Music Initiative Jka Peer - Reviewed Journal of Music

Home , Bhajan Sopori, Calabash, Chimta, Damaru, Dhol, Electronic tanpura

VOL. 01 NO. 01 APRIL 2018

MUSIC INITIATIVE JKA PEER - REVIEWED JOURNAL OF MUSIC

PUBLISHED,PRINTED & OWNED BY HIGHER EDUCATION DEPARTMENT, J&K CIVIL SECRETARIAT, JAMMU/SRINAGAR,J&K CONTACT NO.S: 01912542880,01942506062 www.jkhighereducation.nic.in

EDITOR DR. ASGAR HASSAN SAMOON (IAS) PRINCIPAL SECRETARY HIGHER EDUCATION GOVT. OF JAMMU & KASHMIR YOOR

HIGHER EDUCATION,J&K NOT FOR SALE COVER DESIGN: NAUSHAD H GA JK MUSIC INITIATIVE A PEER - REVIEWED JOURNAL OF MUSIC

INSTRUCTION TO CONTRIBUTORS A soft copy of the manuscript should be submitted to the Editor of the journal in Microsoft Word le format. All the manuscripts will be blindly reviewed and published after referee's comments and nally after Editor's acceptance. To avoid delay in publication process, the papers will not be sent back to the corresponding author for proof reading. It is therefore the responsibility of the authors to send good quality papers in strict compliance with the journal guidelines.

JK Music Initiative is a quarterly publication of MANUSCRIPT GUIDELINES Higher Education Department, Authors preparing submissions are asked to read and follow these guidelines strictly: Govt. of Jammu and Kashmir (JKHED). Length All manuscripts published herein represent Research papers should be between 3000- 6000 words long including notes, bibliography and captions to the opinion of the authors and do not reect the ofcial policy illustrations. Manuscripts must be typed in double space throughout including abstract, text, references, tables, and gures. of JKHED or institution with which the authors are afliated unless this is clearly specied. Individual authors Format are responsible for the originality and genuineness of the work Documents should be produced in MS Word, using a single font for text and headings, left hand justication only and no embedded formatting of capitals, spacing etc. stated in the papers and thatwork is not partially or fully published elsewhere. The research papers published in JK Music Initiative are protected by copyright. Notes No material in this journal may be reproduced photographically or stored in a Use Endnotes not footnotes. retrieval system or transmitted inany form by any means electronic, mechanical, etc. References without the prior written permission of the publisher. Authors should use the system laid out in the Chicago Manual of Style hp://www.chicagomanualof The contents of this publication are not to be quoted in the press style.org/tools_citationguide.html. without permission of the editor. Papers in Journals and other Periodicals Editorial correspondence: [email protected] Smith, J. 2012. “Article Title: The Subtitle.” Journal Title in Full 10 (1): 30–40. doi:xxxxxxxxxxx. Papers in Edited Books, Symposia Proceedings, etc. Book Single Author: Smith, J. J. 2012. Book Title. Abingdon: Routledge. Reprinted Work: Maitland, F. W. (1898) 1998. Roman Canon Law in the Church of England. Reprint, Union, NJ: Lawbook Exchange. Edition: University of Chicago Press. 2012. The Chicago Manual of Style. 16th ed. Chicago: University of Chicago Press. Translated: Smith, John. 2012. Collected Style Manuals. Translated and edited by Jane Jones. NOT FOR SALE Abingdon: Routledge. Thesis: Smith, John. 2008. “Title of Thesis.” PhD diss., University of Chicago.

Photographs and Images PRINTED AND PUBLISHED BY Photographs or other illustrations either in color or black and white should be submitted in digital form Dr. Asgar Hassan Samoon (IAS), in high resolution JPEG format. Principal Secretary to Government, Higher Education Department, J&K On behalf of PRINTED AT Higher Education Department, Ranbir Government Press, Govt. of Jammu and Kashmir. Ambphalla, Jammu-180001 J&K Ofﬁcial website Ofﬁcial Website http://jkhighereducation.nic.in/ http://rgp.jk.gov.in/

JK MUSIC INITIATIVE JK Music Initiative is a peer Reviewed Academic and Professional Journal dedicated to the promotion of research in all the aspects of World Music with special focus on the Music of Jammu & Kashmir.

EDITORIAL BOARD

Editor

Dr. Asgar Hassan Samoon (IAS) Principal Secretary, Higher Education, Govt. of Jammu & Kashmir Email: [email protected]

Associate Editors

Shabir Ahmad Mir, PhD. Assistant Professor (Vocal) Department of Higher Education, J&K Email: [email protected]

Kuldeep Raina, PhD. Assistant Professor (Vocal) Department of Higher Education, J&K Email: [email protected]

Editorial board

Abhay Rustum Sopori, Santoor Maestro & Music Composer Email: [email protected]; Mob: 09811622055

Amit Verma, Assistant Professor, Tabla, Visva-Bharati University, Shantiniketan, W.B .India; Email: [email protected]; Mob: 09547933029, 09559629049.

Jasmeet Kaur, Assistant Professor, Vocal, Govt. Women‘s College Parade, Jammu Email: [email protected]; Mob: 9419797126

Muzafar Ahmad Bhat, Associate Professor, Tabla, Govt. Women‘s College MA Road Srinagar Email: [email protected]; Mob: 9906538916

Vol.1, No.1 April 2018-JK Music Initiative

Naveen Sharma, Assistant Professor, Vocal, Govt. Women‘s College Udhampur Email: [email protected]; Mob: 9718800141

Naveen Sharma, Assistant Professor, Sitar, Govt. Women‘s College parade, Jammu [email protected]; Mob: 9419450854

Ranjeet Singh Katoch, Assistant Professor, Vocal, Govt. Women‘s College, Parade Jammu Email: [email protected]; Mob: 9968346698

Samosh Kumar, Assistant Professor, Sitar, Govt. Degree College, Udhampur Email: [email protected]; Mob: 9419867791

Sukhwant kaur, Assistant Professor, Vocal, Govt. Women‘s College, MA Road Srinagar Email: [email protected]; Mob: 9596510868

ADVISORY BOARD Pt. Bhajan Sopori (Chief Advisor) Santoor Maestro & Music Composer . Agni Shekhar, Culture & History Writer, Jammu. . Anupam Mahajan, Professor of Music, Faculty of Music & Fine Arts, University of Delhi. . B. N Mishra, Dean Faculty of Music, BHU . Mallika BanerjeeAssistant Professor, School of Performing & Visual Arts, IGNOU, New Delhi. . Meena Banerjee, Eminent Musicologist, Critic & Writer Kolkata. . Madhu Shukla, Musicologist, Allahabad. . Pankaj Mala Sharma, Professor (Sitar), Punjab University Chandigarh. . Mysore Manjunath, Violin Maestro & Professor of Music, Mysore University, Karnataka. . Raj Kumari Magzine, Former Professor of Music, Jammu. . Rafiq Raaz, Eminent Writer and broadcaster, Kashmir. . Rakesh Kaul, Eminent Writer, USA . Rajpal Singh, Assistant Professor (Vocal), University of Delhi.

. Ravi Sharma, Former Dean, Faculty of Performing & Visual Arts, M.D University, Rohtak. . Ravindra Mishra, Eminent Musicologist & Critic, Delhi . Sanjay Bandopadhyay, Sitar Maestro & Professor of Music Sikkim University. . Sadananda Sahoo, Assistant Professor, School of Interdisciplinary and Tran- disciplinary Studies, IGNOU. . Sudarshana Baruah, Assistant Professor (Vocal) Centre for Performing Arts, Dibrugarh University, Assam. . Saroj Ghosh, Professor (Sitar), Punjab University,Chandigarh. . Sunaina Kaul, Former Instructor (Vocal), IMFA Jammu. . Suneera Kasliwal, Professor & Dean Music Faculty, University of Delhi . Tapasi Ghosh, Assistant Professor(Vocal)University of Calcutta . T.K. Ganjoo, Eminent Educationist – Jammu . Usha Bhagati, Former Professor Music, Jammu. . Varsha Agarwal, Associate Professor (Santoor), Govt. Girls PG college Ujjain. . Vasudha Saxeena, Associate Professor (Tabla), Rajasthan Sangeet Sansthan, Jaipur. . Vijay Shanker Mishra, Eminent Indian Rhythm Expert, Educationist, Musicologist & Writer, Delhi.

Editorial Coordination Please address all editorial correspondence to: Associate Editor JK Music Initiative E:[email protected] T: (+91) 7051-891-719

Art & Design: Naushad Gayoor, University of Kashmir

Vol.1, No.1 April 2018-JK Music Initiative

JK MUSIC INITIATIVE

Research Journal of JK Higher Education Department Vol.1. Issue 1, April 2018.

Contents

07. Foreword Abhay Rustum Sopori, Santoor Maestro & Music Composer

09. Editorial Dr. Asgar Hassan Samoon, Editor

RESEARCH PAPERS 12. Modern Approach to Music Education: A Comprehensive Study Gaveesh Rai

19. Mixing of western music concept in to Indian music

Sudha Sharma

26. Music Education in Kashmir: Present State and the Way Forward

Shabir Ahmad Mir

39. Santoor: origin, evolution & development

Abhay Rustum Sopori

46. Diversity in Music of Jammu and Kashmir

Kuldeep Raina

55. Evidence of Musical Instruments Depicted In Ragamala Painting

K. Tamashwor Sharma

69. Role of four main Chordophones of North Indian Classical music and their

current state

Waseem Bhat

81. Gurubani Sangeet and Society

Vol.1, No.1 April 2018-JK Music Initiative

Jasmeet Kaur

90. Different types of folk songs prevalent in the Dugger area and their classification

Mukesh Kumar

Foreword

It’s my pleasure to welcome you to the inaugural issue of JK Music Initiative, a quarterly English Peer-Reviewed Music Research Journal. This is a welcoming step by the Department of Higher Education, Govt. of J&K, which has taken special initiative to publish this research journal.

To encourage research work amongst the college and university faculty and students, the Department of Higher Education, Govt. of Jammu & Kashmir has introduced a number of journals covering various areas and subjects. JK Music Initiative, which is in fact the first ever music journal (covering all performing arts styles) being published by the J&K Government, is another jewel in its crown and one of its flagship Journals.

While the journal aims to provide an intellectual platform to the researchers, academicians and scholars of music and performing arts to present and disseminate new research findings and ideas in music& performing arts, it will also take the cultural ethos of J&K State to international level with articles and research papers from scholars and authors within the State as well as outside J&K. It will also be helpful and encouraging to young students to come forward and contribute to the journal. The Journal offers an opportunity to publish well-researched and academically rich papers on all the aspects of world music and performing arts in general and traditional music of J&K in particular. The Editorial Board of the Journal shall follow a pure peer-review process to maintain the quality of the journal.

Vol.1, No.1 April 2018-JK Music Initiative

I thank Ms. Mehbooba Mufti, Hon’ble Chief Minister of Jammu & Kashmir, Shri Syed Mohammad Altaf Bukhari, Hon’ble Minister for Education, Govt. of J&K and Smt. Priya Sethi, Hon’ble Minster of State for Education & Culture, Govt. of J&K for their support in this direction. I congratulate the Editor Dr. Asgar Hassan Samoon, IAS, Principal Secretary to the Government, Department of Higher Education, Govt. of J&K and the entire team of the journal along with all the authors whose papers have been selected for the inaugural edition of the journal.

There are thousands of journals that are printed across the world. I hope JK Music Initiative will soon be amongst the top sought after journals of the world.

Abhay Rustum Sopori Santoor Maestro & Music Composer, Member, Editorial Board

EDITORIAL

Department of Higher Education is tirelessly working for promotion of learning in the State of Jammu & Kashmir. In recent past, the Department has taken many path- breaking initiatives to take the education system to newer heights. In a historically significant decision, the Department has begun promoting quality research in colleges with publication of a galaxy of research journals in sciences, social sciences, humanities, and languages started recently. The Department is constantly striving to create new avenues to benefit students and society at large. Apart from conventional subjects, the Department is keen to promote music education in all educational institutions of the State. To streamline music education, music initiative has been included as part of the Knowledge Initiative Platform .The Department has taken a pledge to revive music education from elementary level to higher education level in the State for which Chief Minister of J&K, her Advisor and Education Minister have extended full support. Some recent revolutionary steps taken by the Department for Music promotion include the introduction of Music in thirty-five new colleges and creation of twenty- Five Posts of Assistant professor Music. To modernize music education in the State, the Department has also initiated establishment and up gradation of music studios in the colleges. We are keen to promote the traditional folk and Sufiana Music of the State. A film and Television Institute is also being set up to promote employability of our graduates. JK Music Initiative, one of the leading journals of the State Higher Education Department is a quarterly Research Journal of Music with international dimensions. It is our endeavor to provide an intellectual platform to the teachers, scholars and students

Vol.1, No.1 April 2018-JK Music Initiative

of music to explore the Universe of music through intensive research, discussions and debate. As scanty scholarly reference/research work is available on music of Jammu & Kashmir; therefore, to fulfill this gap, our Department has taken this taken initiative to publish a quarterly research journal on music to provide opportunity to our professors and scholars who are inclined towards research, to project their research work on an international platform. School Education Department shall soon introduce Music and Performing Arts as a subject at primary/middle/ high/higher Secondary school levels across the State; for this purpose, music teachers shall be provided to start with six state of art music studios (3 in Kashmir, 2 in Jammu and 1 in Ladakh) to be set up soon by the School Education Department. We need to fast track setting up of a J&K Institute of Music and Faculty of Music to offer full time professional courses in Music and Performing Arts, Graduate courses like B.A music, PG (Integrated), M.A music and PhD through capable professors who can also offer diplomas and professional courses in sound engineering with skilled technicians to maintain our music studios. With introduction of classical Music as a subject in 11th and 12th standards, interested students can graduate in music can have basic study as prescribed by the board and minimum qualification for graduate courses in music as per UGC norms. We need to recognize the fact that music cannot be just a substitute or the last option to be offered to students and it should be offered to those who wish to take Music as a degree course. We may soon introduce BA music as full-time graduate course with full respect and honour like any other course" in Santoor, Vocal, Sitar, Tabla, Violin and the concerned officers should lay emphasis on initiating Music courses in institutions with established Music Faculty like Govt college for women – Maulana Azad Road, Navakadal College, Anantnag college, Baramulla, etc in Kashmir and likewise in Jammu in institutes like Parade College, MAM College, Gandhi Nagar Women's college. We need to strengthen Music and Fine Arts Institutes of University of Kashmir and University of Jammu. Professional Music courses such as BA Music, integrated PG, and PG music shall be introduced in Cluster / Central Universities of Kashmir and Jammu. "Sufiana Mausiqui" is being introduced in our colleges as optional subject along with classical Music. We need to create “Tabla assistant” posts in colleges where music is

taught. Our endeavor is to promote local regional and folk music and instrumental music as add on courses in Cluster Universities. We need to enhance quality of education in music, quality of instruments, modernization of music studios and class rooms and use ICT in years to come for better quality music. We shall be inviting visiting faculty from outside to our colleges and organize visits of students of State colleges to outside Universities very soon. I am privileged to present you first Issue of JK Music Initiative started with main objective of critically engaging with issues related to world music in general and traditional music of J&K in particular. Inaugural issue of the journal carries a broad spectrum of papers on music of Jammu, Kashmir, and Ladakh. It also carries papers on some critical issues related to music education. I wish this Journal to be amongst the topmost scholarly Journals of the world

Editor Dr. Asgar Hassan Samoon (IAS) 22 April 2018

Vol.1, No.1 April 2018-JK Music Initiative

Modern Approach to Music Education: A Comprehensive Study

Gaveesh Rai

Modern Approach to Music Education: A Comprehensive Study Gaveesh Rai Assistant Professor Music, Guru Nanak Dev University, Punjab. ABSTRACT No doubt Institutional formal Music education system is providing music education all over India but still there are some areas in which this system is lagging behind. Due to changed situations and new challenges this system also need modifications so that it can equip students with musical and general knowledge so as to make them face challenges of life. This article focuses on some areas and issues in our education system which needs modifications. This article provides some remedies how our education can be modified so as to make students earn their livelihood. Keywords Music Education, Approach to Music, Practical & Vocational Education

Introduction From ancient times the teaching of Indian classical music is based on the Guru Shishya Prampara system. Teacher, the Guru, transmit the musical knowledge to the student [1]. In this system, dedicated students used to go to guru‘s place (Gurukul) and by full dedication, hard work and persistence they learn from guru. Gurukul system of learning music helped a lot in preservation of proper style and purity of Classical music. This system went well till end of 19th century. [2]. Next to guru shishya prampara, is Gharana prampara. It is interesting to trace the history of the tradition of the Gharana, which came to be of such importance from the sixteenth century onwards. This was not purely an event of the mediaeval period. Right from the earliest times, there have always different schools of music in our country [3]. In the ancient times, the word used for Gharana was "Samuday". During the times old dhrupad, the word "bani" came into vogue and after the advent of Khayal, the concept of Gharana came into light. In this way the presence of different classes originated in Hindustani Music. [4] In Gharana system teaching was although similar to Gurukul prampara, but with passage of time lot of complications and shortcomings aroused in Gharana system like, jealousy, favoritism, narrow-mindedness and inaccessibility of music education to masses. Dr. Subhadra Chaudhary writes that limited

Vol.1, No.1 April 2018-JK Music Initiative

14 scope, various social and political reasons paved the way to Institutional music education system in India. [5] So in this way for making music education accessible for all, Institutional education system was developed. In this system fixed curriculum, time limit and proper theory and practical examinations were there. Although this system removed some of shortcomings of Gharana prampara but this system has its own shortcomings. Students taught in institutional system are generally seen underdeveloped. They are usually found unable to develop as good artist as well as good teacher. Hence there is a great need to do in-depth research regarding this topic and to find out a new approach which can lead to a new, overhauled system of music education which helps music students to flourish as eminent artists and musicologists. Anything that is stagnant and not updated with the changing time is likely to be degenerated and parish. For survival and growth with the present time, music education has to be developed in such a fashion that it must cover all the requirements and needs of present day music society. Therefore the time has arrived to review the objectives of music education and techniques of present day music education. In words of Edwin Gordan ―The overall objective of music education is to provide for the idiographic and normative differences among the students as evidenced from their musical aptitudes.‖ [6] These days an artist has to do lots of duties. He has no patronage from Government or some other organization so he has to look after his family, earn his bread and perform all daily routine work by his own. At the same time he must be aware of different issues regarding music like Computes, Microphones, Mixers, Stage settings, Studio techniques, various instruments, and various genres of music worldwide. Now when we critically analyze our education system it is not at all covers these requirements. It provides only formal education regarding music, but no practical knowledge regarding important aspects like computers, sound techniques, Studio set up, various software‘s and other things used in daily life activities. Also we see there is no coordination between vocal, instrumental and other departments like dance and theatre. Vocal students have no training regarding instruments like guitars, synthesizers, drums and other instruments. Instrument students have no training regarding repairing of instruments. After completion of the course, we generally see students are not able to fit in any kind of job. They are given no practical knowledge so as to cope with the challenges of real world. One of the main objectives of Music education is to prepare student to get some kind of job in music field, but present music education fail in this objective. [7]

There is need to educate the students regarding the diversity of music. Now we have electronic media and internet which is providing tremendous opportunities to students to access non-Indian musical forms and when these forms have become very common and popular among the Indian music listeners, it seems strange that there is no composite approach to study and know more about Jazz, Rock and other non-Indian musical forms. These days we are coming across all kind of music from all over the world. There is need to broaden the syllabus of music education. Irrespective of teaching only Hindustani or Carnatic style other musical genres like Rock, Pop, Jazz, Reggae and other Genres of music. Use of technology in music is increasing day by day, this knowledge must be included into syllabus. There are various equipments which are frequently used in music like electric Tanpura, electric Tabla, electric Guitars, synthesizers, PA systems, mixers, amplifiers, Sound Cards, Laptops, workstations, various types of microphones, various Softwares and Mobile Applications. Information and knowledge of these equipments and various other related things must be included into the syllabus so as to make students up to date. Hence this is the immediate need to inculcate various aspects regarding music so as to train the music students for their real life musical journey. Our education system and the curriculum must be overhauled so as to inculcate all the modern techniques like stage management, mic settings, studio recording knowledge, instrument repairing, making of new instruments. Students must be provided with practical knowledge so as to sustain the pressures of daily life. A music student must be trained according to the aptitude he is having, for example: If we talk about Graduation Level Course i.e. Three year course, curriculum for first year should be same for everyone which must contain basic knowledge and compulsory concepts so as to understand music. But from second year the curriculum must be divided into various sub courses, for example if some student is having aptitude for studio recording then he must be provided with that kind of knowledge, if some students is having interest in classical stage performances he must be trained for that purpose, if some student is good in instrument making or repairing, he must be taught and trained in instrument making and repairing techniques. One more basic thing which is lacking in our music education system is the Training in real life situations under some experienced musician or any other expert. It is seen that all of the education and training of a music student take place in classrooms under controlled situations. As compared to other subjects music field is lagging behind. For example in medical field student has to go through a

Vol.1, No.1 April 2018-JK Music Initiative

16 compulsory training session under some well established medical college or under some experienced doctor. They work under real life situations and go through real life challenges. According to Dr. Prem Lata Sharma, an artist should be sent to some artist for professional training during his educational period similar to education pattern of doctors and engineers. [8] For example if student is interested more in Musical instrument repair work he should be sent to some professional training from some instrument repair shop. Of some student want to excel in the field of Studio recording, he should be sent to some studio for professional training. Similarly somebody interested in Hindustani, Carnatic or any music genre should be sent to some expert musician of that particular genre. This practice must be included in Music education. Examination pattern in music also need some modifications. Now a day‘s practical exam is taken very casually which is very wrong. Teachers must confirm that students take it practical exam very carefully and without any bias. Practical exam should be in the form of stage performance so that student can take it seriously. Theory exam also need modifications. Generally it is seen that in music field question are of one type only. But for checking full knowledge of the student question paper should be balanced between various kind of questions like long answer questions, short answer questions, fill in the blanks question, true false question, and objective questions. Only in this manner one can judge the true knowledge of the artist. Listening can improve musical skills of students a lot. Mind subconsciously learns while listening to any kind of music. Hence experts are of the opinion that music student must keep on listening to various kind of good music to expand their musical knowledge and creativity. There should be special arrangements in educational institutions for giving students proper listening sessions. Listening sessions must contain various kind of music ranging from Classical, Folk, , Instrumental, Folk, Tribal and other genres. Music students must be shown documentaries and films regarding music and musical artists. Educational films should also be included into the syllabus. Author himself made proper arrangements for listening sessions of music students at music department, Guru Nanak Dev University Amritsar (Punjab) for making his students aware of world music. Writer has observed positive changes in the student‘s mental level after several listening sessions. There is significant positive change in the understanding, creativity and awareness among the students.

One of the most important thing for a student to flourish as artist is to perform as much he can. This should be the prime duty of the institution to make such arrangements that music students can perform in public frequently during their education. Infect this should be made part of the curriculum that every student must perform something in solo or group in public frequently so that they can get rid of their stage fear and learn all the basics of stage performance. This should be made high priority of the institution to provide stage his students and giving them chances to perform in public.

Conclusion Music subject should be integrated with other subjects like physics, electronics, engineering and medical field so as to make more useful for the society. Significance of music can be increased when it is combined with other subjects in appropriate way. Music can be used in various manners for society like music can be used to heal some diseases like Hypertension, anxiety, Blood pressure and sleeplessness. Students must be taught about such uses of music. These things also are included into education system. Hence writer is with the opinion that our music education system should be integrated with different aspects so as train students for all kind of challenges of life and it should be accordance with the aptitude of students so as to make them earn their livelihood and train them to become great artist and eminent teacher so that one can be beneficial for music world and the society.

Vol.1, No.1 April 2018-JK Music Initiative

REFERENCES [1]. https://en.wikipedia.org/wiki/Music_education, Accessed on 15-march- 2018

[2]. Kaur, D. (2013). Sansthagat Sangeet Sikhia (Punjabi), Patiala: Publication Bureau Punjabi University., p-vii

[3]. Gautam, M.R. (2001). The Musical Heritage of India. New Delhi: Munshiram Manoharlal Publishers Pvt. Ltd., p-127 [4]. Kaur, D. (2007). Samajak Vigyan Pattar: Sangeet Gharana Vishesh Ank (Punjabi) Volume 55. Patiala: Publication Bureau, Punjabi University., p-2 [5]. Chaudhary, S. (1989) Sangeet Sanchayan (Hindi), p-26 [6]. Gordon, E. (1971), The Psychology of Music Teaching, p-62 [7.] Kaur, D. (2013). Sansthagat Sangeet Sikhia (Punjabi), Patiala: Publication Bureau Punjabi University. P-69 [8]. Sharma, P. (1978) Sangeet Shikshan Pramparagat Evam Sansthagat. P-60

Mixing of Western Music Concept into Indian Music

Sudha Sharma

Vol.1, No.1 April 2018-JK Music Initiative

Mixing of Western Music Concept into Indian Music

Sudha Sharma Assistant Professor Music S.R. Govt College, Amritsar (Punjab) ABSTRACT Indian music has a very rich tradition. Going in two independent systems i.e. Hindustani and Carnatic, Indian music enjoyed a high place among world music. But with the changing time western music had profound effect on Indian Music. This paper goes through influence of western music on Indian music. It discusses the efforts of various artists in doing fusion of western and Indian music. This paper gives relevant information about the various musical works done by eminent artists in this direction from time to time. This paper breaks the myth that fusion is bad for Indian music in any manner. This encourages the artists to do fusions freely and work for the betterment of music.

Keywords Music, Fusion, Western Influence, Mixing Music, Cartanic Music, Hindustani Music

Introduction Indian classical music consists of South Indian Carnatic and North Indian Hindustani music systems. Both systems, Hindustani and Carnatic are built upon complex and detailed melodic structures called Raag, and both have system of rhythm and meter which comes under the rubric of Taal. These features make them share a common ancient musical heritage. The strong root of Hindustani classical music lies in its prosperous and continuous tradition. The practice of Guru- Sishya Parampara has passed down this tradition to further generations. In the early years, music was considered sacred and divine, which made many Gurus to teach this form of art of Hindustani music to only sensible and deserving students. The responsibility and role of being a student and a disciple was understood by many musicians who studied under a Guru through this traditional system [1].

Influence of western music on Indian music With the bands like Beatles or popular pop stars like Michael Jackson whose fame had no boundaries, influences of western music on Indian music ran fast and on large scale. Classical musician bears a challenge and responsibility of making classical music not being influenced by such music invasions. Indian musician needs to make the classical music equally popular and acceptable by audience so that western music does not endanger it. Influence of western music could be seen presently, since concert halls and large outdoor spaces have replaced small chambers. It signifies the changing, rapidly developing, acquisitive and money-oriented profession of making money [2].

Indian Vs western music There exist huge difference in Hindustani and western music, Hindustani music being linear or simple in motion always have monophonic melody while Western classical music, put large importance on harmony, chord progression and modulations [3]. Hindustani music consists of basic twelve tones of the scale with an extra ten Shrutis (microtones) which are not found in the harmonies and chord progressions of the Western classical musical system. The ten extra shrutis of Hindustani music are the unique features of many Raags. Some of the Raags are predicted through the careful use of Shrutis during the performance. The characteristic of twenty-two Shrutis of Hindustani scale presents impossible challenge for them to become compatible with twelve semitones of the Western musical chord system. If paired against microtonal variations, these chords may not sound very pleasing, since harmony generally sounds best when there is a natural harmonic relationship between notes and Western equal temperament tuning system. The fusion composition Life Breath is an example of the changes in the characteristics of the Raag [4]. This fusion composition contains three different Raags, namely, Bhairavi, Malkauns and Nandkauns. Each Raag has characteristic different feature which can be highlighted only by performing the notes of the Raags on the set rules and techniques. Life Breath in Western Classical scale was set in the key of G Minor. An analysis of this piece of music revealed no strict adherence of melody line to any one particular Raag. In order to form a melody line of Life Breath, scales of these three Raags were used interchangeably to which was governed by the rules of harmony.

Vol.1, No.1 April 2018-JK Music Initiative

Fusion of Indian and western music It has become hard and almost impracticable for classical musicians to practice and make only classical Hindustani music because of the emergence of industrialisation and mainstream popular styles of music. Classical Hindustani music is no longer the ideal or preferred choice among youths since this place has been taken over by pop music, hip hop and rap. The catchy and memorable rhythms and lyrics of mainstream popular music have created a competitive challenge against the classical musicians. Classical Hindustani music has complexity and it expects deep understanding of the Raag and Taal which make it less appealing to the younger generation. Consequently, a gap is generated between the older people who love classical music and the younger generation. To overcome this problem and restore and sustain this musical heritage, classical musicians in this country are now opting to mix different elements and instruments of classical Hindustani form with elements and forms of western or other musical systems [5]. There are protesters of fusion music who argue that there is a loss of traditions and authenticity of the classical music when it is fused with others forms. Many purists have rejected the idea of fusion by claiming that original characteristics of the music are lost and this fusion turns the genre of music to impure. Wade [6] suggested that there is always a fear among purists of the ‗Raags being losing their original characteristics when they are used for fusing two different forms of music. Nevertheless, supporter of fusion music says that ‗evolution in music is not necessarily a bad thing. However, respect and knowledge of traditional styles and forms must be kept (adhered to), because one cannot progress without a history‘ (New Straits Times 16 October 2005). Dass [7] in his study emphasized that ‗the aim of fusion is to attract the listener with beautiful melodic lines and not to follow the rules of a classical performance which may bore audiences who have come to enjoy a fusion performance and not a classical Sitar performance‘. According to him, in almost all compositions, the Raag is utilized as an outline of the composition subsequently there are limited options for the artist to explore all the different Swara combinations of the Raag. The Beatles have experimented with various sound and instruments which generated the concept of fusion music in India constituted of pop music and Indian classical music. Under the influence of Indian music composer Shankar‘s music many Jazz musicians among them Miles

Davis and John Coltrane initiated sharp changes in their style. Jazz guitarist John McLaughlin and Jerry Garcia of the Grateful Dead were pull towards to the sound of Indian sitar. Indian music has always left persistent and longstanding influence on jazz. Indian music has unique melody owing to its beautiful and graceful features which has inspired musicians from decades. It has exhilarating rhythmic language which gives new resources and opportunities to percussionists, instrumentalists, and vocalists upon which they can work. The influence of Indian music which is so strong could be seen immediately apparently in every level of music of many jazz musicians [8]. South Indian musicians have played a big role in creating a connection between jazz improvisation and India‘s classical music traditions. The new genre known as ―fusion‖ was born from the awareness which intern started an edge between Eastern and Western regions of world which continuously generated excitement in a younger generation of music listeners. Many singers, composers, jazz pianist have tried their hands in fusing western and Indian music. An Australian singer Susheela Raman attempted to fuse carnatic kritis of Indian music with an electric, hard driving Chicago blues style (As in her album Salt Rain). An American jazz pianist Vijay Iyer, born in South India has worked to integrate jazz and Carnatic music rhythm in collaboration with saxophonist Rudresh Mahanthappa with the aim of creating a unique style that can challenge the definition. Similarly Agam is a Bangalore-based Band contemporary Carnatic progressive rock band which is combining Carnatic music and Rock music. Ustad Rashid Khan and Pandit Ajay Pohankar are experimenting with Hindustani Khayal Genre and producing various fusions like Payliya Jhankar in Puriya Dhanashree by Pandit Ajay Pohankar and Chhene Re More Chain by Ustad Rashid Khan. Leading percussionist Fazal Qureshi feels fusion is much misunderstood in India as people think that just mixing western music with Indian classical music is fusion. Talking about the new found craze for fusion music, Qureshi says, "Understanding music is fundamental while one talks of making fusion music. When I first started performing with the Swedish band Mynta, for a long time we just tried understanding each other's music. It's like building a relationship from the beginning. One needs to have patience while making music," he says [9]. Yet on examining the fusions closely one can notice the identical nature of these in regard to human expression, paths for spiritual advancement, and in the realm of pure music itself. It can be estimated from this situation that up to what extent Indian music has influenced jazz, and will

Vol.1, No.1 April 2018-JK Music Initiative

24 continue to do so further in future [10]. Satik Veena player Salil Bhatt hogged limelight when he created music with Canadian Blues legend Doug Cox and Cassius Khan, the dynamic Tabla maestro. This music created sensation because it included genres of music such as Indian classical, Indian folk, Blues Funk, Jazz, Reggae, Roots, American Country folk, contemporary world music and neo classical Indian music with vocals. An artist should not be orthodox and he should be open to embrace new genres of music," says Salil. [11]

Conclusion Presently, Hindustani classical music is experimenting with many different musical ideas to create blend of music popularly known as fusions, although it still remains the forte of many classically trained musicians. New trend of fusion music has proved more acceptable and liked by younger generation due to its lively and catchy rhythms.

REFERENCES 1. Mukherjee, M. (2012). The Architecture of Songs and Music: Soundmarks of Bollywood, a Popular Form and its Emergent Texts. Screen Sound Journal, 3, 9-34. 2. Farrell, G. (1988). Reflecting surfaces: the use of elements from Indian music in popular music and jazz. Popular music, 7(02), 189-205. 3. Manoharan, P. (2008). Towards Fusion: New Trends in Hindustani Sitar Music in Malaysia. Wacana Seni (Journal of Arts Discourse), 7, 23-44. 4. Danielou, A. 1968. The Raga’s of Northern Indian Music. London: Barrie Rockliff, The Cresset Press. 5. Terada, Y. (2004). Fusion music in South India: Globalization and the predicament of classical music. Paper presented at the 9th Conference of the Asian Pacific Society for Ethnomusicology, Cambodia. 6. Wade, B.C. (1979). Music of India: The Classical Traditions. New Jersey: Prentice Hall. 7. Dass, S. J. (renowned classical and fusion sitarist). Brickfields, Kuala Lumpur, 12 December 2005, 26 October 2006 and 12 July 2006. 8. www.sessionville.com 9. https://timesofindia.indiatimes.com/entertainment/hindi/music/news/Very-few-in-India- understand-fusion-music-Salil-Bhatt/articleshow/18149215.cms 10. Vishwanath, R. (2015). Commercialization and Corporatization of Indian Classical Music. Sangeet Galaxy, 4, 3-12. 11. https://timesofindia.indiatimes.com/entertainment/hindi/music/news/Very-few-in-India- understand-fusion-music-Salil-Bhatt/articleshow/18149215.cms

Vol.1, No.1 April 2018-JK Music Initiative

State of Music Education in Kashmir and the Way forward

Shabir Ahmad Mir

Music Education in Kashmir: Present state and the Way Forward

Shabir Ahmad Mir Assistant Professor Music Govt. Degree College Sumbal

ABSTRACT It has been scientifically established that the students who are involved in the learning of music score considerably higher in mathematics, languages, and sciences than non-music students. It is on the basis of various benefits associated with the learning of music, that music forms an integral component of the curriculum in almost all the educational institutions of the world as well as India. However, in Kashmir music education is in crisis due to the absence of music subject in almost all the educational institutions of the region except a few government schools and colleges. In fact, music doesn‘t figure in the curriculum of Primary and secondary schools. Moreover, music education is mostly confined to women colleges and girls higher secondary schools, therefore, depriving the male students an access to music education. Although, the Department of Higher Education, Government of Jammu & Kashmir, has recently taken many initiatives, to promote and propagate music education of the State; however these initiatives are yet in the initial stage and will take some time for implementation. This paper evaluates and highlights the current state of music education in Kashmir and suggests research governed policy measures needed for the promotion and propagation of music education in the Kashmir.

Keywords: Music education, Music curriculum, Jammu & Kashmir colleges, JK Music Initiative, JK Higher Education.

Introduction Music is a universal human need; the impulse to create and enjoy it exists among [human beings] everywhere and has existed always (Shute, Frost & Laffey (1933). Various research studies have revealed that music profoundly affects our body and Psyche. According to Carolyn Phillips, the author of the ―Twelve Benefits of Music Education‖, “the early exposure to early music education helps in the development of the areas of the brain involved in language and

Vol.1, No.1 April 2018-JK Music Initiative

28 reasoning”. Philips further says that Music education enhances teamwork skills and discipline and provides children with a means of self-expression. ―Research undertaken by a team of researchers in the 1990s showed that the exposure to music from early childhood onwards helps children to speak more clearly, develop a larger vocabulary, and strengthen social and emotional skills (Steinhoff: 2016)‖. Various research studies have revealed strong correlations between music and academic achievement. ―Regardless of socioeconomic background, according to a 10- year study that tracked more than 25,000 middle and high school students, music-making students get higher marks on standardized tests than those who have little or no music involvement (Judson)‖. It is evident from different research studies that music education is beneficial for the development of mathematical, reasoning and Language skills of the children. As noted by Grace (2012), ―music strongly impacts children's brain development, cognitive development, and self-esteem in early childhood. It is again stated by (Hodges & O'Connell, 2018) that, ―Students who participate in music education frequently do better than their peers on many measures of academic achievement such as grade-point averages and standardized tests like the SAT or ACT‖. Oladipo (2014) notes, "Music education is a vital aspect of education, which develops the personality, creates a sense of belonging, promotes unity among children, and enables them to achieve a set goal". Besides academic benefits, music education helps the children in certain other ways. For instance, ―many studies have found that involvement in music leads to positive personal, social and motivational effects (Hodges & O‘Connell, 2018). I have personally observed in the classroom that music students are more disciplined, cooperative and self-confident than the non-music students. Because of the various benefits associated with music; many nations including India offer music as a compulsory subject in the educational institutions right from the Primary to the University Level. However in Kashmir, which has a rich musical tradition with diverse genres ranging from classical, folk and modern light music; music doesn't from the part of the curriculum in the educational institutions except for a few government colleges and a couple of private schools. Music as a subject is not taught at the primary as well as the secondary level at all. In fact, music holds the lowest position among all the conventional subjects. Thus it can be concluded that music is the most marginalized subject in the educational institutions of Kashmir; in other words, music education is in crisis. Notwithstanding the fact that the Kashmiris are

music and culture loving people; there is a total lack of awareness about music and its various educational benefits among the masses. One of the negative impacts of the absence of music education in the educational institutions is that people are unable to appreciate their own regional classical music tradition, Sufiana Mausiqi, which is currently facing the threat of extinction due to lack of music knowing audience. Against this backdrop, I undertook this study to evaluate the current state of Music education in educational institutions of Kashmir focussing on colleges and to find a possible way forward to enrich and revitalize the music education system of the region

Methodology The research is essentially the outcome my personal experiences and observations as a student and teacher of music at Delhi, Punjab and Kashmir. Being myself a student, teacher, and scholar of music, I was able to observe and understand the music education system of the country closely. To examine the present state of music education in Kashmir and to find possible solutions, ethnography, a qualitative research methodology was employed and data was collected through personal experiences and observations (participant observation), informal interviewing and secondary data analysis. ―The term participant-observation is an amalgamation of participation and observation. During participation, the researcher is present in and interacts with the people when an activity or event is occurring. Observation refers to what is noted through the eyes of the ethnographer (Kruger: 2008). In order to gain a deeper understanding of the issue, I had an informal conservation with music legend, Pandit Bhajan Sopori at his residence at Delhi. The conversation yielded a lot of information about the current scenario of music education in Kashmir and the way forward. The legendary musician suggested some important remedial measures for the promotion and propagation of music education in Kashmir. Moreover an interview with Santoor maestro & music composer, Abhay Rustum Sopori provided a wealth of information about the study. Further, the regular Interaction with some college and school teachers as well as students and scholars of music provided crucial inputs and insights about the music education system of Kashmir.

Vol.1, No.1 April 2018-JK Music Initiative

Research Findings Non-Availability of Music Subject in the Educational Institutions. There are a total of 11766 government schools in Kashmir division as per the data available on the website of the

Directorate of School education Kashmir. Among these schools, there are 6104 Primary schools,

4313 middle schools, 897 High Schools and 315 higher secondary schools. Apart from govt. schools there are also 2610 Private schools. Thus the total number of schools is 14376. Among these schools, music subject is taught only in four girls' higher secondary schools such as Govt.

Girls Higher Secondary School Amira Kadal, Govt. Girls Higher Secondary School Kothibagh,

Govt. girls Higher Secondary School Nawakadal and Govt. Girls Higher Secondary School

Baramulla. Among Private schools, music is a part of the curriculum in Doon International

School Srinagar, Delhi Public School Srinagar, Tyndale Biscoe School Srinagar, GD Goenka

School Srinagar, Presentation Convent School Srinagar, St. Joseph School Baramulla and Police

Public School Srinagar.

Among the total number of 46 govt. colleges operating in Kashmir Division, music is offered presently in five colleges only. Among these colleges, four colleges (GWC MA Road

Srinagar, GWC Nawakadal, GWC Anantnag, and GWC Baramulla) are women colleges and

GDC Sumbal, which is the only co-educational college where music subject is taught. So far as the Universities are concerned, music is only offered in the University of Kashmir at the graduate level.

The Negative Attitude towards Music. Being a Muslim dominated region, there is a general as well as religious prejudice towards all the creative arts including music in Kashmir. As a result, the parents are reluctant to allow their children learn music. The attitude of teachers teaching conventional subjects towards music is also discouraging. They are not ready to accept the fact

that music has any value in the education; rather music according to them is just entertainment and worthless. The main reason for this bias is the lack of awareness about the subject. Since in

Kashmir, music is looked down, thus generally those students who don't get admission in conventional subjects like science, arts, and commerce are forced to choose music as a subject.

Only a few students in each college choose music by choice. The students‘ lack of interest in the subject is due to the absence of music subject in the primary and secondary education, and also due to lack of exposure to music in early age. The students opting music by force and with no foundation in the subject find it tough to understand and grasp the subject. Gradually many students lack interest in the subject and once they lose interest, the competent teacher gets frustrated in trying to motivate the students. It important to mention that, in the colleges, the students are admitted in the music course, without any audition or assessment test. This leads to the entry of some thick-headed students into the classroom and ultimately these students become a burden on the teacher as well as bright students.

Music only offered as an optional subject. The research reveals that in the colleges, music is not taught as a core subject but as an optional subject with BA program. Not a single college offers professional degree such as BMUS or BA Honors in music. Moreover, there is no masters program available in the subject in any of the colleges or Universities of the Valley. Among

Universities, Kashmir University is the only University that offers music as a professional subject at Undergraduate level. Otherwise, there is no music stream in any of the colleges or

Universities of the Valley. Moreover, there is no PG program available for the students in any college or University of the region.

No Backing. It was observed that music is regarded as a minor subject and an occasional activity in the schools and colleges and there is no backing or encouragement from the Principals to

Vol.1, No.1 April 2018-JK Music Initiative

32 elevate the status of music and treat it at par with the other subjects like science, commerce, and arts. In colleges, Music teachers are just expected to train the students for cultural activities.

Whenever there is any cultural or any other program in the colleges, the teachers are asked in advance to keep the students ready for presenting an item in the said program.

Inadequate Availability of Competent Teachers. There are two classes of teachers presently working in the colleges; Professional teachers who have done professional music degrees like

BMUS, or BA (Hons.) Music from professional institutes like Faculty of Music and Fine Arts,

University of Delhi, Institute of Music and Fine Arts, University of Kashmir, Institute of Music and Fine Arts, University of Jammu, Faculty of Music and Fine Arts, BHU etc. and Non- professional music teachers who have done general BA degree with Music as optional subject from different colleges of Jammu & Kashmir and then completed their masters and research degrees from some outside state universities.

A teacher of music must have sound Practical knowledge as well as a deep understanding of the theoretical aspects of the subject. The way music teachers handle the subject goes a long way to determine students‘ interest in the subject (Olatunji: 1990). Most of the Non-professional music teachers from colleges are not competent enough in the teaching of Music.

The number of music teaching posts sanctioned in each college is not enough. For example in GDC Sumbal and GDC Anantnag, there is only one sanctioned music post in each college.

Besides, there are no separate posts for vocal and instrumental music in these colleges. There are also no sanctioned posts for music accompanists like tabla, Harmonium, etc. In most of the colleges, the teachers teach without Tabla accompaniment which is not good for the students.

Without Tabla, the students are not able to develop the sense of rhythm in their music. It is also pertinent to mention that the number of permanent faculty members in the colleges is very low.

For instance, there is only one permanent music teacher each in GDC Sumbal, GWC Baramulla, and GWC Nawakadal. In GWC Anantnag there is no permanent music teacher at all. The music departments heavily rely on contractual teachers which are appointed on yearly basis without any interview or assessment test. This practice of appointing contractual music teachers on mere past experience, paves the way for the entry of bungling and incompetent teachers into the music departments.

Lack of Technology and Infrastructure. This study reveals that there is lack of technology- based music education in the schools and colleges of Kashmir. There are no audio-visual libraries, listening rooms, music studios and smart classrooms in the colleges which offer music.

These technological resources are crucial for enhancing the quality of music programs.

Moreover, due to lack of sufficient funds, the college teachers are not able to buy quality musical instruments. Some schools colleges even don‘t have sufficient space available in the department for taking classes and keeping the musical instruments.

Music not accessible to Male Students. It is disheartening to state that the past education policymakers have erroneously introduced music only in women colleges and girls higher secondary schools, therefore depriving the prospective male students of learning music. It is very recently in the year 2014 that music was introduced in one co-educational college, namely Govt.

Degree College Sumbal, Bandipora. The male students have shown an overwhelming response to this subject. It is pertinent to mention that 95 percent students opting music in GDC Sumbal are male.

Lack of Opportunities for Higher Studies. As mentioned earlier, music is only offered up to graduation and there are no masters or Ph.D. programs available in the subject in the colleges and Universities of Kashmir region. As a result, the students of Kashmir region are deprived

Vol.1, No.1 April 2018-JK Music Initiative

34 higher studies in music. Despite interest and capability most of the students are forced to give up music after graduation. Several constraints stop them to move outside the Valley to pursue higher education in the subject.

Lack of Job Opportunities. Due to the nonexistence of music stream in the colleges, and also due to the fact, that many few students opt music out of choice, the colleges are not able to produce accomplished musicians and employable music graduates.

Initiatives Taken by the Department of Higher Education

Department of Higher Education is tirelessly working for the promotion of learning in the state of Jammu and Kashmir. Under the dynamic leadership of current Principal Secretary, Dr. Asgar Hassan Samoon (IAS), the department has recently taken many new initiatives which include the establishment two cluster universities, creation of 17 new colleges, establishment of first architecture school in the State, IIT and IIMC in Jammu, J&K Institute of Mathematical Sciences (JKIMS), publication of research journals in varied subjects, and promotion of languages. Moreover, the department has recently introduced many new courses and streams in the colleges. The department is constantly striving for creating new avenues for the benefit of students and society at large. Apart from the conventional subjects, the department is also keen to promote the education of music and performing arts in the colleges. To promote music education, the department has recently started music initiative, a music revival and promotion process in the state. The first step in this direction was to create twenty- five music Assistant professor Posts. In addition to this, the department created history in July 2017 when music was introduced in thirty-five more colleges making the number of colleges offering music to forty-four. The Higher Education department conducted a meeting of all the permanent music faculty members of the State on 27th February at Civil Secretariat Jammu where it was decided to publish a quarterly Peer-Reviewed Research Journal in Music by the name ―JK Music Initiative‖, to promote music research in the colleges and Universities of the State. This is again a revolutionary step, a first of its kind taken in Jammu and Kashmir.

To modernize the music education system in the State, the department has also decided to establish music studios in colleges of the State. Besides this, the department is keen to promote the folk music of the state along with classical music.

Some Recommendations Keeping in the view of the present miserable situation of music education in Kashmir, it is obligatory and mandatory to give more importance to this subject and make it more professional and in tune with the modern requirements. In this connection, there is a dire need to take few urgent initiatives to widen the dimension of this subject and introduce it in more colleges and offer it as a core subject instead of an additional subject. Following research governed recommendations, if implemented in Toto, will ensure the revitalization and dissemination of music education in Kashmir. Introduction of Music in Schools & Colleges. Music should be made an integral component of all the Govt. Primary schools of the Kashmir region. Moreover it should be introduced as one of the subject at high school and higher secondary school level.The Department of Higher Education has already authorized the Principals of thirty-five colleges to start music in their respective colleges but till date not a single college has introduced music subject. Despite the direction from Higher Education Department, the principals are averse to introduce the subject due to reasons best known to them. It is suggested that formal sanction orders for the introduction of music should be issued and the Principals be directed to introduce the subject immediately without any further delay.

Introduction of Music as a Core Subject. As earlier said, at present no integrated or masters program is available for the students in Kashmir as a result of which the students are deprived of quality music education. Despite interest and talent, most of the students are forced to give up music after graduation. Several constraints stop them to move outside the Valley to pursue higher education in the subject. The first and foremost responsibility of the Department of Higher Education should be to introduce music as a core subject in maximum colleges. This could be done by introducing BA Honors music and Integrated PG music programs in at least five to six colleges.

Vol.1, No.1 April 2018-JK Music Initiative

Establishment of Faculty of Music. To facilitate music graduates to pursue quality higher studies in music, it is necessary that faculty of Music, on the pattern of Faculty of Music, Delhi University, be established in the Cluster University Srinagar and Central University of Kashmir. These faculties of music should offer music at PG level and also offer research degree programs such as integrated M.Phil-Ph.D. The introduction of music at PG level and PhD level will highly benefit those students who can't afford to travel to distant places outside the state due to financial constraints and other reasons.

Increase in the number of Sanctioned posts. The number of sanctioned posts should be increased in the all the colleges. There should be at least two vocal, one sitar and one Tabla accompanist post in those colleges where music is taught as an optional subject. In the colleges where BA Honors or PG program would be introduced, the number of Vocal, Sitar, Tabla, and Harmonium accompanist posts should be three, two, two, and one respectively.

The next step would be to offer music as Five years integrated graduate/Postgraduate course in the colleges as well as Universities of the State. The aim of introducing music as a five-year integrated course is to provide a professional degree in music to the students at both undergraduate and master's level. The introduction of music at PG level will highly benefit those students who can't afford to travel to distant places outside the state due to financial constraints and other reasons.

Promotion of Sufiana Mausiqi. Sufiana Mausiqi, the classical ensemble music of Kashmir is currently facing the threat of extinction due to various socio-economic and political factors. There are a very few competent practitioners left and they are struggling to pass on the tradition to future generations (Shabir: 2016). It is therefore vital to promote this dying art form before it is too late.To promote Sufiana Mausiqi, the department of Higher Education as well as the Universities should introduce Sufiana Mausiqi as a compulsory paper with BA Honors Program as well as PG music program. To teach the subject, Sufiana musicians should be engaged as guest faculty.

Establishment of a Music School. A professional school of music could be established at Srinagar on the pattern of School of Architecture. This school should have all the modern facilities like Music Studio, Listening Room, Auditorium, Museum, Audio-video library, Research library and hostel for the students and teachers. In this school, professional music education should be provided and a limited number of students should be admitted after a rigorous assessment test. Apart from Indian classical vocal and instrumental music, there should be some other job oriented courses like, sound recording and reproduction, musical instrument making, event management and music composition and direction. One year diploma courses in harmonium, Tabla, Sarangi, Santoor, Rabab, Saaz-e-Kashmir, Sufiana Sehtar, Keyboard, Guitar and drums, could also be offered.

Conclusion This exploratory study reveals that the music education system of Kashmir region in presently in crisis due to lack of music subject in almost all the schools, colleges and Universities except a few Government colleges and a couple of Higher secondary schools. The study also indicates that currently music is only offered as an optional subject in the five colleges of Kashmir region and is yet to be introduced as a core subject in the colleges. The study further points out that, music subject is least popular in the colleges due to the negative attitude of some Principals, and teachers (teaching conventional subjects). There is no professional music course available in any of the colleges or Universities. There are various reasons for the marginalization of music education in Kashmir which includes the lack of awareness about music among the masses, religious bias towards music and musicians, lack of funds, inadequate availability of competent music teachers, lack of Job opportunities etc. The study suggests that, to reap the various benefits associated with music learning, music should be made an integral part of the curriculum right from the primary level to the University Level. Besides professional programs such as BA (Honors) Music, PG integrated Music, PG Music and integrated MPHIL-PhD Music should in introduced in the colleges and Universities of Kashmir. The recent initiatives initiated by the Department of Higher Education such as introduction of music in 35 new colleges, establishment of music studios in the colleges, publication of a Music Research Journal, creation of twenty-five posts of Assistant Professors, should be implemented in toto.

Vol.1, No.1 April 2018-JK Music Initiative

REFERENCES Grace, Qi. "The Significance of Music in Early Childhood Education." Educating Young Children. Accessed April 04, 2018. http://hdl.handle.net/10072/51141. Hodges, Donald & S. O'Connell, Debra. The Impact of Music Education on Academic Achievement. 2018. Carolyn, Philips. "Twelve Benefits of Music Education." Children's Music Workshop. Accessed April 21, 2018. http://www.childrensmusicworkshop.com/twelve- benefits-of-music-education/ Mir, S.A. Mystical music: Safeguarding Sufiana Mausiqi - A vanishing art form of Kashmir. no. 11 (2016) : 92-101. Oladipo, O.T. Problems militating against the teaching of music in Nigerian secondary schools: way forward, Journal of Teaching and Education (2014): 75-80. Carolyn, Philips. "Twelve Benefits of Music Education." Children's Music Workshop. Accessed April 21, 2018. http://www.childrensmusicworkshop.com/twelve-benefits-of-music- education/. Olatunji, A. F. The Teaching of Music and Singing in Schools. Lagos: Murtab Enterprises, 1990. Shute, Florence L., Wallace Frost, and Mollie E. Laffey. "Aims and Objectives of Music Education." Music Supervisors' Journal 20, no. 2 (1933): 16-24. http://www.jstor.org/stable/3384500. Steinhoff, Annie. "The Importance of Music in Early Childhood Development." Novak Djokovic Foundation. May 08, 2016. Accessed April 21, 2018. https://novakdjokovicfoundation.org/importance-music-early-childhood-development/.

Santoor: origin, evolution & development

Abhay Rustum Sopori

Vol.1, No.1 April 2018-JK Music Initiative

Santoor – origin, evolution & development

Abhay Rustum Sopori Santoor Maestro & Music Composer

ABSTRACT Santoor belongs to the family of earliest stringed instruments of India called Veena. As is generally believed, that one of the three forms of the Veena was either plucked or struck, with a short wooden striker called Kasht, which was in vogue during the Vedic periods, popularly known as Vaana. It can be conjectured that in its early stage the Indian Shatatantri Veena and Katyayani Veena travelled westwards and became Psanteer in Persia and Psaltray in Babylon. This instrument was also used in every Vedic ritual. In some of the Vedas and Samhitas, Shatatantri is also called Vaana. This article explores the origin, evolution and development of Santoor.

Keywords Santoor, Shatatantri Veena, Plucked Instruments, Vaana, Kasht.

In the history of world music we find musical concept, terms and instruments of one country being adopted by another. In the Vedic literature, we find a similar reference to Tantri. The Tantri, which had 100 strings, was called Shatatantri, which implies that these were the creation of Indian thought and culture and the instrument changed its dimensions from time to time. The Shatatantri Veena survived in Kashmir and was used at every Vedic ritual. It remained associated with the temple music from the earlier times till date. As it was already associated with the Shaivites, it was naturally adopted in the Sufi music of Kashmir. Simultaneously all the Veenas including the Santoor (Shatatantri) were associated with temple music and did not become a part of the folk music. It retained its status and dignity in the musical culture that was termed as classical music, including the music of Sufi’s, known as Sufiana Qulam in Kashmir. However, it is a fact that Santoor resembling instruments, with different names are popular in folk music in Eastern Europe, Hungary, Poland, North Africa, Central Asia, Iran and china etc. Yet all these instruments resembling Santoor have a major difference in tone, playing techniques,

number of strings, designing of the instrument and shape and size of the strikers. The Indian Santoor though divided in three parts over the shaft like Santoori of Greece, Santoor of Iran, European Symbalam, Hammer- Dulcimer of America, etc. is still completely different in the tone, structure, design of strikers, number of strings, designing of bridge, playing posture and technique. In this instrument (Kashmiri Santoor) only the middle portion is used for playing purpose. It is tuned as per the requirement of ragas in Hindustani classical music or Muqam in Sufiana music. A key tuner, called a hammer (Dokur in Kashmir), made of iron is used to tune the keys, which are also made of the same material. The Santoor is played in a sitting posture (Asana) like all the other Indian classical instruments. The traditional Sufiana Santoor in India is a trapezium shaped box particularly made of seasoned mulberry wood with an acute angle of 75 degrees each from the left and the right. In this Santoor the parallel sides facing the performer are 20-21 inches long, approximately in the ratio of 1:2 (the ratio 1:2 has also a traditional and historic background which is also associated with the Shaivite thought) where as the other 2 sides are again 20-21 inches. The thickness of the box is round about 4 to 4 1 /2 inches. The inside, which is hollow, serves as a resonator. Initially the strings would have been made of flax and gut and at present Steel and Brass / Copper is used. These strings are laid over the shaft passing from left to right controlled by the keys on the right side of the instrument. Under a group of four strings one small bridge (Gota in Kashmiri Language) is inserted. The height of the bridge is kept slightly more than the height of the side planks placed on the shaft that is usually 1 inch approximately. In this process, hundred strings are laid over 25 bridges and each group of four strings are tuned to one note and the instrument is tuned accordingly. The sound of the note is produced with the striker called Kalam (Kasht as referred to in Sanskrit), which is 6 inches long. The bridges are placed 13 from one side 12 from the other side dividing 100 strings to a group of 4 strings to each bridge. In the Sufiana system the traditional Santoor has one and a half octaves. Indian Santoor can mostly be heard in the classical concerts or Sufi mehfils (gatherings / baithaks). It is also being used in film music and other classical categories. However, it may be categorically mentioned that Santoor is not a folk instrument and it has never been used in any folk style either in past or at present. The Santoor has been in the Sopori family for over 10 generations spanning around 300 years and has been innovated from time to time by the master players of this Gharana. Pandit

Vol.1, No.1 April 2018-JK Music Initiative

Shankar Pandit, the Great Sufi Saint musician, (great grandfather of Pandit Bhajan Sopori) introduced Indian classical music technicalities in his Sufiana presentation and by giving it a new dimension he set a new style of presentation called the Sufi Baaj. This is where the Hindustani Classical music stepped into the Sufiana Gharana and Sopori family. This style was inherited by his son Pandit Samsar Chand Sopori, who being a Wasul exponent too, further enriched this style with his innovations and introduction of technicalities like Laykari, etc. in his recitals. Following the footsteps of his predecessors, Pandit Shamboo Nath Sopori, the veteran musician and musicologist hailed as the ‗Father of Music‘ in the State of Jammu and Kashmir, while teaching Santoor to his disciples, in the early 1940‘s, added a couple of bridges creating the Mandra Saptak (lower octave) in the Santoor and set the base for the systematic presentation of a raga. This legacy of Santoor and improvisations was carried forward by his youngest son Pandit Bhajan Sopori, the legendary Santoor maestro and music composer, who expanded the scope of Santoor as a complete solo Hindustani classical instrument and also innovated the Sufi Baaj establishing a new style of playing the classical Santoor in the realm of Indian Classical Music called the Sopori Baaj. The Santoor of Sopori Baaj has three sides of 25 inches and the neck side is in the ratio of 1:2 i.e. 12 ½ inches (the opposite side facing the performer). The 100 strings are divided and laid over 43 bridges giving the instrument a dimension of more than 5 ½ octaves. It also has the Tarab (sympathetic or resonance strings) like Sitar or Sarod to help achieve tonal accuracy in resonance. The Sopori Baaj combines both the Gayaki (vocal) and the Tantrakari (instrumental) Ang (style) presenting the raga on Santoor in its authentic and traditional system in accordance with the raga –shastra (grammar). Pandit Bhajan Sopori replaced the Sehpai (small stand for the traditional Santoor) and added a Tumba (Gaud) underneath the Santoor in early 1960‘s for the clarity of the higher and the lower octaves. The Tumba is placed on the left foot and the rest of the body of the instrument lies in the lap of the performer. This asana (posture) is called the Ardhaspandan Asana. He also introduced various techniques on the Santoor to extend the scope of the instrument as per the requirement and essential elements of the Hindustani Classical Music. His introduction and invention of various techniques like Meend and Gamak (pressure techniques), Glides and Cross Glides, Krintan, continuation of note, etc. were a major break- through in the history of Santoor. These essential elements of the Indian classical style together with other techniques like balancing the Kalam for enhanced Bol (playing strokes) variations,

with different pressure movements involving the fingers, wrist, arm and shoulder, made the Kashmiri Santoor a full fledged Hindustani classical instrument on which all the intricacies of Raga system could be displayed maintaining the purity of the raga. With the help of Meend, he added another 2 ½ octave range in his instrument finally giving Santoor a dimension of more than 5 ½ octaves. This was followed by adding the Tarab (sympathetic strings) to give tonal accuracy in resonance. He also added Chickari in the Santoor. The musical tradition of the Sopori family has been multidimensional. The family members adopted music both as a profession and means of worship and specialized in both the instrumental and vocal styles. The Santoor, Wasul (traditional Kashmiri rhythmic instrument) and Kashmiri Sitar being their legacy, was played by them presenting the Sufiana Muqam Gayaki and later Raga Sangeet. Sufiana Gharana is a unique musical heritage of both Hindustani classical and Sufiana music centered in Kashmir (J&K), which owes its roots to the Shave Gayan and later Sufiana Musique. It gets its name from Sufi parampara of Kashmir and is the only musical Gharana from the Jammu and Kashmir region, which has established classical Santoor in the world of music at the national and international level. A Living Legend and a Musical Genius Pandit Bhajan Sopori is more than an individual. He is a performer and composer par excellence, musicologist, teacher, writer, poet, and an extraordinary human being – he is a complete institution in himself. Regarded as the cultural bridge of the State of Jammu & Kashmir and the rest of the country, Pandit Bhajan Sopori is hailed as the ―Saint of the Santoor‖ and the ―King of Strings‖. Having establishing the Santoor at global platforms as a complete solo instrument, Pt. Bhajan Sopori, the quiet and unassuming maestro and composer of more than 5000 songs, has come a long way since he created history in the year 1953 when the first ever broadcast of Classical Santoor from All India Radio becoming the first person to play Indian Classical music on the Santoor in concerts. In his six decades of dedicated work he has explored various dimensions of the Santoor, carrying out many path- breaking innovations. The mystic master has used his Santoor and his compositions to highlight the concept of oneness and foster unity enshrining the idea of national integration, humanism and peace amongst the common man and the youth in particular. Pandit Bhajan Sopori‘s constant experimentation resulted in the further extension of the bridges, developing the Mandra and Tar Saptak as full octaves. He had seen his grandfather singing and playing the Tilana ‗Na Dir Dim De Re Na’ and as such had sufficient reasons to

Vol.1, No.1 April 2018-JK Music Initiative

44 believe that the Bols (playing strokes) like ‗Da Ra Dir’ could be introduced systematically in the instrument and all the complicated Bols could also be played with the technical perfection. Pandit Bhajan Sopori introduced the Dhrupad Ang on the Santoor to the accompaniment of the Pakhawaj, which is another unique element of the Sopori Baaj. It combines both the Gayaki (vocal) and the Tantrakari (instrumental) Ang (style) presenting the raga on Santoor in its authentic and traditional system in accordance with the raga –shastra (grammar). In this Baaj stress is laid on the Alaap, Jod-Alaap and variety of taan patterns, exclusive Gat patterns (instrumental compositions) and Bandishes (vocal compositions) in various Taals (rhythmic structures). Highly intricate and varied rhythmic pattern of Layakari and Chandhkari (complex rhythmic patterns) is another remarkable feature of the Sopori Baaj. Some other renderings apart from Dhrupad and Khayal Ang played on Santoor, for which this style is famous, include Tarana, Tappa, Tap-Khayal, Thumri, etc. The Santoor is always played from the left side for the Shudh Thath (Major Scale) and from the right side for the Komal Swaras (Minor Notes). In Sufiana Gharana and Sopori Baaj Santoor is essentially played on the left side and additional notes whenever required are added from the right side. However, as it is interpreted that the heart happens to be on the left side, the emphasis has to be on the left side. But the subtle truth is much more. The writer has added a new dimension to the instrument with innovations like Open String Concept, Enhanced Sustain Technique, etc. further developing the Been Ang with predominance of the Gayaki Ang riving the traditional family style of playing Santoor, which is singing the composition along with its instrumental rendering.

Pandit Bhajan Sopori says, ―The raga should aesthetically justify its texture as per the shastras (grammar) of the Indian classical system. The Taal patterns are not merely taken as a source of counting but to be co-relating to the effect generated by a Gat or composition. In this style, Raga is a source of meditation, the Taals co-relate to the counting of mantra and the laykari and the chandkari is the stage of ecstasy or zikhar in Sufi terminology. The two Kalams are to be properly balanced to generate the required depth of the notes. The pair of Kalam is like the two wings of the bird which once stretched out equally enables the bird to soar high in the sky‖.

Figure 1 Santoor of Sopori Baaj, Source: Author

Vol.1, No.1 April 2018-JK Music Initiative

Diversity in the Music of Jammu and Kashmir

Kuldeep Raina

Diversity in the Music of Jammu & Kashmir

Kuldeep Raina Assistant Professor Music Govt. MAM College, Jammu

ABSTRACT This study highlights the three areas of Jammu, Kashmir & Ladakh having rich social legacy and music which delineate their authentic foundation, society stories, traditions, the life and condition of this locale, yet the uniqueness of the music in Jammu; Kashmir & Ladakh are its decent variety, which is very surprising as far as dialect and style. Regardless of whether the Jammu, Ladakh and Kashmir are a piece of a same express, the melodies of all these three regions are different, not interchangeable. The primary reason of this is the mind boggling nature of traditions and dialect because of land and social assorted variety which is unpredictable in nature however adds to its magnificence Keywords

Jammu, Kashmir, Ladakh, Music, Diversity in Music.

Introduction

India is a vast nation spread from Jammu and Kashmir to Kerala (north to south) and Gujarat to Assam (west to east). Indian union is secular democracy comprising of almost all the religions of the world such as Christianity, Hinduism, Islam, Sikhism ,Jainism, Buddhists, Jews etc., which practice their own faith and follow their own traditions accordingly. India‘s unique identity is diversity in its geography, language, topography and culture. There are hundreds of languages spoken but only 22 languages have an official recognition in the constitution. i.e., Assamese, Bengali, Bodo, Dogri, Gujarati, Hindi, Kashmiri, Kannada, Konkani, Maithili, Malayalam, Manipuri, Marathi, Nepali, Oriya, Punjabi, Sanskrit, Santali, Sindhi, Tamil, Telugu, and Urdu, which are included in the Eighth Schedule. Among these two languages - Sanskrit and Tamil are considered as Classical languages. (Department of higher education ,ministry of

Vol.1, No.1 April 2018-JK Music Initiative

48 human resource and developments, 2018 ). India has diversity of traditions, customs, beliefs and in its geographical aspects also, It comprises of Snow covered mountains in the north, Desert in western area, rain forests in the east and coastal area in the southern part and rivers and mountains add to its beauty. All these different climates, faiths, languages, cultures, traditions add to its diversity and aesthetical value. Despite these diversities and difference in the languages and culture, India is united by the social values, communal harmony and patriotism. Indian union comprises of 29states and 7union territories and political boundaries of all these states are almost divided on the basis of language or culture.. The political boundaries of these states are mainly decided on the basis of common language, same geographical topography and culture of these states. Almost all these states have their different identity in forms of language and culture. Jammu and Kashmir is the only state in India whose political boundaries are not divided on the basis of common language, culture or customs. As the whole of India is unique in its diversities the state of Jammu and Kashmir can be considered as a small India which showcases the same type of diversity in case of geography, topography, religious beliefs and culture. Jammu & Kashmir state which is spread across 2, 22,236sq kilometres. Jammu Kashmir comprises of three regions, Jammu, Kashmir and Ladakh. (Dhar: 1977). All these three regions have all together different topography, language and culture which has no resemblance with each other.

Jammu Region: Jammu region is known as kandi(bushy) area with its boundaries touching Punjab, Himachal and Pakistan on the international border. The total population of Jammu region according to the census of 2011 is 53,50,811. The Jammu region is a Hindu majority region followed by Muslims and the main language of Jammu region is Dogri and the people of Jammu are mainly known as Duggars. Dogri language is influenced by Punjabi and Himachali language as is obvious as the boundaries are touching Punjab and Himachal Pradesh. Culture and Music of Jammu has also influence of these two regions. The folk songs and dances resemble with Himachali and Punjabi songs and dances with common wording and musical compositions. Like any other area of the country the folk songs of Jammu region are based on different festivals, different occasions like, birth, marriage, seasons, death and other religious and social festivals.As music has an important

place in hindu rites and rituals and there are sixteen rituals(sanskaars) in hindu philosophy and songs have very important role to play in all these sanskaars. Sixteen sanskaars are as follows:-  Garbhdaan( attaining the wealth of womb), 2.pumasvana (during pregnancy), 3.seemantyotaran (for safe delivary of the baby), 4.jaatkaram(rite of the new born infant), 5.naamkaran(naming the baby), 6.upnishkraman( first outing of the baby), 7.annprashan(when the baby is given solid food for the first time), 8.chudakaran(First haircut), 9.karnabhed(ear piercing), 10.upnayan(admission in the educational institution), 11.veedharambh(first religious education), 12.samavartan(end of formal education and bramhacharya), 13.vivah(marriage ritual), 14.vaanparasth( prepration for renunciation), 15.sanyas(after renunciation), 16. antyesthi(cremation ritual). ( Sharma,Ram lal., 1975). Songs related to almost all these rites are popular in the form of dogri janam(birth) sambandit geet known as badhavey or or badhaiyan,  Vivah(marriage) sambandit geet in the form of suhag and ghodiyan.  Mrityu(death) sambandit geet in the form of lohini, palla, kouttal songs,  Dharmik(religous) geet in the form of kaarkan, bisanpatey, battsadh, bhent, ainjly, gujri, aarti, jatra, musadey, keertan,(Smailpuri Tara., 1981 )  Hritu( Seasonal) songs in the form of Soha, Barsanti and Siyala,  Parva evam tyohar geet(festival songs) in the form of raadey, lohri and other songs. Apart from all these sanaskaar geet other folk songs which are prevalent in jammu region are folk songs of Jammu region are in dogri language and more common folk songs are as follows:-  Pranay geet(romantic songs/love songs) , shram geet (mainly harvesting songs) in the form of Sou, sohadi and hains, (Sharma,N.D,1982).  Baal Geet in the form of loori song, khel(playing) songs and other songs sung on different folk dances and folk theatre which include famous dance Kudd, Fummni, Harna, and other forms. Music is important part of these rituals in the form of songs related to these sanskaars as vedic chants/mantras or folk songs. The main musical instruments used in the folk songs of Jammu region are (tatt vadhya)king, saranga, (avnad vadhya) dhol, dholak, nagara, damama, tamak, dafaal, (ghan vadhya)jhanj, manjeera, ghanta,chimta, ghadiyal, thali, ghungroo, (sushir vadhya)bansuri, ranisingha, turi, kahal, shankh etc..

Vol.1, No.1 April 2018-JK Music Initiative

In all the folk music forms of Jammu region its main attraction is use of harmony which considered as a western concept of music but prevails in dogri folk songs in the baakh and karkan style of singing. The use of harmony is not seen in any folk musical forms of India accept dogri folk. Even if the harmony is a very complex art in music and needs very expertise, the folk singers of dogri baakh perform harmony with ease.

Kashmir region: Kashmir region is separated from Jammu region by Trikuta hills and its boundaries touching line of control with Pakistan occupied Kashmir (POK). Kashmiri language has an impact of Sanskrit and Persian language. The total population of Kashmir province according to the census of 2011 is 69.1lakhs and the main population of Kashmir region comprises of Hindus and Muslims, but Muslims are in majority, Muslim Culture and Music has clear impact of neighboring Pakistan and other Muslim nations and is influenced by Islamic and Sufi traditions and customs. The hindu population of Kashmir are mainly followers of shaivism and the impact of shaivism is visible in their culture and music. Like folk songs of any other region of india the folk songs of Kashmir region are related from birth of a child till his death, hence in every occasion folk song is directly related. In addition to this the folk songs of Kashmir are also related to other day today activities like, (1) songs of seasons,(2) songs of harvesting,(3) songs of labours,(4) songs of condolence(vaan),(5) songs of entertainment,(6) songs of plantation,(7) songs of festivals,(8) songs of marriages ,(9)songs of social gatherings and other merriments etc.(Census of India,2011). The different categories of Kashmiri folk songs are as follows:-

 Chhakir :-Chakri is the sun of all festive occasions. The poetry based on love, devotion, peace, romance etc. and apart from marriage ceremonies, Chakri is sung in many other occasions like local parties(Neyaz), celebration of the birthdays of Sufi saints, social gatherings, fairs and feasts. The musical instruments commonly used in chakri are Rabab, Sarangi, Hormonium, Neot and tumbaknari etc,. (Nighat,Mir Nousheen, 2010).

 Vanvun Vanvun only belongs to the women folk and Vanvun is a prayer in the form of folk music performed on marriages and festivals. Both hindus and muslims of Kashmir sing vanvun songs on marriages but the poetry of muslim vanvun songs comprise of

wording related to Islamic traditions and hindu vanvun songs comprise of vedic chants. (Dhar, Suneeta, 2003). No musical instrument is played in this form of singing.

 Naindai boath is a harvesting song sung at the time of farming. Its sung in group, jointly by men and women and no musical instrument is played in this form of singing.

 Laddishah is a satirical song, which reflects every aspect the society‘s condition, from. Its sung by a person named as ladishah and the musical instrument used is known as ―DEHRA‖. ( Aatash,G.Nabi,2014).

 Vaan is song sung on the occasion of death of any one to express grief.

 Neeri-baeth( PASTORAL SONG) songs sung by shepherds in green pastures while rearing the cattle, which reveal the expressional aspirations, emotions and beauties of pastures lawns beauties of nature youth of beautiful girls are called pastoral songs.

 Daastaan folk tales(story) in the form of a a song .

 Lalnavun is a lori sung to make a child sleep. Apart from all these folk forms of Kashmir there are songs sung on Rouf dance, Hafiz nagma, Bhand Pather etc.Most of the Kashmiri folk songs are sung in chorus, solo performances are rarely performed.

Ladakh region:

Ladakh region is separated from rest of the state by Zanskar and Karakoram ranges with its boundaries touching Tibet in east, china in the north east, Himachal in south and surrounded by Syamchang(Siachin) mountain range in the north.( Husnain,F.M.,1977). The culture and music of ladakh has a clear impact of Tibet and china. Even its language resembles with Tibet and China. Total population of Ladakh division according the census of 2011 is around is 14.3104lakhs.

In Ladakhi language song is called as ―Lu‖ and like any other region of the country folk songs of Ladakh area are related to different traditions and customs which are also divided in the following catagories:-  1.Sanaskaar geet 2, Dharmik(religous) geet 3,Veer Gaatha Geet 4, Pranay Geet 5, Hritu( seasonal) Geet 6, Parv evam Tyohar geet(Festival) Geet 7, Vivid Geet which include Shram geet, Baal geet and songs defining the beauty of the nature.

Vol.1, No.1 April 2018-JK Music Initiative

 In sanaskaar geet, Songs sung on the birth of a child is called as ―bangri-lu‖. Marriage ceremony songs are as Bagston-lu, Dadar-lu, Tashipsa(prayer to seek blessings of deities) , Lum-lu, Tholu, zgolu, thot-lu, Thot-lu,, Bugsum, Tashipse-lu.  In Dharmik(religous) geet category there are Chos-lu and Sungur .  The veer gatha songs which are sung in memory of warriors, kings, rulers and freedom fighters are Gind-lu.  Pranay geet which meens romantic songs in Ladakhi are as Togas-lu and Rogas-lu.  In seasonal songs there are Namla-luyand describing the four seasons of Ladakh.  Festival songs of Ladakh are known as stanmey-lu and are sung on different festivals of Ladakh , which are mela hemis, losar, sindhu darshan, dosmochey, yuru kabyat, matho nagrang, sheh shulba, siptuk gompa, thiksey gompa and fiyang. (Shakspe, T.S, 2002).  In vivid geet of Ladakh there are Shram geet which are in the form of gaaru-lu, halo baldur, sangla lalung which are sung on the occasion of harvesting and other activities of physical hardship. (Sanyukt Koushal, 2001),  baal geet(children songs) known as loori Indian continent and other songs defining the beauty of nature around Ladakh. The musical instruments used in these folk music forms of Ladakh are daman (a type of nagara), and Pivang in Tatt vadya category, In avanadd vadya category there are Daman, Dabs, Daaru, Tsna. In Ghana vadya there are Bugjal, Teelu and Tingsha, and in sushir vadya category there are surna, Lingdbu, Tyangraling, gyaling, tung, Rangdung and skingling etc..

Conlusion All these three regions of Jammu and Kashmir are having rich cultural heritage in the form of folk music which depict their historical background, folk tales, customs, the life and environment of this region, but the uniqueness of the music in Jammu and Kashmir is its diversity, which despite being same in the content and theme are totally different in terms of language and aesthetics. Even if the Jammu, Ladakh and Kashmir are part of a same state, the songs of Jammu region are not sung by the people of Kashmir and Ladakh, the folk songs of Kashmir are not sung by the people of Jammu or Ladakh and the songs of Ladakh are nor sung by the people of Kashmir and Jammu. The costumes and musical instruments played in these folk songs of Jammu, Kashmir and Ladakh are different from each other and have different

playing styles. The main reason of this is the complex nature of customs and language due to geographical and social diversity which is complex in nature but adds to its beauty.

Vol.1, No.1 April 2018-JK Music Initiative

REFERENCES

Aatash, G.Nabi (2014) SHEERAZA. Jammu And Kashmir Academy Of Art, Culture And Language, Srinagar, Vol; 47, No.; 3-4, May- August 2014,Pp,89-90

Department of higher Education, Ministry of human resource and development (2018) Languages

in India.Rrtrieved on march 24, from ,http://mhrd.gov.in/language-education

Dhar Somnath,(1977) Jammu & Kashmir (India: land and the people), pp1.,National

book trust. New Delhi.

Dhar Suneeta (2003) The Traditional Music Of Kashmir, pp.12, Kanishka Publishers Distributors, New Delhi-2003. Husnain, F.M,(1977) Ladakh: The moon land.pp.,2.Light and life publishers, New Delhi. Nighat,Mir-Nausheen (2010) Kashir encyclopedia, folk lore part-1 pp,-110. Jammu and Kashmir academy of art and culture and languages srinagar 2010. Sanyukt Koushal(2001)Ploughshares of gods Ladakh land, Agriculture and folk traditions, pp,330, Om publications New Delhi, 2001

Shakspe,T.S,(2002) Ladakh ke Lok Geet-Hamara Sahitya, Jammu and Kashmir Academy for art culture and languages. Sharma,N.D.(1982) Dogri Lok Sahitya Nibadawali, Dogri Lok Geet Ek Parchol. Dogri Sanstha, Jammu.

Sharma,Ram lal(1975) Dogri Lekh Mala, Duggar De Hindu Sanaskaar, Dogri Sanstha,

Jammu

Smailpuri Tara,(1981) Dogri lok geet 1981, Jammu and Kashmir Academy for art

culture and languages

Evidence of Musical Instruments Depicted In Ragamala Painting

K. Tamashwor Sharma

Vol.1, No.1 April 2018-JK Music Initiative

Evidence of Musical Instruments Depicted In Ragamala Painting

K. Tamashwor Sharma Research Scholar, Faculty of Music University of Delhi

ABSTRACT A Ragamala painting of medieval period is the ultimate example of the correlation between the fine arts. The first works of art to ever merge the three art forms of music, poetry, and painting, was the Ragamala paintings of India which come together to mesmerize the senses. Ragamala painting is quite a unique form of art in that it successfully combines these three art forms. Ragamala Paintings are a series of illustrative paintings from medieval India based on Ragamala or the "Garland of Ragas" depicting various Indian musical modes called Ragas. A large number of sets of Ragamala paintings are found in various public and private collections in India and abroad. From the study of these Ragamala paintings one can say that the tradition of Ragamala painting was maintained from the 14th century A.D. to the 19th century A.D. This paper highlights the musical instruments as depicted in Ragamala paintings.

Keywords Ragamala, Ragamala Paintings, Musical instruments, Raga-Ragini

Introduction

In 14th century musicologists includes an explanation of ragas in short Sanskrit verses called ‗Dhyana‘ or meditation or prayer formulas in our musicology. The earliest dhyanas of this kind we find in the Raga Sagar by Datilla (2nd century A.D.) or Narada (8th century A.D.). These verses highlight the characteristics, nature, mood, tendency of ragas, injecting life into them, providing them a particular persona or swaroopa as in like a deity, nayaka or nayika. This led to the Raga-Ragini systems and the subsequent creation of the ragamala paintings, which are mainly ragas on canvas. The theme or rasa for these paintings are usually shringar (romance), bhakti (devotional) or baal-kreeda (momism). Indian musicologists described personified iconographies and emotional flavors of ragas for many centuries before Ragamala Painting came into existence. The earliest Ragamala paintings are from the Deccan. They were probably painted for Ibrahim Adil Shah II of Bijapur, who was an authority on painting and a fine artist and illuminator himself. Ragamala paintings were created in most schools of Indian painting, starting

in the 16th and 17th centuries, and are today named accordingly as Pahari Ragamala, Rajasthan or Rajput Ragamala, Deccan Ragamala, and Mughal Ragamala. The traditional Indian painting started deteriorating after the first half of the 18th century and by the end of the century it lost most of its vitality and charm. Under the impact of the Western colours and technique of painting the traditional styles of Indian painting finally died out in the second half of the 19th century.

What is Ragamala Painting? The word ragamala means "a garland of melodies or ragas". The word raga means "something that colors the mind with emotion".1 One can see by the meanings of these words how the painting and the music are so closely related. The Ragamala is a series of paintings depicting various musical melodies, known as ragas. Ragamala paintings are visual interpretations of Indian musical modes previously envisioned in divine or human form by musicians and poets.2 Each painting is accompanied by a brief inscription that suggests the mood of the raga, most frequently love – in its various aspects – and devotion.

Some of the characteristic of Ragamala paintings are as follows;  1) Visualization of poetic symbols.  2) Religious and aristocratic imagery in the actions and appearances of human character, in architecture and paraphernalia.3  3) The illustration of patrons, personal or religious preferences.  4) Nayaka or heroes and Nayikas or heroines are type cast as found in drama, poetry and dance.4  5) The deities, nayaka, and nayikas are shown in the attitude and characters most appropriate to the time and season thus, representing the mood and sentiments of particular Raga and Ragini.

1 Craven,Roy C. Indian Art, Thames and Hudson, London (1997) p.224 2 Klaus Ebeling, Ragamala Painting, p.13 3 Ibid, p.15 4 Klaus Ebeling, Ragamala Painting, p.15

Vol.1, No.1 April 2018-JK Music Initiative

 6) The painting shows the particular sentiments or emotional state and the performance time of the musical mode.  7) The depiction of local character of flora, fauna and landscape. 5  8) The portrayal of love in two stages, namely Sringara, the love fulfilled in Union and Vipralambha, the love longing in separation.6

For nearly 400 hundred years ragamala was one of the most popular genres of Indian miniature painting. Painters of that period established a successful depiction of musical themes and melodies through line, color and form. These exquisite painted melodies would have been commissioned and exchanged by admirers of painting, poetry and music. Yet, having thrived in the royal courts of India from the second half of the 15th century, this genre dwindled in the late 19th century with the decline of aristocratic patronage.

Musical Instruments depicted in Ragamala paintings In the Ragamala paintings we find various types of musical instruments depicted in the hands of Gods, Goddesses, Heroes, Heroines and musicians. In Indian mythology some Gods and Goddesses are well known for playing of musical instruments, e.g. Goddess Sarasvati with Vina, Lord Siva with Damaru, and Lord Krishna with his Vamsam or Bansuri.

Natyashastra of Bharata 2nd century B.C. is the oldest authority to give elaborate treatment to a variety of musical instruments. He describes four kinds of musical instruments: (1) Tata - stringed, (2) Avanaddha - covered, (3) Ghana - solid, and (4) Sushira - hollow. Among these stringed are those with strings, the covered means the drums, the solid means cymbals and the hollow, means the flutes. In the Ragamala paintings we come across, all these types of musical instruments. A critical study of these paintings presents a wonderful variety of these musical instruments. Instrumental music was played to please Gods, Kings, monarchs, heroes, heroines, animals, etc. Musical instruments depicted in the Ragamala paintings can be classified as under:

5 Ibid 6 http://www.anistor.gr/english/enback/o041.htm

1. Tata - stringed instruments: Rudra Veena, Tambura, Ekatantri veena, Sitar, Vichitra veena, Seni-Ravaba, Dramyen, Sarangi, Mayuri veena, kinnari veena, and Ravanhatta 2. Avanaddha - covered instruments: Mridanga, Pakhavaj, Dhola, Duffa Nagara and Khaiijari. 3. Ghana - solid instruments: Manjira and Zalar. 4. Sushira - hollow instruments: Vansam (flute), Sankha, Bhungaja and Vina or purigi. In all the sets of the Ragamala paintings, we come across following instruments:

TATA VADYA OR STRINGED INSTRUMENTS A chordophone is a musical instrument that makes sound by way of a vibrating string or strings stretched between two points.7 It is one of the four main divisions of instruments in the original Bharat scheme of musical instrument classification. Vina: The origin of Vina is attributed to Shiva. ―Shiva once saw Parvati, his wife, reposing most gracefully, her breathing like soft music, her exquisite bosom rising and falling in rhythm, her arms and wrists laden with bangles causing music by their motion. Mahadev watched her for a long time in silence, intoxicated by the ravishing vision, which so impressed him that he found no peace until he discovered a way of making a permanent record of the beauty observed. The result was the Rudra Vina. In this instrument the long neck represents the straight lithe figure of Parvati, the two supporting gourds her breasts, the metal frets her bracelets and most expressive of all, the sound, her rhythmic breathing‖.8 It is represented normally in Vasanta, Malakausa, Hindola, Megha-Mallar, Sarang, Pahcama, etc.

Rudra veena: Rudra veena one of the most frequently depicted vina in Ragamala Painting. Veena is a developed and modified version of kinnari vina. The Rudra veena first appeared in the Sangeet Makarand of Narad. The main difference between kinnari veena and Rudra veena was in the

7 https://en.wikipedia.org/wiki/Chordophone 8 Stooke and Khandalavala, The Laud Ragamala Miniature, p.11

Vol.1, No.1 April 2018-JK Music Initiative

60 arrangement of frets and in the number of gourds used. In the kinnari veena arrangement of frets was such that all the svaras could not be played whereas in the Rudra veena one could get all the twelve svaras in one octave. Thus all the ragas can easily be played upon it. Therefore this verity of veena is called svara raga mela veena. The name Rudra veena might have been coined in around the fifteenth century. Scholar of the medieval period described the gods and goddess residing in the various parts of this veena as follows: ― The dand Shiva, the string is Uma, kakubh is Vishnu, the brides is Luxmi, the gourd is Brahma, the Nabi(navel) is Saraswati and the jiva is vasuki, the sarika( frets) are the sun. The veena thus represents a number of gods and the goddesses, and is, therefore, capable of bestowing all kinds of divine blessings, and is considered Sarvamangala…the Rudra veena might have obtained its final shape towards the beginning of the Mughal period. Rudra veena was later given a new name saraswati veena, by the descendents of Tansen.9 It is well depicted in various sets of ragamala like; Ragini Todi of Jaipur 17th century; Bikaner 17th century; and Deccan school, 18th century; Ragini Saranga of Mewar 1628; Sri raga of Jaipur 19th century; Ragini Gujari of Rajasthani school 1670-80; vasant ragini of Rajasthani school 18th century; Kukubha ragini of Deccan school 1750 A.D.; Soratha Ragini of Deccan school. Etc.

Mayuri Vina: A Vina with a shape of a peacock is depicted in Bhairava Raga of Bundi School C. 1770 A.D. and Sri Raga of Amer School Ca. 1710 A.D., and Gauri Ragini of Pali Marwar School dated 1623 A.D. [11]. It is noteworthy that the painter has forgotten to paint this stringed instrument in front of the body of the Ragini though the hands stand in the posture of holding it. It is only depicted above the shoulder and below the waist.

Ekatantrivina: It is a vina which has only one resonator. With high frets positioned on the base of a tube fitted with a tailpiece similar to the one on the Ekatantri vina. It is well depicted in raga Hindol of Deccan School (1595 A.D.); Raga Sri of Rajasthani School (1660-1670) and Raga Gujari of Rajasthani School, National Museum New Delhi; It is also depicted in Ragini Megh Malhar, Bundi 1725; Ragini Todi of Moghul 1605 etc.

9 Dr. Suneera Kasliwal, Classical musical instruments, p.116

Kinnari Vina: All these characteristics are clearly visible in an exquisite Deccani painting portraying a young woman playing a kinnari-vina. The remarkable paintings of this region, made during the Mughal era, show many variations of the kinnari-vina and lead us to conclude that considerable attention was lavished on the instrument during this period.10

Dramyen: The dramyen is a folk rabab found in most of the Himalayan region. It is well depicted in the ragaputra of Bhairav, Bilawal.

Tanpura or Tambura: The origin of Tambura is said to be from the sage Tumburu that is why, it is known as all over India after his name. It is one of the Indians and used by the vocalists of all standard to the accompaniment of classical vocal music of north and south alike.11

It is depicted in Bhairava Raga and Gauri Ragini of Malwa Ca. 1650 A.D., Bhairava Raga and Panchama Ragini of Jaipur 18th century A.D. and Amber dated 1709 A.D.; Megh malhara of Marwar Ca. 1650 A.D., Ragini Madhu Madhavi of Amber Ca. 1710-15 A.D.; Vasanta Ragini, Bundi 18th Century, Collection H.K. Swali; Vasanta Ragini of Amber Ca.1700 A.D. of Sangramsingh collection. Tambura is a four-stringed drone. Three strings of steel and one of brass, plucked continuously by finger. Bowl made of hollow wood unlike the gourd-bowl. It much resembles the Vina but is less complicated, having no frets calabash affixed to the stem, and is generally employed for accompaniments only. The bridge is moveable and is entirely of wood or ivory, no metal is used in its fitting. The tone of a Tambura is slightly buzzing and to procure this result pieces of quill or silk, termed ‗Jivala‘ are placed between the bridge and strings.

10 http://www.rudravina.com/html_gb/hist_03.html#par1 11 S. Bandyopadhyay, Musical instruments of India, chaukhamba orientalia Varanasi, p. 35

Vol.1, No.1 April 2018-JK Music Initiative

Seni Rabab: The Seni rabab was an instrument that was very popular during the Moghal period. This is a stringed instrument to be played with fingers. It is depicted in the picture of Raga Deepak, Malkauns Raga of Cawand Mewar (PI. 12) 1605 A.D. and of Gem Palace Ragamala 1650 A.D.

Sarangi: This stringed instrument is played with a bow. It has three strings of thick gut. Its head is generally carved to represent the neck of a swan and its body is rounded instead of square. It is depicted in the Sarang Raga of Bundi Kota School (Ca 1725 A.D., collection Doris Wiener). In this picture a prince is shown playing with a Sarangi. A hunting bow is placed in a pot, which serves as a sounding board, and is fiddled with a small-bow.

Ravanhatta: The Ravanahatha is an ancient bowed violin, once popular in Western India, Pakistan and Sri Lanka. It is an ancient Indian stringed musical instrument on which western stringed musical instruments such as the violin and viola were later based.12 It is depicted in the ragamala painting of Ragini Bilawal (Brooklyn museum).

AVANADHA OR MEMBRANOPHONE A membranophone is any musical instrument which produces sound primarily by way of a vibrating stretched membrane13 It is one of the four main divisions of instruments in the original Bharat scheme of musical instrument classification.

Mridanga: The origin of Mridanga is described in the Natyasastra. It is thus described. ―During an intermission of studies in the rainy season, sage Svati once went to a lake for fetching water. When he reached to the lake, he saw torrents of rain falling with the force of wind on the leaves of the lotus. These torrents created a rhythmic sound. Svati observed this sound very minutely and considered it to be a wonder. During the course of his observation, he noticed high, medium

12 https://en.wikipedia.org/wiki/Ravanahatha 13 https://en.wikipedia.org/wiki/Membranophone

and low sounds produced on the lotus leaves, which were deep, sweet and pleasing. He returned to his hermitage carrying this sound in his mind. He created Mridanga.14 In Puranas, the origin of this instrument is described differently. It is created by Brahma. The myth runs thus: when Mahadeva, elated by his victory over the invincible demon Tripurasura, began to dance, he was surrounded by Indra and other deities. Brahma is said to have invented the Mridanga to serve as an accompaniment, and under his direction the God Ganesha first performed upon it, From the very import of the word Mridanga, it appears that its body was originally made of clay‖.15 In ancient Hindu sculpture, painting, and mythology, the mridangam is often depicted as the instrument of choice for a number of deities including Ganesha (the remover of obstacles) and Nandi, who is the vehicle and follower of Shiva. Its name suggests that its body was originally made of clay. It is played by hands, finger-tips and wrists in a very peculiar manner. Its smaller head is struck by the right hand and the larger by the left. This instrument is considered most primitive of all Indian instruments. It is very well depicted in the pictures of Ragini Vasanta of Deccan school, National Museum New Delhi Malakausa, Hindola, Kalyan Ragini, Natta Narayana Ragini, Panchama Ragini and Madhu- Madhavi Ragini.

Dhola: This instrument is played with sticks. It is played on the festive and wedding occasions. It is hung by a sling around the neck. It is very well used in performing the folk dances of Gujarat, Rajasthan and Central India. It is very well depicted in various Ragamalas like Bilawal, Hindol, & Malkaun etc.

Nagara: This is a large kettledrum employed in a Hindu temple. It is played by two long sticks at the time of Arati in the early morning and evening. Its shells are of copper, brass or sheet iron. It is also used during the war time on the battle field to imbibe heroic qualities in the soldiers. It is one of the instruments scarcely depicted in the Rajasthani Ragamalas but frequently in Pahari Ragamalas.

14 Natyashastra(Eng. Trans.), Vol. 2, 33-8-19 15 C.R. Day, The Music and Musical Instruments, p.137.

Vol.1, No.1 April 2018-JK Music Initiative

Duffa: Duffa is to be played invariably on the festive of colour-holi. It is also played on various occasions, more so, along with the processions. The miniature form of this instrument is well known as Duffali, which is about six inches wide and the height is about two inches only.16 This is a small covered instrument of an octagonal frame of wood. It is covered on one side with skin strained by means of leather thongs. It is struck with the fingers of the right hand. It is very well depicted in the Vasanta Raga of Mewar School Ca. 1650 A.D. (P1.21) Bharat Kala Bhavan; vasant raga of Rajasthani school, National Museum New Delhi.

Tabla: This pair of covered instrument is most prominent and inevitable for performance of music and dance. Its origin is controversial. Some scholars are of the opinion that it was invented by Sudhar Khan Dhari, but others say that it was Hazrat Amir Khusru, a great poet, Sayar, mystic and Sufi, who had introduced this instrument to Indian music on the basis of Arabian drum called Tabla. The pair resembles a Pakhawaja. Pakhawaja has one body with two heads on different ends, while Tabla pair consists of Tabla and Banya. Tabla is made of black wood and is hollow from inside. Bayan is made of either clay or copper. Effective rhythm is created by playing Tabla in any musical or dance recital. It is depicted in the picture of Ragini Vasanta and Raga Malakausa (B.J. Inst. Folio - 7, 19, 20).

Dholak: It is well depicted in the ragamala painting of Raga Malkauns of Deccan School 18th century, National Museum New Delhi; Raga Bhairav of Rajasthani School, mid 1709 A.D. An aerophone is any musical instrument that produces sound primarily by causing a body of air to vibrate, [1] without the use of strings or membranes, and without the vibration of the

16 S. Bandyopadhyay, Musical instruments of India, chaukhamba orientalia Varanasi, p. 79-80.

instrument itself adding considerably to the sound.17 It is one of the four main divisions of instruments in the original Bharat scheme of musical instrument classification.

Vansam (Venu Murali) or Bansuri: This wind instrument is played only by blowing. Sarangadeva in his SR has mentioned ten types of this instrument. These are: (1) Vansa, (2) Pava, (3) Pavika, (4) Murli, (5) Madhukari, (6) Kahal, (7) Tundukini, (8) Chukka, (9) Srnga and (10) Sankha8. This is prepared from a piece of thin bamboo. It is generally played by all the tribal people of India. It is common and most popular instrument of all regions of India. This instrument is usually associated with Lord Krishna. It is very well depicted in the picture of Vasanta Raga, Mewar School of 17th century A.D. And in a number of Ragamalas viz. Sarang, Megha Mallar, Malkauns, Gurjari etc.

Bhungala: This is a blowing instrument of pipe type and is made of copper or bronze. It is played on the festive occasions. In Gujarat it is played in a pair. From one Bhungala male voice is created and from the other female voice is created. It is a very popular folk instrument of Bhavai, which is performed in Gujarat and Rajasthan. This instrument is depicted in a picture of Raga Megha Mallar, Gujarat 1575 A.D. (PI. 8).

Sankha - Conch: This is the most sacred instrument in Indian tradition. It is a particular type of a shell. It is the manifestation of sound in nature and hence considered to be the most sacred. It is very well referred to in BG. In the first Adhyaya of BG. we are informed that the various heroes on the battlefield of Kurukshetra blow Sankhas e.g. Krishna - Pancajanya, Arjuna - Devadatta, Bhima - Paundra, Yudhisthira - Anahtavijaya, etc. It is very well depicted in the paintings of Megha Mallar and Bhairavi Ragini.

17 https://en.wikipedia.org/wiki/Aerophone

Vol.1, No.1 April 2018-JK Music Initiative

Purigi or vina: This wind instrument is generally played by the snake charmers of India. It is made of carved gourd, with an opening at the narrow end. Two thin, straight and smooth bamboo pieces with usual holes are attached in the centre below the gourd. It is interesting to note that the snakes react to the sound of this instrument. It is very well depicted in the pictures of Asavari Ragini.

GHANA VADYA OR IDIOPHONE

An idiophone is any musical instrument that creates sound primarily by the instrument as a whole vibrating—without the use of strings or membranes.18 It is one of the four main divisions of instruments in the original Bharat scheme of musical instrument classification.

Manjira: This is a pair of solid instrument prepared from copper, bronze or tin. It is generally played in temples while chanting Bhajans. It creates jingling sweet tunes. It is depicted in various of the Ragamala sets as in Raga Kalyan of Rajasthani School 1628, National Museum New Delhi; Ragini Vasant of Rajasthani School 18th century; Raga Sri of Deccan etc.

Jhalar: This is a solid instrument played by purcussion of wooden stick. They are a pair of wooden small cymbals. It is played with one hand and held between thumb and four fingers. It is normally depicted in Bhairavi Raginis.

Conclusion Ragamala paintings of medieval period provided us many valuable evidences which are very useful to study and analyze the history of Indian classical Music effectively. Although these paintings depicted various musical instruments of different classes, it is difficult to determine the shape and structure of the musical instruments on the basis of Ragamala, because ragamala paintings were not base on realism arts. They were painted with artistic conventions, implausible,

18 https://en.wikipedia.org/wiki/Idiophone

exotic and supernatural elements. And also painters of that period were not well expert in figure painting and realism arts so we cannot depend completely in such paintings to assume the possible shape and size of the instruments of that period. The study of Shape, size and structure of the musical instrument is also important to study the historical development of Musical Instruments. It is believed that enough work and research has been done on Ragamala paintings and hence assumed that there is nothing to be studied about .however when one dwells into the depth of detailing present in Ragamala paintings, it is found that plenty is discovered in terms of scope and one surely lands from the known to unknowns with respect to the facts associated with these paintings. This work is not the end to the study of Ragamala paintings but a beginning into it.

Vol.1, No.1 April 2018-JK Music Initiative

REFERENCES

1. Craven,Roy C. Indian Art, Thames and Hudson, London (1997) 2. Klaus Ebeling, Ragamala Painting, 3. Klaus Ebeling, Ragamala Painting, 4. http://www.anistor.gr/english/enback/o041.htm 5. https://en.wikipedia.org/wiki/Chordophone 6. Stooke and Khandalavala, The Laud Ragamala Miniature 7. Dr. Suneera Kasliwal, Classical musical instruments 8. http://www.rudravina.com/html_gb/hist_03.html#par1 9. S. Bandyopadhyay, Musical instruments of India, chaukhamba orientalia Varanasi 10. https://en.wikipedia.org/wiki/Ravanahatha 11. https://en.wikipedia.org/wiki/Membranophone 12. Natyashastra(Eng. Trans.), Vol. 2 13. C.R. Day, The Music and Musical Instruments 14. S. Bandyopadhyay, Musical instruments of India, chaukhamba orientalia Varanasi 15. https://en.wikipedia.org/wiki/Aerophone 16. https://en.wikipedia.org/wiki/Idiophone

Role of Four Main Chordophones of North Indian Classical Music and their Current state

Waseem Bhat

Vol.1, No.1 April 2018-JK Music Initiative

Role of Four Main Chordophones of North Indian Classical Music and their Current state

Waseem Ahmad Bhat Research Scholar, Faculty of Music, Delhi University.

Shalini Thakur Assistant Professor Music, University of Delhi

ABSTRACT Indian music is known for its richness and distinct cultural heritage. It has a history which has developed over many eras. Indian music, whether it is northern classical music or southern classical music there are a number of string instruments that enhance the beauty of their styles. But in northern Indian classical music there are few plucked instruments which are used these days like Sitar, Sarangi, Sarod and Tanpura. These four are very significant instruments in Indian classical music. According to some authentic texts and my personal research experience I am trying to write this article. The aim of this research paper is to explore history, theory, playing techniques and present status of these four musical instruments that are used in the Indian classical music.

Keywords Indian Classical music, Musical instruments, Sitar, Sarod, Sarangi, Tanpura.

Introduction The music of India is one of the oldest in the world. It is also a major system of melodic music; and it has a great significance and interest. It has retained this significant character till this day. This is in contrast to European culture, for example, where the early melodic music has changed into the current harmonic music. A very important aspect of the cultural heritage of India is music. During the centuries, it has evolved and now reached a stage of advance development. One of the main and important aspects of music is instrumental music. The three constituents of music i.e. Vocal, Instrumental and Dance are based on two most important constituents, which are Swar and Laya and the liberal and effective use of both these constituents can be seen in instrumental music. Musical

instruments have played an important role in the phylogeny and growth of Indian music. Indian culture is basically governed by religious and philosophy and its impact can be felt on every aspect of Indian culture (Chaudhuri, 2005).

Historical overview of North Indian Classical Music Instruments The first and most interesting fact about the instruments of this country is that the extremely primitive to the highly sophisticated one are found rubbing shoulder to shoulder. Scrapers, almost identical with fire producers, can be found with the forest dwellers; the concert platform finds a most refined Veena and the modern films musicians use the latest electronic instrument. This, evidently, is a part of the mixed milieu that Indian culture is. In the history of the study of the instruments, the part which a race or group of peoples has played is not only the most baffling but is also one which demands great attention (Deva, 1995). For it is amalgamative process of these cultures, which has given us our instruments of today. The seed rattles of primitive tribes, the harps of the ancient southern cultures, the various bowed instruments, and the lutes from central Asia have all their own niches in Indian organlogy. The earliest evidence of instruments comes from the Indus Valley complex dated to nearly 3000 B.C. The information gathered is mainly from illustrations in seals and pictographs. Some of the actual remains have revealed terra cotta rattles and bird-whistles. Hieroglyphs show various kinds of harps, invariably bow shaped; but lyres seem to be almost absent. Long drums and hour-glass drums have also been noted. The Central Asia people who came to India must have brought their own instruments with them. Perhaps, the Sarangi, some kinds of lutes like Sarod, the Shehnai were imports to this country through the traders and armed invaders coming from the north and north- west of our land. The history of instruments of this country presents some very intriguing problems, the discussion of which is beyond the scope of the present book. But much evidence has been gathered from musical texts, literature, visual representations like sculptures and paintings, as well as a survey of tribal and folk instruments. Of course, the work so far done is only scratching the surface and much remains to be done. Of specific attentiveness is the classification of instruments. The oldest book available on dramaturgy is the Natya-Shastra of Bharat. The main portion of this book was written about 200 or 100 B.C. Bharat has classified all musical instruments into four classes: The Tat, Avanaddha, Ghana and Sushir Vadya (Singh, 1995).

Vol.1, No.1 April 2018-JK Music Initiative

1. Tat means stretched, hence those instruments made of stretched jute or strings. 2. Avanaddha is to be covered and hence drums. 3. Ghana is solid like sticks and cymbals. 4. Sushir means hollow and hence wind instruments. Vadya is general term implying instruments. ―Musical instruments are tools used to expand the limited scope of musical sounds such as clapping, stamping, whistling, humming, and singing which can be produced by a person‘s unaided body. Throughout the world, musical instruments vary greatly in purpose and design, from natural, uncrated objects to complicated products of industrial technology‖ (Iyer, 2004). North Indian music has a wide range of ancient and beautiful instruments, each having a tone quite unique. Some of the more well known are the sitar, the Sarod, the Rudraveena, the Santoor, the Sarangi, and Tanpura etc. The plucked instruments of the classical variety include those which have become popular over the years and have made themselves noteworthy, in the present generations e.g. Sarangi, Sarod and Sitar. Sitar has been given special emphasis, as it is one of the most popular stringed instruments of India. In the following paragraphs I would like to explain about the four main chordophone musical instruments of north India, i.e. Sitar, Sarod, Sarangi and Tanpura.

SITAR The sitar is evaluated as one of the famous stringed instruments of the country today. The place and the significance of this instrument as of date can be compared to the place and importance of the Veena during ancient times. If there is any instrument which one can feel proud of and which has won over millions of hearts not only in India but all over the world; it is the Sitar. Regarding the history and origin of Sitar, discussions have been going on whether Sitar is originally an indigenous instrument or foreign instrument imported to India. Till recently it is believed that Poet, Musician, Amir Khusro of the 13th century A.D. was the inventor of the Sitar. But this is not a fact, because we do not get mention of Sitar before 18th century. There is no reference of this name even during the reign of Akbar. It clearly indicates that Amir Khusro did not invent Sitar. Ac. to Dr. Acharaya Dev Brahaspati, a musicologist of 20th century has made it clear that Sitar was invented by Khusro Khan and not by Amir Khusro (Sharma, 1996).

According to some musicologists, the name of the Sitar is derived from the Persia expression Sehtar. Seh meaning ‗three strings‘ and Tar means ‗string‘ which is the number of the strings the instrument originally had. In ancient treatise we come across various names of Veenas having only three strings, for instance tritantri, trinari and so on. It is possible that Amir Khusro tried to improve upon one of the Veenas then in vogue and ended up by inventing the Sitar (Swami, 1965). An author of the 18th century says that Sitar was called the Nibaddha Tamboora. It clearly shows a close connection between the Sitar and the Tamboora. One other opinion is that the lute was evolved out of the ancient tritantri Veena, a three stringed instrument. According to some authorities, it was Masit Khan who added two strings to an earlier three stringed instrument to invent the Sitar (Slawek, 1997).

Contribution of Masit Khan and Raza Khan We cannot forget the contribution of two great Sitarist Masit Khan and Ghulam Raza. Actually they treated the style which has formed main bases of today‘s playing. Masit Khan of Delhi made so many compositions, which changed into Masit Khani Baj. Masit Khan Baj is lower in tempo, and provides ample scope for the expansion of Raga. Raza Khani Baj was named after Ghulam Raza of Luckhnow, he invented a new style of playing in fast Laya, and Raza Khan also introduced Thumri Ang in Sitar Playing. This Sitar is more intricate and quick.

Masit Khani Gat: Masit Khan of Delhi was the prominent artist, who made Masit Khani Gat. Masit Khani Gat is also called Delhi Baj. Fixed Bols for this Gat are- Dir, Da, Dir, Da, Ra, Da, Da, Ra. These gats are played in slow and medium Laya.

Raza Khani Gat: Raza Khan of Luckhnow made Raza Khani Gat. Raza Khan composed Gats according to Thumri style of singing and the bols fixed for this gat are Dir, Dir, Dir, Dar, Dar, Dir, Dir. These gats are played in medium and fast speeds. This style very much pleased the Nawabs of Luckhnow.

Vol.1, No.1 April 2018-JK Music Initiative

Methods of tuning the different strings of Sitar The body of a sitar is made of a round guard cut into two unequal halves near the core and the semicircular bigger half is used as its main body that serves the purpose of the sound box, generally called a Tumba. The main parts of Sitar are as following:- Tumba, Tabli, Gulu, and Danda. The Sitar has got seven main strings. They are as follows:- (a) The first string is made of steel and is tuned on Madhyam of Mandra Saptak. This is known Baj Ka Tar. (b) The second and third string is made of bronze and is tune in Shadaj of Mandra Saptak. This is known as Jodi ka Tar. (c) String No. 4 is called Laraz Ka Tar. It is made of bronze wire. It is tuned on Sa note of Ati Mandra Saptak. (d) String No. 5 it is tuned on Pancham of Mandra Saptak. (e) The sixth and seventh string is called Chikari. It is made of steel and is tuned on Shadaj of Madhya Saptak and Shadaj of Tara Saptak. Besides all these strings there are nine to twelve thin strings. They are called Tarab Ke Tar. Playing technique The Sitar is played with plectrum known as Mizrab. It is made of thick steel wire. It is triangular in shape and worn on the first right finger. The plectrum should be worn in such a way that it does not come out easily while playing. The way of holding the Sitar while playing it is important. The first thing that is necessary in this context is to keep the instrument in proper way. The sitting positions of males and females differ while playing a Sitar. For example the ladies bend their right thigh. Then they press it by the elbow of right hand. They put Mizrab in the first finger of the right hand and take the support of their thumb. Their fingers of left hand move on frets while playing. Now the sitting positions of males differ from ladies. They bent their left knee inside and rise up their right leg slightly. Sitar is made to support against the right hip. Then they press the sitar by elbow and thumb of right hand. Present status: In recent times, it can be seen that Sitar is not only used in Classical music. It is also used in different categories of music like Ghazal, Filmy, Fusion, and Western music. We cannot forget the contribution of legend Pt. Ravi Shankar who had popularized this instrument all over the world. Nowadays many foreign musicians are learning this instrument and also used

it in western music. The Psychedelic rock group distinctly liked the Middle-Eastern-sounding melodies the sitar could produce. The Doors famously used mostly Indian scales in their albums, often using other instruments along with the Sitar to provide a groovy, enchanting backing track to their band of trippy rock. Electric sitar is also widely known now and the most famous Sitar maestro Pt. Niladri Kumar plays it often.

TANPURA The tambura (also called Tanpura in the north) is one of the classical instruments of the stringed group. All over India it is used for drone accompaniment and its varieties are innumerable. With its powerful and resonant drone, it forms a perfect base for the human voice. The first reference to the tanpura is unambiguously found in Sangit Parijat. But many historians claim that it was made in ancient times. It was not really mentioned either by the earlier texts or does it find a place in sculptures. In the beginning of the 17th century, the tanpura was "fully appeared in its modem form". The Tanpura is a long-necked plucked instrument found in different forms in Indian classical music. It does not used for melody but used to support and sustain the melody of another instrument or singer by providing a continuous harmonic drone. Tanpura has four metal strings, in which three are made up of steel and the fourth and lowest one is made up of brass. All the strings pass through holes in a ledge near the tuning peg. The pegs of the first and fourth strings are connected at the side of the neck; those of the second and the third strings are in the middle of the neck which is right angle to the head. Silk or wool is placed in some positions between the strings and the main bridge; it is to improve the tonal effect and enables us to hear the frequencies or overtones of each string clearly. There is a small part below the bridge called ‗Manka‘ used for fine tuning. In appearance the tambura is like the Karnataka Veena, without the latter‘s second gourd and elaborate head piece. The bowl is usually a large one, from ten inches to one and a half feet wide. South Indian tamburas usually made up of wooden body and in the north pumpkins are generally used. The finest tamburas are made in Miraj (Swami, 1965).

Tuning of the Tanpura Tanpura has only four strings are as following: The first string of Tanpura is tuned with the Mandra Saptak Pancham. But sometimes the first string is tuned in Mandra Madhyam and

Vol.1, No.1 April 2018-JK Music Initiative

Mandra Nishad when swara is dominating in Raga and it is the starting note in place of Shadaj, as Puriya, Malkauns etc. The Second and third is tuned with the Madhya Saptak Shadaj. The fourth string is tuned with the Mandra Saptak Shadaj which is called Kharaj. Playing technique: When played, the Tanpura is usually held upright, the body resting upon the ground, in front of the performer. Some artists also place the gourd on their right thigh. Another technique of playing the tanpura is keeping the instrument lying down in a resting position nearly parallel to the floor. The strings are gently and continuously plucked with the fingers one after the other starting from the first string on to the last in the same order keeping a regular interval in between two strings. Usually the playing technique is to play the first string with the middle finger some musicians played it with ring finger and the rest of other strings with the fore finger. Present status: Manual Tanpura is backbone of Indian classical vocal music. Without this instrument it‘s almost impossible to make voice strong and melody. In present time instead of manual Tanpura, electronic Tanpura is widely used for vocal practice. Because of the globalization the manual Tanpura is not used, but the electronic Tanpura is becoming popular. But manual Tanpura is the better choice for doing Riyaz (practice). The originality of Swaras comes generally from manual Tanpura. This originality can never come by using electronic Tanpura. Meeting with Tanpura maker Mr. Farooq from Miraj, Tanpura maker, claims that two Tanpuras (jodi) should be made by a single person when you order them together. It is mainly because the sound, shape and height of both the Tanpuras should be matched with each other.

SAROD The Sarod is considered is one of the most dignified concert lutes ofHindustani music, now known almost everywhere in the world. The name of this instrument is often said to be derived from the Sarada Veena; for which there does not seem to be any base except an imaginary one, as there is no reference to such a Veena in Indian music texts. The instrument occupies a special place in the world of Indian Classical music. Lots of notions and opinions exist regarding the evolution of Sarod; but due to the lack of strong evidence, it is quite difficult to point out as to how and when exactly this instrument came into existence. According to some musicologists the word Sarod has been derived from the Persian word Sarood, meaning melody or song.

Dr. Lal Mani Mishra says that it is the Kacchapi Veena or the Chitra Veena of the earlier times, which in the Middle Ages came to be known as the Rabab and after some modifications, resulted in the invention of the Sursringar and the Sarod (Mishra, 1976). According to Sarod player Jyatin Bhattacharya; many centuries ago, the Sarod was imported to Indian from Kandahar in Afghanistan. He says that the invention of Sarod should be credited to Ustad Ghulam Ali Khan (state musician of Nawab Wajid Ali Shah of Oudh) who, after making substantial improvements on the Rabab, like substituting some of its wooden and stringed parts with metallic parts to harmonize its notes; created this instrument. Physical Structure Sarod is made up of wood which is in a half feet long. The shape of the Sarod is rounded on one side and the wood from the rounded part of the instrument gradually culminates into the narrow neck at the other end. The whole body of the Sarod is divided into three parts. The first part is the part called the sound box. This is the lower end of the instrument, which is rounded. It is nearly a foot in diameter and the wood in this part is covered with a goat skin and looks like a Drum. This skin is very sensitive to climatic variations and as result, the tune may go up and down with the change weather. On top of this skin rests the Bridge also called Ghuraj, which is about 6.3 cms long and about 2 cms high. It is made of bone or ivory. The Sarod has about 21 to 25 metal strings of varying thickness. Out of these, there are 10 strings which pass over the top of the bridge, of which 4 are main playing strings, 2 are for Chikari and 4 Jawari strings. The Jawari strings are also called Cher strings. Sarod is played with Jawa. And Sarod is a fretless instrument with an extended air chamber under the fingerboard. Present status: It‘s tough time for Sarod. We can count the people learning Sarod these days on the fingers of one hand. Though there is an electric Sarod, it‘s not becoming popular as the sound of it is not as good as manual Sarod.

SARANGI The Sarangi gives an accompaniment to the singer or to the main artist in a north Indian vocal music concert. It can be suitable for solo playing as well as for accompaniment. It is easy to produce all types of music terminology on this instrument like Gamak, Meend, Taan, etc. In fact it is said to be close to the human voice. Experts are opinion that the Sarangi as we know it today first made its appearance as the late 17th century. It is never seems to have been used at the

Vol.1, No.1 April 2018-JK Music Initiative

Mughal court. There is no mention of it in the Ain-i-Akbari. It has all along been a folk instrument used by the common people for their simple music (Swami, 1965). Playing technique The Sarangi is about two feet long. It is made by hollowing out a single block wood and covering it with parchment. A bridge is fixed on the belly in the middle. The sides of the Sarangi are pinched to facilitate bowing. Four tuning pegs are placed, two on each side to the hollow head. The instrument usually has three main strings of gut of varying thickness. Rarely, a fourth string made of brass is used for drone. When played, the Sarangi with its head uppermost is placed on the lap of the performer. The healed rests against the left shoulder. Sarangi is played with a horse hair bow (Gaz) with the right hand and the fingers of the left hand are used for pressing the strings. While this is being done, the fingers do not press the strings down on the finger-board as in the case of the violin but press against the strings at the sides (Krisha, 1993). Sarangi is not easy to play, fingering is very important when learning this instrument. Modern Sarangis generally have thirty five to forty sympathetic strings running under the main strings. These are fastened to small pegs on the right side of the finger board and also on the top of the head. The sympathetic strings are tuned according to the scale of the raga played and are made of brass and steel. A Sarangi is a bowed stringed instrument with a skin- covered resonator. Sarangi is very beautiful instrument it touches the soul of human and produces beauty of form. It is said that vocal is very near to Sarangi because many techniques of Sarangi as well as vocal are common like Gamak, meend etc. Present status: The beauty of Sarangi lies in its sound. Sarangi is one of the toughest instruments which is difficult in tuning and playing. Nowadays this instrument is not much popular as it was a couple of years ago. This string instrument is near to extinction and there are few Sarangi players who are still taking care of it. Sarangi is solo as well as accompaniment instrument. Instead of Sarangi, Harmonium is used these days with accompaniment in different vocal categories like Khayal gayaki, Thumri, Ghazal, and Qawali. Meeting with Sitar Maker: when I met Mangla Prasad Sharma, a Sitar maker from Kolkata, I came to know some interesting information about the differences in playing styles of Sitar depending on eating habits. One who is a vegetarian plays Sitar different than a non- vegetarian. There is a powerful stroke in a non-vegetarian whereas in vegetarian there is less power in stroke while playing Sitar. When any instrument is made, it can be made according to the comfort of the player, claims Sharma.

Conclusion The Indian classical music, which includes instrumental as well as vocal, is famous all over the world. There is still some controversy regarding the origin of these four plucked instruments (Sitar, Sarangi, Sarod and Tanpura), that these instruments were originated by Indians or foreign invaders. The four above mentioned musical instruments must be given support by the people of India by protecting them from extinction and a facility should be provided to the people to learn these instruments. Indian classical music represents the Indian culture and it is the time to flourish our culture and identity.

Acknowledgement: I would like to thank the librarian of Department of Music, University of Delhi by providing me the useful sources for this article and I would like to show my special gratitude to some musicians from the department for sharing their pearls of wisdom during the time of this research paper.

Vol.1, No.1 April 2018-JK Music Initiative

END NOTES 1. Prateek Chaudhuri, Plucked Instruments of North India, Page no. 2 2. B.C Deva, Indian Music, Page no. 95 3. Thakur Jaidev Singh, Indian Music, Page no. 24 4. Krishna Iyer, Transcription and Instrument Recognition of Music, Page no. 173 5. Swatantra Sharama, Fundamentals of India Music, Page no. 176 6. Slawek S.M, Musical Instruments of North India, Page no. 47

REFERENCES Chaudhuri, D. P. (2005). Plucked Instruments of Northern India. New Delhi: Somnath Dhal Sanjay Prakashan. Deva, B. (1995). Indian Music. New Delhi: New Age International Publishers Limited. Iyer, P. (2004). Transcription and Instrument Recognition of Music. New Delhi: Vishvabharati Publications. Sharama, D. S. (1996). Fundamentals of Indian Music. New Delhi: Pratibha Prakshan. Singh, T. J. (1995). Indian Music. Calcutta: Sangeet Research Academy. Slawek, S. M. (1997). Musical Instruments of North India. New Delhi: Manohar Publishers & Distributors. Swami, S. K. (1965). Musical Instruments of India. New Delhi: Publication Divison Ministry of Information and Broadcasting Govt of India. WEBSITES http://www.musmart.co.in/iframe/iframe-tanpura.html https://en.wikipedia.org/wiki/Tanpura https://saxonianfolkways.wordpress.com/2013/01/31/the-sarod-of-india/ https://www.metmuseum.org/toah/hd/indi/hd_indi.htm

Gurubani Sangeet and Society

Jasmeet Kaur

Vol.1, No.1 April 2018-JK Music Initiative

Gurubani Sangeet and Society

Jasmeet Kaur Assistant Professor Music Govt. Women‘s College Parade, Jammu

ABSTRACT Every move of Indian music has progressed with every step of spirituality, together with movements or say that one has remained with another. The basic premise of various cultures settled in India and the different cultures developed in them is spirituality. In the medieval period the voice created by Sikh Gurus came forward, which is known as Gurbani. In philosophical terms, this entire literature is the compositions written by intellectuals, by which all the circumstances of the past are squeezed, according to the prevailing conditions of that time, and pathway to the successful life was shown. Gurbani, tried to eliminate evils and darkness prevailing in the society through music. Music can easily reach too many people at one time. Through it the precious words of Gurus and devotees have been transported to the general public.

Key words Gurbani, Compositions, spiritual music, cultures, Sikh music.

Introduction

गुर जहाज़ खेवट गु셁, गुर बिन तररया न कोए ||

(1) गुर प्रसादि प्रभु पाईऐ, गुर बिन मुक्तत न होये || ------The word Gurbani is made by adding two words Guru and Bani. Guru or Gur means one who gives instructions or shows the right path. Bani means words spoken by the gurus, in the form of prose or verse, which can lead or guide the world on the right path. Such written or spoken words are known as Gurbani.

Music Music essentially is a combination of Gayan, Vadan and Nritya . It is made by rhythm and Swar, which are both the wheels of musical chariot. It is well known to all that Indian Music was born in the age of Vedas or Vedic Yuga. Our saints started the first development of SAAMGAAN which lead to the development of Indian Music. According to Vasudev Sharan Aggarwal ― If Vedic Saamgaan is considered to be the first age of the development of Indian Music then Gandharva Upveda must be the considered as the second age or yuga of the development of music‖ (2). 1. Guru Granth Sahib – Guru Ramdas Ji - Page : 1409 2. NIbhandh Sangeet- Lekh- Bhartiya Sangeet Ki Pracheen Parampara

Page: 163 : By Aggarwal V.S. In every era of development and on every step Indian Music and spirituality are bound together. The dedication and unshakable feeling to God is devotion. The basic premise of different cultures settled in India and the different cultures developed in them is spirituality. India's soil is the land of a Dharama. Its ideology has been ideal for others and people's welfare. Every particle here has the soul of Rama, Krishna, Buddha, Mahavira, Nanak and the list goes on. Nearly all the states in North India were well off. It is also a truth that most of the attacks by foreign invaders were in this part of India, which had a lot of impact on the life here than in any other part of India.

History of Gurbani In the medieval period, there was a period of oppression and ignorance. Humanity came down to the movements of animals, trapped in the maze of darkness, sin and crime. In the kingdom and society, misdeeds and oppressions were happening on humanity. When goodness and religion were being attacked and evil was spreading, public condition reached a miserable state. The era of Mughals (1521 A.D. to 1707 A.D.) is very significant in the Punjabi Literature, that is why it is also known as the golden era of Punjabi Literature. The literature of this era is known for its greatness, completeness and is for all. The unique compositions of great saints like of Sikhs Guru Nanak Dev Ji, Guru Arjun Dev Ji, Guru Ramdas Ji, Guru Amardas Ji, Guru Gobind Singh Ji, Bhai Gurudas Ji, were the ideological.

Vol.1, No.1 April 2018-JK Music Initiative

On the basis of metaphorical maturity and Jagruti aspect of their work, we separate this period from the rest of the period. The custom of kirtan and satsang brought the spiritual literature to the social field. The best form of composition in this period is the composition by Sikh Gurus. In this period, the voice created by the Sikh Gurus came out in the form of Guru Granth Sahib. In philosophical terms, all the literature is a precious word made by intellectuals, by which all the circumstances of the past were squeezed and according to the new circumstances of that time, a pathway, to the successful life was shown. The contribution of the gurus in literary works is priceless and respectable. Gurus had gathered social and spiritual powers and people raised their voice against the atrocities of the then rulers. Gurus enlightened the spirits of people by Gurbani music and social gathering for two centuries.

About Gurubani Dharam Granth of the Sikh Community is ―Sh. Guru Granth Sahib‖. Believing in the glory of the gurus, and accepting the words and speech they have created as the only means of salvation, is the religion of the Sikh. Karam Kand is not given much importance in Sikh Dharam, but only the words written in the Guru Granth Sahib are valued. This ideology of Guru Nanak Dev ji and the other ten gurus has been called as Gurbani. Guru Granth Sahib is known to be the first written text of the Sikhs, that is why it is also known as their Aadi Granth. In the beginning of the seventeenth century, the fifth Guru Arjun Dev Ji started composing the work on Granth Sahib. Guru Arjun Dev Ji kept composing his words and also gathered the sermons of the previous Gurus. In the end, in 1601 AD, after seeing the beautiful secluded place of Ramsar in Amritsar, he started writing ―Sh. Guru Granth Sahib‖ by the hands of famous scholar Bhai Gurdas Ji of that time. And in 1604 A.D., when the Granth sahib was completed, it was established in Harmandir Sahib (Amritsar).

Guru Arjun Dev Ji compiled the Gurbani in a very good manner in Granth Sahib. Keeping in mind the religious and social goals, it is the first great text to be edited with special literary make-up.

In the medieval times the condition of Punjab was so bad that people had to endure all kinds of injustice. Looking at the call of time and the prevalwnt darkness, at that time there was a need of a great man who could remove the darkness by its light as, Moon does to Amavasya and who can eradicate the darkness of ignorance through his teachings. In such a situation, Guru Nanak Dev Ji brought a new way in the form of 'Gurbani' by contemplating all the religions. While we see the presentation of the Gurbani, Guru Ji presented themselves in a feminine form and presented ―Khasam Ki Vaani‖ in his form as ―Khasam ki Taad”i and see himself as a shayar, who have to present ―Khasam ki Baani‖ as ―Taadi‖. The entire Gurbani is based on Ragas. There are a total of 31 ragas, and these ragas also have more sub-ragas in them. The Gurus believed that ragas concentrate the mind and thus making a deep impact on the mind of a person. As the thoughts from the language are expressed by someone, in the same way, the use of raga is used to express the inner feelings of the mind. They believed that ignorance only made the music as an ode of enjoyment for the people, whereas Raagas can evict malice in one‘s mind and by continuous practice, the mind becomes pure and mixes itself with the divine, by which a good society can be created. The Japuji Sahib written in Gurbani is known as the key of Gurbani. The literary affinity of Guru Ji can be seen from it that he preached respect and equality for all religions. The third guru, Guru Amar Das Ji‘s literature is replete with graciousness, virtuousness and serenity. He developed the ―Manjhi System‖ for the promotion and development of Gurbani music. The person who lives a spiritual & pious life, was used to be appointed to carry the message of the Gurus to the society is known as ―Manjhi‖. Gurbani music by the gurus denounced the evils prevailing in the society and made people aware of these. They also opposed the outer appearance and show off. Gurus taught the householders to remain untouched from evils, while living in the society having evils like casteism, untouchabilty etc. By giving many such examples they gave the society message of humanity, equality and brotherhood by showing them mirror of truth, through Gurbani. The Gurus also denied the custom of Sati (Sati Pratha) and said that both men and women are equal. Gurbani music is compiled by the sermons of saints from different religions all over. The condition of the caste of Shudras (low caste) in society was very deplorable. They used to hang a bell in their neck in the darkness, so that people of higher castes could not have their shadow on them and keep away from these Shudras. They were not allowed to go to the temples.

Vol.1, No.1 April 2018-JK Music Initiative

The rituals imposed in the middle class society were also very bad and the middle class was very fed up with these rituals. They had to perform about 40 kinds of rites. From birth to death, the poor middle/ low class people were lying in the midst of these customs. The condition of women in society was also not good and she was treated like the Shudras. Looking at this condition of the woman, Guru Nanak Ji said that only a woman can give birth to Kings and great personalities, she is the one who helps in carrying the human race. Men and women are two wheels of a cart (household); both the wheels are equally necessary to carry the cart forward. He gave equal status to men and women of his times and therefore wished to stop hatred towards the women folk. At that time, two religions were popular in the country i.e. Islam and Hinduism. Islam was the religion of the rulers of that time and therefore it was the dominant religion. Government officials and Dharama Contractors like Maulvis or Mullahs used to popularise Islaam by all means even by hook or crook. Casteism prevalent in the Hindu religion also gave a push to the spread of Islam. The Gurus through Gurbani taught in a simple language and manner the art of living a life of simplicity, dedication and hardwork; sharing and caring irrespective of cast, creed, sex and religion.

On Women Folk In Gurbani, Guru Nanak Dev Ji has compeered these lines in Raag Assa keeping the women folk in his mind.

भॊड जक्ममए , भॊड नीक्ममये, भॊड मॊगन ववहाहु ||

भॊडो होवै िोस्ती, भॊडो चऱै राहु ||

भॊड मुआ भॊड भालऱये, भॊड होवे िॊिाण ||

सो ककउ मॊिा अखखये क्जस जममे राजान || ( वार आसा पहऱा , 20 , पष्ृ ठ - 473 )

MEANING Guru Ji glorifies the status of a woman by comparing her to a creator (God); as she gives birth to a child, nurtures the child like mother nature. She performs all roles in a man‘s life like that of a mother, sister, wife, and daughter. The process of creation would be incomplete without her. Guru Ji further says that how a man can be having a prejudiced notion about women. Shagun - Apshagun

सगुन अपसगुन ततस कउ ऱागदह क्जस चीतत न आवे ||

(आसा – 5 , पिा - 18 , पष्ृ ठ - 401 )

On the omen and ostracism, Guru Sahib said that, it is for those people, who do not remember the ultimate Father of all to whom we know as the God.

Shraddh

जीवत पीतर न मानै कोऊ मुएॉ लसराि कराही ||

पीतर भी िपुर कहु ककउ पावदह कउआ कू कर खाही ||

(गउड़ी िैरागन , किीर , पिा - 45 , पष्ृ ठ - 332 )

While taking a look at Shraddha, this time Kabirji says that the parents are not looked after well for the life throughout and after their death, Shradh kriya is done. The crow is given food in Shraddha. If you have to do it, just take care of your parents, while they are alive, so that they can bless you. Sootak

जेकर सूतक मनअये सि को सूतक होये ||

गोहै अत ै ऱकड़ी अिॊ र कीड़ा होये ||( वार आसा, 1 (18) , पष्ृ ठ - 473 )

Vol.1, No.1 April 2018-JK Music Initiative

Guru ji says very well about the sutak. Sutak is a type of illusion. According to this, if a child is born in a house or someone has died or mourned in the house, then it is considered a yarn for a few days. In this way, even people refrain from eating food in those households where sutak has happened. Guruji says that if death or life, all this is a sutak, then people shall stop the use of wood and cow dung, which is burnt in the stove for making meals or also used in pooja. Because wood and cow dung are full of insects, then they should not be burnt.

Conclusion Gurbani is completely musical. Being based on Raaga, it has the ability to concentrate one‘s mind in it, the gurus brought the spiritual and social awakening in the society by the Gurbani. Our society in those medieval times was prone to evil, and in this process society was deteriorating instead of making progress. Gurus through Gurbani made the masses aware about the follies of the society and thus brought social and spiritual changes in the society. Gurbani, after so many decades, still have such microscopic elements in it that will guide society in the many decades to come. Gurbani music composed by Gurus is enriched with quality music and literature to bring together all religions, to end class distinction. Based on different ragas and due to its distinct and original characteristics, the compositions of Gurbani have their own distinct and special place in the society and will continue to be so.

REFERENCES 1. Guru Granth Sahib –Guru Ramdas Ji– Page : 1409 (Singh C. , Singh J. , Bazaar Mai Sewa, Amritsar ) 2. Nibhandh Sangeet - Lekh – Bhartiya Sangeet Ki Pracheen Parampara (Aggarwal S. V., Sangeet Karyalaya- Haathras) Page : 163 3. Punjabi Sahitya Di Utpatti Te Vikas Page : 71 (Dr. Laamba. S. G., Kasel. S. K., Singh. P., Singh. B. T., Lahore Book Shop, Lajpat Rai Market Society, Ludhiana) 4. Gurmati Sangeet Ank – Prabandh Te Prasaar Page : 41 (January – February 1997, Garg M., Sangeet Karyalaya- Haathras) 5. Bhartiya Sangeet Ki Utpatti Te Vikas– Page : 32 (Babra S. J., A. B. S. Publications, Modern Market, Jalandhar ) 6. Punjabi sahitya Ki Utpatti Te Vikas Page : 80, 81 (Dr. Laamba. S. G., Kasel. S. K., Singh. P., Singh. B. T., Lahore Book Shop, Lajpat Rai Market Society, Ludhiana) 7. Guru Granth Sahib Page : 473, 401 (Singh C. , Singh J. , Bazaar Mai Sewa, Amritsar

Vol.1, No.1 April 2018-JK Music Initiative

Different types of Folk songs prevalent in the

Dugger area and their classification

Mukesh Kumar

Folk songs prevalent in the Dugger Area and their classification

Mukesh Kumar Research Scholar, Faculty of Music Delhi University

ABSTRACT

Dugger Region is known to be the region of Jammu where Dogri is spoken as the major language. The folk songs of this region, work as its mirror, and reflect the rich culture and traditions of Dugger. Folk songs have played a crucial role in making its folk culture popular and effective. The different genres of folk songs, which represents the social and emotional part of the social and family life of this region, includes the songs related to culture, religion, festival, season and bhakh. According to historical texts, folk musicians and my personal research experience I am trying to write this article. The article attempts to explore the different musical forms of Dugger traditional music.

Keywords Dugger, Cultural Song, Religious Song, Festival Song, Seasonal Song, Bhakh

Introduction India has very comprehensive and ancient culture. It has various regions, religions, languages, customs, arts and colours which have their own speciality, and this very distinctiveness presents the real picture of India. In our country we have different cultures in different regions, among all these the cultures of Jammu and Kashmir has made a distinguished place for itself. Jammu and Kashmir have always been praised all over the globe for its incredible beauty. It has been divided into three main regions- Jammu, Kashmir and Ladakh. And all these three regions have their own distinct social and cultural backgrounds. In Jammu, several different languages like Dogri, Poonch, Bhadravahi, Gojri,etc. are being spoken by the people. And the region where Dogri is spoken is known as the Dugger. The culture and civilization of Dugger region are reflected in its folk songs. The folk songs of this region act like its mirror. Therefore, the song genres of Dugger give a glimpse of its social and cultural background. The folk songs of this region which talks about the history of its people

Vol.1, No.1 April 2018-JK Music Initiative

92 give us references of farmers and labourers of the region, and at the same time they also have the imprints of faith, love affliction and human sympathy in them.

Different genres of prevalent folk songs in dugger and their classification The folk songs of Dugger act like the mirror of its folk culture. Dugger has a colorful earth. On one side it has the river while on the other side it has been surrounded by the glacial summit. It has mountain hills covered by dense forests, habitats of bright clans, and the whole valley of this region echoes with the folk songs sung by the shepherds. The most special thing about Dugger is that this region is a wonderful home to different kinds of languages and dialects. This small region has folk songs of more than dozen of dialects of Dogri language like Gojri, Gadi and Baott. Different genres of folk songs are prevalent in Dugger region. In Hindu scriptures, sixteen provisions of God are mentioned, and the class of priests, clergyman and Brahman play their part in the lawful compliance of these sixteen provisions. In general, people are unaware of of these scriptures based laws and provisions; therefore they perform these sacraments in their own ways. Dugger also has a great importance of these sacraments and they also apply one or the other sacraments at every corner of their lives. And they have different folk songs to present each and every sacrament of their lives. Dogri folk songs give importance to all the sixteen scripture based provisions, beginning from the birth till death. And that is why Dugger region has the custom of performing folk songs at every ritual or sacraments. One can say that the initial folk songs of Dugger are certainly filled with liturgical and religious feelings. Other than the devotional songs of mythological gods and goddesses, the people of this region also has a sacred belief and devotion to the local and terrestrial gods and goddesses, and they pray to them with the devotional songs related to them. So, there are many types of devotional songs that are prevalent in this region. Dugger region has primarily four seasons and that are summer, monsoon, winter and spring. And related to these seasons, different types of folk songs are prevalent in this region. In human life, festivals are celebrated with complete joy and happiness. In Dugger also, there is a custom of celebrating each and every festival with great joy and grandiosity, and on these occasions there is a tradition of of performing different types of folk songs. Other than this,

the love related songs, songs related to children‘s games and many other ones are also quite prevalent in this region. Classification of Folk Songs Due to the endless boundary of folk songs it is very difficult to scientifically classify them, but still many scholars have tried their best to classify them. In all the available classifications of folk songs, there are two things which have been taken care while doing so, first one is the subject matter and the other one is the singing style. The name of the scholar which comes first to our mind when we talk about the classification of Folk song, is Ram Naresh Tripathi. On the basis of compilation, he has divided the folk songs into 11 categories which are described as follows- (1) Culture Related Song (2) Song of Chakki and Charkha (Mill and Spinning wheel) (3) Religious Song (4) Seasonal Song (5) Song Related to Fields (6) Songs Related to Charity or Begging (7) Caste Song (8) Heroic Legend Song (9) Fair Related Song (10) Narrative Song (11) Song of Experiencei

Some other scholars have classified the folk songs in the following five categories- (1) According to viewpoint of Culture (2) According to the experience of pleasure (3) According to the order of season and votive (4) According to the different types of castes (5) According to the look at the phrases

After studying the various classifications of Dogri folk songs, it is understood that classifying Dogri folk songs in the following categories is more scientific and appropriate.

Vol.1, No.1 April 2018-JK Music Initiative

Sanskar Geet (Ritual song) - In Dugger region, during terrestrial rituals there is a custom of singing folk songs by the women. In this region, there is a tradition of singing folk songs at every ritual from the birth to the demise. Many Dogri folk songs related to the terrestrial rituals are found in this region. Some of them are mentioned here – (1) Bihaiyan (2) Badhawe (3) Ghodiyan (4) Suhaag (5) Sidhaniyan (6) Jagarna (7) Lohani and Palla. Among these ritualistic songs, the example of Ghodi song which is performed by the women from the groom‘s side is mentioned here as follows –

Tikka Judeya Da Aaya, Laggi Sanu Der; Tus Layo Mere Beera Laggi Sanu Der.ii

Dharmik Geet (Religious song) – In Dugger, the folk songs related to gods and goddesses are categorized as religious songs. Since ancient times there is a tradition of singing songs in the devotion and regards of gods and goddesses. The devotional folk songs of this region can be divided into two parts – (1) the folk songs which are sung in the praise of the gods and goddesses are called ‗Bhent‘, and (2) the folk songs which are filled with feelings of devotion to gods are called ‗ Vishvapatey‘.

Bhent Song – In the region of Dugger, there is a great importance of Mata Vaishno Devi, Sukarla Devi, Bawewali Kali Mata, Jwala Devi, Chintapurni and other goddesses. The people of this region worship them daily and have a great faith and devotion to them. And that is why the ‗Bhent‘ of gods and goddesses has an important place in the Dogri folk songs. Here is one of the examples of ‗Mata ki Bhent‘ – Mata De Darbar Jotan Jaag Diyan Sherwali De Darbar Jotan Jaag Diyan; Suha- Suha Chola Mata Anga Viraje Chanan Tilak Lagaya Jotan Jaag Diyan.iii

Visvapatey – These are full fledged devotional religious songs. They have some substances of preachings in them. An example of such song is as follows-

Uth Jaag Savere Ni Jinddiyen Sunn Santan De Vaani; Hunn Sat- Sang Kari Le Ni Jinddiye Mauj Batheri Maari. Other than these, there are many other types of devotional songs in this region in which Shiv Mahima, Ram Bhakti, Krishna Bhakti, and Krishna and Gopiyan Ki Raasleela, and Aarti Related to gods and goddesses are beautifully explained. Ritu Sambandhit Geet (Season Related Song) – There are mainly four seasons prevalent in Dugger region – summer, Monsoon, winter and spring. And there are various folk songs related to these seasons in which we get the description of different seasons and at the same time the practices related to these seasons are also described in them. Among these seasonal songs, an example of the folk song related to summer is mentioned as follows – Chadheya Mahina Basaakh Oo Rann- Mann Kanaka Pakkiyan; Syahadiye Jodiye Bo, Rann- Mann Kanaka Pakkiyan.iv

Parv Avam Tyohar Sambhandhit Geet (Festival Related song) – Since ancient times the tradition of celebrating festivals is prevalent in Dugger region. These festivals have a great importance in their lives. These festivals are celebrated distinctively in each region according to their own modes of celebrations which shows the history, culture and traditions of those regions. The festivals which are mostly celebrated in the Dugger region are as follows: (i) Baisakhi (ii) Dharm Dhyara (iii) Rootta- Raade (iv) Raksha Bandhan (v) Drubadi (vi) Bacchha- Dua (vii) Navaratri (viii) KarvaChauth (ix) Deepawali (x) BhaiyaDooj (xi) Tulsi Ka Vrat (xii) Lohri (xiii) Bhugge Ka Vrat (xiv) Basant Panchami (xv) Holi On the auspicious occasion of all of these festivals, people sing various types of folk songs. One of the examples of folk song sung on the eve of Baisakhi is mentioned as follows:

Vol.1, No.1 April 2018-JK Music Initiative

Chadhye Baisakh Aayi Baisakhi; Lokeyen Maare Bhaangre Oo, Lokeyen Maare Bhaangre Oo.v  Pranay Sambandhit Geet (Love Related Songs) – There is an abundant number of love songs present in Dugger. These love songs include the song of meeting, song of separation, song of relationships, etc. In these songs there is a description of meetings, separations, etc. Among these an example of song of meeting is as follows:

Haye Bo Pyariye, Haye Bo Dulariye Tere Kanney Bolne da Chaa, O Mere Kanney Bol Lichchhaye.vi

 Anya Lok Geet (Other Folk Song) – On the basis of Singing in Dugger, there are various folk songs which are available in different forms. Among them Shram Geet, Khel Geet, Jaadu- Tonne Related Geet, Bhakh, Tarorak, Jhanjhoti, Tappe, Bel, etc are the foremost ones.

 Shram Geet – In the Himalayan region of Dugger, agriculture is still practiced as a group task. In ancient times, specially during feudal System, farmers used to do all their works in a collective way whether it is agricultural work or a marriage ceremony. The tradition of mutual help and group task are still prevalent in many regions of Dugger and there the group songs are still sung by the people. One of them is as follows: Ae Khwaja …………. Hoi Sa, Tere Jore …………. Hoi Sa; Harami Kula …………Hoi Sa, Jor Nai Layi ………. Hoi Sa.vii

 Khel Geet – Khel Geet in Dugger is mostly related to children that include Pugganna, Dhaal, Kikli, Panktiyan, Sports songs of Boys, Sports Songs of girls, Songs for Playing Children like Loriyan, etc. Among these, one of the children‘s song is as follows-

Jhute- Jhulare, Mama Gilla Pyare, Mama Pinge Batai De; Hetha Badae De Paai De Aaunde Janda Jhute De.viii Jaadu- Tonne Related Song – In Dugger region, we come to hear of magic related and leprechaun songs. Those who bring into the practice, the patients who believe in leprechaun are known as ‗Soriye‘. Soriye sing the songs in praise of leprechaun while curing the patients affected by a leprechaun. In this Lehra, Baesaru, Gaddi, Muhaari, etc. are the songs which are known to be related to magic, jadi and leprechaun. An example of this category of song is as follows:

Bicch Madhiye De Khede, Beer Maasana, Jaati Da Tu Kun Koi Honna, Ke Te Tera Naa.ix Bhakh – Bhakh is the main and distinct style of singing. Scholars have different votes against the meaning of ‗Bhakh‘, but in the Dogri language it means ‗song‘. It is also known as group song. Bhakh is a classical genre of Dugger and it is a voice based genre. There is little importance of lyrics in this song. To present this genre, four singers are required among which one will be the leading singer. The lead singer mainly presents the Bhakh while the other singers carry the lead singer‘s voice and back it. They are supposed to lead the Aaaa… and Eeee… sound to the highest pitch. There is a strange way of singing this song. All the singers come together at a platform and sit by their feet. Then they put their one hand on their respective ears and the other one in the air, and sing the song. There are many names of Bhakh founded in Dugger like –1) Sumarati Bhakh (2) Maraehalu Bhakh (3) Padhraki Bhakh (4) Balahlati Bhakh (5) Parli Dhara Aali Bhakh (6) Laddehe Bhakh (7) Jandrahi Bhakh (8) Jammuali Bhakh (9) Dalit Bhakh (10) Bandharalati Bhakh (11) Rajwalati Bhakh (12) Buhali ,Bhakh (13) Padasti Bhakh (14) Marthaehli Bhakh (15) Drohari Bhakh (16) Diggi Bhakh (17) Chapaali Bhakh (18) Mallad Bhakh.

Folklore Scholars have divided Dogri Bhakh in three parts: (I) Small Bhakh (II) Medium Bhakh (III) Large Bhakh

Vol.1, No.1 April 2018-JK Music Initiative

Among the above mentioned three Bhakhs, an example of one of them is as follows: Ucche Burjen Aalae Mandar, Sadhae Jammu Shehar Bo Ae, Chadhdae Jammuan Tavi Je Bagdi, Laehndae Bagayay Naehar Bo Ae; Ase Saafen Aale Rauhnde, Saadhe Jammu Lok Bo Ae, Pahade Jammuan Samba Naggar, Dakkhan Basdi Tok Bo Ae.x

 Tappe – Dogri Tappe is similar to Punjabi Tappe. They are generally sung with dholak by the women during the marriage ceremony. One such example is as follows: Kothe Chaar Paaninyan- Bich Thamma Be Nai Ae Raja Changa Bhala- Ghar Kamma Be Nai Ae Kothe Chaar Paaninyan………….xi

 Bel – Professional singers sing songs during the marriages and sometimes after getting impressed relatives of grooms reward them. During this time, the singer spurts some exclusive melodies, in order to sing a song showing gratitude towards the benefactors. That is known as ‗Bel‘ in the folk tradition. An example of this is:

Bel – Bel – Bel O Aai Bade Badhi Khappe Di Bel Tuse Rupaiya Dita Ae.

Conclusion The strong expression of each aspect of Dugger‘s tradition, custom, customary thoughts and interest is reflected in its folk songs. Folk songs of this region have played a crucial role in keeping its folk culture effective and eternal. The social and emotional portrayal of its social and domestic life has been possible only through the folk songs of this region that includes the genres of Ornamental Song, Religious Song, Seasonal Song, Festivl Song, Love Song, and other folk songs (like Bhakh, Sharam Geet, Khel Geet, Jaadu-Tonne related Geet, etc.). These songs represent the eternal portrait of Dugger region. The folk songs of Dugger are fulfilled with prosperity and comprehensiveness. And each category of its folk songs – Dharmik Song, Seasonal Song, Ritual Song, Children‘s Song, and etc- exposes every aspect of life in this region.

By listening to these songs one can see the floating pictures of the cultures of this region in front his eyes. The artistic folk songs of Dugger region are prosperous if we look at its cultural perspective and its contribution to the Indian culture as a prosperous unit is commendable.

Vol.1, No.1 April 2018-JK Music Initiative

100

End Notes 1. Sanjay Kumar, Jammu Lok Sangeet Ek Adhayan, Page no. 49 2. Prof. Shiv Nirmohi, Duggar K Lok Geet, Page no. 199 3. Om Goswami, Dogri Lok Geet Part 12 Page no. 24 4. Om Goswami, Dogri Lok Vartha: Swaroop Te Vishleshan, Page no. 193 5. Om Goswami, Dogri Lok Geet Part 5 Page no. 3 6. Bharat Bhushan, Jammu Pranth Ka Lok Sangeet, Page no. 60 7. https://en.wikipedia.org/wiki/Dogra 8. https://books.google.co.in/books?

REFERENCES Bhushan, B. (2014). Jammu Pranth Ka Lok Sangeet. New Delhi: Duawa Book House Guru Nanak Bazar Delhi. Goswami, O. (1992). Dogri Lokvaarta Sarup Te Vishleshan. Jammu: Jammu Kashmir Art Cultural & Languages. Goswami, O. (1995). Dogri Lok Geet. Jammu: Art Cultural & Languages of Jammu Kashmir.

Kumar, S. (2012). Jammu Lok Sangeet Ek Adhayan. Delhi: Faculty of music & fine arts university of delhi. Nirmohi, P. S. (2003). Duggar K Lok Geet. Jammu: Sahitya Sangam Publication Jammu.