Harmonic Progressions of Hindi Film Songs Based on North Indian Ragas

UNIVERSITI PUTRA MALAYSIA

HARMONIC PROGRESSIONS OF HINDI FILM SONGS BASED ON NORTH INDIAN RAGAS

WAJJAKKARA KANKANAMALAGE RUWIN RANGEETH DIAS

FEM 2015 40

HARMONIC PROGRESSIONS OF HINDI FILM SONGS BASED ON NORTH INDIAN RAGAS

UPM By

WAJJAKKARA KANKANAMALAGE RUWIN RANGEETH DIAS

Thesis Submitted to the School of Graduate Studies, Universiti Putra Malaysia, © in Fulfilment of the Requirements for the Degree of Doctor of Philosophy December 2015 All material contained within the thesis, including without limitation text, logos, icons, photographs and all other artwork, is copyright material of Universiti Putra Malaysia unless otherwise stated. Use may be made of any material contained within the thesis for non-commercial purposes from the copyright holder. Commercial use of material may only be made with the express, prior, written permission of Universiti Putra Malaysia.

Abstract of thesis presented of the Senate of Universiti Putra Malaysia in fulfilment of the requirements for the degree of Doctor of Philosophy

HARMONIC PROGRESSIONS OF HINDI FILM SONGS BASED ON NORTH INDIAN RAGAS

WAJJAKKARA KANKANAMALAGE RUWIN RANGEETH DIAS

December 2015

Chair: Gisa Jähnichen, PhD Faculty: Human Ecology UPM Hindi film music directors have been composing raga based Hindi film songs applying harmonic progressions as experienced through various contacts with western music. This beginning of hybridization reached different levels in the past nine decades in which Hindi films were produced. Early Hindi film music used mostly musical genres of urban theatre traditions due to the fact that many musicians and music directors came to the early film music industry from urban theatre companies. Their music education included to a great part western music transmitted through colonial formal education. Moreover, Hindi film music directors use unique methods apart from average western harmonization while blending North Indian ragas with harmonic progressions. The pre-electronic music production period is in this regard the most interesting since in this time period many compositions were successively elaborated by learning film music composers. Special attention is, therefore, given to the time between the 1960s and 1970s. There is a sufficient amount of samples to choose from composed by Hindi film music directors, who composed raga based Hindi film songs that they were hybridizing with harmonic progressions. However, this ‘learning’ period paved the way for further applications of harmonic progressions in Hindi film music generally and deserves therefore a close look in order to understand current developments.

Three composers and composer duos selected show remarkable differences in theirCOPYRIGHT approaches and seem to represent the diversity of raga based film songs with harmonic progressions. The selected Hindi film music directors are the composer duo Shankar and Jaikishan, the composer Rahul Dev Burman, and © the composer duo Laxmikant and Pyarelal. Musical analysis is conducted using spectral analysis, simplified analysis of harmonic progressions, and a thorough raga analysis. Personal

i communications with music directors and related literature are elaborated to support the analysis. This study is to answer the question: how and why North Indian ragas are hybridized with Western harmonic progressions in Hindi film songs. This question is followed by sub questions: Did Hindi film music directors apply harmonic progressions on a raga based Hindi film song purposely or by chance? If they applied harmonic progressions purposely, is it to increase the attractiveness of the song, or did they just make use of their educational advantages? How other music composers’ creations influenced Hindi film music directors and how are music directors perceived by the audience? How diverse and how complex are harmonic progressions used in Hindi film songs? How are different ragas linked in Hindi film songs using harmonic progressions? Are there any possibilities to shift tonics in ragas through harmonic progressions, which may definitely modify the perception of ragas? These questions are discussed in this study. UPM This study is to stimulate discussion on the understanding of hybridization methods used in the pre electronic era of Hindi film songs and to lead to a higher awareness of current developments in Hindi film music, including the phenomenon of its high popularity in cultural exchange with cultures outside India. Methodically, this study allows analyzing Hindi film songs in a broader sense to scrutinize North Indian ragas and harmonic progressions in their immediate cultural environment. It is important to the community of present musicians that are interested in hybridizing music of diverse cultural origin.

Abstrak tesis yang dikemukakan kepada Senat Universiti Putra Malaysia sebagai memenuhi keperluan untuk ijazah Doktor Falsafah

PROGRESI HARMONIK LAGU FILEM HINDI BERDASARKAN RAGA-RAGA INDIA UTARA

Oleh

WAJJAKKARA KANKANAMALAGE RUWIN RANGEETH DIAS

Disember 2015

Pengerusi: Gisa Jähnichen, PhD Fakulti: Ekologi Manusia UPM Pengarah muzik filem Hindi telah mengarang raga berasaskan lagu-lagu filem Hindi dengan menguna pakai progresi harmonik yang dialami melalui pelbagai hubungan dengan muzik barat. Ini merupakan permulaan penghibridan yang telah mencapai perbezaan tahap dalam tempoh sembilan dekad yang lalu di mana filem-filem Hindi dihasilkan. Pada awalnya, muzik yang digunakan di dalam filem Hindi kebanyakannya dari genre muzik tradisi teater bandar disebabkan oleh hakikat bahawa ramai pemuzik dan pengarah muzik datang kepada industri muzik filem awal adalah mereka yang berasal dari syarikat teater bandar. Sebahagian besar pendidikan muzik mereka adalah muzik barat yang dipengaruhi melalui pendidikan formal dizaman penjajah.Sehubungan dengan itu, pengarah muzik filem Hindi turut menggunakan kaedah unik selain daripada pengharmonian barat yang lazim ia digabung jalin bersama raga progresi harmonik dari India utara. Dizaman produksi muzik pra-elektronik dalam hal ini merupakan zaman yang paling menarik kerana dalam tempoh ini banyak komposisi telah berturut-turut dihuraikan dengan mempelajari melalui komposer muzik filem. Perhatian khusus kepada masa diantara sekitar tahun 1960-an dan 1970-an. Terdapat jumlah yang mencukupi daripada sampel untuk dipilih dimana penghibridan raga dengan progresi harmonik berasaskan lagu filem Hindi dihasilkan oleh pengarah muzik filem Hindi. Walau bagaimanapun, tempoh 'pembelajaran' ini membuka jalan kepada penggunaan lanjut progresi harmonik dalam muzik filem Hindi amnya dan ianya wajar dilihat dengan lebih dekat demi memahamiCOPYRIGHT perkembangan semasa. Ketiga-tiga lagu dan komposer bersama dipilih untuk menunjukkan perbezaan yang luar biasa dalam pendekatan mereka dan seolah-olah mewakili © kepelbagaian raga berdasarkan lagu-lagu filem dengan pengunaan progresi harmonik. Pengarah muzik filem Hindi serta komposer yang dipilih adalah

iii komposer bersama Shankar dan Jaikishan, komposer Rahul Dev Burman, serta komposer bersama Laxmikant dan Pyarelal.

Analisis muzik dijalankan adalah melalui analisis spektrum yang menganalisa progresi harmonik, dan analisis raga secara menyeluruh. Komunikasi peribadi bersama pengarah muzik dan sastera berkaitan, dihuraikan untuk menyokong analisis ini. Kajian ini bertujuan untuk menjawab soalan: mengapa dan bagaimana penghibridan raga India utara India raga dengan progresi harmonik Barat dalam lagu-lagu filem Hindi. Soalan ini diikuti oleh sub soalan: Adakah pengarah muzik filem Hindi mengunakan progresi harmonik pada raga yang berdasarkan lagu Hindi filem secara sengaja atau kebetulan? Jika mereka mengunakan progresi harmonik dengan sengaja, adakah hal ini bertujuan untuk meningkatkan daya tarikan lagu itu atau mereka yang hanya menggunakan kelebihan ilmu mereka? Bagaimana pula dengan ciptaanUPM komposer muzik lain mempengaruhi pengarah muzik filem Hindi dan bagaimana pengarah muzik ini dilihat dari kaca mata penonton? Bagaimana kepelbagaian serta rumitnya progresi harmonik yang digunakan dalam lagu- lagu filem Hindi? Apa perbezaanya raga-raga yang menggunakan progresi harmonik dan kaitannya dalam lagu-lagu filem Hindi? Adakah terdapat sebarang kemungkinan untuk beralih tonik atau nota pertama didalam sesebuah tangga nada pada raga-raga menerusi progresi harmonik, yang boleh mengubah persepsi raga? Soalan-soalan ini akan dibincangkan dalam kajian ini.

Kajian ini adalah untuk merangsang perbincangan mengenai pemahaman kaedah penghibridan yang digunakan dalam lagu filem Hindi pada era pra elektronik yang membawa kepada kesedaran yang lebih tinggi perihal perkembangan terkini muzik filem Hindi. Ini termasuk fenomena popularitinya yang tinggi dalam pertukaran budaya didalam dan di luar India. Methodologinya, kajian ini membolehkan penganalisaan yang lebih luas keatas lagu filem Hindi bagi meneliti progresi harmonik raga-raga India utara dalam persekitaran budaya mereka dengan lebih. Ia adalah penting kepada masyarakat pemuzik semasa yang berminat untuk menguna pakai muzik penghibridan dari budaya yang pelbagai. COPYRIGHT ©

I certify that a Thesis Examination Committee has met on 9 December 2015 to conduct the final examination of Wajjakkara Kankanamalage Ruwin Rangeeth Dias on his thesis entitled "Harmonic Progressions of Hindi Film Songs based on North Indian Ragas" in accordance with the Universities and University Colleges Act 1971 and the Constitution of the Universiti Putra Malaysia [P.U. (A) 106] 15 March 1998. The Committee recommends that the student be awarded the Doctor of Philosophy.

Members of the Thesis Examination Committee were as follows:

Zaid bin Ahmad, PhD Professor Faculty of Human Ecology Univeristi Putra Malaysia UPM (Chairperson)

Ahmad Tarmizi bin Talib, PhD Associate Professor Faculty of Human Ecology Universiti Putra Malaysia (Internal Examiner)

Tina K. Ramnarine, PhD Professor University of London United Kingdom (External Examiner)

Manfred Bartmann, PhD Professor University of Salzburg Austria (External Examiner) ______ZULKARNAIN ZAINAL, PhD Professor and Deputy Dean School of Graduate Studies COPYRIGHTUniversiti Putra Malaysia

v This thesis was submitted to the Senate of Universiti Putra Malaysia and has been accepted as fulfilment of the requirement for the degree of Doctor of Philosophy. The members of the Supervisory Committee were as follows:

Gisa Jähnichen, PhD Professor Faculty of Human Ecology Universiti Putra Malaysia (Chairperson)

Made Mantle Hood, PhD Associate Professor Faculty of Human Ecology Universiti Putra Malaysia UPM (Member)

Sarjit Singh A/L Darshan Singh, PhD Associate Professor Faculty of Human Ecology Universiti Putra Malaysia (Member)

______BUJANG BIN KIM HUAT, PhD Professor and Dean School of Graduate Studies Universiti Putra Malaysia

COPYRIGHTDate: ©

Declaration by Graduate Student

I hereby confirm that:  this thesis is my original work;  quotations, illustrations and citations have been duly referenced;  this thesis has not been submitted previously or concurrently for any other degree at any other institutions;  intellectual property from the thesis and copyright of thesis are fully- owned by Universiti Putra Malaysia, as according to the Universiti Putra Malaysia (Research) Rules 2012;  written permission must be obtained from supervisor and the office of Deputy Vice-Chancellor (Research and Innovation) before thesis is published (in the form of written, printed or in electronic form) including books, journals, modules, proceedings, popular writings, seminar papers,UPM manuscripts, posters, reports, lecture notes, learning modules or any other materials as stated in the Universiti Putra Malaysia (Research) Rules 2012;  there is no plagiarism or data falsification/fabrication in the thesis, and scholarly integrity is upheld as according to the Universiti Putra Malaysia (Graduate Studies) Rules 2003 (Revision 2012-2013) and the Universiti Putra Malaysia (Research) Rules 2012. The thesis has undergone plagiarism detection software.

Signature: Date:

Name and Matric No.: Wajjakkara Kankanamalage Ruwin Rangeeth Dias (GS33517)

vii Declaration by Members of Supervisory Committee

This is to confirm that:  the research conducted and the writing of this thesis was under our supervision;  supervision responsibilities as stated in the Universiti Putra Malaysia (Graduate Studies) Rules 2003 (Revision 2012-2013) are adhered to.

Signature:

Name of Chairperson of UPM Supervisory Committee:

Signature:

Name of Member of Supervisory Committee:

Signature:

Name of Member of Supervisory Committee:

viii

TABLE OF CONTENTS

Page ABSTRACT i ABSTRAK iii APPROVAL v DECLARATION vii LIST OF TABLES xii LIST OF FIGURES xiv LIST OF EXAMPLES xviii

CHAPTER 1 INTRODUCTION 1 1.1 Background of Study UPM1 1.2 Statement of the Problem and Research Questions 1 1.3 Objectives of the Study 2 1.4 Significance of the Study 3 1.5 Limitation of the Study 3 1.6 Methodology and Organisation of Thesis 4 1.7 Definitions and Terminology 11 1.7.1 Terms Used in North Indian Music 11 1.7.2 Different Melodic Shapes Used in North Indian Music 13 1.7.3 Terms Used in Hindi Film Music 14

2 LITERATURE REVIEW ON HISTORICAL, SOCIOLOGICAL, AND MUSICOLOGICAL ASPECTS OF HINDI FILM MUSIC 15 2.1 Historical Aspects of Hindi Film Songs 15 2.2 Sociological Aspects of Hindi Film Songs 18 2.3 Musicological Aspects of Hindi Film Songs 25

3 SHANKAR SINGH RAGHUVANSHI AND JAIKISHAN DAYABHAI PANCHAL 30 3.1 Formative Music Education and Personal Reflections on of Shankar Singh Raghuvanshi, and Jaikishan Dayabhai Panchal 30 3.2 Professional Experiences 31 COPYRIGHT3.3 Analysis of Baharon Phool Barsavo Hindi Film Song 32 3.3.1 Melodic Lines and Harmonic Progressions 33 3.3.2 Raga Analysis 36 3.3.2.1 Raga Shivranjani 37 © 3.4 Analysis of Badan Pe Sitare Hindi Film Song 41 3.4.1 Melodic Lines and Harmonic Progressions 41

ix 3.4.2 Raga Analysis 45 3.4.2.1 Raga Dhani 45 3.4.2.2 Raga Dhani and Raga Madmad Saranga 46

4 RAHUL DEV BURMAN 49 4.1 Formative Music Education and Personal Reflections on Rahul Dev Burman 49 4.2 Professional Experiences 51 4.3 Analysis of Hindi Film Song Churaliya Hai Thumne 53 4.3.1 Melodic Lines and Harmonic Progressions 54 4.3.2 Raga Analysis 58 4.3.2.1 Raga Mishra Pilu 58 4.3.2.2 Raga Kafi 58UPM 4.4 Analysis of Hindi Film Song Mere Naina Sawan Bhandon 64 4.4.1 Melodic Lines and Harmonic Progressions 64 4.4.2 Raga Analysis 69 4.4.2.1 Raga Shivranjani 69 4.4.2.2 Raga Kalavati 70

5 LAXMIKANT SHANTARAM KUDALKAR AND PYARELAL RAMPRASAD SHARMA 75 5.1 Formative Music Education and Personal Reflections on Laxmikant Shantaram Kudalkar, and Pyarelal Ramprasad Sharma 75 5.2 Professional Experiences 77 5.3 Analysis of Hindi Film Song Sawan Ka Mahina 82 5.3.1 Melodic Lines and Harmonic Progressions 82 5.3.2 Raga Analysis 85 5.3.2.1 Raga Pahadi 85 5.4 Analysis of Hindi Film Song Satyam Shivam Sundaram 87 5.4.1 Raga Analysis 88 5.4.1.1 Raga Darbari Kanada 88 5.4.1.2 Raga Mishra Pilu 90 5.4.2 Melodic Lines and Harmonic Progressions 94

6 DISCUSSION 97 COPYRIGHT6.1 Hybridization in Hindi Film Songs 97 6.1.1 Harmonic Progressions used in Hindi Film Songs 97 © 6.1.2 Linkage of Ragas within Hindi Film Songs Hybridized with Harmonic Progressions 106 6.1.3 Shifting Tonics through Harmonic Progressions 110

and Changing Perception of Ragas 6.2 Music Directors in Cultural Discourse 111 6.2.1 Viewpoint of the Audience 111 6.2.2 Viewpoint of the Musicians 113 6.3 Genuineness in Hindi Film Songs 116 6.3.1 Contributions of Arrangers and Musicians to Hindi Film Songs 116 6.3.2 Anthony Gonsalves’ Impact on Laxmikant & Pyarelal’s Music as an Example of Genuineness 119 6.3.3 Ethical Issues and Modernity 121

7 SUMMARY AND CONCLUSION 124 7.1 Diversity of Harmonic Progressions in Hindi Film Songs 124 7.2 Processes of Hybridizing Raga with Harmonic UPM Progressions 125 7.3 Purpose or Chance 126 7.4 The Perception of Music Directors 127 7.5 Genuineness in Hindi Film Songs 128 7.6 Some Thoughts on the Audience 130

BIBLIOGRAPHY 132 APPENDICES A Transcriptions of Hindi Film Songs 140 A.1 Hindi Film Song Bahaaron Phool Barsavo 143 A.2 Hindi Film Song Badan Pe Sitare 146 A.3 Hindi Film Song Churaliya Hai Thumne 147 A.4 Hindi Film Song Mere Naina Sawan Bhandon 172 A.5 Hindi Film Song Sawan Ka Mahina 175 A.6 Hindi Film Song Satyam Shivam Sundaram 178 B List of Music Arrangers and Orchestra Musicians 183 B.1 Music Arrangers and Orchestra Musicians of Shankar and Jaikishan 183 B.2 Music Arrangers and Orchestra Musicians of Rahul Dev Burman 185 C Filmography 187 C.1 Shankar and Jaikishan Filmography 187 C.2 Rahul Dev Burman Filmography 195 COPYRIGHT C.3 Laxmikant and Pyarelal Filmography 198 BIODATA OF STUDENT 204 © LIST OF PUBLICATIONS 205

xi LIST OF TABLES

Table Page 1 Interviews done during fieldwork, and other personal communication. 5 2 Overview on data collection. 6 3 Murchana. 12 4 Intervals between tones. 12 5 Similar ragas and modes. 12 6 Different harmonic progression patterns in the song. 33 7 Overview of harmonic progression Pattern II and II*. 33 8 Overview of harmonic progression Pattern II and II* in the second, third and fourth stanzas. UPM34 9 Overview of harmonic progression Pattern III and III*. 34 10 Overview of harmonic progression Pattern III and III* appears in first, second and third interludes. 35 11 Overview of harmonic progression Pattern I. 38 12 Overview of harmonic progression Pattern II and II*. 39 13 Different harmonic progression patterns in the song. 42 14 Overview of harmonic progression Pattern II. 42 15 Overview of harmonic progression Pattern III. 43 16 Overview of harmonic progression Pattern IV. 43 17 Overview of harmonic progression Pattern V. 44 18 Different harmonic progression patterns in the interludes. 44 19 Different harmonic progression patterns in the song. 54 20 Overview of harmonic progression Pattern III2, III2*and III3 that are obviously quite different but applied on the same melody. 57 21 Different bass rhythms of the song. 57 22 Different harmonic progression patterns in the song. 64 23 Overview of harmonic progression Pattern II and II*. 65 24 Harmonic progression Pattern III in the song. 66 25 OverviewCOPYRIGHT of harmonic progression Pattern III. 73 26 Filmfare nominations and awards for best film music during 1965– 1994 received by Laxmikant and Pyarelal. The grey shaded boxes show the years in which they were neither nominated nor © awarded. 79

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27 Number of films for which Laxmikant and Pyarelal composed music each year during 1970–1980. 81 28 Different harmonic progression patterns in the song. 82 29 Overview of harmonic progression Pattern II and II*. 83 30 Overview of harmonic progression Pattern III and III*. 84 31 Overview of harmonic progression Pattern IV, V, VI and VII. 84 32 Scheme of harmonic progressions in the first stanza of Satyam Shivam Sundaram song. 94 33 Similar Harmonic progressions with few modifications. 95 34 Different harmonic progression patterns in the song Baharon Phool Barsavo. Key is transposed to C-minor from A-minor [Example 1]. 97 35 Different harmonic progression patterns in the song Baharon Phool UPM Barsavo. 98 36 Different harmonic progression patterns in the song Mere Naina Sawan Bhandon [Example 4]. 98 37 Different harmonic progression patterns in the song Mere Naina Sawan Bhandon. 99 38 Different harmonic progression patterns in the song Badan Pe Sitare [Example 2]. 101 39 Different harmonic progression patterns in the song Badan Pe Sitare. 101 40 Different harmonic progression patterns in the song Churaliya Hai Thumne [Example 3] 103 41 Different harmonic progression patterns in the song Churaliya Hai Thumne. 103 42 Different harmonic progression patterns in the song Satyam Shivam Sundaram [Example 6]. 104 43 Different harmonic progression patterns in the song Sawan Ka Mahina [Example 5]. 105 44 Basic comparison between two songs. 122 45 Details of some selected well-known songs that are inspired or plagiarized from songs of other composers. 122 COPYRIGHT ©

xiii LIST OF FIGURES

Figure Page 1 Possible melodic shapes in khatka 13 2 Melodic movements of harmonic progression Pattern I 33 3 Melodic movements of harmonic progression Pattern II and II* 34 4 Melodic movements of the first and third interludes. 35 5 Melodic movements of second interlude. 36 6 Different chords appearing in the song Baharon Phool Barsavo. 36 7 Ascending and descending of raga Shivranjanai 37 8 Melodic line of the harmonic progression Pattern I 38 9 Three different interconnected melodic lines in harmonic UPM progression Pattern I. 38 10 Ragas in Melodic Sequence I. 39 11 Melodic line of the harmonic progression Pattern I. 39 12 Ragas in Melodic Sequence II and II*(transposed to C minor). 39 13 Strange phrases to rag Shivranjani in the first and third interludes. 40 14 Raga Saraswathi in the first and third interludes. 40 15 Phrases of raga Maru Bihag in the second interlude. 40 16 Melodic patterns represented in harmonic progression Pattern I. 42 17 Melodic patterns represented in harmonic progression Pattern II. 42 18 Melodic patterns represented in harmonic progression Pattern III. 43 19 Melodic patterns represented in harmonic progression Pattern IV. 44 20 Melodic patterns represented in harmonic progression Pattern V. 44 21 Different chords appear in the song Badan Pe Sitare. 45 22 Ascending and descending phrases in raga Dhani. 45 23 Transposing Melodic Sequence I. 46 24 Ragas in Melodic Sequence I. 46 25 Ragas in Melodic Sequence II. 47 26 Ragas in Melodic Sequence III. 47 27 Ragas in Melodic Sequence IV. 47 28 MelodicCOPYRIGHT sequence in Introduction IV. 47 29 Melodic patterns represented in harmonic progression Pattern I. 54 30 Similar sections in Pattern I. Notation and scheme by Ruwin © Rangeeth Dias/ Gisa Jähnichen. 55

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31 Bass guitar melody descending from second inversion of A-minor to root position of G-major using the chromatic beginning in the second half of Bar 17, 24, 48 and 78. 55 32 Similar sections in Pattern I2. 55 33 Similar sections in Pattern II. 56 34 Differences in bass melody which represent Pattern II2. 56 35 Differences in bass melody which represent varies patterns of III. 56 36 Different chords progressions for the similar melodic lines. 57 37 Ascending and descending of raga Mishra Pilu. 58 38 Main phrase of raga Mishra Pilu. 58 39 Approximate ascending and descending structure of raga Kafi. 59 40 Main phrases of raga Kafi. UPM59 41 Melodic sequence represented in harmonic progression Pattern I. 60 42 Ragas in Melodic Sequence I. 60 43 Melodic sequences in harmonic progression Pattern I2. 60 44 Ragas in Melodic Sequence I2. 61 45 Melodic patterns represented in harmonic progression Pattern II, II2 and II2* 61 46 Ragas in melodic Pattern II. 61 47 Ragas in Melodic Sequence III. 62 48 Ragas in Bar 57–60 of second interlude. 62 49 Similar melodic lines in second interlude. 63 50 Ragas in Bar 56, 64 and 65 of the second interlude. 63 51 Gliding movements in Bar 13–14 (00:00:37–00:00:42). 63 52 Vibrato on tone G# in Bar 15–16 (00:00:43–00:00:48). 64 53 Melodic patterns represented in harmonic progression Pattern I. 65 54 Similar sections in Pattern II. 65 55 Different chords appearing in stanzas and interludes in the song Mere Naina Sawan Bhandon. 67 56 Chords appearing in the stanzas. 67 57 Chords appearing in the interludes. 68 COPYRIGHT58 First interlude. 68 59 Second interlude. 68 60 Ascending and descending of raga Shivranjani. 69 © 61 Ascending and descending of raga Kalavati. 70 62 Melodic line represents the harmonic progression Pattern I. 70

xv 63 Three different interconnected melodic lines in harmonic progression Pattern I. 71 64 Ragas in Melodic Sequence I. 71 65 Gliding movements and vibrato in Bar 1–2 (00:00:41–00:00:45). 71 66 Gliding movements and vibrato in Bar 3–7 (00:00:45–00:00:54). 72 67 Melodic line represents the harmonic progression Pattern II and II*. 72 68 Melodic line of the harmonic progression Pattern III. 73 69 Ragas in melodic Pattern III. 73 70 Ascending of raga Shivranjani and raga Bhoopali. 73 71 Harmonic progression Pattern I in first stanza. 83 72 Harmonic progression Pattern I* in last stanza. 83 73 Different chords progressions for similar melodic lines. UPM83 74 Harmonic progression Pattern III and III* in first and last interlude. 84 75 Different chords in the song. 85 76 Abstract ascending and descending of raga Pahadi. 86 77 Pa Ga Pa Dha Sa sangati (G –E–G–A–C). 86 78 Ri Ma Ga Ri Sa Ni Dha sangati (D –F–E–D–C–B–A). 86 79 Nib Dha Pa sangati (Bb–A–G). 86 80 Dha Pa Ma Ga Pa Dha Sa sangati (A–G–F–E–G–A–C). 86 81 Ga Gab Ga Pa Ga Ri Sa sangati (E–Eb–E–G–E–D–C). 86 82 Ri Sa Ni Dha Pa Ma Ga sangati (D–C–B –A–G–F–E). 86 83 Ga Pa Dha Sa Ri Gab Ri sangati (E–G–A–C–D–Eb–D). 86 84 Raga Pahadi in harmonic progression Pattern I. 86 85 Raga Pahadi in harmonic progression Pattern II. 86 86 Raga Pahadi in harmonic progression Pattern III and III*. 87 87 Raga Pahadi in harmonic progression Pattern IV and V. 87 88 Harmonic progression Pattern VI and VII. 87 89 Notation and the spectral picture showing the basic movements of the Darbari Kanada raga. 88 90 Nib Pa sangati (Bb –G). 89 91 GaCOPYRIGHTb Ma Ri Sa sangati (Eb –F–D–C). 89 92 Nib Ma Pa sangati (Bb–F–G). 89 93 Dhab Nib Śa sangati (Ab–Bb–C). 89 94 Nib Pa Gab sangati (Bb–G–Eb). 89

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96 Ascending and descending phrases in raga Mishra Pilu. 90 97 Essential melodic shape I of raga Darbari Kanada (Nib Pa sangati) in Bar 24. 90 98 Essential melodic shape in Figure 91 (Gab Ma Ri Sa sangati) in Bar 18. 90 99 Melodic shape shown in Figure 91 (Gab Ma Ri Śa sangati) of raga Darbari Kanada in Bar 18. 91 100 Essential melodic shape shown in Figure 93 of raga Darbari Kanada (Dhab Nib Śa sangati). 91 101 The Dhab Nib Śa sangati between the 1st and 12th bars of the song. 92 102 1st interlude of the song Satyam Shivam Sundaram which is parting from the root raga Darbari Kanada on which the song is based. 92 103 Different meends between Bar 111 and 117 of the song. UPM93 104 The oscillation of a minor 3rd tone in Bar 98. 93 105 The murkhi in film song Satyam Shivam Sundaram, Bar 15–16 (0:03:05-0:03:08). 94 106 Melodic lines and their contour in the 4th, 7th and 8th lines. 94 107 Different ragas in the beginning of second stanza. 95 108 Common features of ragas Mishra Kafi and Mishra Pilu in the end of the second stanza/melodic line of Bar 73–80. 95 109 Traces of raga Malkouns, Mishra Pilu and Darbari Kanada in Bar 81–88. 96 110 Different chords appearing in stanzas and interludes in the song Mere Naina Sawan Bhandon. 99 111 Chords appearing in the stanzas of Hindi film song Mere Naina Sawan Bhandon. 100 112 Chords appearing in the interludes of Hindi film song Mere Naina Sawan Bhandon. 101 113 Different chords appearing in stanzas and interludes in the Hindi film song Badan Pe Sitare. 102 114 Phrases of raga Maru Bihag in the second interlude of Baharon Phool Barsavo. 111 COPYRIGHT ©

xvii LIST OF EXAMPLES

Example Page 1 The song Bahaaron Phool Barsavo composed by Shankar and Jaikishan for the Hindi film Suraj in 1966 Singer: Mohammed Rafi 143 2 The Song Badan Pe Sitare composed by Shankar and Jaikishan for the Hindi film Prince in 1969 Singer: Mohammed Rafi 146 3 The Song Churaliya Hai Thumne composed by Rahul Dev Burman for the Hindi film Yaadon Ki Bharat in 1973 Singers: Asha Bhosle and Mohammed Rafi 147 4 The Song Mere Naina Sawan Bhandon composed by Rahul Dev Burman for the Hindi film Mehbooba in 1976 UPM Singer: Kishore Kumar 172 5 The Song Sawan Ka Mahina composed by Laxmikant and Pyarelal for the Hindi film Milan in 1967 Singers: Lata Mangeshkar and Mukesh 175 6 The Song Satyam Shivam Sundaram composed by Laxmikant and Pyarelal for the Hindi film ‘Satyam Shivam Sundaram’ in 1978 Singer: Lata Mangeshkar 178

xviii

CHAPTER 1

INTRODUCTION

1.1 Background of the Study

Hindi film music composers have been composing raga based Hindi film songs applying harmonic progressions as they became experienced through various contacts with western music. This beginning of hybridization reached different levels in the past nine decades in which Hindi films were produced. Early Hindi film music used mostly musical genres of urban theatre traditions due to the fact that many musicians and music composers came to the early film music industry from urban theatre companies. Their music education includedUPM to a great part western music transmitted through colonial formal education. Moreover, Hindi film music composers use unique methods apart from average western harmonization while blending North Indian ragas with harmonic progressions. The pre-electronic music production period is in this regard the most interesting since in this time period many compositions were successively elaborated by learning film music composers. Special attention is, therefore, given to the time between the 1960s and 1970s. There is a sufficient amount of samples to choose from composed by Hindi film music composers, who compose raga based Hindi film songs hybridizing with harmonic progressions. In later times, harmonic progressions were used mainly as self- generating outcomes from synthesizers or digital devices, so, it can hardly be compared with the achievements done in the period mentioned. However, this ‘learning’ period paved the way for further applications of harmonic progressions in Hindi film music generally and deserves therefore a close look in order to understand current developments.

1.2 Statement of Problem and Research Questions

As a result of globalization, harmonic progressions are distributed in many types of music productions, among them in film music, especially in songs, that carry an important meaning for the identity of the film, the idealisation of its heros and the world wide distributed story plot. Nevertheless, there are so farCOPYRIGHT no reliable studies on hybridization methods used in Hindi film songs before globally distributed studio software and electronic music instruments connected to it emerged in Bollywood. The most interesting part is, therefore, how these harmonic progressions applied came into being through individual © efforts and beginnings of self-imposed Western dominance in music production that was once strongly related to a well studied and highly

1 regarded local music practice such as raga-based music used in dramatic context.

The following problems have to be solved in the context of this study using mainly musical analysis in its broad sense:

 How and why North Indian ragas are hybridized with Western harmonic progressions in Hindi film songs.  How diverse and how complex are harmonic progressions used in Hindi film songs?  How are different ragas linked in Hindi film songs using harmonic progressions?  How do shifted tonics caused through harmonic progressions in Hindi film songs modify the perception of ragas? UPM  Did Hindi film music composers apply harmonic progressions on a raga based Hindi film song purposely or by chance? If they applied harmonic progressions purposely, is it to increase the attractiveness of the song, or did they just make use of their educational advantages in their creations?  How are music directors perceived by the audience?  What is genuineness in Hindi film songs?  How other music composers’ creations influenced Hindi film music composers?

1.3 Objectives of the Study

The main objective of this study is to identify how North Indian ragas were hybridized with harmonic progressions in selected Hindi film songs. The selection is based on the pre-electronic music production period of the 1960s and 1970s and considers Hindi film music composers that represent this period in a typical yet diverse and individual way. First, the real extent of ragas applied in selected Hindi film songs has to be determined followed by the identification of diversity in harmonic progressions used in these Hindi film songs. In detail, there is to scrutinize whether the Hindi film music composers apply harmonic progressions on a raga based Hindi film song purposely or by chance. It is to look at how Hindi film music composers adopted and made use of compositions of others. Another important question is to be answered through analysing how different ragas are linked in Hindi film songs using harmonicCOPYRIGHT progressions. An analysis of the complexity in harmonic progressions applied on raga-based Hindi film songs can help to understand the development of certain aesthetic standard in applying harmonic ©progressions. The possibility of shifting tonics in ragas through harmonic progressions modifies the perception of the ragas that appear in result of it as well as the typology of harmonic progressions within raga-based Hindi film

songs. Finally, this study contributes to a better understanding of musical methods and composition techniques applied by Hindi film music composers in a time preceding electronic applications of harmonic programming.

1.4 Significance of the Study

Though globalization and a growing interest in hybridization, regarding music practices such as jazz or fusion music can be observed, there are so far no publications available which focus on these hybridization methods in Hindi film songs. There were several researchers working on different areas of Hindi film songs like, utility of North Indian music in Hindi film songs, and others related to visual contexts, political issues, and commercialization of Hindi film music done. This study may serve as a pioneering contribution to hybridization methods of raga based Hindi film songs that apply harmonicUPM progressions.

Furthermore, this study will stimulate discussion on the understanding of hybridization methods used in the pre electronic era of the Hindi film songs and lead to a higher awareness of current developments in Hindi film music, including the phenomenon of its high popularity in cultural exchange with cultures outside India. Methodically, this study allows analyzing Hindi film songs in a broader sense to scrutinize North Indian ragas and harmonic progressions respectively. This musicological research outcome will enhance the quantity of researches on Hindi film music, especially on its musical aspects, and provide research outcomes that can be applied in related topics. It is important to the community of present musicians that are interested in Hybridizing music of diverse cultural origin. Therefore, this study can serve as a contribution pioneering in identifying unique hybridization methods used in raga based Hindi film songs that apply harmonic progressions, and also to identify the notch of cosmopolitan exchange between India and Europe.

1.5 Limitation of the Study

The discussion of selected phenomena among Hindi film songs does not cover the aspects of musical practices related to computerized music, which incorporates digital technology. This study is not supposed to analyze Hindi filmCOPYRIGHT songs created by all music composers in the chosen time period from 1960s to 1970s. Lyrics and meanings of songs will only be addressed in the discussion as far as important for the choice of musical elements in the respective compositions, as these musical practices would deserve a different © kind of attention and other detailed research. Musical analysis applies only on methods and techniques used in the selected composition of selected music composers and cannot be seen as a comprehensive investigation into Hindi

3 Film music in general or in the composition style of one of the composers over his/their eintire life time.

1.6 Methodology and Organization of the Thesis

This study applies predominantly qualitative research methods. It is mainly a musicological research which is dominated by musical analysis modified according to the actual necessities. Further, descriptive historical methods and narrative analysis are applied in this study.

The data for this study are collected from diverse sources. Primary data in this research are materials collected through interviews. Semi structured interviews were to gather data from Hindi film music directors and other orchestra musicians who provided useful information related to social situation, culturalUPM environment and details of the creative process. Mumbai is the capital of Hindi films. Hindi film music directors, all the orchestra musicians, singers and all production studios are situated in this city. Therefore, Mumbai is selected as the main place for the field work. Since the beginning of sound films produced in India many music directors and musicians hired staff from India, Sri Lanka and Malaysia. Therefore, apart from Indian film musicians, Sri Lankan and Malaysian musicians are interviewed to gather data for this research being conducted from March 2012 to January 2015. The interviews and other personal communications took place during this period in India, Sri Lanka and Malaysia. The overview of interviews and personal communications during this period is shown in Table 1.

Audio recordings of interviews have been done with a ‘Kingston K-PEX 100 - Portable Media Recorder’.

Musical sources were obtained through downloads of streamed music and through extracting audio from DVDs. The quality of these audio files is not always of high standard but sufficient for the purpose of this study. Music Time Deluxe and Adobe Audition software are used to transcribe music and to get spectral view pictures.

Other important sources of information are both written and audiovisual materials. Written materials include monographies, research papers, theses, news paperCOPYRIGHT articles and magazines.

Audiovisual materials contain further Hindi film DVD’s, audio compact discs of Hindi film documentaries, and interviews conducted by television and radio ©stations with the selected music composers. These audiovisuals were collected

in archives and libraries, or were bought on the market. The overview of data collection is included in the Table 2.

Table 1: Interviews done during fieldwork, and other personal communication.

Date of Interview or Name Identity Venue Personal Communication Pyarelal Sharma Music director- Hindi Mumbai 8 January 2014 film music industry Sanjeev Kohil Music director- Hindi Mumbai 21 January 2015 film music industry Homi Mullan ‘Sitting musician’ Mumbai 22 January 2015 Kersi Lord Music arranger- Hindi Mumbai 20 January 2015 film music industry V.S.Narasimhan Violinist/composer/ arranger in Hindi and UPM Tamil film music industry Krishna Murali Violinist in Hindi and Ram Nagar Tamil film music Fort, industry Group discussion (2002) Varanasi V.R.Sekar Cellist in Hindi and

Tamil film music industry B.J.Chandran Violist in Hindi and Tamil film music industry Sunila Sharma Wife of the Hindi film music director Pyarelal Mumbai 14 January 2014 Sharma Manek Premchand Hindi film music critic Mumbai 8 January 2014 and author of Dhammika Lecturer in film Colombo 28 August 2012 Dissanayake studies/ Filmmaker Hemapala Perera Sri Lankan musician/North Indian classical instrumental soloist (flute, guitar, and mandolin)/ music Nugegoda 28 August 2012 composer/music arranger (including COPYRIGHTharmonic progressions) Buddhika Perera Sri Lankan musician Colombo 19 January 2015 Ishani Ranganath Lecturer in dance/ © Sri Lankan dancer and Kelaniya 18 January 2015 music director

5 Date of Interview or Name Identity Venue Personal Communication Ahmad Fauzi Muzib Lecturer and researcher in sound studies/sound Serdang 15 January 2015 engineer/Jazz musician (violin, guitar) Asith Atapattu Lecturer and researcher of in musicology/North Indian classical Calcutta 22 January 2015 vocalist/have personal attachments with Indian audience (Hindi films) Rusiru Chitrasena Lecturer in English/ UPM have personal attachments with Kelaniya 18 January 2015 Indian and Sri Lankan audience (Hindi films) Chinthaka Prageeth Lecturer and Meddegoda researcher in musicology/ North Indian classical Serdang 15 January 2015 vocalist/ personally attached to Indian audience (Hindi films) Sownak Roy Hindi film audience Manchester 22 January 2015 Sukanya Bhattacharya Self-employed Indian Calcutta 22 January 2015 musician Vineesh Vedson Hindi film audience Bangalore 21 January 2015

Table 2: Overview on data collection.

Types of Research Collected Subject Date and Collected data Data from Oriented Place Literature: Main research Academic litrature (7) Dissertations, subject oriented Books, Journals, Interdisciplinary Academic litrature1 (30) Magazines, written COPYRIGHT Methodology Academic litrature (4) notes, Websites, and Biographical Magazines/Newspapers Photo copies of articals (3) © 1 Interdisciplinary writings inclusive historical aspects, sociological aspects, and musicological aspects.

Types of Research Collected Subject Date and Collected data Data from Oriented Place Various Literatures Libraries Film Music ASWARA Library – 21 May, 2012, (including General literature ASWARA, online regarding film music Kuala sources) (Scanned copies of pages Lumpur from books)

Book Arnold Allison’s thesis 28 July, 2013 sellers Pavitra Sundar’s thesis 16 October, 2013 Ashok Da Ranade- Hindi Film Songs Interviews/Personal List of interviews and personal communications with music directors Communications and musicians are listed in Table 1. UPM Audio-visual Market Hindi films (6) 16 October, Recordings Hindi film song audio 2013, Kuala CD (6) Lumpur Websites Documentaries- music directors (3) Interdisciplinary recordings (15) Transcriptions Scores Hindi film song transcriptions (6) Recorded Transcribed interviews interviews of Hemapala Perera and Dammika Dissanayake(2) Transcribed documentaries(3)

The music directors to be investigated for this study are selected according to chosen Hindi film songs that are part of different Hindi film musics. The choice went to three different music directors and music director duos purposefully selected from the pre-electronic music production period of the 1960s and 1970s and considered being Hindi film music composers that represent this period in a typical yet diverse and individual way. From each music director or musicCOPYRIGHT director duo two Hindi film songs were selected for analysis. The literature review follows main keywords and objectives of the thesis. From the findings in literature, a typology was derived that put studied literature into topical categories though none of them was directly related to the study. © Another important aspect is the serious knowledge of audiovisual materials in order to identify the domain of Hindi film music composers who hybridize North Indian ragas with harmonic progressions in their Hindi film songs.

7 Personal interviews and interviews with the respective music composers available in public media is analyzed and translated so far. All recordings are archived at ARCPA Universiti Putra Malaysia, Music Department of the Faculty of Human Ecology.

Transcriptions of music are done in a modified Western notation since this is a comprehensive format most easily to read by many musicologists in and outside India. Its weak points are some incorrect pitch depictions which, in this study, do not play an outstanding role for the understanding of the matter. Additional explanations are given, where exact pitch measurements are necessary. Another weakness of Western notation is the framing of metric units in bars which do not always correspond to phrasings. Therefore, here are special phrase divisions according to musical meanings applied that may also divide bars in different musical lines. This approach is helpful in detectingUPM structural consistencies and in explaining variabilities and derivations.

All six selected songs are transcribed according to hearing since scores do not exist.

These transcriptions help to follow the musical development easily in text and signs that enables later to scrutinize and recognize harmonic progressions in a conservative way though the music composers investigated may not have used this type of visualisation or any visualisation at all.

Biographical information and professional achievements of all the three music directors and music director duos are elaborated before approaching the musical analysis. This information is helpful in understanding the cultural and educational background of Hindi film music directors who are portrayed in Chapter 4.

Before analyzing each song, the contextual meaning must be explained to give a clear picture on the Hindi film and the environment of the song appearing within the film.

The core part of the thesis is the detailed musical analysis which had to be done in a broader sense analysing harmonic progressions and North Indian ragas. A number of typological processes lead to an overview of raga-based elements and theCOPYRIGHT different ways of applying harmonic progressions. For analysis purposes, as North Indian classical musicians always consider ‘Sa’ (C) as main reference tone, to ease the analysis of the melodic line that carries a ©harmonic progression pattern is transposed to C. Another analytical tool is the use of spectral views and schemes.

The discussion is mainly dived into three subchapters: hybridization in Hindi film songs; music directors in cultural discourse; genuineness in Hindi film songs. In the first subchapter ‘hybridization in Hindi film songs’, different harmonic progression patterns appear in each song transposed into ‘C’ and summarized to a scheme identifying the core harmonic progressions and modified harmonic progressions of each song. In this section selected Hindi film songs based on similar ragas are discussed first. To ease the discussion, all the song names are abbreviated with three characters (ex: Baharon Phool Barsavo’ is abbreviated as BPB) and harmonic progression patterns named together with the song abbreviations (ex: BPB1). Here, the diversity of harmonic progression patterns appearing in stanzas, interludes, and introductions is discussed. Possible reasons for the identified diversities are discussed in the last sub chapter ‘Genuineness in Hindi Film Songs’. Moreover, the reasons for applying harmonic progression in Hindi film songsUPM are discussed here supported by literature. Also linkage of ragas within hybridized Hindi film songs, shifting tonics through harmonic progressions and changing perception of ragas are examined supporting by the analytical outcomes of the Chapter 3. Some aspects of the historical background of Hindi film music industry as well as the cultural and educational background of music directors and musicians are further elaborated and supported by literature. It is further discussed how Hindi film songs are accidentally showing some elements of ragas.

In the second subchapter ‘Music Directors in Cultural Discourse’, the various perceptions of a ‘music director’ and his responsibilities are discussed here supported by interviews with music composers, musicians and singers in the Hindi film music industry in and outside India. In this mainly narrative analysis of interview parts, views of outsiders expressed by musicians and music directors in Sri Lanka and Malaysia are important to see how the meanings and responsibilities of a ‘music directors’ are perceived and interpreted.

The last subchapter, ‘Genuineness in Hindi Film Songs’ is categorized into three sections. First, the contributions of music arrangers and other orchestra musicians in Hindi film songs are discussed supported by literature and field notes. Also, this section is looking into how music arrangers and other orchestra musicians outside India deal with discussed issues in their countries. Further,COPYRIGHT Anthony Gonsalves’ impact on the music director duo Laxmikant & Pyarelal’s music is discussed as an example of genuineness. Finally, in the sub chapter ‘Ethical Issues and Modernity’, plagiarism in Hindi film music is © discussed through an example within the selected songs for this study.

9 Conclusions from the discussion draw mainly on observation and outcomes that have to be set into relation to each other.

Supporting literature for methodology are parellel studies on comparable phenomena. Morcom (2003) and Booth (2008) studies provide an amount of interviews and discourses that help the discussion in this study. Atkinson, Okada, & Talmy (2011) deliver interesting approaches to discourses as well that were used. Reed says that information accumulated utilizing narrative methodology requires not only analysis, but also interpretation in order for analysis to be meaningful (Reed, 2008: 102). In terms of applying typology that is crucial in determining musical structures and ideas, some other literature is helpful, especially Johnson & Christensen (2010) and Patton (1980). Some researchers use term ‘phenomenology’ to describe the researcher's experience (Lofland and Lofland, 1995: 14). However, since any type of fieldUPM work involves personal experiences, this study is in general based on a mixture of all the named qualitative methods.

However, several studies are written in other areas of Hindi film music that are indirectly connected with this study.

Dudrah (2006) has employed qualitative research methods in his study ‘Bollywood: Sociology Goes to the Movies’. Qualitative interviews including participatory observations used in his work are to elaborate socio-cultural and aesthetic analysis in some aspects of Bollywood cinema. He discusses how qualitative approaches of research are appropriate with researches on aesthetic subject matters.

Cooley and Barz express their opinion that ethnographic fieldwork requires meaningful face-to-face interaction with other individuals. This is, how they say, ‘both the promise and challenge of our endeavors’ (Cooley and Barz 2008: 3).

Hansen’s study (2006) explores layers of musical meanings. It is also described how hermeneutical analysis can be applied in a harmonic progression analysis. This approach was partly followed in the musical analysis of this study.

Jähnichen (2011) provides a compilation of methodologically important approachesCOPYRIGHT to musical analysis using mostly examples from Asia. In a recent study, she drafts methodological approaches to classification of music in social ©communication.

1.7 Definitions and Terminology

1.7.1 Terms used in North Indian Music

Raga: The core of Indian classical music is the raga. Raga is consists of five to seven tones in peculiar ascending (arohana) and descending (avarohana) movement. There should be at-least five tones in each ascent and in descent to be a raga. The reference tone is always the first tone ‘S’ and it cannot be omitted in any raga. Even five tones can be constructing a raga fourth and fifth tones cannot be omitted at the same time in a raga. The intervals of ragas are diverse from each other and it is different from the diatonic understanding. There are prominent tones which should be frequently used in every raga. There are also essential North Indian music shapes to incorporate in some ragas. North Indian classical musicians learn this diversity by practicingUPM with their gurus for years.

Vadi: both in North Indian classical music (Hindustani music) and in South Indian classical music (Carnatic music), the main tone (Swara) of a raga denote as a ‘Vadi Swara’. ‘Vadi’ is the most significant tone or sonant tone of a particular Raga (Bhatkhande, 1921: 20; Ranade, 2006: 277). It is regularly the tone which is repeated the maximum number of times, and often it is the tone on which the singer can pause for a significant time.

Samvadi: the Samavadi is the second-most prominent tone of a raga in Indian classical music (Ranade, 2006: 277). In most cases the Vadi and Samvadi are in fourth or fifth at a distance (Widdess, 1995: 250). Samvadi swara is not located in the same half of the octave to which Vadi Swara belongs (Ranade, 2006: 276). An Indian classical performer naturally tries to accentuate the Samvadi along with the Vadi when improvising on a certain raga. The Vadi and Samvadi could be essential in characterizing the raga, and in a few cases two ragas with the same ascending and descending might be recognized just by the prominence of the sonant and consonant tones.

Anuvadi: Assonant tone. The tones used in a raga that are either Vadi or Samvadi are called its Anuvadi notes (Narayan, 2004: 116). They are often addressed as attendant or companion tones. Vivadi:COPYRIGHT Vivadi tones are often addressed as enemy tone or dissonant tone (Ganguly, 1979: 45). It is a tone which should not be used in a raga. However in order to enhance the beauty of the Raga, Vivadi tone is used by master © musicians in an indirect form. Murchana: Murchana is to produce a number of other scales by simply shifting the tonic of a scale. While using the same set of tones only the tonic is changed.

11 However, the sequence of intervals between tones is changing because of the shifted tonic. “The western concept of key-modulation may come nearest to murchana” (Ranade, 2006: 230).

Table 3: Murchana.

UPM

Table 4: Intervals between tones.

Table 5: Similar ragas and modes.

‘Translated’ into North Indian Raga Similar South Indian Raga similar intervals of ecclesiastical modi2 Bilawal Dhirashankarabaranam Ionian Kafi Kharaharapriya Dorian Bhairavi Hanumantodi Phrygian Kalyan Mechakalyani Lydian COPYRIGHTKhamaj Harikamboji Mixolydian Asavari Natabhairavi Aeolian

©2 This option is purely hypothetical as the intervals alone do not imply certain ragas. However, it may help to identify ragas by those who are familiar with ecclesiastical modi.

1.7.2 Different Melodic Shapes Used in North Indian Music

Other terms relate to different terms and melodic shapes that are frequently used in North Indian classical music namely Kan, Meend, Ghaseet, Soont, Andolan, Gamak, Khatka, Murkhi and Zamzama. Since each of these elements demand a detailed explanation, here are only given some very simple definitions in a comparative way that may help the readers who are not familiar with North Indian classical music. The definitions are not comprehensive or entirely balanced.

Kan: Kan or ‘kan swara’ is similar to an acciaccatura or grace note in western art music. They are usually applied to link different tones while performing.

Meend: Meend is one of the most important musical shapes used in North Indian classical music. It is similar to the glissando (Mutatkar, 1987: UPM 21) of western art music. This is a glide from one note to another. A meend has some sub-classifications as listed below.

Ghaseet: when the meend is performed on a string instrument in such a way that the tone glides just after plucking, it is called ghaseet.

Soont: It is a fast paced meend performed by vocalists.

Andolan: Andolan is an oscillation (M. Sharma, 2006: 14) or swing that starts from a fixed tone and touches the margin of a different tone. It touches the various microtones that are present between the tones during these oscillations.

Gamak: Gamak is a fast pace oscillation between two tones repeated twice or more at a moderately faster tempo. Gamak is different from the andolan considering its faster speed, and its clearly audible starting and ending points. Despite the oscillations in andolan are just thought as ‘vibratos’, the oscillations of a gamak have to keep to the exact tones of a raga.

Khatka: A cluster of tones played or sung very fast to decorate another note, it is called khatka or gitkari, for an example, Ri Sa Ni Sa, Ri where the cluster, Ri Sa Ni Sa embellishes Ri. COPYRIGHT

© Figure 1: Possible melodic shapes in khatka. Khatka is “a melodic embellishment in which a cluster of notes is quickly and forcefully produced prior to the note projected as the important note in the

13 particular cluster of notes. According to some, two synonymous terms are gittakadi and murki. A minority holds that khatka is gamak, which has only two component notes” (Ranade: 2006:222).

Murki: “Murki is a short sharp figure of two or three notes so uttered that it occurs within a short span of time wrapping around the central tone” (M. Sharma, 2006: 18). Murki is group of tones that sounds like a short, delicate taan (see below). It can also consist of a progression of short clusters. Murki is less forceful compared to khatka

Taan: Taan(s) or tan(s) are fast tonal patterns used in ragas. “The term taan, derived from Sanskrit root ‘tan’, means stretch or expand” (M. Sharma, 2006: 16). UPM 1.7.3 Terms Used in Hindi Film Music

Music Director: In Hindi films ‘music director’ denotes the ‘music composer’. Generally Hindi film music directors’ responsibility is to compose the melodic line of the songs according to the demands of the film director. Composing Introductions, interludes and accompaniments are the responsibility of music assistants or music arrangers. In rare cases, music directors do all the things despite leaving things to a separate arranger. There are few possible reasons why music directors employing music assistants or music arrangers. One reason is that music directors sometimes have to compose for more than one film in a given time frame and just to fulfill all the requirements in time, they employ music assistants or music arrangers. Secondly, some Hindi film music directors do not know much about arranging and orchestrating music. Therefore they cannot sustain without employing a music assistant or music arranger. “Service of a music arranger to help music director in composing background music and other things became a permanent feature in Hindi film music industry” (Ranade, 2006: 125).

Music Assistant/Music Arranger: The main responsibility of a music assistant or music arranger is to compose introductions, interludes, and accompaniments. Separating melodic lines for music instruments, selecting musicians for the recordings, writing notations, orchestrating and finally directing the orchestra is the responsibility of the music assistant or music arranger.COPYRIGHT

All transcriptions and schemes used in this thesis are by the author if not noted otherwise. Titles of film songs are put in italic letters, while terms explained ©here and titles of Hindi films are written as usual.

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