ISSN NO.: 2321-290X RNI No. : UPBIL/2011/43595 SHRINKHLA : VOL-1 * ISSUE-2 *OCTOBER-2013 A Critique on North Indian Singing Style “Khyaal” Through Socio-Cultural Perspectives Abstract The socio-cultural background and its echoing sounds always remain as the core of any fine artwork. Music with its universality acts as a very dominant stream among fine arts forming aesthetic values, emotive fervency and blissful experiences. Behind its so called particular attributes (music of this world – relating to AAHAT NAAD) there exist religious, social, cultural, political and creed based norms. In North these factors play a vital role to give emergence and developing or abandoning many established singing styles. This paper stresses upon those socio – cultural factors that can be called root causes of living or extincting singing styles of North Indian Classical music. Right from Dhruvapada () to or Hori many styles came into existence whereas some faced adverse conditions and lost existence or dragged to become extinct or less recognised including Khyaal. Keywords: Khyaal, Singing-style, Socio-culture, Emergence, Diffusive potential,Multi-culture.

Introduction

At the beginning of social life a group of human beings sought sublimate emotions through creative disposition. Some preferred to express their feelings through language or writing, some opted for colour, stone, wood and some adopted ―sound‖. Literature developed through the

medium of language, Arts evolved through colour and lines and Music manifested itself through Swaras/sounds and rhythm. All works of arts have Sudha Sahgal some many similar and some dissi milar factors and behind these, socio- Associate Prof. cultural issues adhere to many reforms and changes. Culture is not Dayalbagh Educational Institute timeless and motionless body or value less body that remains Deemed University unaltered by social change rather it is dialectic and incorporated new Agra (U.P.) forms and meanings while changing and reshaping traditional ones (Parsons, 1999 )[1]. Therefore, it is thought of coherent body of beliefs and practices which are dynamic and changing within particular historical background. The concept of style emerging out of socio-cultural is nothing new in any work of art. In Indian music also, there are some vital perspectives which are responsible to give emergence to many new streams or styles socio-culturally- * Basic values * Core assumptions * Social beliefs/Norms * Attitudinal conventions * Systems and institutions * Social rituals and behaviour * Structural elements of language * Emotional impact creating product Keeping all these above mentioned socio-cultural perspectives in view this paper is focusing upon KHYAAL, a very systematic, imaginative, melodious, intellectually ordained, soulful classical singing style of north India. Here are some "research questions" before writing on this topic- R Q - 1 - What is the socio-cultural valued background of Khyaal ? R Q - 2 - How fundamental assumptions of society and culture could act upon Khyaal ? R Q - 3 - Do social beliefs have any impact on Khyaal ? R Q - 4 - What are the attitude based conventions shaping Khyaal ? R Q - 5 - Was this style capable of giving emergence to any institutions ? R Q - 6 - Are/were there any social rituals or behaviour in rendering ? R Q - 7 - What type of language/literature in the structural framework of Khyaal? R Q - 8- Does any product of Khyaal involve individual/socio-cultural emotion? 78

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Background of Khyaal: musical culture. If a singer/poet/artist/painter displays Khyaal or Khayal, is the modal genre of sufficient skill and knowledge in performance, the classical singing of northern India. Its name is derived person is welcomed by other wizards of North Indian from an Arabic word meaning "imagination". It is artists/classical musicians/and by the general public believed to have developed out of the singing therefore it was easy to mingle up with masses(except style (qawwal bachchon ka gharaana ). Its traces Brahmins of former centuries).Anyhow references are related with particular system start appearing from available in literary or structural framework in 17th C. It is a more free and flexible form than Akbarnama and Jahangirnama along with Dhrupad and it extends greater dimensions for subsequent granthas but regarding the notational improvisation. Being a modal genre it has variety of system of QUAL or qawwali no references are thoughts, embellishments, moods and nuances. Its available. modes are called and each is a QUAL is behind Khyaal as basic value and core particular framework of melodic rules. assumption. A school of thought believes that Amir Mentioning in general terms basic values Khusro was the originator of Khyaal (though he are widely shared amongst a group, community or created many poetic modes of Hindavi, Braj, Persian culture (Welch. P, 1995, p35)[2]. These can be languages but pertaining to Khyaal particularly no classified as religion, music, culture, educational authentic references are available), another school of institutions, family, peers, they are passed on through wizards or historians claim that it was already there sources such as institutions, religious organisations or after Amir Khusro and taking shape from 14th c. to family, but what is considered prominent in one 16th c. in the form of Qawwali. Amir Khusro was a culture or society can vary to the next. Values of Sufi Sufi and he created QAUL (THE WORD (of KHUDA)) philosophy remained at the root level. As it is is being sung till date in URS)instesd.In other words, important to mention here that Khyaal is believed to one cannot deny that the structural framework of be emerged out of Qawwal Bachchon ka Gharaana, Khyaal is laid upon QUAL. An example of QUAL is as having all attributes of Sufism and it was naturally follows - imbibing the culture and value of social togetherness Sthayee - of Sufis. A country like India was cherishing two Man Kunto Maula (Who is my master?) cultures and pantheism was there in core status. Faaliyun Maula !! (Ali is my master ) Social beliefs and norms are the traits by Antara - which groups in a community identify themselves and TAN DIR TANA DIR, TANA DIR TAARE DAANI these beliefs and norms are sets of ideals and world DEEM DEEM TANA NA NA NA, TANA DERE NA views: They are coherent from inside, they appear to TUM TUM TANA NA NA NA, TANA DERE NA be true and these are many and varied, most of them YA ALI YA ALI YA ALI, TANA DE RE NA organized into groups and advocate their beliefs. The Khyaal has exactly adopted this two part social beliefs and norms that we hold are an structural framework based on QUAL. The second important part of our identity. They may be part gave emergence to Taraana later in the 18th c. religious, cultural or moral and at the same time QUAL was sung in group with the unique application pertaining to day to day norms, related to of clapping. QUAL and Qawwali ( simple version of imagery, festivity etc. Beliefs are precious QAUL) became popular from 14th c. in the reign of because they reflect who we are and how we live Sultan Hussain Shah Sharqi (early15c.) when our lives (Norman D. A, 2002, p.79-80)[3]. These Kalavanti Khyaal came into existence (in the form of traits of the society were prevailing till the later half of chhota khyaal of present day having some sort of 17th c. and the handful of artists were permitted to petty mimicry note along with qawwali), to16th c. in sing religious Dhrupad. Then Dhrupad due to over the court of Akbar (second half of 16th c.) both styles complexity started declining and Khayaal was were at the peak of popularity (a similar genre called popularized having day to day experiences by Khyaal pertaining to folk dramas was also popular in Niyamat Khan (Sadarang) and his nephew Firoz Khan Akbar‘s time but this folk dramatic Khyaal did not have (Adarang), both musicians in the court of Muhammad any traces of classical music based Khyaal). As far Shah Rangeele (1719–1748). as similar articulation exists of both the terms, there It seems by many sources that Khyaal was could also be a possibility to speak or pronounce pursuing its place in the society and compositions QUAL as khyaal by Indian folks and this term got were being written on social norms ( other than established as the same in due course of time. devotional which was the central note of Dhrupad) Masses (except Brahmins) of India of that time were such as description of festivals, nature, seasons, on the other hand not allowed to listen or learn the love poetry etc, so although the compositions of high powered and sanctified Dhrupad but were Sadarang and Adarang employ the theme of Hindvi heartily welcomed to enjoy and sing(even ragas love-poetry, the khyaal of this period also acquired the based melodies having distinctive folk colour) dignity of Dhrupad someway and the manner of the Qual/Qawwali. Though the second part of QAUL veena in its glide (meend) plus a number of musical seems meaningless but a great value of spiritual exercises (alankaars) that were introduced into the meaning is hidden it. body of the composition. Social beliefs and norms On the other hand, in India, knowledge, invented a new style. The system having all erudition, and art were/are always highly esteemed. above mentioned belief systems arose out of stylistic Therefore, over time, artists from different religions, rendering of the khyaal by various subsequent cultures, and castes were easily integrated into Indian generations of musicians. After a certain period of 79

ISSN NO.: 2321-290X RNI No. : UPBIL/2011/43595 SHRINKHLA : VOL-1 * ISSUE-2 *OCTOBER-2013 time social beliefs and norms also change and it whether to do bol-alap or aakar-alap, what kinds of happens after a long duration of time when any improvisations (choice and freedom to the artist) to tradition gets lethargy in it (Deshpande, K. 1994, use, how much importance to give to the rhythmic p.98)[4]. It also occurred in India after the decline of aspect, and so on. All have distinctive Dhrupada and Khyaal took its place very easily. mannerisms and methodologies which distinguish Attitudinal Conventions of Dhrupad Shaped them from one another . Surprisingly till date no Khyaal: references were available regarding notational system The word ‗attitude‘ refers to a lasting group of Khyaal. of feelings, beliefs and behaviour tendencies directed Here are being given salient gharaanas with towards specific people, groups, ideas or objects. A distinctive features – specific formula based attitude shaped Khyaal when Agra Gharaana Dhrupad was in advocacy of rigid and bigut • Introductory aalap/Nom-Tom in Dhrupad style principles. followed by Dhamaar. An attitude is also a strong belief about something. It • Dhrupad based Vilambit Khyaal. usually describes what we think is the ‗proper‘ way of • Exquisite Drut Khyaal with brilliant Bol-baant and doing something. Attitudes always have a positive and Bol-Taan. negative element and such convention based • Charming framework of Drut khyaal with various attitude shaped Khyaal when Dhrupad was all ―self- repetitive melodic lines. centered‖. Music set free from the hands of attitudinal • Complicated, pentatonic and vakra chalan (zig- Dhrupad and welcomed by Khyaal with liberations. zag pattern) based ragas are preferred such as Institutions/Gharaanas Established Due to Khyaal: Chhayanat, Natbihag, Nand, Jog, all Raga- Around the second half of 18th c.there prakaars of Sarang and . developed two types of : the Bada khyal in a • Tilvaada, Jhoomra, Teental, Ektaal in Vilambit, very slow rhythm (vilambit laya); the Chhota khyal (it Teental, Ektaal in Drut is used is believed that Chhota khyaal came first and Bada Delhi Gharaana Khyaal followed it later being slow in rhythm) begins • Very melodious pattern of alaap. with a moderate rhythm (madhya laya) followed by a • Uncommon ragas in preference such as Shahana very fast rhythm (drut laya). The khyaal composition Malhar, Langkeshri, Hindol Bahar, Sooha Sarang , or cheeze or ciz (this term is used for gold etc. ornaments in north India of that time and • Uncommon taans in preference such as Jhoolna compositions were considered remarkable as the taan, Ukhaad taan, Tod taan. same for possessing the whole Raga essence in • Teental, Ektaal in Vilambit and Teental, Ektaal in them), is of the utmost importance, as it portrays the Drut is used. cardinal features of the raga. The bandish has two Gwalior Gharaana parts: the Sthayee, in the lower tetrachord of the raga, • Voluminous and heavy execution of voice. and the Antara, in the upper tetrachord. Its most • Simple pattern of alaap. important component is the Mukhada, a characteristic • Emphasis on sapaat taan and Bol-taan and phrase that typifies the raga and uses text taken from application of various gamaks. the first line of the song, and creates melodic material • Septatonic Ragas are preferred as , for most of the cadences in performances of the , , Bilaval etc. Sthayee. While rendering Antara there is a secondary • Teental,Ektaal, Jhap in Vilambit and Teental, mukhada for the antara which keeps on repeating Ektaal in Drut is used. itself during alaap or taans. Jaipur Gharaana From 19th c. onwards Khyaal expanded through • Raga alaap and vistar based on Dhrupad. various Gharaanas . • Brief compositions in pentatonic ragas preferred. Institutions / Gharaanas Established Due to • Khyaal of Madhya laya in preference with layakari Khyaal: and vakra tans. Due to melodious dynamism Khyaal became • Roopak, Teental,Ektaal in Vilambit and Teental, so popular that many institutions (Gharanas) Ektaal, Jhap in Drut is used. emerged, developed and did spread all over the Kirana Gharaana northern part of India having below mentioned • Slow rendering of alaap. characteristics - - • Gradual progression of swaras. • Freedom of expression • Gamak taans in consistent manner. • Raga rendering by choice • Emotional content is given in flavour. • Usage of voice (production according to various • Teental, Ektaal, Jhap in Vilambit and Teental, gharaanas) Ektaal in Drut is used. • The various patterns of composition in rendering Patiala Gharaana • Particular style of Raga expansion • Alaap in full throated voice. Bol alaap mingled • Usage of Laya or tempo with laya. • Rendering of various types of Taan • Range of voice in three octaves. Therefore various gharanas have distinct • Intricate and fine usages in Taan framework. styles of presenting the khyal — how much to • Pentatonic Ragas preferred. emphasize and how to enunciate the words of the • This gharaana reportedly gave emergence to composition, when to sing the sthayi and antara, Punjab ang . whether to sing an unmetered alap in the beginning, 80

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Lingual Impact From Socio-Cultural Background new socio-cultural dimensions breaking all old beliefs, on Khyaal: norms, traditions regarding its patronage. The language of Khyaal is another vital part Khyaal entered into educational institutions in which can be put forth here keeping in view socio- modern times cultual background. Though Braj Bhasha is used at Though any written notational references of the most (area covering 300 km. in each direction compositions were unavailable for centuries therefore near Agra and Delhi, supposedly speaking Braj Pt. V.N. Bhatkhande and Pt.V. D. Paluskar did and Hindi) but along with it some traces of other revolutionary work to bring Khyaal and especially languages are seen on Khyaal due to socio- Indian music to educational institutions. Lakhs of cultural background of specific region (Joshi, P. students are singing Khyaal nowadays on 1990 p.67)[5]. Some examples are being given here professional and vocational levels. Khyaal was freed to elaborate the lingual impact of socio-cultural from the monopoly of nawabs, kings and zameedars background on Khyaal in Gharaanas - and to some extent from gharaana boundations. Not All Drut Khyaal : only students are having practical knowledge but they Braj Bhasha (65%) do also have the support of notation. Notational RAGA JOG (traditional bandish, popular till date ) – system of Pt. V.N. Bhatkhande is very well Sthayee - Saajan morey ghar aaye, mero mana established in north India. An example of the sukh paaye notational system given by Pt.V. N. Bhatkhande is as Antara - Mangal gaavo chowk puravo, Prempiya follows – hum paaye (Agra Gharaana) Urdu Language (Partly) (15%) RAGA HINDOL – Sthayee - Peer morey rehmat ke khuda, badastoor kar de mo pey karam Antara - Tu Kareem Raheem Bandanavaz, meri bhi tu sun le dua Rakh apni hi Hasti ka bharam ( Delhi Gharaana ) Punjabi Language (10%) Raga Shuddha Sarang – Sthayee - Mun bhavanda aavanda mende ghare, hovida dil menda gulzaar Antara - Tak tak onu akhiyan hoiyan raseeliyan,bhar jande sapnne hazaar (Patiala Gharaana ) Avadhi Language (10% ) RAGA GUNKALI - Sthayee – Kaisan hovahi nibaah hamaar,jiyara tarsat jaeet lagal Antara – Amava ki phootil bor, jiyara kasakat jaeet lagal (Delhi Gharaana) [All bandishes recorded in an interview with Pt.L.K.Pandit in 2001 in Lucknow] This way, not only this unique style possessing every possible distinction stood as a lighthouse but also gave emergence to other styles breathing with emotion, creativity, imagination and Bhava- (Pt. Bhatkhande, 1976, p.231 )[6]. presentation. An example of notation in Pt. V. D. Paluskar notation Offshoots Of Khyaal In Various Emotional Style system is also being given here – Structures - Thumri, of around later 19th c. remark the effect of Khyaal in the form of Bol-Baant, Bol- Banaav, Behlava and small Taans. Classical singers of early 20th c. used to sing Kajri and Hori with the style of drut khyaal or Bandish ki Thumri (some sing even today). Somehow Khyaal does have that enormous capacity to give other styles a great number of improvisations. Since music is the art of learning and listening, there are number of embellishments, intricacies and fine nuances which are not to be mentioned theoretically. On the other hand it is an art which should be made easy to understand also. So this fine art or Khyaal explored 81

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in much recognition due to rapidly changing socio- (Patvardhan, N. V. 1984, p143 )[6 ] cultural perspectives. In Maharashtra this system is more popular What is intended ? than of Pt. Bhatkhande but the entire north India gives • The challenge today is not only to revive fast preference to the notational system of Pt. diminishing recognition of Khyaal in music and Bhatkhande. There are thousands of notations in 6 social circle but also maintain the minimum level of volumes entitled Kramik Pustsk Maalika of Vilambit excellence to do justice with this traditional and and Drut Khyaal, bandishes compiled by divine style. Pt.Bhatkhande which he himself notated after taking • Society must preserve its social strengths, culture from almost all gharaanas. and tradition. With the changing times, both before mentioned • Rejuvenation of Khyaal through organisations, systems are also replacing with new academies, govt. sectors. symbol/notational system keeping in view the global • In educational institutions, classical music must be reach - offered at primary level so that students having Other notational signatures – talent must not be left ignored. By the time they 1. AROHA - S R G P D S AVAVAROHA reach Intermediate level, will certainly be able to - S D P G R S decide which stream they wish to go into. They 2. AROHA - SA RE MA PA NI {SA} - TAAR SA can learn khyaal or any other stream of music in AVAROHA - { SA} NI PA MA RE SA traditional gharaana culture along with education 3. AROHA - SA R G M P DH NI S (and so on) also right from their childhood. a small bar on M. References: 4. SWARSAPTAK NOTATION SYSTEM – 1. Parson, N. (1999): A New History of Botswana, 5. SWARSAPTAKIMPA - Gaborone, Macmillan. WWW.RAGATRACKS.COM/HARMONIUM2 [7] 2. Welsch, P. (1995): Strategies for teaching Universal Design, Adaptive Environments, Boston. 3. Norman, D.A. (2005): The Design of Everyday Things, Basic Books, New York 4. Deshpande, K. (1994): Sociology of Indian Masses and Traditions, Universal Pub, Delhi. 5. Joshi, P. (1990): Various Traditional Trends of Classical Music, Kamal Prakashan, Delhi. 6. Patvardhan, N. R. (1984): Raag Vigyaan,V.D.Samiti, 495, Shanevar Peth, Pune 7. SwarsaptakIMPA - www.ragatracks.com/harmonium2

Present Status of Khyaal : Can It Really Be Called A Product Of 21st C. Socio-Cultural Background ? In present day when the society has become over-conscious of consumer products, running after latest electronic gadgets, becoming more and more materialistic, wishing to meet international platform and make instant money; the rich and prosperous Khyaal is being replaced by various incoming multi- culturist products such as overflowing TV channels, westernised beats prone fast numbers of album and film songs, shallow presentations of immature singers, untrained groups of band-singers, visual music having no melody. At this point, Khyaal has been left many miles beyond. A singer or student does not see any future in pursuing it. Social beliefs, norms, tradition, culture has changed the scenario. Khyaal is no more

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