Philosophical Nature of Indian Classical Music by Dr Pranshu Samdarshi

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INTERCONNECTIVITYLead ArticlePhilosophical Nature of Indian MusicDr Pranshu SamdarshiIndian classical music has contributed in a significant way towards the development ofthe composite culture of India. Besides, with regards to Indian classical music, it shouldbe noted that the term ‘classical’ only suggests that it has its foundations in the standardconvention or shāstra, in accordance with the textual tradition. The Indian name for thismusic is ShāstriyaSangīt. It is sometimes also known as Rāga Sangīt since it is the Rāga thatis at the centre of the structure of this art form. Thus, the term ‘classical’ doesn’t connote anyold style or a specific time period, as the way it exists in the Western tradition.The Indian classical music, be it Hindustanior Carnatic, has essentially got a spiritualcomponent inherent in it. This music intends togive an elevating experience which transportsits listeners to an abstract and sublime domain. Although,many great traditions of music across the globe have adirect or indirect connection with some sort of spirituality,nevertheless, Indian classical music lays upon it a veryspecial emphasis.Tracing down the history of Indian music, onewould find that since ancient times, temples have beenproviding a platform for many diverse forms of theartistic expressions of Classical music. And, it was Bhaktior selfless devotion that was the underlying essence ofthe various art forms that developed in India. The artisticprinciples of Indian classical music are formulated andstructured in such a way that it becomes an inwardjourney for its practitioners so that they get intimatelyconnected with their within. This is one of the reasonswhy the word “spiritual” is frequently used in describingIndian classical music.Indian classical music has emerged from a mythicalor legendary past that was before recorded history. Wecan agree that legends are not exact facts, we also knowthat this does not mean that they cannot be real at someother level. The reality can manifest itself in the innerexperience. Musicians with a profound understanding ofIndian heritage, its associated symbols, and myths, use thestructure of the music and the words of the compositionThe author is former National Secretary of SPIC MACAY andAssistant Professor at Amrita Vishwa Vidyapeetham, Bengaluru.Email: praanshu@gmail.comthat are often rooted in mythology, to move into theabstract, subtle, inspiring, and mystical domains.Nādopāsanā - The Invocation of the Primordial SoundFor a true practitioner of classical music, the approachused to be Nādopāsanā - the invocation of the primordialsound. For these practitioners, music became an internaljourney for the realisation of the ultimate truth. Suchpractitioners of classical music tried not to sing or playfor the audience. Even when they were giving a publicperformance, they got elevated to the very high pointswithin themselves which consequently uplifted theaudience taking them into the domains that they neverexperienced before. Thus, the performer as well as theaudience, both experienced the true rasa of classical music.For these practitioners of music, even the selection ofthe Rāga and the composition at the time of a performancewas a result of the intuition and the inspiration of themoment. For example, it is said that the late DhrupadIf one listens with undividedattention to the sounds of stringedmusical instruments that are playedsuccessively and are prolonged,then one becomes absorbed in thesupreme consciousness.- Shiva to Parvati inVijñāna Bhairava Tantra 16 YOJANA August 2020
Bismillah Khanexponent Ustad Nasir Aminuddin Dagar, before going toa SPIC MACAY programme, was once asked what Rāgahe had decided to sing. He is reported to have replied, “thetanpura will tell me which raga I have to sing”. That is whyso much time was spent with Tanpura in the greenroom.This might sound strange these days but it has been areality for many great masters of Indian classical music.Thus, for such practitioners of music, their art form wasnot to provide mere entertainment but it became a mediumto pass on their profound experiences to the listeners.The Guru-Shishya and Gharānā traditionThe Guru-Shishya parampara is another crucial featurewhich is common for all the classical music traditions ofIndia. For centuries, this Guru-shishya transmission hasmade it possible to carry forward the intense experiencesinnately embedded in this great tradition of enlightenedpractitioners of music. A great Guru is the amalgamationof thousands of years of wisdom. It requires a lot ofsacrifice, tremendous staying power, and faith on the partof the disciples to take in what a Guru can pass onto them.For this to take place, it has to be a sacred relationshipWe adore that Nāda Brahman,that essence of delight manifests asprimordial sound, that nondual, whois the conscious core of all createdthings, who has brought forth theworld out of its own very Self.- Sarangdev in Sangeet Ratnākar,13 th Century CE 2Pt. Hari Prasad Chaurasiaof respect and unconditional obedience, which has beenthe guiding force in every branch of learning in traditionalIndia. Also, there is a commonality in the approach of thegreat gurus of different art forms andif the disciple is a realseeker, the journey along with guru would be through thegreatest nuances of the art form and the beyond.The musical gharanas of north Indian or Hindustaniclassical music have also contributed to the diversity oftheir form of music by presenting a distinct style of it.These Gharānās or the ‘households’ of specific styles ofmusic have preserved and distilled the unique principles ofRāgas through Guru-shishya lineage.The Origin and Historical Development of DifferentForms of Indian MusicThe origin of Indian music can be traced back to thechanting of Vedic hymns and mantras. The ChāndogyaUpanishad talks about the seven styles of gāna (musicalmodes), highlighting the importance of Svara (phonemes)of a Vedic mantra that should be pronounced withabsolute accuracy. The impact will only be then felt. 3 ThisUpanishad further states that the innermost self (ātman) ofall svara is the chief Vedic God Indra. 4In the post-Vedic age came the NāṭyaŚāstra, one ofthe ancient most compendium on Indian art forms. It wascompiled between 200 BCE to 200 CE. It is said thatNāṭyaŚāstra author, the sage Bharata Muni, created theNātya (theatre) by integrating speech from the Ṛig Veda,music from the Sāma Veda, acting from the Yajur Veda, andemotions from the Atharva Veda. This further contributed tothe tradition of Gandharva Veda - the Vedic science of music.Another distinction, concerning the ritualized chantingof Vedas and the singing style of performing arts thatmight have existed around the 10 th Century CE is notedby Acharya Abhinavagupta of Kashmir. He mentionsYOJANA August 2020 7
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Philosophical Nature of Indian Classical Music by Dr Pranshu Samdarshi

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