The Tabla Solo Repertoire of Pakistani Panjab: an Ethnomusicological Perspective
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The Tabla Solo Repertoire of Pakistani Panjab: an Ethnomusicological Perspective Lowell Lybarger A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Graduate Department of Music University of Toronto © Copyright by Lowell Hartshorne Lybarger 2003 Table of Contents Abstract ii Acknowledgements iii Table of Contents vi A Note on Transliteration xii A Note on Audio and Visual Recordings xii List of Figures xiii List of Appendices xix Part One: The Historical and Ethnographic Setting ι 1. Introduction 2 Thesis Outline 10 2. The Panjab: Geography, History, and Language 12 The Panjabi Language 19 3. Art Music of the Panjab 21 The roots of musical modernism and modernization in India 21 Migration, musical modernization and neofeudal ritual space in Pakistan 23 Defining art music in Pakistan 27 The lack of institutions and middle class patronage in Pakistan 28 Regional history and diversity 31 Summary 33 4. Hereditary Musician Groups of the Panjab 34 Literature on the Mlräsi-s 35 British Orientalist classification: H. A. Rose 35 Contemporary ethnography of Panjabi Mïrâsî groups: A. Nayyar 47 Contemporary ethnography of Panjabi Mïrâsî groups: W. Mcclintock 52 Urban art music Mïrâsî groups: D. Neuman 54 Brief comparison of the sources 58 Ethnography of urban art music groups of Lahore 61 The five main groups of musicians 61 Mïrâsî 61 Vi 64 Kasbi 66 66 Rabäbi 68 68 Kanjar A — 69 Atei Discursive contexts Context 1: The "real" Mïrâsï-s Context 2: "We are Mir älam" and "I am a MïrâsV 72 Context 3: "Mr d/a/w; in the language of the Atâï-s, that's what they call Mïrâsï-s" 74 Context 4; "My mistake was to go into music" and "I am playing with my office buddy" 75 Summary 5. Style, Lineage, and Musical Authority Locating the Panjab gharänä 80 Gharänä as a geographic marker 83 Silsila as lineage 87 The Origins of the Panjab gharänä and the silsila of Mian Qader Baksh 87 Interview with Khalifa Akhtar Hussain: March 9,1996, Radio Pakistan, Peshawar 89 Interview with Laxman Singh "Sin": January 4, 1996, Jalandhar, Indian Panjab 92 The personality and spiritual power of Mian Qader Baksh II 100 The end of the silsila? 102 Qasur: a separate gharänäl 103 Mian Fateh Din and the Qasur silsila of tabla 106 Ranking behaviours, the nazarânâ, and gharänä hierarchy 109 Legends and claims of nazarânâ 111 Veyl and nazaränä differences 113 Nazarânâ in the baiihak of musicians 114 Nazarânâ as Inâm (gift) 117 The rasm-e shâgirdï (discipleship ceremony) 119 The barst 122 The khâs mehfil-e-mousiqi Y2A Summary 127 6. The Social Space of Tabla: Neofeudal Contexts and their Influence on Solo Performance 129 Warming up 129 Showing off 131 vii Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Tooling around 134 Musical Competition: the maidän 135 The place of the maidän 136 Maidäni tabla players 139 Summary 142 Part Two: The Music 144 7. Tabla Solo Genres and Performance Order 145 Ideal versus real performance order in a tabla solo 145 Tabla solo genre names 148 8. Bol-s and Nikäs 151 The representation of tabla sounds, compositions, and performance practices 151 Tone production and timbre 153 The Transcription System 156 Delhi baj 157 Purab bâj 160 Pakhâvaj bäj 162 Panjabi bol phrases 164 Pakhâvaj and tabla relationships 166 Stewart on tabla and pakhâvaj strokes 167 Stewart on Panjabi strokes 169 Purab versus Panjabi pakhâvaj strokes 170 Summary of findings from Stewarts's bol bol nuclei delineation 173 9. Tal and Theka 176 Basic concepts of tal and fhekâ 177 Tabla tal versus pakhâvaj tal 179 The most common pakhâvaj tal and thekä: cautäl 180 Pakistani Panjabi versions of cautäl 181 Dhammär tal 184 Panjäbi dhammär 185 Sul tal, aiûlfàkhtâ tal and sürfäkhtä tal 186 Matt(a)täl 188 Tlntäl and tritäl 190 Tabla fhekä-s in accompaniment 192 Classical fhekä-s 192 Vilambit ektäl 193 Vilambit jhumra 194 Tintäl 195 Ekväi 196 VIII 197 Täl-s and fhekä-s in tabla solo Tal / fhekâ'S of accompaniment and tabla solo Rüpaktäl 199 Panjab! dhammär 200 Sürfakhtä 201 Tal I ihekä-s of exclusive to the tabla solo Ja! tal Savârî tal I fhekä-s 203 Car tal kl savärl 204 Pan} tal kl savärl (savärl panj tal) versus pancam savärt 205 Defining the musical Other through tal I fhekä 207 Rüpak tal, mughlal, moghll and pashto täl-s 208 rüpaktäl 208 mughlal 208 moghll 212 pashto 213 Further examples of //lefcä-Othemess 216 Shahid Parvez and tiirä rüpak I citrä rüpak 216 Mohammad Ajmal and Ajrara dhammär 217 Summary 10. Qäida 220 Delhi Qäida I 221 Delhi qäida-s demonstrated by Akram Khan 225 Delhi Qàida II 225 Delhi Qäida III 228 "Lakir kâfaqir" The Qäida concept of Panjab 230 The basic features of Panjabi qäida perfonnance practice 231 Delhi qäida-s performed by Panjabi tabla players 234 Delhi Qäida IV: the lost Delhi qäida found in Pakistani Panjab 239 Indian Examples of of Delhi Qäida IV 240 Panjabi versions of Delhi Qäida IV 242 Shaukat Hussain's versions of Delhi Qäida IV 242 Abbu Khan!s version of Delhi Qäida IV 243 Wajid Ali's discussion of Abbu Khan and Jalwana Gharänä 244 Panjabi qäida-s by anonymous composers 246 "Panjabi" Qäida I: dhât(ah) dhät(ah) 246 Panjabi Qäida II: dhä-tirakitatakatirakita 250 Qäida-s of Mian Qader Baksh 253 Qäida-s of the Qasurwale 256 The qäida-s of Khalifa Irshad Hussain 257 The qäida-s of Jan Mohammad Qasuri 258 Dhiradhira qäida-s 260 Other Purab style qäida-s 261 IX Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Qäida-s performed by Mohammad Tufail Narowale 263 Sufi Karam Din's Qäida-s 265 Allah Rakha's qäida-s 268 Shaukat Hussain's qäida-s 275 Altaf Hussain "Tafo's" qäida-s 279 Summary 281 U.Peshkär 283 Delhi gharänä peshkär 284 Delhi peshkär: Nalhu Khan 285 Delhi peshkär: Ahmed Jan Thirakwa 288 Panjabi peshkär-s 289 Nathu Khan's peshkär in Panjab style 290 Qasur peshkär 294 Peshkär lans 296 Peshkär Ian in the style of Mian Qader Baksh 299 Individual peshkär-s 301 Alla Rakha's peshkär as "Panjab" peshkär 301 Shaukat Hussain*s peshkär as "Panjab" peshkär 303 Altaf Hussain Tafo Khan's peshkär 304 The "funky" bäyän peshkär 305 The forgotten Delhi qäida in peshkär improvisation 307 Summary 308 12. Calan, (hä-dUn, andrelä 310 Calan 313 Calanl 315 CalanU 316 Mian Qader Baksh ar calan 318 The calan-s of Bashir Hussain "Goga" and Altaf Hussain "Tafo" 319 The calan-s of Sajjad Hussain Papu Khan and Zakir Hussain 321 Relä 322 Delhi gharänä relä-s 323 Pakistani Panjabi Delhi-style relä-s 325 Double tirakita relä-s 325 Panjabi relä I dhä tirakita taka tiraki^a 327 Other versions of tirakita relä: Bashir Hussain Goga and Altaf Hussain Tafo 329 Panjabi relä / fhä-dün Π 331 Panjabi relä / fhä-dün ΠΙ 332 Summary 333 13. Gat 335 Purab and Panjabi gat comparison 337 Paran 339 The Purab and Panjabi pakhavaj paran 342 Pakistani pakhävaj examples 344 Panjabi tabla compositions based on pakhävaj paran-s 346 Differences between gat and paran: tabla players' concepts 348 The subgenres of Panjabi gats 351 Gat'torä 351 Gat (i.e. not gat-torä and not paran) 352 Paran (i.e. cakkardär) 353 Car dar je ki gat 355 Câhcar gats 358 Qasurwale gats 359 Summary 360 14. Conclusions 362 Works Cited 366 Glossary of Urdu, Hindi and Panjabi Terms 377 Appendix A: Basic Concepts and Terminology of Tabla 391 Appendix B: Maps of the Panjab 401 Appendix C: List of Musical Examples 409 XI.