
analysis of audio recordings of pas
Page 195 and 196:
Calcutta, has the SRA helped to de-
Page 197 and 198:
Before concluding this section on K
Page 199 and 200:
others to the list, including Niyam
Page 201 and 202:
Khan, who had migrated with Wajid A
Page 203 and 204:
Maharashtra, this specific phenomen
Page 205 and 206:
esponsible for the melodic aspects
Page 207 and 208:
potentially accompany singers from
Page 209 and 210:
notably Dhrupad singing) have survi
Page 211 and 212:
styles of accompaniment, straight T
Page 213 and 214:
the case - other tabla players have
Page 215 and 216:
outside of their allotted solos as
Page 217 and 218:
agas. There is an important distinc
Page 219 and 220:
positively, so to speak, in order t
Page 221 and 222:
instrument, but also play their own
Page 223 and 224:
Ustads brought their comparatively
Page 225 and 226:
historically been a prohibition aga
Page 227 and 228:
more later, MK studied for signific
Page 229 and 230:
Turning to Amir Hussain’s discipl
Page 231 and 232:
Nikhil Ghosh, not vice-versa. Thira
Page 233 and 234:
as a respectable, middle class saar
Page 235 and 236:
mRidaangam (barrel-shaped drum) pla
Page 237 and 238:
was originally ‘Thirku’ (from t
Page 239 and 240:
After a later visit to Lahore where
Page 241 and 242:
in Calcutta has basically always be
Page 243 and 244:
As I noted in Chapter 4, Nanhe Khan
Page 245 and 246:
oader level of genre. Also, not to
Page 247 and 248:
him to learn from some of the great
Page 249 and 250:
College of Music in San Rafael, Cal
Page 251 and 252:
uying public, which in turn has res
Page 253 and 254:
also been used, mainly because it p
Page 255 and 256:
NG frequently used the term “weig
Page 257 and 258:
course, follows the above quotation
Page 259 and 260:
(1993:50). The chief virtue of thes
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technique, this means lifting the t
Page 263 and 264:
generalizations about tabla style i
Page 265 and 266:
practice present in the Farukhabad.
Page 267 and 268:
on Khyal vocal music rather than on
Page 269 and 270:
approach in the chapters on Khyal a
Page 271 and 272:
instrumental music exceeded vocal m
Page 273 and 274:
prominence, the use of characterist
Page 275 and 276:
Khyal-style taan-s into sitar), and
Page 277 and 278:
in vocal music…not their counterp
Page 279 and 280:
taan-s or complex, overly intellect
Page 281 and 282:
automatically the emotional content
Page 283 and 284:
singers have rarely had access to t
Page 285 and 286:
that they clearly do not treat thei
Page 287 and 288:
(even if I disagreed), I also was s
Page 289 and 290:
allegiance to their Guru. The point
Page 291 and 292:
dhrupadiya Tansen of the court of t
Page 293 and 294:
Of the two types of gat (instrument
Page 295 and 296:
elements on a large scale into sita
Page 297 and 298:
what he called “The Rajasthan Bin
Page 299 and 300:
percussion-accompanied pada-s (comp
Page 301 and 302:
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
Page 309 and 310:
Maihar style (interview, 2005). Of
Page 311 and 312:
To this, Raja adds that AK and his
Page 313 and 314:
meant that the sitar had to be stre
Page 315 and 316:
effect,” in which the tempo sligh
Page 317 and 318:
partly to blame for inconsistent an
Page 319 and 320:
known representatives, while their
Page 321 and 322:
Bangladesh), and the father of Amir
Page 323 and 324:
especially demanding technique on s
Page 325 and 326:
his family. As such, his sons Ayaan
Page 327 and 328:
instrumental music has flourished t
Page 329 and 330:
informants and the secondary source
Page 331 and 332:
healthier and physically stronger o
Page 333 and 334:
for artists to imitate (or in some
Page 335 and 336:
In Maharashtra, which had switched
Page 337 and 338:
Introduction Part Two: the “Outsi
Page 339 and 340:
complete departure from the Bhatkha
Page 341 and 342:
It is for this reason, among many o
Page 343 and 344:
Raja introduces, by way of a discus
Page 345 and 346:
that in my opinion, the limitations
Page 347 and 348:
fairly accessible semi-classical ge
Page 349 and 350:
Distinction: A Social Critique of t
Page 351 and 352:
efers to it at another point, is
Page 353 and 354:
“middle-brow taste” corresponds
Page 355 and 356:
non-native Hindi speakers in Bombay
Page 357 and 358:
(though it depends on the singer) i
Page 359 and 360:
classical music, I will never shift
Page 361 and 362:
hythmic, do not, in Ray’s estimat
Page 363 and 364:
to tie Bengali traditions to North
Page 365 and 366:
agas and talas than were common for
Page 367 and 368:
of varied forms of tunes from diffe
Page 369 and 370:
more interested here in both the pe
Page 371 and 372:
of all this was that, in his later
Page 373 and 374:
head of the performer. As Ray notes
Page 375 and 376:
particularly its de facto founder,
Page 377 and 378:
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
Page 389 and 390:
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
Page 411 and 412:
drama and then hear the composition
Page 413 and 414:
would no doubt reject such an overl
Page 415 and 416:
Rabindrasangiit and Marathi NaaTya
Page 417 and 418:
This is rather the point, though. I
Page 419 and 420:
forms can also fill this role), has
Page 421 and 422:
capacity to talk about them”(ibid
Page 423 and 424:
attitudes toward change and such co
Page 425 and 426:
explained, Bengali society immediat
Page 427 and 428:
emancipation, though, was alienatio
Page 429 and 430:
opportunities due to the sizeable n
Page 431 and 432:
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
Page 449 and 450:
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.
Page 461 and 462:
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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