City University of New York (CUNY) CUNY Academic Works Publications and Research John Jay College of Criminal Justice 2010 Thumri, Ghazal, and Modernity in Hindustani Music Culture Peter L. Manuel CUNY Graduate Center How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/jj_pubs/309 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact:
[email protected] 9 Thumri, Ghazal, and Modernity in HindustaniMusic Culture PETER MANUEL If historians of Indian classical music have been obliged to rely primarily upon a finite and often enigmatic set of treatises and iconographic sources, historical studies of semi-classical genres like thumri and ghazal confront even more formidable challenges. Such styles and their predecessors were largely ignored by Sanskrit theoreticians, who tended to be more interested in hoary modal and metrical systems than in contemporary vernacular or regional-language genres sung by courtesans. It is thus inevitable that attempts to reconstruct the development of such genres involve considerable amounts of conjecture, and in some senses raise more questions than they answer. Nevertheless, thumri, ghazal, and earlier counterparts, which we may retrospectively call "light-classical", have played too important a role in South Asian music to be ignored by historians. Further, as I shall suggest, the study of their evolution may yield pa1ticular insights into the nature of Hindustani music history, especially of the modem period. Central to this study is a fundamental paradox characterizing thumri and ghazal history: specifically, that while both genres may be seen as mere variants or particular efflorescences in a long series of similar counterparts dating back to the early common era, there are other senses in which they are unique products of a particular historical moment marked by unprecedented socio-historical features.