ISSUE NO. 1 APRIL-MAY 1982

A bi-monthly information paper for lovers of Indian music in the West. Editors: Huib Schippers, Jane Harvey. Post Box 10088, Amsterdam, Holland.

EDITORIAL INTRODUCTION The time was probably not yet ripe for deep enjoyment of music from a different culture. Successful colonialism had convinced the West that the culture with the greatest Welcome to the first issue of the 'Indian military and political power also possessed M usic Newsletter'. We intend to publish the finest art. Everything but Western it on a bi-monthly basis, and we hope it classical music was 'folk music'. will help to provide a means of communic­ However, in the period following this, ation between all those who have a serious some of our Western composers found interest in Indian music in the West. inspiration for their compositions in Indian Indian music concerts have slowly music. begun to be accepted as a serious contrib­ Ustad Allauddin Khan A next important musical step was the ution to the cultural life of the West, but work of the Sufi leader and vina player there is still much work to be done. It is INDIAN MUSIC AND THE WEST Inayat Khan, who came to the West in rare to find newspapers and magazines 1910. His music was appreciated in places, which are willing to devote enough space but he had to make his living by playing to useful reviews or in-depth articles on for Indian-inspired dances by Westerners. Indian classical music. All too often, one Inayat Khan even played to the dances of comes across dismissal of Indian music as Every year there are numerous concerts of the famous Mata Hari! merely 'folk music', due to lack of under­ Indian classical music in the West. Nobody Spirituality and dance have always been standing of the basic structures of the is surprised at this. Still, it is only during good vehicles for presenting Indian music classical form. the last 25 years or so that Indian music in the West. Between the two World Wars Now that the fashionable (and largely has found its way to a large Western there was the Paris-based dancing troupe uncritical) era of Indian music in the audience. of Uday Shankar. Amongst the members of sixties and early seventies is past, there are Before this century, contact between his group were his younger brother Ravi still a great number of music lovers in the Indian music and the West mostly took and the musician who would train him to West who enjoy listening to Indian music place in India. Travellers reported on the greatness, the legendary Allauddin Khan. concerts. Many times members of the music there with different degrees of The group was quite successful, but there audience express a desire to have more appreciation. Reactions like these were not was still no breakthrough for Indian music background information about the music uncommon: itself. and musicians, to enhance their under­ "They delight much in musicke, and Then, in the mid-fifties, the famous standing and enjoyment. have many stringed and wind instruments, violinist Yehudi Menuhin invited sarod The first issue includes an introduction which never seemed in my ears to be any maestro Ali Akbar Khan and later Ravi thing but discord" (Edward Terry, ca. to Indian classical music in performance (Continued on page 2, col. 2) (see page 3), which will be followed in 1619). future issues by more detailed articles on "The instruments were costly and of the various aspects. curious workmanship. To the violin the The 'Newsletter' will also publish drums were added in concert, assisted with reviews (of concerts, records, books etc.), the voice of the musicians, whose ill tun'd interviews with artists, and historical, notes and imperfect cadence made most biographical and other background articles lamentable discord. When they had suffic­ on the music. Announcements of coming iently persecuted our ears ... " (John Burnell, concerts will be combined, wherever ca. 1712). possible, with background information for Other Westerners held different views. these concerts. The most important of these is N .A. Willard, 'Indian Music Newsletter' will mainly who wrote in A Treatise on the Music of deal with North Indian classical music, as Hindoostan (1834): most Indian concerts in the West are of this "It is perhaps owing to this general want type. Even so, we will also leave room for of acquaintance with it, that Oriental articles on South Indian music and occasion­ music is not so much esteemed as perhaps ally for articles on dance, being closely its merit deserves." connected with the music. The first time Indian classical music was The 'Newsletter' works on a non-profit actually performed in the West was basis. The most essential way of supporting probably in Paris, during the World Exhibit­ it is by subscribing. You will find more ion of 1855. It was also at this time that extensive information about subscription ethnomusicology started to develop, but its and donation subscriptions on the back main concern then was studying those page. 'quaint' instruments rather than the music. Sufi lnayat Khan PHILOSOPHY BEHIND INDIAN MUSIC NEWSLETTER ~NDJ~AN MU§~( ~ NfWSUrn~ ~

Published by Stichting Tritantri Vidyapeeth Whenever we are confronted with a work I t is important to note that these values Edited by Huib Schippers and Jane Harvey of art - be it a book, a sculpture or a piece come from a culture different from our Post Box 10088, Amsterdam, The Netherlands of music - there are two forces working. own. Not so different, however, that it is One is that of our previous experience or impossible to bridge the gap. knowledge, the other our capacity to We are very grateful to Joep Bor and Wim v.d. With this 'newsletter' we will try to Meer for their advice. stretch these to encompass the new. We do not feel fulfillment when, in make clear which are the underlying search of an aesthetic experience, we come structures and values of Indian music. STICHTING TRITANTRI across a cheap novelette or unimaginative Knowing these can result in a greater pop music. They do not create the tension understanding and enjoyment of Indian In 1972 Jamaluddin Bhartiya and his assist­ of the 'stretching'. At the other end of the classical music in performance. ant, Darshan Kumari, opened an Indian scale, we may encounter a work of art that music school in Amsterdam under the is so far from our understanding that we name Tritantri Vidyapeeth. Slowly organis­ are unable to encompass it fully. ing activities grew and for a legal basis the On first seeing the Ragini Todi painting Stichting Tritantri Vidyapeeth was found­ (reproduced here in monotone), few ed. (A stichting is a non-profit foundation). Westerners could respond as a connoisseur The main aim of Tritantri is the promot­ might. The connoisseur would recognise ion of Indian music in the West. Its funds symbolism and consequently deeper mean, derive from benefit concerts and support ing, and probably be aware of the different from the Indian government. Up to now traditions of miniature painting, with Stichting Tritantri has been mainly concern­ hundreds of comparable miniatures in ed with organising concerts, but is has also his mind to judge this one. His enjoyment published a record, and there are plans for - or rejection - of this painting would be. publishing books and giving grants for based on a much deeper understanding studies in India to promising music than ours. students. A lack of understanding may also result The editors are very grateful to Stich­ in false judgement. Some may consider the ting Tritantri for the financial aid that lack of realistic perspective as a sign of made publishing this first newsletter poss­ primitiveness, instead of a particular choice ible. of style. This mistake is often made in the case THE EDITORS of Indian music. On first hearing, many Huib Schippers has been intensively study­ listeners find Indian music 'monotonous', ing sitar under constant guidance from his because they include Western musical guru, lamaluddin Bhartiya, since 1975. concepts, such as counterpoint and har­ He has performed at many concerts, some­ mony, in their judgement. Indian music times together with his teacher. For the needs to be judged according to its own theoretical side he has read widely on values. Ragini Todi miniature Indian music. He gives lectures about different aspects and is Indian music critic INDIAN MUSIC AND THE WEST found himself pushed to pop star status. for one of Holland's biggest newspapers. (Continued from page 1) He was admired by youth all over Europe and America, even playing at pop festivals 1 ane Harvey is a vocal student of such .. as 'Woodstock' and 'Concert for J amaluddin Bhartiya, who learned from Shankar over to America. At last a more Bangla Desh'. Amir Khan. The mid-seventies she spent widespread appreciation for Indian music Unfortunately, this popularity had its working in and travelling around many started developing, a hundred years after negative sides. Serious music lovers, Ravi Asian countries, including India. She has the introduction of the music in the West. Shankar himself amongst them, regretted several years experience in editinl and The major breakthrough, however, came that the enjoyment of Indian music at that publishing, and is currently assistant editor almost ten years later. 'Beatle' George time was largely based upon false assumpt­ for a small English-language literary Harrison asked Ravi Shankar to teach him ions, rather than on understanding of the magazine published in Amsterdam. sitar. By accepting, Ravi Shankar suddenly music. Even so, it brought Indian music to the ears of many. It opened up the possibil­ ity for many top-ranking artists from India WRITING FOR THE NEWSLETTER we may be able to help with postage to come and perform here. costs if needed. Many Westerners started taking a serious We would welcome the submission of interest in the music, in both a practical articles on relevant topics concerning We urgently need up-to-date concert and a scholarly way. Some went to India, Indian music, although we cannot information for all over Europe, so others found Indian musicians who had promise to print everything we receive. organisers, please write to us. started teaching in the West. However, our main idea in making this The explosive popularity declined Newsletter is that we edit, but not Send enquiries, reactions to the News­ towards the mid-seventies. But it seems actually write everything. So please, if letter, articles, photos, concert dates that quite a large number of serious music you would like to participate in a etc. to the following address: lovers have made Indian music a stable critical exchange of views and infor­ presence in the cultural life of the Western mation via the Newsletter, send in Indian Music Newsletter world of today. your articles (and/or photos). Un­ Post Box 10088 fortunately we do not have the kind of 1001 EA Amsterdam budget necessary to pay writers, but The Netherlands. BASICS OF INDIAN MUSIC - flute) is also clearly voice-based. es the tonic and then explores the tonal INTRODUCTION / Over the years, 'non-vocal' techniques material note for note and phrase for A CONCERT OF INDIAN MUSIC have evolved for sitar and sarod: for inst­ phrase, slowly revealing the melodic struc­ ance the jhala technique (characterised by ture of the raga. Under the title of 'Basics ofIndian Music' we will a frequent use of the high drone strings on Alap is considered to be the most diffic­ present a series of articles about different aspects the instrument) at the end of jar and drnt ult to perform. From listening to it one is of Indian music, concentrating on the ones that gat (see 'Performance'). But still many convinced that a raga is not just a scale or a are important to fully understand and appreciate instrumentalists find inspiration in vocal melody. Rather, it is a refmed basis for actual concerts. music. Quite interestingly, instrumental improvisation that has grown and ripened The introduction printed below is also a pre­ techniques have also influenced vocal over many centuries, providing the musi­ view of the subjects that will be dealt with more music. cian with a framework to express his extensively in future issues, such as raga, tala, Even further away from the voice are musicality to great advantage. improvisation, styles, musicians, instrumental and the santur, harmonium, jaltarang (a row of vocal music, the audience, and so on. Often alap moves on to jar. Here, impr­ cups tuned to different pitches) and related ovisations in the manner of alap are elabor­ When we use the term 'Indian music', we instruments. These have in common that ated on a pulse beat. There is no recognis­ are usually referring to the North Indian they cannot produce the gliding notes able rhythmic structure yet. (or Hindustani) tradition of classical music. (mind, pronounced meend) that are so The introduction of rhythmic structures It is important to realise that there are basic to Indian music. They are not gener­ or tala, is clearly marked by a solo impr: many other musical traditions in India. ally accepted as classical instruments. ovisation on tabla to the composition of South Indian classical music (or Carnatic the soloist. This improvisation ends with music), although based on the same system, PERFORMANCE a stress on sam (pronounced sum), the first is quite different from its Northern counter­ beat of the constantly repeated rhythmic part. Also there are many types of folk North Indian classical music is a living cycle. After that the soloist improvises music. After all, the Indian sub-continent tradition. The music is not written down while the tabla player indicates the basic covers an area exceeding that of Western but is handed down orally, or rather aurally: rhythmic pattern. It is a widespread mis­ Europe, and encompasses as many or more from teacher to student and has been so understanding that this rhythm is too different cultures as Europe. In addition for centuries. No wonder there are such complicated for Westerners to follow. there is the highly popular fIlm music, the great differences in performance practice. This is especially true for the most equivalent of Western pop music. Still, most Indian concerts will recognis­ common tala, tin tal , a cycle of sixteen Even within the confmes of North ably follow the pattern set out below. beats divided into four groups of four Indian classical music there are a number The musicians come onto the stage. beats. The most clearly distinguishable beat of styles. The oldest and deepest classical Sometimes they touch it before sitting is sam. Many times this moment is indic­ style is dhrupad, which flourished at the down, for a performance is a spiritual ated by a nod from one musician to the Moghul courts in the 16th and 17th cent­ experience as well as a musical one. other. Sam is a moment of relief after uries. In spite of its great merits, dhrnpad Usually there are three musicians: a improvisations. in its pure form is now virtually extinct. Its tambura (or tanpura) player, a tabla player Most times, artists start with a slow influence remains in many areas of classical and the soloist, whether a singer or an composition. In instrumental composit­ music, but the predominant style is now instrumentalist. ions one beat in slow tempo takes about khayal, which leaves more room for imag­ First the soloist tunes the tambura, one second: in vocal, usually much longer. inative and virtuoso performance. which will provide the essential back­ The tempo of the composition may in­ Finally there are the light classical ground drone all through the performance. crease as the performance proceeds. The genres, which have less strict rules than Next he tunes his own instrument if slow composition is followed by a fast dhrnpad or khayal. The most important of necessary. Finally the smaller drum of'the composition, sometimes after one in these is thumri. Close to this style is dhun, tabla, the percussion instrument, is tuned medium speed. to the drone. The improvisations become increas­ in which instrumentalists elaborate upon ingly fast and virtuosity begins to play a folk song melodies. Sometimes artists will Then the actual performance begins. The artist starts with alap, an arrhythmic role. However, good musicians will only perform even lighter music, such as batiali (Bengali boat songs), ghazals (love songs in introduction to the raga he ( or she) plays. use their technical skills to enhance the the Urdu language) or bhajans (devotional (The a/ap portion is an influence from the ~usical quality of the performance, creat­ songs). dhrupad style. In pure khayal, alap is sung mg a worthy climax. How well musicians within the composition, to rhythmic conform to these patterns is up to the Even within one style there is the divis­ critical audience to judge. ion between the different gharanas or accompaniment.) First the artist establish- schools, but the clear distinctions between these are fading. However, there are great differences in the conception of the music by individual musicians.

INSTRUMENTS

The most important classification in the actual sounds produced is 'obviously between voice and instrumental music (leaving aside the varied qualities in sound of individual voices or the differences in the way a particular instrument is made or played). The main factors with instruments are their technical qualities and limit­ ations. The voice is widely considered to be the ?asis of Indian music. The sarangi, a bowed mstrument, approaches the sound and qualities of the voice most. It is often used to accompany vocal music. The music of the shehnai (oboe) and bansuri (bamboo Ali Akbar Khan (sarod) and Zakir Hussain (tabla) reach sam, a moment ofreli~f CONCERT AGENDA SHIV KUMAR SHARMA - santur; ZAKIR Thursday 27 May, Z30 p.m. HUSSAIN - tabia, Amsterdam, April 24. Nasir Arninuddin Dagar - dhrupad singing, 'Indian Music Newsletter' will try to present as The santur is an instrument of Persian demonstration. Purcell Room, Belvedere complete a picture as possible of important descent, but it has been known in India for Road, London SE1. Indian concerts in the west. Of course, we do not many centuries, especially as a Kashmiri appear so frequently that we can be completely folk instrument. Sat. & Sun. 29, 30 May, 3 p.m. up to date. Also we depend on others to send us Shiv Kumar Sharma was the fIrst to Nasir Aminuddin Dagar - dhrupad singing. information and sometimes the communications present serious classical music on his adapt­ Studio 2, Riverside Studios, Crisp Road, may fail. For this first issue, our information London W6. system was still far from perfect. Nonetheless, we ed version of the santur. Although one may are able to give some information about artists argue that the santur is unable to produce we know are touring Europe in April-May. all sounds necessary to make classical Indian music, Shiv Kumar succeeds in mak­ HARIPRASAD CHAURASIA - bansuri, ing his concerts quite interesting. Part of Amsterdam March 28, April 2 (see below this is due to his gift for rhythm (he was for detailed concert infonnation) trained to be a tabla-player as well). The bansuri or bamboo flute has been The rhythmic accompaniment by Zakir an important folk instrument for centuries. Hussain, who is considered to be one of Only recently has it acquired the status of India's best tabla-players, will certainly add a classical concert instrument. Much ofthis to the music, especially since the two have is owing to the musical perfonnance of the much experience in playing together. late Pannalal Gosh on this instrument. At present there are a number of classi­ NASIR AMINUDDIN DAGAR - dhrupad cal flautists, amongst whom Chaurasia is singing, London May 27, 29, 30. widely considered to be the best. Although The dhrupad style is the oldest style of he started studying at a later age than usual North Indian classical music still in exist­ for Indian artists, the combination of good ence. The famous musicians of historical teachers, hard practice and a natural apti­ times in India at the Mughal courts, such as tude have made him a noteworthy artist. This year sees quite a large festival of Tansen, practised this style. Although Indian culture being organised in Great dhrupad has left clear marks on present Britain. On March 22 (before this News­ day music practice, there are only a few letter appears), the festival will have been left who practise it in its pure fonn. inaugurated by a concert at which Ravi The Dagar Brothers are the most famous Shankar and Subbulakshmi were due to dhrupad singers from India. They come perform. All over England, presentations from a family which has practised this style of many aspects of Indian culture are plann­ for 17 generations. Nasir Aminuddin Dagar ed. There are many exhibitions, some is the surviving half of the 'elder Dagar plays, gala nights and many dance perfonn­ Brothers'; the 'younger' are in Delhi at ances. present. Unfortunately, there will be only a few His perfonnance for the India Festival concerts of Indian classical music. So far, 1982 will consist of a demonstration (May only a dhrupad programme by Nasir 27) and two perfonnances (May 29 & 30). Aminuddin Dagar (in May, see agenda), a sitar recital by Nikhil Banerjee (September INTERNATIONAL DATES 24) and the 'end of festival concert' (November 14) have been arranged. Friday 2 April, 8.30 p.m. The most interesting dance performanc­ Hariprnsad Chaurasia - bansuri, Markandey es will take place on April 8, 10, 11: Orissi Misma - tabla. Mozes en Aiironkerk, Wa­ dance by Guru Kelucharan Mahapatra and terlooplein 59, Amsterdam. Sanjukta Panigrahi, and May 8, 9: Kathak dance by Birju Maharaj. Saturday 24 April, 8.30 p.m. Further information can be obtained Shlv Kumar Sharma - santur, Zakir Hussain from Stanley Hodgson, Festival of India, - tabla. Mozes en Aiironkerk, Waterloo­ room 64/G, Government offices, St. George Nasir A minuddin. Diagar plein 59, Amsterdam. Street, London SWIA lAA.

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If you would like to receive the Newsletter on a regular basis, send us an International Postal Money Order made out to Indian Music Newsletter. For a year's subscription rate you will receive six bi-monthly issues. Please help to support recognition of Indian Music by becoming a regular subscriber or donor subscriber. REGULAR SUBSCRIPTIONS (wJuding postage): Hfl. 15.- (Holland), £3,50 (UK) , $8,- (US airmail), or other internat­ ional equivalent. DONOR SUBSCRIPTIONS: We also need donations from those who can afford more, to help us continue to meet printing and production costs until the Newsletter becomes established on a subSCription basis. Please send whatever you can afford over and above the regular subscription rate. SEND SUBSCRIPTIONS TO: Post Box 10088, Amsterdam, The Netherlands. ISSUE NO. 3 AUGUST - SEPTEMBER 1982

A bi-monthly information paper for lovers of Indian music in the West. Editors: Huib Schippers, J ane Harvey. Post Box 10088, Amsterdam, Holland.

KHAYAL khayal, as opposed to dhrupad where it is It is usually at this stage that the most the most important part. striking and unique feature of khayal is In issue no. 2 we presented a condensation of the Next the artist sings the composition, introduced, known as tana. A tana is a chapter on dhrupad from Wim vld Meers consisting of two parts. First comes sthayi rapid succession of tones of equal 'Hindusthani music in the 20th Century'. Now we present an adapted version of his chapter on khayal, (the first line of the composition), which duration. The order and prominence of which naturallyfollows the one on dhrupad. A Iso it in its best form is a cyclic statement of the the notes used must be characteristic of will serve as a backgroundfor the khayal concerts by raga. After that the artist builds up to an the raga. Each artist and school has a Bhimsen loshi, who is touring the West during these octave above the tonic in antra, again in number of ' standard tanas' which serve as months. the proper way for the raga. Sancari and the basis for others. In the realm of dhrupad there is room abhoga, which we find in dhrupad, are There are many kinds of tanas. Some for considerable variation. But variation absent in khayal. move quickly over the whole range ofthe is a characteristic of khayal, which is at The beginning of the composition is voice, some have turns, some are present the predominant style in vocal clearly marked by the entry of the tabla. patterned and some use particular vocal music. We will try to give some idea of Usually the first compositio.n is in slow techniques. Often these elements are what khayal is, in spite of the great deal of tempo. This may be as slow as more than' mixed. confusion which surrounds it. 5 seconds per beat of the cycle. Common Tanas can be sung to different sounds. Khayal started flourishing in the first cycles for slow khayal are ektal (12 beats) Sometimes the words of the composition half of the 18th century. The most and jhumratal (14 beats). are used, sometimes the names of the important figure of this time was Niyamat After the composition has been render­ notes (sa re ga ma pa dha ni), sometimes Khan, more generally known as Sada­ ed, the artist returns to alap, while the the long vowel 'a' and sometimes the rang. His beautiful compositions brought tabla accompaniment goes on. Often this syllables nom tom ta ra na etc., creating about the breakthrough for khayal. is done by elaborating upon parts of the the effect of a plucked instrument being Dhrupad had become too sober and composition. These elaborations are played. unworldly to suit the sensual atmosphere concluded by returning to sam, the Indeed, quite frequently we find a fast around the female artists of the time. primary stress of the rhythmic cycle. composition (which follows the slow) Khayal was perfect for this. This elaboration of the composition composed of these last syllables. These While dhrupad is masculine, we can may flow over into layakari, which compositions are called tarana. Fast consider khayal as its female counterpart. closely resembles bolbanao in dhrupad compositions are often set to a rhythmic Virtually all texts in khayal have a female (see issue no. 2), although in khayal the cycle. of sixteen beats called tintal (see ego. The ornamentations in khayal are rhythmic variations are much less strict. 'basics' article). In the course of the indicative of gender as well. Whereas in Their main purpose is to bring variety performance the note patterns become dhrupad all ornamentations are slow and into the performance. longer and more complex, and bring the graceful, those in khayal are faster and performance to a climax. more jerky. They are best performed when brief, soft and brisk. Therefore they Khayal means 'whim' or 'fancy' and suit thin (female) voices better than indeed, the interweaving of the different sonorous (male) ones. parts allows considerable freedom. For However, one should not see khayal as instance, an artist may sing a IO-second a style unconnected with dhrupad. There alap, sing the first line of the composition, is hardly anything in khayal that cannot then start some alap with tabla accompa­ be found in dhrupad. When we compare niment, return to sam with a tana and khayal compositions that are based on proceed from there in a variety of ways. dhrupad, the only difference lies in the The clearest distinction between dhru­ ornamentations, which have no basic pad and khayal is that in the latter the function in the raga, but only serve to elements may be mixed according to the embellish. school, taste and inspiration of the artist. Sometimes it is even hard to distinguish On the whole the art of khayal is less between the two styles. It would be more demanding for the artist. The mixing of correct to speak of a continuum, ranging elements makes it easier to hide mistakes. from very light khayal to heavy dhrupad. For the audience it is often more attractive to listen to khayal, because In spite of this and leaving scope for the dhrupad is rather petrified and khayal, as great variation to which khayal is subject, stated before, fanciful. However, in the a performance in this style will generally end, only one thing matters. The raga follow these lines. performed must be complete, coherent First an alap is sung. The tonal material and clear, yet with some originality. of the raga is explored in free rhythm, without tabla accompaniment. Usually Bhimsen loshi: characteristic expression for khayal Wim vld Meer this part is quite short or almost absent in Photo by Wim van der Meet BASICS OF INDIAN MUSIC n into four groups of four. The main stress -TALA lies on the first beat (sam). There are two ~ND)~AN MU§~( minor stresses, on beats 5 and 13. The ninth beat, khali, is unstressed. The fact ~ ,~UW5Urrf~ ~ that there are three stresses is clearly Indian music uses very complex rhythms. The indicated by the old name of tintal; trital, Published by Stichting TritantriVidyapeeth awareness that this is so keeps most people from trying to follow it. Unfortunately. Understanding meaning 'three claps'. Edited by Huib Schippers and Jane Harvey the basic rhythm of a performance increases The easiest way to follow the rhythm is Post Box 10088, Amsterdam, The Netherlands enjoyment. In this article on the basics of Indian by watching the tabla. While the soloist is music we will try to make clear that the basic rhythm of Indian music is not very difficult to understand. improvising, the tabla player usually Contributing editor: Joep Bar We will concentrate on a rhythmic cycle known as indicates the rhythm without much tintal, which is the most common rhythmic cycle. In ornamentation. Basically, he plays the EDITORIAL future issues we willgo into more complex aspects of sy lla bles presented below, indicative of rhythm. the sound. Unfortunately it is not yet possible to The two most important components There are several points of reference. devote an editorial to the state of Indian of Indian music are raga and tala. Raga The dha and ta sounds from the right music in the West. Again we have to go provides a performance with melodic hand drum are clearer than the dhin and into our financial position, as it is directly structure, tala structures the rhythm. tin. Of the two consecutive clear sounds, connected with the existence and quality Indian music works with rhythmic the second one corresponds to beat 1, 5,9 of the Newsletter. cycles. This means that the same basic or 13. We passed the one-hundred-subscri­ rhythmic pattern is repeated again and Beats 10 and 14 are indicated even bers mark. This puts us in an awkward again, creating a particular feeling (as more clearly. At beat 10 the tabla player position; there seems to be enough most rhythms do). This forms a firm basis stops producing the bass sound with the interest to go on (new subscribers are still for the composed and improvised parts of big left hand drum. Often he strikes the coming in), but we need at least one the performance. skin with the flat of his hand. The absence hundred subscribers more to be able to In the predominant styles of today, of the bass lasts for four beats, so that 14 manage financially. vocal khayal and instrumental styles, the is clearly marked by the re-entry of the As you can see, this issue has been rhythm is not very difficult to follow. bass sound. By counting 14, 15, 16, sam produced as professionally as the last During a performance, there are several one can find the first beat. two. This has been made possible by indications of the structure of the Frequently there are fellow-musicians, donations. We would like to especially rhythmic cycle. music students or other connoisseurs at thank Ins & Outs Press, Mr. V. van Every rhythmic cycle has a number of concerts. They may be a great help in Kooten and our guru, Jamaluddin stresses, the most important of which is following the cycle by clapping the Bhartiya for their financial help. sa m, the first beat of the cycle. It forms stresses in the way shown below. However, we need more help. Our the starting point for many and the In instrumental slow compositions one· experience over the past few months has finishing point of most improvisations beat usually lasts 1-2 seconds. Fast proved that personal stimulation of and receives an audible stress in that way. compositions are 2 to 4 times as fast, potential subscribers and donators is the It becomes even more audible when the while the climactic jhala (especially for most fruitful way. Therefore we again artist uses a tihai, a thrice-repeated sitar and sarod) may be over 8 times as request our readers with a passion for rhythmic pattern leading up to sam. fast (one cycle per 2 seconds). Indian music: Please show the Newsletter Especially after complicated improvisa­ In the beginning it may seem a waste to to acquaintances who might be interes­ tions the soloist will often nod at the tabla spend so much energy on trying to follow ted. Help us out of our financial dilemma. player or vice versa, acknowledging this rhythm while beautiful music is going on. Subscriptions to the Newsletter cost most important point of reference in the Following the rhythm demands all one's f 15,-. Subscribers in Holland can put rhythmic cycle. concentration at first. Therefore it is best . this on our postgiro account, no. We will now look closely at tint aI, the to spend only parts of concerts (or boring 5265123, Amsterdam. Internationally we most common tala in Indian classical concerts) on this 'training' or to try with prefer International Postal Money Or­ music. Virtually all fast compositions, records (where the visible indications are ders. Money in (registered) letters will vocal and instrumental, are set to this absent, of course). also be accepted. As stated, donations sixteen-beat cycle as well as many of the After initial hardships, one finds that in will be greatly appreciated. Please slow and instrumental ones. In fact, the , the course of time, keeping the rhythm indicate if you want to receive the introduction of different talas for instru­ comes more and more naturally. Then the Newsletter from issue no. 1 (free) and mental music is fairly recent. Some great· positive effects present themselves. By then six issues from no. 2 onwards, or if artists, like the sitar player Vilayat Khan, following the rhythm one feels closer to you want the subscription to start from a still play all compositions in classical the artists and the music with an increased later issue. ragas in tintal. understanding and appreciation of their The sixteen beats of tintal are divided performance.

T intal, the most common tala

+ sam 2 tali o khali 3 tali + sam 12345678 9 10 11 12 13 14 15 16 1 DHA DHIN DHIN DHA DHA DHIN DHIN DHA DHA TIN TIN TA TA DHIN DHIN DHA DHA etc. THE SARANGI with their spiritual songs, tried to reach player had a talent and ambition to and convert the common man. beco~e a soloist, there was no other way As Yehudi Menuhin ,once put it, the When the bards started migrating to for hIm than to put the sarangi aside and the cities, they could easily earn a living sarangi 'most revealingly expresses the start a career as a singer. by accompanying the courtesans in their This is the way that talented sarangi soul of Indian feeling and thought.' saloons. The thousands of dancing girls Indeed, Indian musicians unanimously players or their sons became highly who flocked into the cities naturally agree that the sarangi is the most versatile accomplished singers. To mention a few and colourful instrument. On the other needed competent musicians to accom­ names, Ali Baksh and Fateh Ali, the pany their emotional songs, and they hand, the musicians themselves warn that founders of the Patiala gharana (or the sarangi is the most difficult musical soon realised that no instrument was school) and their famous disciple, Bade instrument, and that it should not be used more suited to echo their voice than the Gulam Ali Khan; Abdul Karim Khan, sarangi. Moreover, the sarangi players for solo performances. Why the sarangi Abdul Wahid Khan and Rajab Ali Khan has remained in the background and why being traditionally both singers and of the Kirana gharana; Badal Khan of instrumentalists, became the ideal music for centuries it has only been used as an Calcutta, Aman Ali Khan of Bombay, accompaniment to vocal music, we can masters for the young girls, enriching Amir Khan of Indore and Chand Khan of only answer when we study the history of Delhi. the instrument. Let us first say a few words about the Starting from a rather simple folk­ sarangi itself, or rather the large group of fiddle, the sarangi has evolved into one of North Indian bowed instruments which the most complex musical instruments of are generally referred to as sarangis and India. With its 35 resonance (sympathe­ include such instruments as the Bengali, tic) strings, which are never bowed, it Assamese and Afghani sarindas, the looks at first sight like an impossible saroz from Baluchistan, the chikaras etc. instrument to tune. . What all these instruments have in The three main strings of the sarangi common is that they are chiselled from a which are gut and quite thick, are the only solid piece of wood and that the strings which are played with the bow. soundbox or resonator is covered with a They are attached to large pegs which are skin. The one-stringed banam, which is laterally inserted into the peg-box. The played by the Santhal tribals ofBihar and pitch of these strings is variable, and Orissa is undoubtedly one of the most depends largely on the choice of the primitive types of sarangis. A little less musician. If he uses the sarangi for archaic is the small N epali sarangi, a four­ accompaniment, it depends on the key­ stringed instrument, which a tourist in note of the vocalist. Ordinarily, the three Nepal can buy for a few pennies. It is gut strings are tuned as follows: key-note played by the poor low-caste musicians of - fifth - octave, or in Indian parlance; the Gaine caste, who make a simple living sa-pa-kharaj. by singing their ballads and accompany­ Sarangi player. Detailfrom a Moghul miniature Another remarkable feature of the ing themselves on the sarangi. More sarangi is the left hand technique. Like advanced both from a musical and their repertoires with folk tunes, which many of the mediaeval vinas the strings structural point of view are the sarangis were an important factor in the develop­ are stopped by pressing the fingernails played by the Langa musicians of ment of new vocal genres, such as tappa, against the side of the strings. Rajasthan. thumri, dadra etc. In this way, sarangi Among the old masters, Bundu Khan In folk music the sarangi functions players started making a name for (1886-1955) was undoubtedly the greatest both as a support and shadow of the themselves. Through their association sarangi player. He changed the image of voice, and also as a rhythm instrument with famous songstresses they were able the sarangi completely and should be (with the bow). Besides, the sarangi often to enter the courts. Then, once appointed accredited as the first sarangi player provides a prelude and short interludes, in the court, they had access to the whose solos were not only accepted in giving continuity to the song when the classical music tradition. private gatherings, but also on the stage. voice takes a rest. This triple function of The devaluation of dhrupad, an Quite a number of his recordings have the folk musician who is primarily a exclusively Hindu art form, and its been preserved. In spite of his fame, this singer, but at the same time provides his replacement by khayal, a hybrid form and ,.. incredible musician was a very simple and own melodic and rhythmic accompani­ a happy blend of Hindu and Muslim detached man, shabbily dressed and ment, is very typical for sarangi players all musical conceptions, must have led to the completely unaware of the world around over North India. acceptance of the sarangi as an accompa­ him. It must have been during the late 16th nying instrument in the 17th century. The Rajesh Bahadur, a close associate of and 17th centuries that the small folk beginning of the 18th century was Bundu Khan, narrates: sarangis started playing a role in the certainly a period of musical innovations, 'Even when he had fully established music life of the wealthy Indian cities. The when not only khayal and the sarangi himself as a maestro, he remained a Moghul period was a time when all the flourished, but also the sitar and tabla compulsive player, prepared to lavish his arts and sciences flourished, not only in emerged on the musical scene. treasures on anyone who would listen ... the North, but also in the southern It was difficult for great sarangi players and I must add, even those who would Deccan. It is not surprising, therefore, to break away from their subordinate role not. He had an innocent way of that in the Ain-i-Akbari, a late 16th­ as accompanists and receive credit as presuming that everyone and everything century encyclopaedia written at the soloists. Sarangi players, neither having around him understood what he was court of the emperor Akbar, we find the the status of singers or instrumentalists, playing. On one occasion he arrived two· first description of a sarangi. were generally treated with little respect hours before the appointed time ... When The first Moghul paintings on which and stigmatised as low-caste musicians. the session was to begin he was nowhere sarangis are depicted show us that the In addition, as the dancing girls often to be found and frantic search parties musical mendicants playing these instru­ combined their artistic careers with went looking for him all over. He was ments are standing close to an ascetic or prostitution, their musical companions' finally located in a patch of sweetpeas in his hermitage. Most probably, both the reputations had to suffer. the garden. When asked what he was rabab (the lute) and the sarangi were Yet it is known that many sarangi doing, he said: "I have gone out to play initially the favourite instruments of the players were excellent musicians and something for these flowers".' Hindu and Muslim religious bards, who, knowledgeable singers. If such a sarangi Joep Bar ISSUE NO. '4 OCTOBER - NOVEMBER 1982

, A bi-monthly information paper for lovers of Indian music in the West. Editors: Huib Schippers, Jane Harvey. Post Box 10088, Amsterdam, Holland.

A large part of this Newsletter will be devoted to A li Akbar Khan and his music. Although he is not touring Europe this year after all, we did not wish to let theyear of his 60th birihday pass without paying tribute to him.

INTERVIEW WITH ALl AKBAR KHAN, November 1980

(Reconstructed/ram the notes and memory 0/Elsje Plantema and Huib Schippers.)

How did you become a musician? I had a very strict and disciplined training. I was the son of the legendary musician Allauddin Khan, who was a court musician in J odhpur at the time. From the time I was three my father taught me the basics of Indian music. From when I was nine, I concentrated on sarod. I had to practise up to 18 hours a day. I remember that my father tied me to a tree for whole days without food because he wasn't satisfied with my practice. The one time I did not practise for any length of time was when my father was on a European tour. I didn't touch my sarod and had a wonderful time. As soon as he heard this, he broke off his tour and came back to India to get me back in line.

Don't you feel you missed something of your youth? Perhaps. But remember, there were no distractions where we lived. The only Ali Akbar Khan Photo by Peter Bottelier thing we could do besides making music was taking walks. I didn't know any for concerts and recordings. understand and appreciate our music better. A frog that only knows a little pool quite well. I often prefer Western au­ he lives in does not long for the big sea. You have been performing for Western diences to Indian ones. Anyway, I can still catch up now. audiences for 25 years now. Can you say something about that? What are Indian audiences like? How did your career as a professional When I first came to the West, the musician start? It used to be so, that at every concert music was completely new and different the front rows would be filled with musi­ When I was 20, I became court musi­ for the listeners and so was the audience cians and other connoisseurs. You could cian to the Raja of Jodhpur. I had to play for me. tell from their appreciation or disappro­ eight to nine hours a day for him. After­ Later, there was the wave of immense val how your performance was going. wards, I played for the radio and gave popularity for everything that sounded They could go as far as climbing on to the concerts elsewhere. Indian. I deliberately kept at a distance stage and embracing or punishing a In fact, during this period I was still during this period. I did not like the musician. This state of affairs was very under the intensive guidance of my father. superficial interest of that time. I prefer good for the music. Whenever I played something wrong for serious listeners. I did not want to change Nowadays the rich take the front seats. the radio my father would be on the my style, for instance by playing shorter The real music lovers must be happy if telephone immediately. pieces, because that would do injustice to Then, in 1955, I came to America for the music. the first time. Yehudi Menuhin invited me Now I find-that Western audiences (continued on page 2) Advisory editor: J oep Bor

AU AKBAR KHAN INTERVIEW Yes. I don't think it is good to spend all EDITORIAL (colllinuedfrom front paRe) one's energy on concerts; it affects the quality; there's the danger of playing We dedicate this issue of the Newsletter mechanically. My main aim is to teach. It to Ali Akbar Khan, who has reached 60 is my duty. I cannot keep what I have to this year. Usually, we do not centre our they can find a small place at the back of myself. I have to pass it on. attention on an individual artist. We the hall. The result is that musicians can After the king of J odhpur died, I think that Ali Akbar warrants an become careless and try to impress the started the Ali Akbar College of Music in audience with sheer virtuosity. That is not exception. He transcends the limits of a Calcutta, in 1956. My sister, Annapurna, . mere musical personality. Whoever has real music. is still teaching there. met him, cannot fail to have been struck Then many Western students started Do you think Indian classical music is in by his humble personality. He feels it is coming to India. I saw that it would be not he, but his music that is great. Ali . danger? much easier for one guru to get on a plane Akbar sees himself as a link in a chain of No, not really. There will always be than for hundreds of students to come the musicians that serve the Indian classical genuine musicians who will continue other way. In this way the Ali Akbar tradition. playing, no matter how difficult it is. College of Music in California was open­ In performance, his strong awareness Classical music is food for the soul and ed in 1967. I am teaching there four days a of tradition merges with a sense of the the body. It gives inner peace. Music is the week for a large part of the year. present and ideas of innovation, resulting language of the gods; it brings you closer The students are mainly Westerners. in a musical experience that justifies to them. Making music you can only win. Some have been learning for well over 10 practically all the misused superlatives so years now. They help me teach. I don't commonly found on record covers and in You attach much importance to teaching need assistant teachers from India any reviews. Indian music; to passing on your know­ more. Westerners can learn our music Musicians like Khansahib keep the ledge. perfectly well. Its qualities are universal. tradition and the music alive; steering clear of the dangers of petrification and VOCAL MUSIC seen him I would have thought he was a innovation for innovation's sake. woman.') With this issue we also commemorate In Indian music the voice is considered Even today a high-pitched voice is the deaths of Ali Akbar Khan's father, the superior to the instruments, a fact which greatly appreciated. Abdul Karim Khan, legendary Allauddin Khan, and his guru may come as a surprise: to many the great vocalist of the thirties had such a brother, Hafiz Ali Khan (the father of Westerners who have heard more of the voice. When one vocalist performs after Amjad Ali Khan). Both died 10 years ago. sitar, the sarod, the sarangi and oth~r another he feels that if his tanpura is We hope to honour their memory with instruments. tuned to a lower tonic, his music will the article on sarod on the facing page. The voice makes use of the breath, sound dull. Finally to more earthly matters. The which is felt to be strongly connected with A high-pitched voice 'shines' more. An Newsletter is still in despair. This is the the life-force. Moreover it has the enormous emotional power can be 4th issue. At the moment of printing we advantage of combining music with transmitted by the almost strident sounds have 125 subscribers. We decided that we poetry. in the high register. need to have 200 by the beginning of the Some subtle ornamentations are really However, the development of one's next season (April-May 1983) or we will inflexions of the voice that are quite vocal powers depends on the lower have to stop. We don't want to. Again, similar to the intonations of ordinary register. To retain resonance whilst please help. Many, many lovers ofIndian speech. A good vocalist achieves a singing the lowest tones is not only a music don't know about the Newsletter. It powerful expression of emotions merely difficult art in itself, it is also essential in is only through you that we can reach through these inflexions. order to restrain the voice when singing them. Another ground for the superiority of high notes. vocal music may be found in social, The three octaves of the voice, Iow, distinction. The caste of Brahmins , middle and high derive from the chest, the considered themselves masters of vocal throat and the head respectively, but a music. They were also the exponents of good vocalist manages to-blend them into the sciences of language and poetry. a smooth and continuous whole. Instruments were second-rate to them The basis of Indian singing is the open (c.f. the situation in the world of Islam, a-sound. A very important exercise for where recitation of the Qu'ran is allowed, gaining control is mandra sadhana, which but instrumental music despised). consists of singing a in the lowest tone Paradoxically, in the past stringed possible and trying to make the soundof instruments formed the basis of the the voice merge with the rich sound of the science of musical intervals and scales, tanpura. permitting precise verification. - Of course, the artist should also sing in In the first truly important work on the tune. To do this with a full-throated open performing arts, the Bharata N atya voice is very difficult, so arduous practice Shastra (dated between 200 BC and 200 on this subject is required. (When the AD), musical theory and instruments are legendary Allauddin Khan wanted to treated as one subject. learn vocal music, his teacher told him to Instrumental music and recitation was practice scales and exercises for ten years the domain of men in ancient times, first, after which he would be able to learn whereas it was felt that vocal music all the ragas very quickly. The teacher should be performed by women, because died after eight years.) a woman's voice is naturally sweet, while Finally the vocalist will have to come to male voices are strong. a full understanding of all the different A quotation from the play 'The vocal techniques and ornamentations. Impoverished Caradutta' (2nd century Then he becomes a sharira-vina - an AD) shows us that the female voice was instrument of the human body, fit to the ideal: ' ... his voice was so clear, even in express the subtleties of raga, the soul of the highest register... Truly if I had not Indian music. The unity of singer and tambura. The late Amir Wim van der Meer Khan, one of the best vocalists of this century. INSTRUMENTS OF INDIAN characteristics: MUSIC HI - THE SAROD the resonating chamber is larger, but less deep; After articles on the rudra vina (issue no. 2) and the sarangi (issue no. 3) we continue our series on the neck is larger and covered by a instruments with an article on sarod. which is the smooth metal plate; the gut ligatures instrument of AIi Akbar Khan, to whom this issue is have been removed; dedicated, and of Amjad Ali Khan, who is touring the strings (varying in number from Europe at this time. 13 to 25) are no longer gut, but steel In spite of its relatively recent inven­ and bronze. tion, the sarod is one of the most popular For a while the instrument took the instruments in Northern India and name of sharadiya-vina (vina of the Pakistan today. autumn). Its crystalline tone, rich in harmonics, The two main types of present-day together with its technical possibilities sarod were created at the beginning of this have made it possible for the sarod to century by Ustad Allauddin Khan and adapt to all the characteristic styles of Ustad Hafiz Ali Khan, both disciples of Hindustani (North Indian) music and to Mohammed Wazir Khan and several rival the sitar in interpretation of classical other sarod masters of the 19th century .. ragas. Thus, their music descends in a direct line The sarod is a descendant of the rabab, * from Tan Sen. a type of lute with gut strings. A Their importance stretches far beyond particular feature is the thin leather mere musical performance. They both membrane stretched over the belly of the managed to develop a distinct style of Female rabab player, detail/ram a miniature. Delhi, instrument. playing, using all the characteristics of the 18th century. The fdmous Tan Sen, musician at the new instrument in the service of the great court of the emperor Akbar (1542-1605) Hindustani classical tradition. Some of the technical characteristics of was a virtuoso of the rabab. He taught 'Baba' Allauddin Khan (d. 1972) the sarod are as follows: this art to his four sons Suratsen, became a legend in his own lifetime. India The body of the instrument is carved Saratsen, Tarangsen and Bilas Khan. acclaimed him as the greatest instrumen­ from a single piece of hard wood, a Their descendants subsequently took the talist of the 20th century and his disciples sort of teak, about a metre long. The name of rababiyas (players of the rabab) venerate him as a saint who realised a hemispherical resonating chamber is as opposed to the binkars ( bin players, high level of Tawhid, or unity (in the covered by a glued-on goat-skin. see issue no. 2, front page), disciples of Islamic doctrine). After the waist, it shapes into a thick, Tansen's daughter, Saraswati and her Allauddin Khan was one of the earliest hollow neck, which gradually nar­ hus band, the prince Misri Singh. Indian musicians to go to Europe. His rows up to the pegbox. The first sarods appeared in Bengal at first visit took place in 193 I, with the A steel fingerboard, often chrome­ the beginning of the 19th century. Three dancing troupe of Uday Shankar (Ravi's plated, is attached to the front of the great rababiyas were chiefly involved in elder brother). neck. this development: Ustad Pyar Khan, The review by Remf: Daumal following The strings are made of steel and Ustad Ghulam Ali Khan and Ustad their performance in Paris shows how bronze. They are divided into four Asadullah Khan. Dissatisfied with the much of a revelation this evening was for groups. The four strings used to form rabab s limitations, they transformed it him: the melody run along the entire into what would later become the sarod. 'The musician (Allauddin) is marvel­ length of the instrument. Parallel to (Amidst the great masters of the 19th lous at playing in almost-silence; he these is a group of two (Delhi type) to century whose influence on the future of plucks a string; from the instrument living four (Calcutta type) strings, which the sarod was decisive, U stad J afar Khan, echoes arise, just as they arise in the body are tuned to dominant notes in the Ustad Ahmed Ali Khan and Ustad of the listener. With spidery dexterity, raga. Next to these are two strings Mohammed Wazir Khan should also be using precise vibrations, he creates a with a rhythmic function (chicari). mentioned). whole variety of resonances; he lets the They are tuned one octave above the The sarod differs from the (Afghani or sound fade, sculpting it until it dies away, tonic. Finally, there are 10 to 15 Kashmiri) rabab mainly in the following until the moment of silence. Then the sympathetic strings (taraj), tuned to music becomes almost visible around the the notes of the raga and resonating musician; his fingers seem to move by when a note is played on one of the luminous and silent inspiration. The main strings. They are tuned with the SUBSCRIBE musical miracle at this instant of perfect small pegs on the side of the neck. TO silence causes the knowledgeable listener The musician sits on the ground with to experience a supreme moment of self­ INDIAN MUSIC NEWSLETTER his right leg over his left thigh. The revelation.' instrument rests horizontally on his right The sarod used by Allauddin Khan and thigh. The strings are plucked with a thick SUBSCRIPTION Hfl. 15,- his disciples (Calcutta type) is quite heavy plectrum made from coconut shell. The and has 25 strings. It contrasts with the nails of the left hand press the strings onto Send us an International Postal Money lighter Delhi model, which has 19 to 20 the metal fingerboard. strings, characteristic of the gharana of Order. By gliding the nails along the string the Hafiz Ali Khan (d. 1972). The latter melodic ornaments characteristic of Money in (registered) letters will also be comes from an old musical family of Indian music are produced. The correct accepted. Afghani origin. He spent a large part of execution of these constitutes the prin­ his life as court musician to the Maharaja cipal secret of playing the sarod. Indian Music Newsletter of Gwalior and received the highest distinctions that can be given to a Post Box 10088 musician. Laurent Aubert Amsterdam He transmitted his art to his sons Mubarak, Rehmat and Amjad, the most * The name rabab (rebab, rubab, rabob, etc.) is rather Please support our cause! famous of the three, and possibly the confusing. It is used for a large number of bowed (Within Holland: Postgiro nr. 5265123) most brilliant present-day technician of and plucked instruments we find all over the world the instrument. of Islam, from Morocco to Malaysia.