THE DEVELOPMENT TEAM Principal Investigator Prof. S. P. Bansal Vice
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Paper 11: Special Interest Tourism Module 22: Musical Festivals and Events Historical Development of Tourism and Hospitality in the World THE DEVELOPMENT TEAM Principal Investigator Prof. S. P. Bansal Vice Chancellor, Indira Gandhi University, Rewari Co-Principal Investigator Dr. Prashant K. Gautam Director, UIHTM, Panjab University, Chandigarh Paper Coordinator Prof. Deepak Raj Gupta School of Hospitality & Tourism Management (SHTM), Jammu University Content Writer Rahul Thakur Asst. Professor, Central University of Jammu, Jammu Content Reviewer Prof. Pariskhit Manas Director , School Of Hospitality & Tourism Management Jammu University, Jammu ITEMS DESCRIPTION OF MODULE Subject Name Tourism and Hospitality Paper Name Special Interest Tourism Module Title Musical Festival and Events Module Id 22 Pre- Requisites Basic knowledge about Music and Events Objectives To understand the meaning and definition of music And events, elements and various styles of Indian music. Keywords Music, Festivals, Events TABLE OF CONTENT 1. Learning Outcome 2. Introduction 3. Music in India 4. Division of Indian Classical Music 4.1 Hindustani Classical Music 4.2 Carnatic Music 4.3 Modern Indian Music 4.4 Folk Music 5. Musical festivals and events in India 5.1 Popular Indian Classical Music Festivals 5.2 Popular Musical Festivals for Tourists in India 6. References QUADRANT-I 1. Learning Outcome Post completion of this module student shall be able to: i. Define Music. ii. Understand various elements of Indian music. iii. Understand different styles of Indian music. iv. Map various musical festivals and events in India. Musical Festivals and Events 2. Introduction India is an ancient land which is rich in its cultural heritage. Since time immemorial dance, music and drama have been an essential part of Indian culture. These art forms have also been used as means of spreading religion and social reforms in which music and dance were integrated to gain popularity among the masses. From the Vedic era, performing arts have also been a source of education to the masses as well. The Vedas laid down exact rules for the chanting of the Vedic hymns. Now these art forms have become the means of entertainment all over the world. The journey and evolution of Indian music from the Vedas till date has been long and worth reading and learning. From shruti, (Sanskrit: “What Is Heard”) considered to have been heard and sent by earthly sages, as contrasted to Smriti, or that which is remembered by ordinary human beings to melodies and a system of musical notions called the “Raags”. Age old Sanskrit text has defined music as a combination of – “Geetam, Vaadyam, Nrityam, Trayam, Sangeet, and Muchyate”. I.e. music is composed of three basic parts – “The Vocal, The Instrumental and The Dance”. Although all these three forms of fine arts have evolved separately but they are very closely interlinked, one cannot evolve and sustain in isolation. Sound is the common thread that binds all three together thus music comprises of all three elements - “The Vocal, The Instrumental and The Dance”. 3. Music in India The earliest roots of Indian music may be traced to Sama Veda that contains the slokas that were converted to music. Chanting of Vedic hymns in a prescribed pitch and accent is strictly followed till date in all religious rituals. “Bharata’s Natyashashtra”, compiled somewhere around 2nd century BC is considered as the oldest text that talks about performing arts and has six chapters on music. Matanga’s “Brihaddesi” is another important ancient Indian text compiled between 8th and 9th century AD. It was the first text which various “Ragas” were named and discussed. Another important text is “Sangeet Ratnakara” written by Sarangdeva in the 13th century AD has a mention of 264 ragas. As time passed variety of string and wind instruments were invented and evolved over the period of time. There have been numerous references of “flutes, drums, veena, and cymbals” in the ancient texts. Rulers such as Samudra Gupta, King Bhoja of Dhara and King Someshavra of Kalyana were great music lovers and patronised music in a big way. Samudra Gupta was an accomplished musician. In some of his coins, he is depicted as playing on the Veena. Music in India is also associated with the worship of Gods and Goddess in the temples. In the 12th century, an epic “Gita Govinda” was composed by Jayadeva of Orissa one of the most sparkling raga kavya of all times, depicting the eternal love of Radha and Krishna. Down south, Tamil music has a number of terms and concepts which run parallel to Sanskrit texts. The Saivite Nayanars and Vaishnavite Alvars too set their poems and hymns to music. During the medieval period the Sufi and Bhakti saints popularised “Sufi and Bhakti music”. Which later evolved as “Qawwalis” sung in Sufi khanqahs and “Kirtan and Bhajan” sung by the Bhakti saints. Kabir, Mirabai, Surdasa, Chandidasa, Tulsidasa, Vidyapati are few legendry names that are closely associated with such types of religious music. Scholars like Amir Khusrau contributed have also contributed immensely to the promotion of such music in the subcontinent. Kitabe Navras written by Ibrahim Adil Shah II during the 7th century is a collection of songs in praise of Hindu deities as well as Muslim saints. Tansen the singing gem of Akbar’s court is still remembered for his superhuman quality in singing. Baiju Bawra was another well known musician during Akbar’s time. The patronage given to these artists by the ancient and medieval rulers have been instrumental in keeping the traditions alive. The role of Mughal kings in patronising the Hindustani music cannot be undermined. As per Lanepoole- “Babar himself was fond of music. He is supposed to have developed some very popular musical style forms like Qawalis, Khayal, etc”. Humayun love towards Indian texts and music is also well known. Akbar himself was a good musician and composed many songs and encouraged musicians. Swami Haridas and his disciples composed many songs in different tunes. Pundarika Vittal was a great scholar of music who wrote the famous Ragamala. Hindustani Music was also enriched by devotional songs sung by Mira Bai, Tulsidas and Surdas. 4. Broad Division of Indian Classical Music The Indian classical music as a whole can further be subdivide broadly into two traditions – “The Hindustani classical music” prevalent in North India and “The Carnatic music” prevalent in South India. 4.1 The Hindustani Classical Music The evolution of Hindustani classical music dates back to the period of the Delhi Sultanate and Amir Khusrau way back in 1253-1325 AD, who encouraged the practice of musical performance with particular instruments. He is believed to have invented the sitar and the tabla and also created many ragas. Manye Hindustani musicians trace their descent to Tansen as well. Some of the famous styles of Hindustani music include Dhrupad, Dhamar, Thumri, Khayal and Tappa. Tansen’s was one of the greatest musicians of all times; he could perform superhuman acts with his music such as he could cause rain by singing “The Megh Raga”. Some of Akbar’s courtiers patronised Musicians like Baiju Bawra, Surdas etc. The most popular ragas during those times were - Bahar, Bhairavi, Sindhu Bhairavi, Bhim Palasi, Darbari, Desh, Hamsadhwani, Jai Jayanti, Megha Malhar, Todi, Yaman, Pilu, Shyam Kalyan, and Khambaj. India also has a rich heritage of musical instruments such as - sitar, sarod, santoor and sarangi. Pakhawaj, Tabla and Mridangam are percussion or tal giving instruments. Flute, shehnai and nadaswaram are some of the chief wind instruments. The peculiar style of music and musicians of Hindustani classical music are usually associated to various gharana’s. Gharana’s refer to hereditary linkages of musicians which represent the core of the style which distinguish them from one another. The gharana’s function through the age old “Gurushi Shya Parampara”, that is, disciples learning under a particular guru, transmitting his musical knowledge and style, will belong to the same gharana. Few examples of famous gharana’s are Gwalior gharana, Kirana gharana, and Jaipur gharana. Devotional music like kirtan, bhajan, ragas contained in the Adi Grantha and singing in the Majlis during Muharram also deserve a special place in Indian music. Along with this, Indian folk music also has a very rich cultural heritage and linkages. 4.2 Carnatic Music The credit of growth and evolution of the Carnatic music may be attributed collectively to three composers namely “Shyam Shastri, Thyagaraja and Mutthuswami Dikshitar”. “Purandardasa” was another great composer of Carnatic music. Thyagaraja is a legendary figure revered both as a saint and an artist who epitomises the essence of Carnatic music. His main compositions are known as kriti and are devotional in nature. The three great musicians experimented with new forms. Some notable Carnatic musicians include - Maha Vaidyanath Ayyar, Patnam Subrahmanya Ayyar and Ramnad Srinivasa lyengar. Instruments that accompany Carnatic music are flute, veena, nadaswaram, mridangam, ghatam. Despite many differentiating features between Hindustani and Carnatic music, one can also find many similarities, for example, the Carnatic alapana is similar to alap in Hindustani classical. Tilana in Carnatic resembles Tarana of Hindustani. Both lay stress on tala or talam. 4.3 Modern Indian Music Western music was alien to India until the British rulers came to India, and as per the needs and demand of the Indian music, Indians adopted some of their instruments such as violin and clarinet. Orchestration of music on stage was a new development which the western musicians brought with them. Use of cassettes replaced oral transmission of tunes and ragas. Performances which were earlier limited to a privileged few have now been thrown open to the public and can be viewed by masses. The guru-shishya parampara of imparting the knowledge of music started slowly started to become the past now the knowledge of music was imparted through institutions teaching music.