SYMBIOSIS INSTITUTE OF FOREIGN TRADE Export potential analysis of Indian Classical Music to U.K Submitted by: Naina Malhotra 9011 Div A ACKNOWLEDGEMENTS I would like to express my heartfelt gratitude for the invaluable help extended to me by Pt.Bhimsen Joshi,, in the completion of this report. I would like to extend my thanks to Mr. Haresh Bakshi of Sound Of India I would also like to thank Mr. Shrikant Bhojkar, Faculty – SIFT, without whose guidance & support this project would not have been possible. I would like to thank Mrs. Supriya Joshi, Librarian – SIFT & the entire staff for all their help. 1 CERTIFICATE This is to certify that Ms. Naina Malhotra, SA–1–9011, of Symbiosis Institute of Foreign Trade has submitted the following research report on the EXPORT POTENTIAL OF INDIAN CLASSICAL MUSIC TO UNITED KINGDOM in partial fulfillment of the Masters Programme in International Business (2000-02) course at SIFT, Pune 2 CONTENTS Introduction Indian classical music Various forms of I.C.Music Terms related to I.C.M. Guru shishya Parampara & Gharanas Some of the eminent Artists and maestros Organizations promoting classical music Commercial aspects Indian music industry SWOT of Indian classical music 3 Competition Export of Indian classical Music Target market: United Kingdom Cultural profile of UK Indicative Costing Marketing Strategy Promotions of Indian classical Music Future of Indian classical Music Bibliography People Contacted INTRODUCTION Indian classical music originated from the chanting of the Vedas, chanting based on Sama Veda. These could be compared with the Psalms in the Bible. Indian classical music is categorized under two genres. These are as follows: 1. Hindustani 2. Carnatic. Which are further divided into vocal and instrumental. Vocal comprises of the ragas chanted by singers. The word raga literally means colour. Indian classical music is coloured by the emotions and moods and are closely associated with the various times or the seasons of the year. TYPES OF INDIAN CLASSICAL MUSIC 4 Indian Classical Music is of following types: Dhrupad Dhamar Hindustani Classical Khayal Semi classical music (Natya sangeet) Light Music ( Bhajans, songs ) Instrumental Dhrupad compositions have four parts or stanzas, viz. Asthayi, Antra, Sanchari and Abhog. Dhrupad is accompanied only by the Tanpura and Pankhawaj. Dhrupad is considered to be the oldest classical vocal forms of Hindustani music. Hori Dhamar: These compositions are akin to Dhrupad and enjoy identical status. Despite the variations in the themes of these compositions, all of them are associated with the festival of Holi (playing of colors) and the compositions are all of 14 beats time cycle. Khayal: The Dhrupad style of music was replaced by the romantic Khayal (the word Khayal means imagination, idea). The most important features of a Khayal are 'Tans' or the running glides over notes and 'Bol-tans' which clearly distinguish it from 'Dhrupad'. The slow (Vilambit) and fast (Drut) styles of Khayal are the two recognised types today. Tappa: This is a distinct style having its origin in the Punjab. Its beauty lies in the quick and intricate display of various permutations and combinations of notes. It is strange that even though the Tappa lyrics are in Punjabi, Tappa is not sung in the Punjab. Banares and Gwalior are the strongholds of Tappa. Bengal has also been greatly influenced by the Tappa style. Thumri: Thumri originated in the Eastern part of Uttar Pradesh. Its most distinct feature is the erotic subject matter picturesquely portraying the various episodes from 5 the lives of Lord Krishna and Radha. The beauty of Thumri lies in the artist's ability to convey musically as many shades of meaning as the words of a song can bear. It is a much freer form than 'Khayal' TERMS OF I.C. MUSIC Swara is a notations followed in ragas. There are in total 7 swara and they are Sa. Re < Ga, Ma, Pa, Dha, Ni, Sa Tal are the Rhythms prevalent in music like Tri tal, Dadra Sur is the pitch or tone of swaras and music There are male ragas and female ragas, which are called raginis. Bhairav is a male raga and its female counter part (ragini) is called Bhairavi.Raga is the melodic structure at the centre of Hindustani (North Indian) and Carnatic (South Indian) classical music. It is the basis on which the vocalist or instrumentalist improvises in slow, medium or fast phases. A raga has five, six or seven notes in separate ascending and descending structures, and its own recognizable feature or theme. Each raga is associated with a particular time of day or night, and has its principal Rasa or mood. Some ragas are associated with the seasons of the year. Moods are closely associated with human emotions of pathos or sadness, joy, romance, love, devotion and the like, which are reflected in the ragas. The ragas, which are usually sung in the morning, are Bhairavi, Lalit, Todi, and its variations. Similarly there are afternoon ragas, such as Sarang and Bhimpalsi; the evening ragas include Yaman, Pooriya, Marwa and Shree, to name a few.In the same way there are ragas associated with 6 the seasons such as Basant for the Spring, Hemant for the Autumn, Malhar for the Rainy season and so on. Raga is neither a scale, nor a mode. It is, however, a scientific, precise, subtle, and aesthetic melodic form with its own peculiar ascending and descending movement which consists of either a full octave, or a series of six or five notes. An omission of a jarring or dissonant note, or an emphasis on a particular note, or the slide from one note to another, and the use of microtones along with other subleties, distinguish one Raga from the other. There are 72 'melas', or parent scales, on which Ragas are based. Raga has its own principal mood such as tranquility, devotion, eroticism, loneliness, pathos, heroism, etc. In Indian music there is above all an awareness between man and nature, each acting and reacting on the other, andhence each Raga is associated, according to its mood, with a particular time of the day, night or a season. Improvisation is an essential feature of Indian music, depending upon the imagination and the creativity of an artist; a great artist can communicate and isntill in his listener the mood of the Raga. 'Tala' is the second important factor in Indian music. These are rhythmic cycles ranging from 3 to 108 beats. The division in a Tala and the stress on the first beat, called 'Sum', are the most important features of these cycles. Talas having the same number of beats may have a stress on diferent beats, e.g. a bar of 10 beats may be divided as: 2-3-2-3, or 3-3-4, or 3-4-3. Within the framework of the fixed beats the drummer can improvise to the same extent as the principal artisits after going their separate ways, come back together with an accent or stress on the first beat. Thus, the 'Sum' becomes the most important beat of 7 emphasis thougout a recital of Indian music, since this urge for unity and its fulfilment are the most rewarding experience. INDIAN MUSIC INDUSTRY The business of music reselling has evolved to such an extent where it has attained the status of an 'industry' with its own characteristic dynamics. The Indian market has emerged as the second largest music market after USA, fetching valuations of RS 1200-1500crore. Industry structure and emerging trends are that about 70 per cent of recorded music till date is film music with the balance 30 per cent being ghazals, classical, devotional, western and Indi-pop. Tips. HMV, Times Music are some of the companies who are into the exports of cassettes and cd’s Indian music industry is second after USA, fetching valuations of 1200-1500 crore 70 % of recorded music is of films and rest 30% Comprises of ghazals,classical, devotional, western and Indi-pop Growth in Indian music market by 13%in year 2000 when global music industry fell by 1% Indian classical instruments 8 Various instruments which are played with both Hindustani and Carnatic classical music are: 1. SITAR Sitar is the most popular stringed instrument of India and has been in use for about 700 years. It is fashioned from a seasoned gourd and teakwood and has twenty mental frets with six or seven playing strings and nineteen sympathetic strings below. It is played with a plectrum worn on the finger. Sitar has a long and complex heritage; its origin goes back to the ancient Veena 2.VEENA. Ravi Shankar, the great musician-artist brought changes and a new perspective. 3. SAROD Sarod is another popular stringed instrument. The body is carved from a single piece of well-seasoned teakwood and the belly covered with goat skin. There are four main strings, six rhythm and drone strings and fifteen sympathetic strings, all made of metal. These are played by striking with a plectrum made of a coconut shell. The Sarod has no frets. Sarod as been found in carvings of the 1st 9 century in Champa temple and also in paintings in the Ajanta caves. It also has a similarity with the Rabab of Afghanistan and Kashmir 4.SARANGI The instrument was modified by Amir Khusru in the 13th century. A definite change was made by Ustad Ali Akbar Khan in shape of the instrument for improving the tonal quality.SARANGI The name derives from Sau Rangi meaning 100 colours. Sarangi is played with a bow and has four main strings and as many as forty resonant strings. It is generally used to accompany singers but can also be a solo instrument 5.TANPURA Tanpura is a four or five stringed instrument which gives the essential drone background to all Indian music.