Chapter Four:

A survey of Music at Non-Hindu places of prayer

In the previous chapter, a detailed survey of the Hindu places of prayer in Pune was taken. Though the Hindu prayer music occupies about 60% of the devotional musical space in Pune, the prayer music of religions other than Hindu plays an important role in completing the musical picture of the city. The devotional music of these non-Hindu faiths is also significant, as it brings the fragrance of various regional music cultures. This chapter gives a survey of music at the non-Hindu places of prayer, which include seven major religions - Jain, Buddhist, Sikh, Muslim, Jewish, Zoroastrian and Christian.

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4.1 Survey of Music at Jain Temples in Pune:

As mentioned in the second chapter, there are more than 50 Jain shrines belonging to

Digambar and Shwetambar sects in the city area of Pune. In the last three decades, as the

Jain community has expanded their professional and religious activities, numerous Jain temples have been built anew in different localities of Pune and the outskirts. The pattern of the musical practices in different Jain temples is decided by the dogma of the specific cult to which the temple belongs. The Digambar Jains and Sthanakwasiya Jains don’t allow musical performances in the temple, expect during Paryushan Parva and the annual festivals; they emphasize upon the recitation of Mantras and Stotras rather than singing.

On the contrary, the Mandir-Margi Shwetambar Jains allow musical performances in the form of ‘Bhawana’. The use of musical instruments is also prescribed in Mandiramargi

Shwetambar Jains, unlike the Sthanakwasiya Jains.

During the research work, 20 Jain temples were visited. Of these, 13 temples which were musically relevant and distinct have been chosen for description here. Here are some observations after the survey of music at Jain temples in Pune.

1) Place of prayer: Shri Shantinath Digambar Saitwal Jain Mandir

Religion & Cult: Jain Digambar, Address: 846, Raviwar Peth, Lonari Lane, Pune 411002, Date of establishment: 1935, Founder: Martandrao Shankarrao Lonkar, Informer: Ajit Jivadas Pandit (the priest) Details of prayer music: (A) Daily prayers – Abhishek Pooja at 8:30 am, Sayam Arati at 7:30 pm (B) Occasional – Bhajan by women troupes in month of Bhadrapad.

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(C) Annual festivals – Rishi-Panchami, Mahavira Jayanti, etc Prayers: Vitaraag Stotra in Sanskrit, various Marathi and Gujrathi Arati-s. Method of prayer: Only the priest recites the Arati. Bhajans are sung only during Bhawana programs and festivals. Arati-s are sung in many traditional Marathi Arati tunes, tunes of Chhandas, palana, etc. Bhajans by female devotees during festivals are sung in chorus, without any musical accompaniment other than the cymbals. Instruments: Only Ghanta & tās is used for daily Arati. Ghunghru and the cymbals are used for Bhajan on special occasions, Pitch: Undefined, Language of prayer: Marathi and Gujrathi, Regional impact of music: Marathi, Influence of other music category: Folk and Art music, Use of amplification: No Architectural details: Cozy temple with height of 2 floors. Number of attendants: Regular attendance of 5-8, increases up to 40-50 during festivals.

2) Place of prayer: Shri Shantinath Digambar Khandelwal Jain Mandir

Religion & Cult: Jain Digambar, Address: 520, Raviwar Peth, Lonari Lane, Pune 411002, Date of establishment: 07 February 1892 Details of prayer music: (A) Daily prayers – Only evening Arati at 7:30 pm (B) Occasional – Bhawana program on devotees wish (C) Annual festivals – Mahavira Jayanti, Kartik Paurnima, Akshay Tritiya Prayers: Daily Arati and Bhajans in Bhawana program Method of prayer: Only the priest recites the Arati. Aratis are recited in the traditional tunes. Songs in Bhawana are mostly based on Hindi film songs. Instruments: Only Ghanta is used for daily Arati. Dholak and cymbals are used in Bhawana, Pitch: Undefined, Language of prayer: Marathi, Hindi, Influence of other music category: Popular music, Use of amplification: No amplifiers Architectural details: A small prayer hall of about 18’ X 20’ X 15’ Number of attendants: One priest and approximately 10 devotees. During festivals, the number goes around 70.

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3) Place of prayer: Shri Adeeshwar Jain Mandir

Religion & Cult: Jain, Digambar, Address: 786, Shukrawar Peth, Parshwanath Chowk, Pune 411002, Date of establishment: 1834 Details of prayer music: (A) Daily prayers – at 7:00 am and 8:00 pm (B) Occasional – (-) (C) Annual festivals – Mahavira Jayanti, Paryushan Parva, Ayambil Oli, etc. Prayers: Stotra, Mantra, Arati. Method of prayer: Only the priest recites the prayer out loud. The devotees follow in their minds. No Bhajan or Bhawana programs are done here. Instruments: Only Ghanta is used, Pitch: Undefined, Language of prayer: Prakrit, Sanskrit, Gujrathi, Regional impact of music: Gujrathi, Influence of other music category: No impact of any other category, Use of amplification: No use of amplifiers, except in the case of Pravachans organized during Paryushan Parva. Architectural details: This is a highly decorated and extensively carved marble temple with three floors. It has a naturally good acoustic setup. Number of attendants: About 50 for daily prayers and more than 800 during festivals.

4) Place of prayer: Shri Dadawadi Shwetambar Jain Mandir

Religion & Cult: Jain, Shwetambar, Address: Sarasbaug Road, Dadawadi, Shukrawar Peth, Pune 411037, Date of establishment: Circa 1880 Details of prayer music: (A) Daily prayers – Arati at 8:00 pm (B) Occasional – Bhawana program (C) Annual festivals – Kartik Shuddha Paurnima, Chaitra Shuddha Paurnima, Paryushan Parva Prayers: Mantra, Stotra and Arati Method of prayer: Mantra, Stotra and Arati are recited by the priest. The Arati is recited only by the Pujari while playing Ghanta. Arati is sung in popular Hindi Arati tune. 167

Instruments: Only Ghanta is used for daily Arati, Pitch: Undefined, Language of prayer: Hindi, Influence of other music category: Popular music (Hindi film songs), Use of amplification: Only during Bhawana programs and Pravachans Architectural details: A huge hall with marble carvings which has a height of about 3 floors. No amplifiers are used. Number of attendants: One priest and about 25-30 devotees. During festivals, it increased up to 150.

5) Place of prayer: Shri Parshwanath Shwetambar Jain Mandir

Religion & Cult: Jain, Shwetambar, Address: 276/2, New Timber Market Road, Pune 411002, Date of establishment: 1974 Details of prayer music: (A) Daily prayers – Arati at 9:30 am and 8:00 pm (B) Occasional – Pravachans in Chaturmaas. (C) Annual festivals – Paryushan Parva. Prayers: Jain Stotras and Aratis. Bhawana programs are organized by devotees’ choice. Arati is rendered in the popular tune of the Hindi Arati, with an accompaniment of Ghanta. Bhajans are recited with an accompaniment of the Harmonium and Tabla. Most of the tunes of the Bhajans are based on popular Hindi film-song numbers. Method of prayer: Only the priest recites the Arati. Instruments: Only Ghanta is used for daily Arati, Pitch: Undefined, Language of prayer: Hindi, Gujrathi, Regional impact of music: Gujrathi, Influence of other music category: Folk, Use of amplification: No Architectural details: A huge hall with marble carvings, height of 1.5 floors Number of attendants: One priest and about 10 devotees.

6) Place of prayer: Shri Vasupujya Swami Jain Derasar

Religion & Cult: Jain, Shwetambar, Address: Shri Vasupujya Swami Jain Temple Trust, 7/9, Behind Sweekar Hotel, Erandavana, Pune 04, Date of establishment: 2008 168

Details of prayer music: (A) Daily prayers – 7:30 pm (B) Occasional – Sunday at 8:00 am (2 Arati-s of Bhagwan), Bhawana singing at 6:00 pm. Bhawana program on every Paurnima. The activity of ‘Paath Shala’ (religious teachings) is held on every Friday (8:00 pm to 8:30 pm), Saturday (11:00 am to 12:00 pm) and Sunday (10:00 am to 11:00 am), in which the Stotra, Mantra, Arati are taught. (C) Annual festivals – Mahavira Jayanti, Ayambil Oli, Paryushan Parva, etc. Prayers: Mantra, Stotra and Arati, Method of prayer: Daily Arati is recited by the priest. However, a group of men sings Arati and Bhajan during Sunday morning Arati. They recite Arati in chorus voice without any instrumental accompaniment. Instruments: Only Ghanta is used for daily Arati. Harmonium, cymbals, Ghunghru is used during Bhawana, Pitch: Undefined, Language of prayer: Gujrathi, Hindi, Regional impact of music: Gujrathi, Influence of other music category: Popular, Use of amplification: No Architectural details: It is a nicely decorated marble temple with good acoustics. Number of attendants: About 8-10 for daily prayers, 20-25 for Sunday prayer and 200 during festivals.

7) Place of prayer: Shri Mahavira Digambar Jain Mandir

Religion & Cult: Jain, Murtipujak Shwetambar, Address: Manik Baug, Behind Brahma Veg Restaurant, Sinhagad road, Pune 411051, Date of establishment: 2006 Details of prayer music: (A) Daily prayers – Mangal Arati at 7:30 pm, followed by Stuti Stotra (B) Occasional – On Paurnima (C) Annual festivals – Mahavira Jayanti, Ayambil Oli, etc. Prayers: Mahamangal Arati and Stuti Stotra Method of prayer: Only the priest recites the Arati and Stotra. Occasionally women sing Bhawana.

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Instruments: Ghanta, Dholak, Pitch: Undefined, Language of prayer: Sanskrit, Hindi, Gujrathi, Regional impact of music: Gujrathi, Influence of other music category: Popular music, Use of amplification: No Architectural details: Hall of about 15’ X 30’ X 15’, with marble carvings. Number of attendants: About 8-10 for daily prayers and 50 during festivals.

8) Place of prayer: Godiji Parshwanath Jain Mandir

Religion & Cult: Jain, Murtipujak Shwetambar, Address: 110/3 B, 111, Guruwar Peth, Pune 02, Date of establishment: 1750, Informer: Abhay Surya Maharaj Details of prayer music: (A) Daily prayers – at 7:30 pm (B) Occasional – Morning Arati on every Sunday and Bhawana on every Paurnima (C) Annual festivals – Paryushan Parva, Chaturmas Aradhana Utsav (Bhajan program) Prayers: Arati, Mantra and Stotra. Method of prayer: Arati recitation is undertaken by the priest in solo voice. Bhawana is rendered by groups of singers, both female and male. Instruments: Ghanta for Arati. Harmonium, Dholak and cymbals for Bhajan, Pitch: Undefined, Language of prayer: Gujrathi, Hindi, Regional impact of music: Gujrathi, Influence of other music category: Popular music, Use of amplification: Not used for daily prayers, but amplification is done for Bhajan program Architectural details: This is a vast temple complex with one main temple surrounded by five temples. All temples, with marble carvings, have a good natural acoustics. There is a huge hall in front of all these six temples where the Bhajan recitals take place. Number of attendants: About 60-70 for daily prayers and more than 1000 during festivals.

9) Place of prayer: Shri Chandraprabhu Maharaj Digambar Jain Mandir

Religion & Cult: Jain, Digambar, Address: 110 A, Guruwar Peth, Pune 411002, Date of establishment: 08th May 1854

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Details of prayer music: (A) Daily prayers – Pooja at 7:30 am, Arati at 7:30 pm (B) Occasional – Every Paurnima (C) Annual festivals – Mahavira Jayanti, Paryushan Parva Prayers: Mantra, Stotra, Arati Method of prayer: Mantra and Stotra are recited by the priest. The devotees say them in mind. No of Bhajan programs are organized here. Instruments: No, Pitch: Undefined, Language of prayer: Prakrit and Sanskrit, Regional impact of music: No, Influence of other music category: No such impact, Use of amplification: No amplifiers Architectural details: A cozy hall of about 14’ X 18’ X 12’ with wooden carvings and marble floor. Number of attendants: Approx. 20 for daily prayer and 50 during festivals.

10) Place of prayer: Shri Adeshwar Visa Porwal Jain Mandir

Religion & Cult: Jain Shwetambar, Address: 995, Shukrawar Peth, Pune 32, Date of establishment: Late 19th century Details of prayer music: (A) Daily prayers – Pooja at 7:00 am and 7:30 pm (B) Occasional – On auspicious days in Jain calendar. Also Abhishek on devotees wish. (C) Annual festivals – Mahavira Jayanti, Paryushan Prayers: Mantra, Stotra. Method of prayer: Arati is not recited here. Mantra and Stotra are recited by the priests. Bhawana is organized by the devotee who performs Abhishek. Also, women’s groups sing Bhawana once in a year. Instruments: Ghunghru, cymbals for Bhawama, Pitch: Undefined. Language of prayer: Prakrit, Sanskrit. Bhawana songs in Gujrathi, Regional impact of music: Gujrathi, Influence of other music category: No such impact, Use of amplification: No

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Architectural details: There are two halls on two floors. The sanctum sanctorum is in on the upper floor and the rituals are performed here. Bhawana is placed in the hall on ground floor. Number of attendants: Approximately 10 for daily prayer.

11) Place of prayer: Shri Munisuvrat Swami Jain Jinalaya

Religion & Cult: Jain Shwetambar, Address: 62/9, Lajawanti Apartment, Karve Road, Pune 411004, Date of establishment: 2008 Details of prayer music: (A) Daily prayers – Only Pooja is performed here at 7:00 am and 7:30 pm (B) Occasional – Paurnima, Abhishek by devotees wish (C) Annual festivals – Mahavira Jayanti, Ayambil Oli, etc Prayers: Stotra, Mantra. Method of prayer: Arati is not recited here. Mantra and Stotra are recited by the priests. Instruments: Ghanta is used in Pooja, Pitch: Undefined, Language of prayer: Prakrit, Sanskrit, Regional impact of music: No, Influence of other music category: No such impact, Use of amplification: No Architectural details: It is a small outhouse type room of 8’ X 10’ X 12’ Number of attendants: Around 10 for daily Pooja

12) Place of prayer: Shri Shantinath Shwetambar Jain Mandir:

Religion & Cult: Jain, Murtipujak Shwetambar, Address: 520, Near Moti Chock, Ravivar Peth, Bhople Chowk, Camp, Pune 02, Date of establishment: Mid-20th century Details of prayer music: (A) Daily prayers – Mangalarati at 7:30 pm (B) Occasional – On Paurnima (C) Annual festivals – Mahavira Jayanti, Paryushan Parva, etc Prayers: Mahamangal Arati and Stuti Stotra

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Method of prayer: Only the priest recites the Arati and Stotra. Occasionally women sing Bhawana. Instruments: Ghanta, Dholak, Pitch: Undefined, Language of prayer: Sanskrit, Hindi Regional impact of music: Gujrathi, Influence of other music category: Popular music, Use of amplification: No Architectural details: Two-storied temple with a hall (of about 20’ X 15’ X 18’), and marble carvings. Number of attendants: About 8-10 for daily prayers and 50 during festivals.

13) Place of prayer: Shri Vardhaman Swami Jain Mandir:

Religion & Cult: Jain, Murtipujak Shwetambar, Address: 915, Sadashiv Peth, Pune 411030, Date of establishment: Mid-20th century Details of prayer music: (A) Daily prayers – Mangalarati at 7:30 pm (B) Occasional – Mahila Bhawana Mandal conducts Bhajan class in the temple on every Tuesday at 3 pm. They sing Bhajans with tunes of popular Hindi film songs. (C) Annual festivals – Paryushan Parva Prayers: Mantra, Stotra and Arati Method of prayer: The priest recites Stotra and Mantras. Arati is recited by the priest in popular Hindi Arati tune. Occasionally, women sing Bhawana. Instruments: Ghanta for Arati, cymbals and Ghunghru for Bhawana, Pitch: Undefined Language of prayer: Sanskrit, Hindi, Regional impact of music: Gujrathi, Influence of other music category: Popular music, Use of amplification: No Architectural details: Temple has marble carvings and a hall of about 15’ X 12’ X 12’ Number of attendants: About 5-8 for daily prayers

Along with the above mentioned festivals, the Jain community celebrates following festivals and they do have prayers at temples –

Paryushan Mahaparva (in the month of Bhadrapad), Samvatsari Mahaparva, Navpad Oli, Mahavira Jayanti (Chaitra Shuddha Trayodashi), Diwali, Jnan Panchami (Kartik Shuddha 173

Panchami), Kartik Paurnima, Maun Ekadashi (Margshirsh Shuddha Ekadashi), Parshwanath Jayanti (Paush Shuddha Dashami), Akshay Tritiya (Vaishakh Shuddha Tritiya).

General remarks on music at Jain temples:

In Jain temples, the Arati is recited only by the priest while playing Ghanta, and not by the group of devotees, unlike Hindu temples. Furthermore, the Arati is performed only when a devotee requests for it. When the priest renders the Arati, the devotee waves a plate with lighted wicks and flowers in front of the idol of God and recites the Arati in his/her mind. In Digambar Jains, the clapping of hands is not allowed in temple and so the Arati is rendered without claps1.

There is more emphasis on the recitation of Mantras and Stotras. These recitations are done in a simple melodic line using 2-3 notes, mostly in the traditional tunes of the poetic meters. Mostly, the Mantra recitations use Shuddha Swara-s and use the range of notes from lower seventh to middle fourth. Though they have a rhythmic lilt, not rhythmic accompaniment is provided.

The tune of Arati is the same as the popular Hindi Arati tune of ‘Jay Jagdish Hare’. Only in a few temples, such as Saitwal Jain temple, is there a variety in the tunes of Arati and

Marathi lyrics are extant, unlike the Hindi or Gujrathi lyrics usually witnessed. (The melodic designs of these Arati-s are discussed in the next chapter.)

Musical instruments have a very limited role in Jain temples. Mantras and Stotras are accompanied by no instruments. Ghanta is played very loudly by the priest while reciting

1 Interview with Leena Binaykiya 174

the Arati - often so loud that one is unable to comprehend the exact lyrics of the Arati.

Sometimes tāsa is played with Ghanta. It is mentioned that in the Shri Adeshwar Jain

Mandir in Guruvar Peth, from 1834 till 1940’s, there was tradition of playing Chaughada and Nagara every morning and evening before the Arati2, a tradition which has disappeared now. In many Jain temples, electronic Nagara was found which is played mechanically during the festivals.

The Bhajan rendition in Jain tradition is called as ‘Bhawana’. There are specifically assigned days and timings for the Bhawana programs, and recitations of Stotras by devotees. The devotees are allowed to perform Bhawana only with the prior consent of the temple managers. There are some Bhawana groups which perform on specific day/s and time/s at a particular temple. The Bhawana programs are also organized at residences of devotees or community halls, along with Jain temples. The Bhawana program contains

Hindi Bhajans which are mostly based on Hindi film songs or similar popular non-film songs. Most of the Bhajans in Bhawana programs have a simple rhythmic pattern of 4/8 or 6/8 meter although, sometimes, the 7/8 pattern is seen too. Bhawana groups are often formulated by female devotees. Sometimes male singers also form Bhawana groups.

Chiefly, Harmonium, electronic keyboard, Dholak, Tabla, and cymbals are used for accompaniment. In last two decades, there has been an emergence of many professional groups of Bhawana singers who perform the commercial terms3.

2 Mrinalini Shah in Tikekar, 2000 (vol.1): pp. 349 3 Interview with Leela Shinghavi 175

4.2 Survey of music at Buddhist Vihar-s in Pune:

As mentioned in the second chapter, Buddhist Vihar-s started emerging from the decade of 1950 in prompt response to Dr. Ambedkar’s Nava-Bauddha movement. There are more than 150 Buddhist Vihar-s in city area of Pune and there is continuous addition to this number. The last two decades, especially, have witnessed a growth in the number of

Buddhist Vihar-s either being newly built or being reconstructed and renovated.

Obviously, it was impossible to survey each Vihar. Furthermore, most Vihar-s follow the same method of prayer without any variation or change. So, it was decided to visit Vihar- s from different localities and those Vihar-s which have some historical significance.

Here is an account of the surveyed Buddhist Vihar-s in Pune.

1) Place of prayer: Navayan Dhammachakra Prawartan Mahavihar

Religion & Cult: Nava Bauddha, Address: 179/180, Janawadi, Pune 411016, Date of establishment: The community prayers started in 1967 in a small tin shed. The formal building was built in 2008 Details of prayer music: (A) Daily prayers – Daily prayer in the morning by the priest alone. (B) Occasional – Weekly prayer on Sunday at 11:00 am for half an hour. (C) Annual festivals – Buddha Paurnima, Ambedkar Jayanti, Dhamma Prawartan Dina. Prayers: Namaskar Mantra, Bodhi Vandana, Trisaran, Panchaseela, Buddha Puja, Bhima Stuti, Dhamma Palana Gatha. Method of prayer: Along with the priest, the group recites the prayers in chorus voice. Instruments: Not observed here, Pitch: Undefined, Language of prayer: Pali, Regional impact of music: No such impact, Influence of other music category: Folk music, Use of amplification: Not observed Architectural details: Small hall of about 20’ X 30’ X 15’

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Number of attendants: Approximately 25.

2) Place of prayer: Vidyapeeth Buddha Vihar

Religion & Cult: Nava Bauddha, Address: Savitribai Phule Pune University, Sevak Vasahat, Pune 411007, Date of establishment: 1957 Details of prayer music: (A) Daily prayers – Daily prayer in the morning by the priest alone. (B) Occasional – Common service on Wednesday at 7:30 pm (C) Annual festivals – Buddha Pournima, Dr. Ambedkar Jayanti, Ramabai Ambedkar Jayanti, Dhamma Dina Prayers: Namaskar Mantra, Trisaran, Panchaseela, Buddha Puja, Bhima Smaran, Bhima Stuti, Dhamma Palana Gatha. Method of prayer: Along with the priest, the group recites the prayers in chorus voice. Instruments: Not found, Pitch: Undefined, Language of prayer: Pali, Use of amplification: Not seen Architectural details: Small hall of about 12’ X 18’ X 12’ Number of attendants: Nearly 20

3) Place of prayer: Dhammachakra Pravartan Mahavihar

Religion & Cult: Buddhist, Address: Raja Harishchandra Road, Dapodi, Pune 411012, Date of establishment: 1992, Founder: Bhante Sanghrakshitji Details of prayer music: (A) Daily prayers – Daily prayer in the morning by the priest alone. (B) Occasional – Wednesday at 7:00 pm, Thursday - Dhyan Varga (meditation classes) Sunday - Saptang puja at 9:00 am (C) Annual festivals – Buddha Paurnima Prayers: Namaskar Mantra, Pushpa Puja - Dhupa Puja - Sugandhi Puja - Pradeep Puja - Ahar Puja - Chaitya Vandana - Bodhi Vandana – Sankalp, Kshama Yachana, Trisaran - Panchaseela, Buddha Puja, Bhima Smaran, Dhamma Palana Gatha

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Method of prayer: Devotees and priest recite prayer in chorus voice. Instruments: Not allowed, Pitch: Undefined, Language of prayer: Pali, Use of amplification: Occasional use of amplification Architectural details: Huge hall of around 35’ X 30’ X 25’ Number of attendants: About 40

4) Place of prayer: Anand Bauddha Vihar

Religion & Cult: Nava Bauddha, Address: Dattawadi, Pune 411030, Date of establishment: Circa 2006 Founder: Bharatiya Baudha Mahasabha Details of prayer music: (A) Daily prayers – Daily prayer in the morning by the priest alone. (B) Occasional – Weekly prayer on Sunday at 11:00 am (C) Annual festivals – Buddha Paurnima and Ambedkar Jayanti Prayers: Namaskar Mantra, Kshama Yachana, Trisaran, Panchaseela, Buddha Puja, Bhima Smaran, Bhima Stuti, Dhamma Palana Gatha Method of prayer: As mentioned in earlier sample Instruments: Not allowed, Pitch: Undefined, Language of prayer: Pali and Marathi, Regional impact of music: Maharashtra, Use of amplification: No Architectural details: Hall of 20’ X 20’ X 15’ Number of attendants: About 25-30

5) Place of prayer: Prajnya Sagar Buddha Vihar

Religion & Cult: Nava Bauddha, Address: Yerwada, Pune, Details of prayer music: (A) Daily prayers – No daily prayer (B) Occasional – Weekly prayer on Sunday 11:00 am (C) Annual festivals – Buddha Paurnima and Ambedkar Jayanti Prayers: Namaskar Mantra, Trisaran, Panchaseela, Buddha Puja, Bhima Smaran.

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Method of prayer: As mentioned in earlier sample Instruments: Not allowed, Pitch: Undefined, Language of prayer: Pali, Marathi, Use of amplification: No Architectural details: Hall of 20’ X 20’ X 15’ Number of attendants: About 20

6) Place of prayer: Jetawan Bauddha Vihar

Religion & Cult: Nava Bauddha, Address: 3, Col. Tarapore Road, in front of Dastur School, Camp, Pune 01 Details of prayer music: (A) Daily prayers – No (B) Occasional – Weekly prayer on Sunday 11:00 am (C) Annual festivals – Buddha Paurnima and Ambedkar Jayanti Prayers: Namaskar Mantra, Kshama Yachana, Trisaran, Panchaseela, Buddha Puja, Bhima Stuti, Dhamma Palana Gatha Method of prayer: As mentioned in earlier sample Instruments: Not allowed, Pitch: Undefined, Language of prayer: Pali, Marathi, Use of amplification: No Architectural details: Hall of 20’ X 20’ X 15’ Number of attendants: About 20

Observations and remarks:

During the survey of Buddhist places of prayer, it was found that daily prayer is not necessarily attended by the devotees. The people congregate only once in a week – mostly on Sundays, or on Wednesdays at some places. Mostly, the priest recites the daily prayers alone during the regular rituals at Vihar, as people are absent then. The number of participants in weekly prayer was not found more than 50. The period of prayer is not

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more than 20 to 30 min. A community discussion or a meeting, of a secular kind, and lectures follows the prayer.

The prayer was in recitation format; prayer in song format was found in not a single instance. The tune of the prayer is unanimously same at all Vihars in Pune, except in the

Vihar in Akurdi which belongs to the Tibetan tradition of Buddhism. The tune lingers in the vocal compass between lower third to middle fifth. The tune uses all natural, sharp notes (Bilawal Thaat). On the contrary, the Tibetan chanting uses flat notes mostly, keeping similarity with the Bhairawi Thaat and Kafi Thaat.

The Buddhist prayer is in the Prakrit language and in a loose poetic meter, hence there was no rhythmic framework to it and was sung ad lib, but while keeping a tempo in mind.

No musical instrument was used during the prayer recitation.

The Buddhist prayer is recited by the priest and the members of the congregation in chorus voice, without any element of antiphon or harmonization. Other than the weekly prayer, there is no occurrence of music at Vihar4. The use of amplification was not found in any Vihar, except the Vihar in Dapodi.

4 The concerts of ‘Bheem Geet’ or ‘Ambedkari Jalsa’ are usually organized at the courtyard or nearby ground, even on street in open air pendal. So this kind of musical performance is not taken into consideration for discussion in this work. 180

4.3 Survey of music at Sikh Gurudwara in Pune:

Out of the total 18 Gurudwaras in the vicinity of Pune, eight Gurudwaras in the city area of Pune were surveyed to understand the situation of Sikh music. All these Gurudwaras have regular daily prayers, Asadi Var (morning prayer) and Rehras (evening prayer) and they also celebrate the annual festivals wherein they invite Jatha-s of Ragi-s from Punjab.

Usually the festivals are full of musical performances of Ragi-s.

Here is detailed account of the music at the Gurudwara-s in Pune –

1) Place of prayer: Waheguru Gurudwara Shri Gurusingh Sabha

Religion & Cult: Sikh, Address: 431/32, Maharana Pratap Road, Near Phadke Haud, Ganesh Peth, Pune 411002, Date of establishment: Circa 1940, Founder: Gurusingh Sabha Trust, Informer: Bhai Jagjit Singh and Ragi Bhai Nirmalsingh Anmol Details of prayer music: (A) Daily prayers – Morning Prayer from 4:00 am to 9:00 am and evening prayer during 7:00 pm to 9:00 pm (B) Annual festivals – Birth Anniversaries of Guru Nanak and Guru Govind Singh are celebrated with Prabhat Pheri (morning processions), Nagar Keertan (musical procession). Prayers: Gurbani, from Guru Granth Sahib. Method of prayer: Every day prayers begin with a recitation, called as ‘Paath’, of passages or verses from the Guru Granth Sahib. The first passage assigned for each day is called as ‘Hukum Nama’ (order of the day) which has a preaching of ethical values. This is recited between 4:00 am to 7:00 am. After this, the Ragi-s sing Ardas prayer in various Ragas according to the timeslot (in accord with Raga – Samay Chakra). This is followed by ‘Katha’, i.e. clergical discourse. The Morning Prayer ends up with Sabad rendition of the Ragi-s or Keertaniya. Similarly, evening prayer is performed in the same pattern.

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Instruments: No instrument is used for recitation of Paath. Ragi-s use Harmonium and Tabla for Sabad Kirtan. During annual festivals other instruments such as Dilruba or Taaus, Banjo, Violin, and Synthesizer are used, Pitch: The Paath was recited in F#. The Ragi-s presented Sabad Keertan in C#. In the evening service, Ragi-s used D# pitch, Language of prayer: Punjabi, Regional impact of music: Punjabi, Influence of other music category: Art Music, Use of amplification: Yes Architectural details: Two floors with a total height of a three storied building. The ceiling is concave shaped which enhances the sound amplification. The carpeted ground and wall curtains give a damping effect to the sound which would have otherwise echoed from the marbled walls of the cement construction. Number of attendants: around 30-50.

2) Place of prayer: Shri Guru Nanak Darbar

Religion & Cult: Sikh, Address: Gate 5, Property no. 7/5/726, Pimpri Camp, Pune 411017, Date of establishment: Circa 1980 Details of prayer music: (A) Daily prayers – Morning Prayer - Paath at 6:30 am, followed by Ardas and Sabad Kirtan from 8:00 am to 9:00 am. Evening prayer - Paath at 6:30 pm and Sabad Keertan from 7:00 pm to 8:00 pm (B) Annual festivals – Birth anniversary of Guru Nanak is celebrated with Prabhat Pheri, special three day program of Shabad Keertan by Ragi-s invited from Punjab. The performance of Ragi’s Sabad Keertan goes on from 10:00 am to 1:30 pm and 7:00 pm to 11:00 pm. Prayers: Passages from Guru Granth Sahib. Method of prayer: same as mentioned in earlier sample. Instruments: The Ragi-s use Harmonium and Tabla. The Paath is recited without any accompaniment, Pitch: Undefined, Language of prayer: Punjabi, Influence of other music category: Popular music, Use of amplification: Yes (Always) Architectural details: Huge prayer hall with height of about two floors, marble walls, and soft carpet.

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Number of attendants: About 30-50 every day and 250 during festivals.

3) Place of prayer: Gurudwara Dasmesh Darbar

Religion & Cult: Sikh, Address: Dasmesh Nagar, Yerwada, Deccan College Road, Pune 411006, Date of establishment: Circa 1950, Informer: Baba Hardev Singhji Details of prayer music: (A) Daily prayers – Paath from 7:00 am to 8:00 am and 8:00 pm to 9:00 pm. (B) Occasional – Sabad Kirtan on every Sunday from 8:00 am to 9:30 am and 6:00 pm to 8:00 pm (C) Annual festivals – Birth anniversary of Guru Har Rai is celebrated in January. During the festival, Ragi-s from Punjab are invited. Prayers: Passages from Guru Granth Sahib Method of prayer: Same as mentioned in earlier sample. Instruments: No instrument is used for Paath. Sabad Kirtan is accompanied by the Harmonium and Tabla, Pitch: Undefined, Language of prayer: Punjabi, Influence of other music category: Art music, Use of amplification: Yes (Always) Architectural details: Small hall of about 20’ X 30’, height of 15’. Number of attendants: About 10 every day and 50 during festival.

4) Place of prayer: Gurudwara Sri Guru Singh Sabha

Religion & Cult: Sikh, Address: Jai Jawan Nagar, Yerwada, Pune 411006, Date of establishment: Circa 1970, Informer: Gurprit Singh (Secretary) and Baba Sukhvinder Singhji (Ragi) Details of prayer music: (A) Daily prayers – Prakash at 5:00 am, Paath from 6:00 am to 7:00 am which contains four passages a day. Asadi Var from 8:00 am to 9:00 am, in which two Sabads are recited. Rehras: 7:00 pm to 8:00 pm, Arati: 8:00 pm, followed by rendition of two Sabads.

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(B) Occasional – Asadi Var on Sunday from 8:30 am to 9:30 am. On every Tuesday, Satsang sessions are performed. (C) Annual festivals – Birth anniversaries of Guru Nanak and Guru Tegh Bahadur Singh are celebrated. The third day of Diwali, on which Govind Singh received the title of ‘Guru’, is celebrated. The New Year commences with Baiskhi celebration. Prayers: Guru Granth Sahib Method of prayer: As mentioned in earlier sample Instruments: Paath commences without any accompaniment. Sabad is accompanied by Tabla and Harmonium, Pitch: Asadi Var in D, Rehras in D#. Stree Satsang in G#. Sabad Kirtan by Bhai Mukhtiyar Singh in C#, Language of prayer: Punjabi, Influence of other music category: Art music and Popular music, The rendition of Sabad in Raga Todi by Bhai Mukhtiyar Singh was in the same format of a Bada Khayal in Vilambit Ek Taal, followed by a Chhota Khayal in Teen Taal. On the other hand, the rendition of Bhai Sukhvinder Singh was more like popular Punjabi folk and film song. Use of amplification: Yes Architectural details: The prayer hall, situated on second floor of the building, is damped with the use carpets and curtains. Number of attendants: About 10 devotees on Sunday, 50 on festival occasions.

5) Place of prayer: Gurudwara Shri Guru Singh Sabha

Religion & Cult: Sikh, Address: Ward 8, Aundh, Pune 411007, Date of establishment: February 1947, Founder: Baba Nidhan Singh ji. It was reconstructed in 1978 by Baba Harnam Singh, Informer: Baba Labh Sinh (Head Granthi) Details of prayer music: (A) Daily prayers –7:00 am to 8:00 am and 7:00 pm to 8:00 pm (B) Occasional – Group of IT Professionals performs as devotional service, mainly on Sundays. (C) Annual festivals – Birth anniversary of Guru Nanak and Baisakhi. Prayers: Guru Granth Sahib Method of prayer: As mentioned in earlier sample.

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Instruments: As mentioned in earlier sample, Pitch: Undefined, Language of prayer: Punjabi, Influence of other music category: (-), Use of amplification: Yes Architectural details: The cozy prayer hall is placed on second floor of the building. Number of attendants: About 10-15 for daily prayers, 30 on Sundays and 100 during festival.

6) Place of prayer: Central Gurdwara Sahib or Sapras Gurudwara

Religion & Cult: Sikh, Address: Bombay Engineers Group & Centre, Sapras Road, Kirkee, Pune 411003, Date of establishment: 1956 November 15, Informer: Baba Sukhdev Singh Details of prayer music: (A) Daily prayers – from 6:30 am to 7:00 am and 6:30 pm to 7:30 pm, (B) Occasional – Sabad Kirtan on Sunday at 8:00 am to 9:00 am (C) Annual festivals – Baisakhi and birth anniversary of Sikh Gurus. Prayers: Guru Granth Sahib Method of prayer: As mentioned in earlier sample. Instruments: Tabla and Harmonium, Pitch: Undefined, Language of prayer: Punjabi Use of amplification: Yes Architectural details: Huge hall of about 50’ X 80’ X 25’, with the carpet working as a sound damper. Number of attendants: About 10 on Sunday and 50 during festival.

7) Place of prayer: Gurudwara Guru Nanak Darbar (Hollywood Gurudwara)

Religion & Cult: Sikh, Address: Pattinson Road, Camp, Pune 411001, Date of establishment: 1964, Founder: Gyani Hardit Singh Details of prayer music: (A) Daily prayers – Prakash at 4:00 am. Paath and Sabad from 6:30 am to 8:30 am and Rehras Arati from 6:30 pm to 8:30 pm (B) Occasional – Sunday 8:00 am to 11:00 am and 6:00 pm to 9:00 pm

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(C) Annual festivals – Birth anniversaries of all ten Sikh Gurus. Prayers: Guru Granth Sahib Method of prayer: As mentioned in earlier sample Instruments: Tabla, Harmonium, Pitch: Mostly C#, Stree Satsang in A, Some Ragi-s sung in D#, Language of prayer: Punjabi, Regional impact of music: Punjab, Influence of other music category: Art music, Use of amplification: Always Architectural details: Huge, two storied hall of about 70’ X 100’ Number of attendants: 25 daily and 800-1000 during festival.

8) Place of prayer: Gurdwara Guru Nanak Darbar

Religion & Cult: Sikh, Address: Lulla Nagar, Pune 411040, Date of establishment: 1998 Details of prayer music: (A) Daily prayers – Asadi Var from 7:00 am to 9:00 am, Rehras & Arati 6:30 pm to 8:30 pm, Bhajan at 9:00 pm (B) Annual festivals – Birth anniversaries of Sikh Gurus. Prayers: Guru Granth Sahib Method of prayer: As mentioned in earlier sample. Instruments: Tabla, Harmonium, Pitch: undefined, Language of prayer: Punjabi, Influence of other music category: Art music, Use of amplification: No Architectural details: Small hall of 25’ X 15’ X 10’ Number of attendants: Around 10.

Some remarks:

The Ragi-s from various religious centers in Punjab are invited for 2 or 3 months’ duty at

Gurudwaras in Pune. The ‘Jatha’ troupe of Ragi-s consists of 2 male singers and one

Tabla player. The two male singers sing while playing Harmonium. The Harmonium is now an essential part of Ragi’s rendition. The Tabla player also joins the singers and

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sings in between. It is also observed that during the refrain, one singer sings same melodic line in the higher octave.

Ragi-s and Keertaniya were male performers only. Women were allowed to join them but no female Ragi-s or Keertaniyas were found in Pune. The female performers are allowed to present independently during festivals in a slot called ‘Stree-Satsang’. In the Stree-

Satsang, the accompanists too were females.

The full-fledged system of singing the Sabad Keertans in specific Raga, as mentioned in the holy, text is not seen. However, the overall pattern of rendition of Ragi-s was more influenced by popular music genres such as Punjabi folk, Ghazal and film music.

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4.4 Survey of music at Muslim prayer places in Pune:

As mentioned in the second chapter, there are more than 200 Masjids and 350 Dargahs in the city area of Pune. Survey of all these places was nearly impossible considering the time frame of the research work and also a little extraneous as the system of prayer and element of music involved in the prayer is common. Hence, only those Dargahs which exhibited musical distinctness and significances were chosen for the analysis and are mentioned here.

A Dargah is usually built by the Murshid (spiritual leader) / Wali (saint) / Peer (elderly person) in his lifetime and after his Wafat (demise) he is buried there. Sometimes, it is built by the Murid (followers) of the after the Wafat of the principal person. In this case, the date of Wafat is considered to be more important, rather than the date of actual erection of the building. Hence, here the date of Wafat of the Wali is mentioned instead of the date of building the Dargah.

Here is an account of music at Masjid, Dargah and Jamatkhana in Pune –

1) Place of prayer: Jamma Masjid

Religion & Cult: Muslim, Sunni, Address: M.G. Road, Camp, Pune 01, Date of establishment: circa 17th century AD, Informer: Mohommad Khalif, Rafiq Details of prayer music: (A) Daily prayers – Azan five times a day - Fazr (1 hour before sun rise, i.e. around 5:30 am), Johar (Midday, around 12:30 pm), Asr (late afternoon, around 4:30 pm), Magarib (after sun set, around 7:00 pm), Isha (night, around 9:00 pm) (B) Occasional – Jumma (Friday) Namaz at 1.30 pm is important for those who don’t visit Masjid every day. Also, occasional prayers are held on various occasions, such as wedding or demise of person in the community.

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(C) Annual festivals – Ramadan, Eid-ul-Fitr, Eid-e-Milad, Eid-ul-Adha Prayers: Verses from Quran Method of prayer: Muezzin recites Azan in a tune and Maulavi recites the Dua Instruments: No instrument is allowed, Pitch: Undefined, Language of prayer: Arabic, Regional impact of music: Arabic, Influence of other music category: Folk, Use of amplification: Yes Architectural details: Huge prayer hall with height of 3 floors Number of attendants: Around 30 during morning and evening prayer, 5-8 during other prayers.

2) Place of prayer: Makka Masjid

Religion & Cult: Muslim, Sunni, Address: Mominpura Road, Guruwar Peth, Pune 411042, Date of establishment: circa 18th century, Informer: Mohommad Khalif, Rafiq Details of prayer music: (A) Daily prayers – Azan five times a day - Fazr, Johar, Asr, Magarib, Isha (B) Occasional – Jumma (Friday) Namaz at 1.30 pm. Occasional prayers on wedding or demise of person in the community. (C) Annual festivals – Ramadan, Eid-ul-Fitr, Eid-e-Milad, Eid-ul-Adha Prayers: Verses from Quran Method of prayer: Muezzin recites Azan in a tune and Maulavi recites the Dua. Instruments: No instrument is allowed, Pitch: Undefined, Language of prayer: Arabic Regional impact of music: Arabic, Influence of other music category: Folk, Use of amplification: Yes Architectural details: Huge prayer hall with height of about 3 floors Number of attendants: Around 40 during morning and evening prayer, 10-15 during other prayers.

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3) Place of prayer: Pensionwala Masjid

Religion & Cult: Muslim, Address: New Nana Peth, Ganesh Peth, Pune 411002, Date of establishment: circa 1925, Informer: Mannan Bhai Details of prayer music: (A) Daily prayers – Azan five times a day - Fazr, Johar, Asr, Magarib, Isha (B) Occasional – Jumma (Friday) Namaz at 1.30 pm. Occasional prayers on wedding or demise of person in the community. (C) Annual festivals – Ramadan, Eid-ul-Fitr, Eid-e-Milad, Eid-ul-Adha Prayers: Verses from Quran Method of prayer: Azan and Dua. Instruments: No instrument is allowed Pitch: Undefined, Language of prayer: Arabic Regional impact of music: Arabic, Influence of other music category: Folk, Use of amplification: Yes Architectural details: Huge prayer hall with height of 2.5 floors Number of attendants: Around 35 during morning and evening prayer, 8-10 during other prayers.

4) Place of prayer: Dattawadi Masjid and Dargah

Religion & Cult: Muslim, Sufi, Address: Lane 07, Near Anand Buddha Vihar, Dattawadi Chowk, Pune 30, Date of establishment: circa 1970, Informer: Sheikh Jahajwala Details of prayer music: (A) Daily prayers – Azan five times a day - Fazr, Johar, Asr, Magarib, Isha (B) Occasional – Jumma (Friday) Namaz at 1.30 pm. Occasional prayers on wedding or demise of person in the community. (C) Annual festivals – Ramadan, Eid-ul-Fitr, Eid-e-Milad, Eid-ul-Adha. Urs is organized with Qawwali program Prayers: Verses from Quran Method of prayer: Azan, Dua. Hamd and Naat is also recited in Dargah

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Instruments: No instrument is allowed, Pitch: Undefined, Language of prayer: Urdu, Regional impact of music: Marathi, Influence of other music category: Folk, Use of amplification: Yes Architectural details: Small prayer hall – 20’ X 15’ X 12’ Number of attendants: Around 10 during morning and evening prayer, 2-5 during other prayers.

5) Place of prayer: Masjid-E-Namra

Religion & Cult: Muslim,, Address: Survey no 14, Jai Jawan Nagar, Yerwada, Pune 411006, Date of establishment: 1978 November 22, Founder: (-), Informer: (-), Details of prayer music: (A) Daily prayers – Azan five times a day - Fazr, Johar, Asr, Magarib, Isha (B) Occasional – Jumma (Friday) Namaz at 1.30 pm. Occasional prayers on wedding or demise of person in the community. (C) Annual festivals – Ramadan, Eid-ul-Fitr, Eid-e-Milad, Eid-ul-Adha Prayers: Verses from Quran Method of prayer: Azan and Dua. Instruments: No instrument is allowed, Pitch: Undefined, Language of prayer: Urdu, Regional impact of music: Marathi, Influence of other music category: Folk, Use of amplification: Yes Architectural details: Huge prayer hall with height of 2 floors Number of attendants: Around 20 during morning and evening prayer, 8-10 during other prayers.

6) Place of prayer: Thorla Sheikh Salah Dargah

Religion & Cult: Muslim, Sufi, Address: 1369, Kasba Peth, Dargah road, Pune 11, Date of establishment: 12 July 1358, Founder: Hazrat Sheikh Salah-ud-din, Informer: Ashfaq Khan Details of prayer music:

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(A) Daily prayers – Dua is recited upon the wishes of devotees, usually in the morning and evening hours. (B) Occasional – Hamd and Naat are recited occasionally. (C) Annual festivals – The annual Urs is celebrated on 2nd Day of Jikdah, i.e. 11th month of Islamic calendar. Prayers: Dua, Hamd, Naat. Qawwali performed during Urs. Method of prayer: Peer recites Dua. Devotees recite Hamd and Naat in chorus voice. Instruments: Duff is played while reciting Hamd and Naat. During Qawwali performances, instruments such as Harmonium, Dholak, Tabla, and Banjo are used. Pitch: Undefined. Qawwali is sung in D#, F#, G#, Language of prayer: Urdu, Hindi, Regional impact of music: Marathi, Influence of other music category: Folk and Popular music, Use of amplification: Only during Urs. Architectural details: Small room of 10’ X 8’ X 10’. The Urs is celebrated in the courtyard and nearby grounds. Number of attendants: During the Urs, more than a 1000 people participate.

7) Place of prayer: Hazrat Sayyad Shah Khwaja Hisamuddin Dargah Sharif aka Dhakla Sheikh Salah Dargah

Religion & Cult: Muslim, Sufi, Address: Near the bridge, Opposite Shaniwar Wada, Shaniwar Peth, Pune 30, Date of establishment: 14th century AD, Founder: Hazrat Sayyad Shah Khwaja Hisamuddin, Informer: Mohiuddin Lalsahab Momin Details of prayer music: (A) Daily prayers – Dua is recited, usually in the morning and evening hours. (B) Occasional – Hamd and Naat are recited occasionally. (C) Annual festivals – The annual Urs is celebrated. Prayers: Dua, Hamd, Naat. Qawwali performed during Urs. Method of prayer: Peer recites Dua. Devotees recite Hamd and Naat in chorus voice. Instruments: Duff is played while reciting Hamd and Naat. Harmonium, Dholak, Tabla, and Banjo are used during Qawwali. Pitch: Undefined. Qawwali is sung in D#, F#, G#,

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Language of prayer: Urdu, Hindi, Regional impact of music: Marathi, Influence of other music category: Folk and Popular music, Use of amplification: Only during Urs Architectural details: Hall of 15’ X 10’ X 12’. The Urs is celebrated in the courtyard. Number of attendants: During the Urs, more than 1000 people participate.

8) Place of prayer: Mohtarma Babajan aka Khwaja Sultana Saheb Dargah

Religion & Cult: Muslim, Sufi, Address: Chaar Bawdi, Babajan Chowk, Camp, near M G Road, Pune 01, Date of establishment: Babajan’s Wafat is dated as 21 September 1932, but the Dargah is reported to have been in existence from circa 1924, before Babajan’s death. Details of prayer music: (A) Daily prayers – Dua is recited, usually in the morning and evening hours. (B) Occasional – Hamd and Naat are recited occasionally. (C) Annual festivals – The Urs on the Wafat day of Babajan. Prayers: Dua, Hamd, Naat. Qawwali performed during Urs. Method of prayer: Peer recites Dua. Devotees recite Hamd and Naat in chorus voice. Instruments: Duff is played while reciting Hamd and Naat. Harmonium, Dholak, Tabla, and Banjo are used during Qawwali. Pitch: Undefined. Qawwali is sung in D#, F#, G#, Language of prayer: Urdu, Hindi, Regional impact of music: Marathi, Influence of other music category: Folk and Popular music, Use of amplification: Only during Urs. Architectural details: Small shrine of about 10’ X 8’ X 10’. The Urs is celebrated on the road and nearby School hall. Number of attendants: During the Urs, more than 800 people participate.

9) Place of prayer: Hazrat Khwaja Sayyad Shamsuddin alias Adamshah Dargah

Religion & Cult: Muslim, Sufi, Address: Gidni Apartments, Salisbury Park, Pune 37, Date of establishment: 14 June 1378 Details of prayer music: (A) Daily prayers – Dua is recited, usually in the morning and evening hours.

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(B) Occasional – Hamd and Naat are recited occasionally. (C) Annual festivals – The Urs on the Wafat day. Prayers: Dua, Hamd, Naat. Qawwali performed during Urs. Method of prayer: Peer recites Dua. Devotees recite Hamd and Naat in chorus voice. Instruments: Duff is played while reciting Hamd and Naat. Harmonium, Dholak, Tabla, and Banjo are used during Qawwali. Pitch: Undefined. Qawwali is sung in D#, F#, G#, Language of prayer: Urdu, Hindi, Regional impact of music: Marathi, Influence of other music category: Folk and Popular music, Use of amplification: Only during Urs Architectural details: Small shrine of about 10’ X 18’ X 15’. The Urs is celebrated in the premises. Number of attendants: During the Urs, more than 150 people participate.

10) Place of prayer: Hazrat Subhanshah Rahamatullah Dargah

Religion & Cult: Muslim, Sufi, Address: Subhanshah road, Budhawar Peth, Near Mandai, Pune 02, Date of establishment: 3 December 1375 Details of prayer music: (A) Daily prayers – Dua is recited, usually in the morning and evening hours. (B) Occasional – Hamd and Naat are recited occasionally. (C) Annual festivals – The Urs on the Wafat day. Prayers: Dua, Hamd, Naat. Qawwali performed during Urs. Method of prayer: Peer recites Dua. Devotees recite Hamd and Naat in chorus voice. Instruments: Duff is played while reciting Hamd and Naat. Harmonium, Dholak, Tabla, and Banjo are used during Qawwali. Pitch: Undefined. Qawwali is sung in D#, F#, G# Language of prayer: Urdu, Hindi, Regional impact of music: Marathi, Influence of other music category: Folk and Popular music, Use of amplification: Only during Urs Architectural details: Shrine of about 20’ X 30’ X 20’. The Urs takes place on the street. Number of attendants: During the Urs, more than 200 people participate.

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11) Place of prayer: Hazrat Shah Dawal Baba alias Sadalbaba Dargah

Religion & Cult: Muslim, Sufi, Address: Near Sangamwadi Bridge, Deccan college road, Yerwada, Pune 06, Date of establishment: circa early 20th century Details of prayer music: (A) Daily prayers – Dua is recited, usually in the morning and evening hours. (B) Occasional – Hamd and Naat are recited occasionally. (C) Annual festivals – The Urs on the Wafat day. Prayers: Dua, Hamd, Naat. Qawwali performed during Urs. Method of prayer: Peer recites Dua. Devotees recite Hamd and Naat in chorus voice. Instruments: Duff is played while reciting Hamd and Naat. Harmonium, Dholak, Tabla, and Banjo are used during Qawwali. Pitch: Undefined. Qawwali is sung in D#, F#, G#, Language of prayer: Urdu, Hindi, Regional impact of music: Marathi, Influence of other music category: Folk and Popular music, Use of amplification: Only during Urs Architectural details: Shrine of about 20’ X 30’ X 20’. The Urs takes place in the premises. Number of attendants: During the Urs, more than 500 people participate.

12) Place of prayer: Wadi Jamatkhana

Religion & Cult: Muslim, Ismaili Khoja, Address: 13, Aga khan Estate, Connaught Road, Behind Metro Hotel, Pune 01, Date of establishment: circa late 19th century, Founder: Aga Khan Details of prayer music: (A) Daily prayers – 4:30 am and 7:00 pm in summer season and 6:30 am and 6:30 pm in winter. (B) Occasional – On a Sunday of every month, there is morning prayer at 10:00 am to 12:00 pm. Special Majlis, i.e. prayer sessions are also on days of Chaand Raat (full moon night), Navami (ninth day of lunar calendar). (C) Annual festivals – Navroz, birthday of Aga Khan, day of Aga Khan’s coronation.

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The prayer takes around 45 min to perform. On Friday, the prayer takes time more than an hour, as more Ginans are sung. Prayers: Dua and Ginan Method of prayer: Ginan is sung by group of women, but Dua is recited by a male representative chosen by the priest, from the congregation and others follow him in the mind. On the special occasions, the Ginans are sung by all members of congregation. Instruments: No instrument is played in Jamatkhana. The prayer is recited without any accompaniment. Pitch: Undefined, Language of prayer: Persian and Gujrathi, Regional impact of music: Gujarat, Influence of other music category: Folk music, Use of amplification: No. Sometimes, the recorded tape or CD is broadcasted. Architectural details: This is a hall of about 30’ X 18’ X 15’. The tables are arranged at one end of the hall and chairs are lined along the other three walls. The senior members sit on the chairs, while others sit on the carpets. In the prayer hall, men and women sit in two different sections and recite the prayer. Number of attendants: Around 10-15 persons for daily prayer and more than 50 on Friday.

Remarks:

The verses from Quran, Azan, and verses of Dua and Ziarat are recited in Masjid. In these recitations, only 3-4 notes, with slight oscillation of voice, are used. The recitations are not accompanied by any instrument and are delivered in a loud voice by only the priest (Maulavi). The congregation follows it in their minds. The Azan is rendered by the

Muezzin and its recitation varies a little from Muezzin to Muezzin. The tune of Azan has mostly flat notes in Bhairawi, Bhairaw and Asavari Thaat. The throw of voice is very important in recitation of Azan. In Dargahs and Madrassas, Dua is recited and sometimes

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song formats such as Hamd and Naat are sung. The Qawwali is sung only in the Urs and that too happens outside the Dargah.

The use of language depends on the form of prayers – Dua and verses from Quran are in

Persian, but now-a-days Dua is also recited in Urdu. Ginan is mostly in Gujrathi and

Persian. Qawwali is in Urdu and Hindi. The Islamic prayers have a strong rhythmic accent. Along with rhythmic patterns of 4/8 and 6/8, the otherwise uncommon pattern of

7/8 is also commonly used in Dargahs.

No instruments in Masjid, but some percussion instruments such as Duff and Daffli are allowed in the sanctum sanctorum of Dargah. During the Qawaali performance, other instruments such as Harmonium, Banjo, Dholak, Tabla, Chimta, and side percussion are used in the premises of Dargah. During the Urs, the processions with a band of percussion instruments are also observed.

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4.5 Survey of music at Jewish Synagogues in Pune:

As mentioned in previous chapter, there are only two synagogues in Pune and both were surveyed during the research work. The survey and documentation of music at these synagogues is as following.

1) Place of prayer: Succath Shelomo Synagogue

Religion & Cult: Judaism, Bene Israeli, Address: 93, Jew Lane, Rasta Peth, Pune 411011, Date of establishment: 1921, Informer: Hazzan Noel Mapgaonkar and Moses Penkar Details of prayer music: (A) Daily prayers – Thrice a day: 7:00 am (for 60 min), 4:30 pm (for 15 min) and 6:30 pm (for 15 min). Every Saturday (day of Shabbat), prayer starts at 8:30 am and goes till 10:30 am. (B) Occasional – Yom Kippur (Day of Atonement), Sukkoth week (15th day of Tishrei, the month of Jewish New Year), Rosh Hodesh (first day of every month, i.e. full moon day), Hanukkah week, Rosh Hoshanah Leilanoth (New Fruit Day), Death anniversary of Prophet Moses, Erev Pesah (Fast for first born) & Pesah week, Erev Shavout Jagran and Shavout day (C) Annual festivals – Rosh Hashanah (Jewish new year day), Succath Shelomo synagogue anniversary (on 21 Iyar of Jewish calendar) Prayers: Psalms and Chants from the sacred book ‘Siddur’. These chants don’t have a specific poetic meter, but are in form of prose passages. The rendition of psalms and chants involves a melodic design which covers a pitch compass of about 4-5 notes. It was observed that these chants were mainly sung in three Thaats or scales – Bhairaw, Bhairawi and Bilawal. Though there is internal tempo to these chants, no rhythm is applied to them.

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Method of prayer: A major section of prayer is recited by the priest, i.e. Hazzan. Some sections have group response. At the end of prayer on Shabbat there are some songs that are sung by the congregation. Some prayers are recited on the lunch table placed at the corridor of synagogue for the community lunch on Shabbat. Instruments: No instrument is used in the regular prayers. The Shofar, i.e. Natural Horn is played on Rosh Hashanah., Pitch: undefined, Language of prayer: Hebrew, Regional impact of music: Middle Eastern music / Israeli. Some tunes are said to be composed by Indian priests some 100 years ago. Influence of other music category: Folk music, Use of amplification: Not for regular prayers, only on Shabbat and festivals Architectural details: The huge, beautifully decorated prayer hall built with bricks and a wooden ceiling has a nice acoustic makeup and sound naturally resonates in here. Number of attendants: 1 priest & about 5 devotees for regular prayers and about 20-30 on special occasions.

2) Place of prayer: Ohel David Synagogue / Lal Deval

Religion & Cult: Judaism, Bene Israeli, Address: 9, Dr. Ambedkar Road, Camp, Pune 411001, Date of establishment: 1863, Founder: David Sassoon, Informer: Hazzan Joshua Pinglay and Yosef Nowgaonkar Details of prayer music: (A) Daily prayers – For last few years, there is no custom of daily prayers at this synagogue due to diminution of Jewish population in the area. Prayer takes place only on Fridays at 6:00 pm and Saturdays (day of Shabbat). Shabbat prayer starts at 8 a.m. and goes till 11:30 a.m. (B) Occasional – Yom Kippur (Day of Atonement), Sukkoth week (15th day of Tishrei, the month of Jewish New Year), Rosh Hodesh (first day of every month, i.e. full moon day), Leilanoth (New Fruit Day), Death anniversary of Prophet Moses, Erev Pesah (Fast for first born), Erev Shavuot day. (C) Annual festivals – Rosh Hashanah (Jewish new year day) Prayers: Psalms and Chants from Siddur. The musical description of the prayers is same as the prayers in Succath Shelomo Synagogue.

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Method of prayer: A major section of prayer is recited by the Hazzan. Some sections have group response. At the end of prayer on Shabbat there are some songs are sung by the congregation. Instruments: No instrument is used in regular prayers. Shofar is played on Rosh Hoshanah. Pitch: undefined, Language of prayer: Hebrew, Regional impact of music: Middle Eastern music / Israeli. Influence of other music category: Folk music, Use of amplification: Not for regular prayers, only on Shabbat and festivals Architectural details: The grand, red brick building with a tower of 30’ height has a huge prayer hall decorated with wooden furniture. It has a nice acoustic make-up and sound naturally resonates in the hall. Number of attendants: 1 priest & about 20-30 on Shabbat.

Observations and remarks:

The duration of Shabbat prayers at both synagogues is the same, but the tunes were little bit different. The prayers use three scales – Bhairaw, Bhairawi and Bilawal. The prayers use a melodic compass of about five notes ranging from lower seventh to middle fifth.

There was no change in the tune during the morning and evening prayer.

The prayers have no melodic and rhythmic accompaniment and are mostly recited by the

Hazzan in solo voice, with responses from the congregation at some junctures. The part of Hazzan is like chanting of hymns and passages, but there are some prayers in a song format which are rendered with the involvement of the congregation. The prayer music at both synagogues was monophonic and the general impact was soothing, making one peacefully introvert. No instrument other than Shofar is used at synagogues, that too only on special occasion.

Besides the devotional or religious purpose, the prayer and songs also serves a purpose of binding the Jewish community and creating a sense of unity and social affinity.

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4.6 Survey of music at Zoroastrian Agiary in Pune:

Pune has three major and one lesser known Zoroastrian fire temples, Agiaries. During the research work, the survey of all three major Agiaries was undertaken. Entry in the Agiary is strictly forbidden for any non-Zoroastrian and thus, I was not allowed to personally witness the prayer music in Agiary. Hence, the descriptions here are according to the information provided by the Mobed (the Parsee priest), and other Parsees and the recordings of prayers shared by them are submitted here.

1) Place of prayer: Sardar Sorabji Ratanji Patel Der-E-Meher (Adarian)

Religion & Cult: Zoroastrian, Parsee, Address: 613/8, Nana Peth, Camp, Pune - 411002, Date of establishment: 05 June 1824, Founder: Sardar Sorabji Ratanji Patel, Informer: Mobed Mr. Zarin Kotwal Details of prayer music: (A) Daily prayers – The priest recites the prayers during 5 Geh (sessions) of the day. (B) Occasional – Zarthost no deeso (Death anniversary of Zoroaster), Muktad (C) Annual festivals – Navroz (New Year), Khordad Sal (Zoroaster’s birthday), Gahambars and Jashans Prayers: Gatha, i.e. chants with poetic meter from the sacred book Avesta are recited. Method of prayer: Only the male priest, i.e. Mobed recites the prayers. The devotees don’t utter them aloud at Agiary. Instruments: No instruments are allowed in Agiary. Pitch: undefined, Language of prayer: Avesta, Gujrathi, Regional impact of music: Gujrathi, Influence of other music category: (-), Use of amplification: No amplification Architectural details: Could not be documented as of non-Parsee persons are not allowed to enter Agiary. Number of attendants: 1 priest & about 5 devotees for regular prayers and about 50 on special occasions.

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2) Place of prayer: Sir Jamsetjee Jejeebhoy Agiary

Religion & Cult: Zoroastrian, Parsee, Address: 826, Dastur Meher Road, Pune Camp, Opp. Sir J.J. Garden, Pune – 411011, Date of establishment: 29 November 1844, Founder: Sir Jamsetjee Jejeebhoy, Informer: Mr. Kaipashin Raimalwala Details of prayer music: (A) Daily prayers – The priest recites the prayers during 5 Geh (sessions) of the day. (B) Occasional – Zarthost no deeso (Death anniversary of Zoroaster), Muktad (C) Annual festivals – Navroz (New Year), Khordad Sal (Zoroaster’s birthday), Gahambars and Jashans Prayers: Gatha from Avesta Method of prayer: Only the male priest, i.e. the Mobed recites the prayers. The devotees pray in their minds. Instruments: No instruments are allowed in Agiary. Pitch: undefined, Language of prayer: Avesta, Gujrathi, Regional impact of music: Gujrathi. Influence of other music category: Primitive music, Use of amplification: No amplification Architectural details: Could not be documented as of non-Parsee persons are not allowed to enter Agiary. Number of attendants: 1 priest & about 5 devotees for regular prayers and about 50 on special occasions.

3) Place of prayer: Poona Kadmi Shehenshahi Anjuman Daremeher (Adarian)

Religion & Cult: Zoroastrian, Parsee, Address: 893, Synagogue Street, Opp. Cosmos Bank, Pune - 411 001, Date of establishment: 18 October 1893, Informer: Mobed Mr. Gayomard Sinor Details of prayer music: (A) Daily prayers – The priest recites the prayers during 5 Geh (sessions) of the day. (B) Occasional – Zarthost no deeso (Death anniversary of Zoroaster), Muktad (C) Annual festivals – Navroz (New Year), Khordad Sal (Zoroaster’s birthday), Gahambars and Jashans

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Prayers: Avestan Gathas Method of prayer: Only the male priest, i.e. Dastur recites the prayers. The devotees pray in mind. Instruments: No instruments are allowed in Agiary. Pitch: undefined, Language of prayer: Avesta, Gujrathi, Regional impact of music: Gujrathi, Influence of other music category: Primitive music, Use of amplification: No amplification Architectural details: Could not be documented as of non-Parsee persons are not allowed to enter Agiary. Number of attendants: 1 priest & about 5 devotees for regular prayers and about 50 on special occasions.

Observations and remarks:

The Parsee prayers are in the form of chanting and they are recited in a limited span of 3 to 4 notes. The tunes were found to be set in the Bilawal and Bhairawi Thaat or scales.

All these prayers are not rhythmically accompanied and are recited ad lib.

Here are the melodic progressions in the common Parsee prayers –

Ashem Vohu – (Bilawal Thaat) SR-S, S ‘N- SR SGR – S-‘N ‘PS - |

Yenghe Hatam – Bhairawi Thaat (g-r, grS‘n – ‘nSrg-r g—rS‘n S |)

Afrin e Ardafrawash – Bilawal Thaat – (SG-GR- SR- S-RG-R R-RGR – RG-R,SRS –S |)

Afrin e Buzorgan – The tune is same as Afrin e Ardafrawash.

Afrin e Haft Ameshaspand – The tune is same as Afrin e Ardafrawash, but it is sung in much higher pitch and jubilant way.

Muktad Humbandagi prayer – Kalyan Thaat (GR S ‘N ‘D ‘NR S)

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Farokhshi prayer – Bilawal Thaat (m- GR S- | S- Rm-G RGmP mGR SR-S | SG-RmGR S

| Sm- mGR SRS |)

Pazand Dua-E-Iman-E-Pahalvi (Wedding blessings) > Sanskrit Waivasya Paimani >

Afrin-Banam-E-Bujurna-E-Paiman (Remembrance of ancient stalwarts for the wedding ceremony) > Dua-E-Tandurusti-Paiman (special prayer for wellbeing on wedding) –

Bilawal Thaat (SR-SRG-RG-RG-RS | m-mGR – SR-SRm-GR- G-RS |)

Hormuzd Yasht – Bhairawi Thaat (‘nSr-Srg-rg-m-gr- ‘n- rS | m-mgr – Sr-Srm-gr- ‘n- rS|)

Sarosh Yasht – Bilawal Thaat (R-, SR SG-R, G-RS S‘N – SR-SG-RS - |)

(Parsee devotees sing Manojat, which are prayers in song form. However, Manojats are not recited in Agiary and are rather sung at homes or other places of social gatherings.

Very rarely, they are sung in the Agiary premises during community gatherings on ceremonies such as Navjot. Hence, Manojats were not selected for analysis.)

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4.7 Survey of music at Christian Churches in Pune:

The Churches in Pune have a long historical as well as cultural importance, as the

Christian inhabitants are a sizable share of the entire population of the city, after Hindu,

Jain and Muslims. The Churches have been instrumental in keeping tradition of western art music alive in Pune. Furthermore, they have even adopted flavors of the local music culture in many instances

The following survey gives a clear idea about the nature of Church music in urban Pune –

1) Place of prayer: Church of Our Lady of the Immaculate Conception (Also known as City Church)

Religion & Cult: Christian, Roman Catholic, Address: Quarter Gate, 433, Nana Peth, Pune 411002, Date of establishment: 1792 December 25 (present building constructed in 1852), Founder: Portuguese mission - Dom Manuel Da Noronha and Father Manezis, Informer: Father Salvador Pinto Details of prayer music: (A) Mass Timings – Mondays to Fridays there is Mass of half an hour at 6:30 am, 7:30 am and 6:30 pm is in English, and on Wednesdays it is in Konkani and on Thursdays it is in Marathi. Anticipatory Mass is conducted on Sundays at 6:30 am, 7:30 am and 6:30 pm. Sunday Mass of an hour at 6:30 am (Marathi), 7:30 am (Konkani), 8:30 am, 9:30 am and 6:30 pm (English) and English Mass by Nagaland youth at 11:30 am (B) Annual festivals – Easter Day, Christmas, All Saints day. Prayers: Hymns, Psalms, Songs from the prayer book, Christmas Carols. Method of prayer: A deacon, 2 priests and fellow devotees sing in responsorial method and some songs are sung in chorus method by the congregation. The number of choir members differs in the Mass performed by different communities, as following - Marathi Mass (4 singers, 1 player), Konkani Mass (6 singers, 1 player), English Mass (6 singers, 2 players), Naga Mass (6 singers, 5 players)

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The Marathi Mass has prayers in tunes based on Ragas and many tunes are similar to Natya Sangeet and Marathi Keertan Padas. On the other hand, Konkani Mass has prayers with a greater influence of Portuguese and Goan music. The English Mass contains prayers in traditional European tunes. The Naga youth present altogether different kind of music in the Church, which is more akin to Rock or Pop music. This kind of music presentation gives an altogether different color to Church music. All Masses, except the Naga one, don’t use any rhythmic accompaniment, though the tunes are arranged in specific rhythmic meter – mostly 4/8 or 6/8. Instruments: Organ / Keyboard, Guitar, Violin. There is an old American Reed Organ, but now the electronic keyboard is more used. During the prayer ritual, the bells are used. The youth band from Nagaland use electric guitars, keyboards, and drum sets in the prayer. This ends up sounding more like a Band. Pitch: Mostly C#, Language of prayer: English, Konkani, Marathi, Regional impact of music: European Church music, Marathi Natya Sangeet and Konkani folk songs, Influence of other music category: Art music, Use of amplification: Yes Architectural details: The architecture is old, and was reconstructed five years ago. The earlier structure was acoustically much better. Number of attendants: Around 150 for English Mass, 125 for Marathi Mass, 80 for Konkani Mass and more than 200 for Naga Mass.

2) Place of prayer: St. Mary's Church or Mother Church of Deccan

Religion & Cult: Christian, Anglican, Address: 1-A, Solapur Road, Camp, Pune 411001, Date of establishment: 1825, July 3, Founder: Bishop Heber, Informer: Santosh David (Piano Player), Ranjan Samuel (Choir Organiser) Details of prayer music: (A) Mass Timings – Morning Prayer at 7:30 am to 8:00 am on Tuesdays, Thursdays and Saturdays. There is Sunday Mass at 8:00 am to 9:30 am, 10:30 am to 12:00 pm and 6:00 pm to 7:30 pm. There is Sunday school and choir singing classes on Sundays. (B) Annual festivals – (1) Anniversary celebration of Church on 3rd July, (2) Midnight Mass on 24th Dec and 31st Dec, (3) Morning prayer on Christmas and New year

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celebration on 25th Dec and 1st Jan, (4) Good Friday celebration from 11:00 am to 3:00 pm. (5) Ester Sunday, (6) Choir singing program (7) Lessons for Carol singing before Christmas in the month of December. Prayers: Hymns, Psalms, Songs from the prayer book, Christmas Carols. Method of prayer: A deacon or presbyter, 2 priests, and members of congregation recite the prayers in multiple ways such as common and antiphonal or responsorial singing. The tunes of the prayers are original European tunes, without any changes or aberrations. There is a permanent, trained choir of 20 singers and a choirmaster who perform regularly for the Church. Instruments: Organ, Violin, Bells, Pitch: C and G, Language of prayer: English, Regional impact of music: European music, Influence of other music category: Art music, Use of amplification: Yes Architectural details: This is an old building with magnificent acoustics. Number of attendants: More than 200 for Sunday Mass and about 30 for daily Mass.

3) Place of prayer: Christ Church

Religion & Cult: Christian, Protestant Presbyterian, Address: 381, Rasta Peth, Pune 411011, Date of establishment: 1831, Informer: Ramesh Borde Details of prayer music: (A) Mass Timings – Sunday Mass at 8:30 am and 5:00 pm, Friday Mass at 6:30 am, Bible study at 7:00 pm on Thursdays, Women fellowship at 6:00 pm on Friday, Youth fellowship at 7:30 pm on Saturdays, Sunday School at 10:30 am. (B) Annual festivals – Various programs throughout year, Christmas. Prayers: Hymns and Songs from the prayer book ‘Upasana Sangeet’. Method of prayer: The clergymen sing some of the prayers in antiphonal method. Some of them are recited by the choir members and some by the congregation in chorus. The prayers are in Marathi and they have tunes similar to Marathi Natyageet and the traditional tunes of poetic meters. During special occasions, rhythmic accompaniment is required, but otherwise they are sung without any such accompaniment other than a melodic one.

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Instruments: Organ, Keyboard, Guitar, Drum, Tabla, Pitch: C#, Language of prayer: Marathi, Regional impact of music: Marathi, Influence of other music category: Folk and Art Music, Natya Sangeet, Use of amplification: Yes Architectural details: The architecture is acoustically good. Number of attendants: Sunday Mass – about 80, festivals - 200

4) Place of prayer: St. Patrick's Cathedral

Religion & Cult: Christian, Roman Catholic, Address: 1 B, Prince of Wales Drive, Camp, Pune 411001, Date of establishment: 1855 Details of prayer music: (A) Mass Timings – Monday to Friday at 6:30 am and 6:00 pm (winter timing: 5:45 pm). Anticipated Mass is performed on Saturdays at 6:30 am and 6:30 pm. Sunday Mass at 6:00 am, 7:15 am, 11:00 am and 6:00 pm and Children's Mass is called at 9:45 am, Children's Catechism class at 8:30 am (B) Annual festivals – Easter Day, Christmas, New Year Celebration. Method of prayer: Common and antiphonal. Instruments: Organ, Pitch: C & G, Language of prayer: English, Regional impact of music: European Church music, Influence of other music category: Art music, Use of amplification: Yes Architectural details: This grand sized Church as three sections for the congregation to sit in and the acoustics is very nice. Number of attendants: Around 200 for Sunday Mass and more than 800 during festival.

5) Place of prayer: St. Andrew's Hindustani Church

Religion & Cult: Christian, Protestant, Address: 15, Solapur Road, Camp, Pune 411001, Date of establishment: 1861, Informer: Rev. Jaiprakash Chowhan Details of prayer music: (A) Mass Timings – Sunday Service at 9:00 am to 11:00 am and 4:00 pm to 6:00 pm.

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Holy Communion - First Sunday of every month. Choir rehearsals are conducted on Saturday evening. (B) Annual festivals – Easter Day, Christmas, New Year celebration. Prayers: Hymns, Christmas Carols and songs from the prayer book ‘Prabhuwani’ containing Hindi songs. Method of prayer: Chorus and responsorial Instruments: Organ, Guitar and sometimes Octopad electric, Pitch: D and A#, Language of prayer: Hindi, Urdu, Regional impact of music: Uttar Pradesh, Influence of other music category: Popular music forms such as Ghazal, Films songs, Use of amplification: Yes Architectural details: The prayer hall has a sloping roof and big open windows that transmits the sound waves in a good manner. Number of attendants: About 70 for Sunday Mass and more than 300 during festival.

6) Place of prayer: St. Xavier's Church

Religion & Cult: Christian, Catholic, Address: ST. Vincent Street, Camp, Pune 411001 Date of establishment: 1862 Details of prayer music: (A) Mass Timing – Monday to Saturday at 6:00 am, 6:30am, 7:00 am and 7:00 pm. Sunday Mass at 6:30 am, 7:30 am, 8:30 am, 9:30 am and 5:30 pm. (B) Annual festivals – Easter Day, Christmas, New Year Celebration. Prayers: Hymns, Psalms, Songs from the prayer book, Christmas Carols. Method of prayer: Antiphonal and chorus Instruments: A Reed Organ from the earlier century is played during the prayer. There is a huge Church bell in the courtyard. Pitch: C, D and F, Language of prayer: English, Regional impact of music: European music, Influence of other music category: Art music, Use of amplification: Yes Architectural details: This old building with typical British architecture has several niches and pillars which work as sound reflectors and hence, the acoustics in nice. Number of attendants: About 50 for Sunday Mass and more than 200 during Easter.

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7) Place of prayer: St. Paul's Church

Religion & Cult: Christian, Anglican, Address: 2, Church Road, Next to GPO, Agarkar Nagar, Pune 411001, Date of establishment: 1863 August 29 (Working from 1867 March 5), Founder: Governor Bartel Frier, Informer: Revd. Sumesh Jacob Details of prayer music: (A) Mass Timings – Sunday Mass at 8:00 am and on 1st, 3rd & 5th Sunday it is at 6:00 pm. Evening song service at 6:00 pm on 2nd & 4th Sunday. Youth Worship service is on 1st Sunday of every month. A special service for old, sick and house-bound is at 10:30 am on 3rd Sunday. Weekday Service: 7:30 am on Wednesday, 8:15 am on Thursday, and 7:30 am on Friday. Women's Fellowship for Christian Service is at 10:15 am to 11:00 am on 1st & 3rd Sunday. Women's prayer group congregates at 4:00 pm to 6:00 pm on 1st, 3rd & 4th Saturday. (B) Annual festivals – Harvest Festival day, St. Paul's Church Patron Day, Christmas (special Carol service), New Year Celebration Prayers: Hymns, Psalms, Songs, Christmas Carols. Method of prayer: Common and antiphonal. There is a trained choir which practices and performs regularly in the Church. The youth choir is very enthusiastic and often sings during the prayer service. Instruments: There is 105 years old, huge, beautiful working Pipe Organ, which was installed here on 29th June 1910. They celebrated the Organ’s centenary year in 2010-11. During Christmas Carol singing, the choir also uses a Piano, electronic keyboard and Violin. Pitch: Mostly C, E and G, Language of prayer: English, Regional impact of music: European music, Influence of other music category: Art music, Use of amplification: Only on special occasions Architectural details: This is a grand, stone carved Church with height of about 55 feet with glass windows and a high ceiling. The acoustics is fantastic and no one feels the need for any amplification for regular prayer here.

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Number of attendants: About 200 for Sunday Mass and more than 1000 for Christmas Carols.

8) Place of prayer: Oldham Memorial Methodist Church

Religion & Cult: Christian, Protestant, Address: General Thiyyama Road, Camp, Pune 411001, Date of establishment: 1872, started working from 1886. It was reconstructed and restarted from 26th June 1971. Founder: Father William Taylor Details of prayer music: (A) Mass Timings – Sunday: Mass at 8:00 am and 6:30pm, Sunday school at 8:30 am, Methodist Youth Fellowship at 10:00 am. There is intercessory prayer on Friday at 6:00 pm. Methodist Youth Fellowship worship practice is on Saturday at 4:00 pm and the choir practice is on Saturday at 6:00 pm. (B) Annual festivals – Easter Day, Christmas, New Year Celebration, All Saints day. Prayers: Hymns, Psalms, Songs, Christmas Carols. Method of prayer: Chorus and responsorial. Instruments: Organ, keyboard, guitar, Pitch: C#, F#, Language of prayer: English, Regional impact of music: European music, Influence of other music category: Art music, Use of amplification: Yes Architectural details: The architecture, after the renovation, is not acoustically sound and an amplification system needed. Number of attendants: About 70 for Sunday Mass and more than 300 during Easter.

9) Place of prayer: Pavitra Naam Devalay of Panch-haud Mission or Church of the Holy Name

Religion & Cult: Christian, Anglican, Address: The Church of the Holy name, 4, Guruwar Peth, Pune 411042, Date of establishment: 1885, Founder: (-), Informer: Gaurav Dayanand Amolik, Jitesh Bhalerao Details of prayer music:

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(A) Mass Timings – Morning prayer (Monday to Saturday) at 6:30 am to 7:30 am. Sunday Mass - 6:15 am to 8:00 am, 8:00 am to 10:00 am. Sabbath school on Sunday at 10.30 am, Bhajan by female devotees on Monday at 5:00 pm and prayer for youth on Saturday at 7:00 pm (B) Annual festivals – (1) 24th Dec. - Midnight Mass, (2) Christmas: 25th Dec. - morning prayer, (3) Youth Choir festival, (4) Bell ringing at 6:00 am, 12:00 pm, 6:00 pm & 12:00 am on specific days like Easter day, 15th August, 25th December, 31st December, New Year and 26th January. Prayers: Hymns, Psalms, Songs from the Marathi prayer book ‘Upasana Sangeet’ Method of prayer: The Priest, the clergy and a choir of 10 devotees sing in antiphonal and chorus method. One lead singer sings the prayer with fellow devotees while playing the Reed Organ. The Marathi prayers are have N V Tilaks’s poems in large number, along with other Marathi Christian poets. These are tuned in Ragas and traditional tunes of Marathi poetic meters. The Organ player Chintamanrao Gaikwad, who was contemporary to N V Tilak is given credit of composing these poems in several Ragas such as Kalyan, Bihag, Bhimpalasi, Bhairaw, Bhairawi, Khamaj, Piloo, etc. Instruments: Organ for regular prayers and in addition, two Violins, Clarinet and electric key-board is played on special occasions. Pitch: A#, C, D#, Language of prayer: Marathi, Regional impact of music: Marathi Natya Sangeet and traditional Marathi poetic meters. Influence of other music category: Folk and Hindustani Art music, Use of amplification: They use 4 microphones Architectural details: The basilica construction of bricks and stones is magnificent. A 130 feet tall bell tower is the unique feature of this church. The eight bells installed in it were manufactured by Tailor & Sons Co. in Labarro, Italy and bear the inscription ‘Holy Name of Jesus’. They and are played with change ringing method on special occasions. Number of attendants: Around 150-200 devotees attend the Sunday Mass and around 30-40 attend the daily prayer.

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10) Place of prayer: St. Crispin's Home

Religion & Cult: Christian, Roman Catholic, Address: FP - 10, Karve Road, Erandwana, Pune 411004, Date of establishment: 1901, Founder: Society of Saint John the Evangelist Details of prayer music: (A) Mass Timings – Worship service at 8:30 am (Marathi) on Sunday, Women’s fellowship on Friday at 5:30 pm, youth fellowship on Saturday at 5:00 pm, Roman Catholic Service in English on Sunday at 6:30 pm. (B) Annual festivals – (1) Easter Day, (2) All Saints Day, (3) Christmas Prayers: Hymns, Psalms, Songs from the prayer book ‘Upasana Sangeet’. Method of prayer: Same as in Pavitra Naam Devalay Instruments: There is an old reed organ in the Church, but it is not in use. There are other instruments such as drum set, cymbals, and tabor which are used during youth fellowship. Pitch: Mostly C and A#, Language of prayer: Marathi, Regional impact of music: Marathi, Influence of other music category: Marathi Natya Sangeet and Art music, Use of amplification: Yes Architectural details: The old, stone carved construction of the church has a sanctum with six adjoining chapels and an upper gallery. The acoustic setup is nice. Number of attendants: About 80-90 for Sunday Mass and more than 200 for Easter.

11) Place of prayer: Church of Holy Angels

Religion & Cult: Christian, Anglican, Address: Jew Lane, 84, Rasta Peth, Pune 411011, Date of establishment: 1915 October 10, Informer: Madhuwanti Ujagare Details of prayer music: (A) Mass Timings – Sunday Mass - 6:00 am to 7:30 am and 8:00 am to 10:00 am (B) Annual festivals – (1) 10th October - Church anniversary day, (2) Christmas: 25th Dec, and (3) New Year Celebration Prayers: Marathi prayer songs from the prayer book ‘Bhakti-Geet-Sangrah’

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Method of prayer: Same as Pavitra Naam Devalay Instruments: There are two Organs from pro-independence era which are not in use. Pitch: Undefined, Language of prayer: Marathi, Regional impact of music: Marathi, Influence of other music category: Folk and Art music, Use of amplification: Yes Architectural details: The previous architecture was renovated some 10 year ago and doesn’t have good acoustics. Number of attendants: Approximately 25 attendants for Sunday Mass at 6:00 am and about 100 attendants for Mass at 8:00 am.

12) Place of prayer: St. Teresa's Church

Religion & Cult: Christian, Catholic, Address: 764/5, Guruwar Peth, Papasheth Khanna Road, Pune 411002, Date of establishment: 1963 April 20, Founder: Andrius D'Souza Details of prayer music: (A) Mass timings – Sunday Mass at 8:00 am and 9:00 am (First Sunday – Mass in Marathi), on Mondays and Tuesdays at 7:30 am, on Wednesdays at 6:30 pm, on Thursdays and Fridays at 7:30 am. One the first Fridays of every month there is adoration and intersession at 6:30 pm, and Anticipated Mass is on Saturdays at 6:30 pm. (B) Annual festivals – Easter Day, Christmas, New Year Celebration. Prayers: Hymns, Psalms, Songs, Christmas Carols. Method of prayer: The clergymen and congregation sing the prayers in antiphonal and chorus method. Instruments: An organ is used for regular prayers and an electric keyboard, guitar and drum set are used for Christmas carols. Pitch: C# and F, Language of prayer: English, Regional impact of music: European music, Influence of other music category: Art music, Use of amplification: Yes Architectural details: The church was renovated some 8 years ago and has good acoustics. Number of attendants: About 60 for Sunday Mass and more than 200 for Christmas Carols.

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13) Place of prayer: St. Joseph Church

Religion & Cult: Christian, Catholic, Address: Near Railway Staff Quarters, Ghorapadi, Pune 411001, Date of establishment: 1986 (Renovated in 1995 August 28), Founder: St. Valerian D'Souza, Informer: (-) Details of prayer music: (A) Mass Timings: Monday to Friday at 6:00 pm. Anticipated Mass at 6:00 pm on Saturday. Sunday Mass is at 7:30 am and 5:30 pm (English), 8:30 am (Tamil), 10:30 am (Telugu). (B) Annual festivals – Easter Day, Christmas, New Year Celebration. Prayers: Hymns, Psalms, Songs, Christmas Carols. Method of prayer: The priests and a choir of 6 (4 female and 2 male) sing the prayers in antiphonal and chorus method. The prayers English, Tamil, Kannad and Telugu Mass have different tunes with regional flavor. The English tunes are sung as in European church music, but the tunes for Tamil, Kannad and Telugu prayers are based on Ragas and folk tunes of the respective regions. Instruments: Keyboard, Octopad, Guitar, Pitch: C#, D# and F, Language of prayer: English, Tamil, Telugu, Regional impact of music: Influence of regional music of Tamil Nadu, Kerala and Karnataka, Influence of other music category: Folk and Art music, Use of amplification: Yes Architectural details: This church with prayer hall (of dimensions about 80’ X 100’ X 50’) is acoustically good. Number of attendants: About 100 for all four batches of Sunday Mass (English, Tamil, Telugu and Kannad) and more than a 1000 for Christmas Carols.

14) Place of prayer: St. Mary's Jacobite Syrian Church

Religion & Cult: Christian, Syrian Address: Plot no 17B, Deccan College Road, Near Jai Jawan Nagar, Yerwada, Pune 411006, Date of establishment: 2003, September 24, Founder: Thomas I Catholicose

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Details of prayer music: (A) Mass Timings – Monday to Saturday at 6:30 pm to 7:30 pm. Sunday Mass on 1st, 2nd, 3rd & 5th Sunday at 8:30 am, Catechism at 11:00 am. There is Retreat (Dhyan Sabha) on 4th Sunday at 9:30 am to 2:30 pm. (B) Annual festivals – Easter Day, Christmas, New Year Celebration. Prayers: Hymns, Psalms, Songs, Christmas Carols. Method of prayer: 1 priest, 2 clergymen, choir of 8 singers, and 1 keyboard leads the prayer with the priest and clergy, followed by devotees. Instruments: Keyboard, Pitch: A# and D#, Language of prayer: Malayalam, Regional impact of music: Kerala, Influence of other music category: Folk music, Use of amplification: Yes Architectural details: This is a Church with RCC construction and an average acoustic setup. Number of attendants: Approximately 100-125 for the Sunday Mass

15) Place of prayer: St. Peter's Marthoma Church

Religion & Cult: Christian, Methodist, Address: Phase II, Sant Shiromani Namdew Maharaj Path, Wanawori, Pune 411040, Date of establishment: 2009 October 24, Informer: Mini Thomas Details of prayer music: (A) Mass Timings – Evening prayers at 6:00 pm to 7:00 pm. Friday: Fasting prayer at 10:00 am to 11:00 am (in some Churches, it is observed on Friday), Sunday Mass at 8:00 am to 10:00 am. (Orthodox prayer at 7:00 am to 10:30 am at St. Thomas Church, Kirki) English Mass on third Sunday of every month. (B) Annual festivals – (1) Easter week, (2) Christmas: 25th Dec. - morning prayer, Carol service before Christmas, (3) New Year - Midnight Mass, (4) Choir festival Prayers: Hymns, Psalms, Songs, Christmas Carols Method of prayer: There are prayer songs & songlets in between clergical discourse. The priest and congregation say the prayer in responsorial method. There is a group of 20 singers and a conductor in a choir who have been trained under a choir master. Most

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songs are performed by the choir in chorus voices. Some hymns are sung only by the priest and some songs are sung only by the choir. Choir sings in C, with a compass of one and a half octave. Songs are based on tunes from music indigenous to Kerala and some are Raga base. The songs do have a rhythmic structure, but they are performed any without percussion accompaniment. Some songs are sung with drum beats played on the Synthesizer. Songs are based on Ragas Bhimpalasi, and Desh and some songs are set to western tunes in Major and Minor Scales. Instruments: Electronic keyboard or Synthesizer. Guitar too is used on some occasions. Pitch: C & A#, Language of prayer: Malayalam, Regional impact of music: Kerala, Influence of other music category: Folk & popular, Use of amplification: 10 microphones, audio out for Synthesizer, 2 Monitors & 4 speakers. Architectural details: Huge prayer hall with cement construction, flat roof, and walls damped with curtains (40’ X 60’ X 40’). Number of attendants: 3 priests. Around 70 - 100 devotees attend the Sunday Mass and around 10-15 attend the daily prayer. The devotees are basically from Kerala.

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General remarks on Church music in Pune:

 The music in form of cantillation and songs is used in abundance at the churches

in Pune. Usually a minimum 5 songs are sung during the Sunday Mass, in

addition to the hymns, psalms, and responses.

 The Church music in Pune has two streams – The European Church music, which

is observed at the churches where the prayer service in English, and the church

music having an influence of the indigenous musical traditions. The churches

having Mass in Marathi, Konkani use the music influenced by Marathi Natya

Sangeet, traditional tunes of Marathi poetic meters and also sometimes Hindustani

Art music. The influence of South Indian folk music and Carnatic art music can

be seen in the churches belonging to the communities from Kerala, Tamil Nadu,

and Karnataka, whereas the influence of Ghazal and Hindi film songs is witnessed

in the churches having Hindi Mass.

 The churches which follow the European music system have songs mostly in the

minor scale and 4/4 and 6/8 rhythm cycles. On the other hand, the churches

having Marathi prayers have songs based on Ragas, such as Yaman, Bhoop,

Bhairawi, Bihag, Hameer, Tilak Kamod, Desh, Khamaj, etc., set to Talas such as

Teentala, Dadra, Jhap Tala, and Roopak.

 Though the churches following the European church music tradition prefer to use

the polyphonic mode, the churches following Indian music choose to remain in

the monophonic mode.

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 Only a few churches in the camp area and some belonging to the Jacobite Syrian

tradition have well trained choirs of a certain level of excellence, something

which is rarely seen in the Marathi churches.

 In comparison with Hindu, Jain, Buddhist, and Sikh temples, the congregations at

Christian churches were observed to be musically more disciplined, harmonious,

and homogenous.

 Most of the times, there is a melodic accompaniment to the chanting of the

clergymen and the congregation but an absence of any rhythmic accompaniment.

This is in contrast to the Hindu and Jain places of prayer where generally a

melodic accompaniment is absent but a rhythmic accompaniment is usually

present. In some churches, drums and other percussion instruments were found

for rhythmic accompaniment during the Mass for the youth, a change in the

practice of church music with time.

 The electronic keyboard has replaced the traditional Organ in most churches.

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4.8 Survey of music at Philosophical cults and societies in Pune:

In this section, those places of prayer are taken into consideration where no specific deity or idol is worshiped; instead a particular philosophical stand is worshiped. Especially in last three decades, there has been an emergence of many person-focused cults or newer cults in Pune, such as cults of Art of Living, Prajapita Brahmakumari, Mata Anandmayi,

Asaram Bapu, Ashutosh Maharaj, etc. Although many of them do organize music concerts or performances for their clan of devotees, the places of these cults have not been taken for discussion here as most of them don’t practice a descriptive system of prayer music, yet. Another reason of not selecting them for investigation is that these cults, with some exceptions, have no permanent place assigned as sanctum sanctorum.

They often organize musical performances of group prayer (Satsang) in halls or pendals hired for the purpose on a temporary basis.

The three places of prayer music selected here fulfill three criteria – (1) they use music as the vehicle for propagation of the philosophy and worship, (2) they have a prescribed set of songs for prayer and (3) they have an ancestry of at least five decades.

1) Place of prayer: Pune Prarthana Samaj

Religion & Cult: Prarthana Samaj Philosophical Society, Address: 441, Budhawar Peth, Pune 411002, Date of establishment: Prarthana Samaj was established in 1870. The current building was consecrated on 11 April 1909. Founder: Mahadev Govind Ranade and R G Bhandarkar, Informer: Sushama Dilip Joag Details of prayer music: (A) Daily prayers - No

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(B) Occasional – Every Sunday 5 pm to 6 pm. (C) Annual festivals – Annual congregation of various branches of Prarthana Samaj and Brahmo Samaj is held in November – December in different cities. The prayers are compiled in book ‘Prarthana Sangeet’. The prayers are collected from various sources such as Upanishad, songs written by Bhandarkar, N V Tilak, Tagore, etc. The songs are sung in traditional tunes, but some songs are said to have been composed by Ustad Abdul Karim Khan and Pandit V D Paluskar. Instruments: Only cymbals are used for regular prayer. Tabla, Harmonium and Violin are used for special programs. Pitch: Roughly A#, Language of prayer: Sanskrit, Marathi, Hindi. Occasional prayers in Bangla and English, Method of prayer: Chorus of male and female participants, Regional impact of music: Marathi, Influence of other music category: Art music, Use of amplification: Amplification is not used for regular prayers, but is used during special programs. Architectural details: Two storied building with hall of about 80’ X 50’ dimension Number of attendants: Regular attendance of 5 to 10, but around 50 gather for occasional programs.

2) Place of prayer: Avatar Meher Darbar or Mehar Baba Centre, Pune

Religion & Cult: Meher Baba’s Philosophy of universal humanism, Address: 441/1, Somwar Peth, Near KEM Hospital, Pune 411002, Date of establishment: 1964. Founder: Merwan Sheriar Irani alias Meher Baba (1894 – 1969), Informer: Mr. Pawar Details of prayer music: (A) Daily prayers - No (B) Occasional – ‘Satsang’ held every Monday 7 pm to 9 pm. (C) Annual festivals – Meher Baba’s day. Some prayer songs are written by Meher Baba, but most of the songs are written and composed by his disciple Madhusudan Phund. Instruments: Tabla, Harmonium and cymbals, Pitch: Average C#, Language of prayer: Hindi and Marathi, Method of prayer: Songs in solo male and female voices,

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prayers in chorus. Regional impact of music: (-), Influence of other music category: Popular music (Hindi Film songs and Ghazals), Use of amplification: Yes Architectural details: Two storied hall of about 50’ X 30’ dimension Number of attendants: Congregation of 50 to 70 persons

3) Place of prayer: Osho Ashram / Osho Commune International

Religion & Cult: Osho Address: 17, 1st Lane, Koregaon Park Road, Pune 411001 Date of establishment: 1974 Founder: Acharya Rajaneesh Details of prayer music: (A) Daily prayers – 6:00 am to 7:00 am - Dhyaan. 9:45 am to 10:45 am - Vipashyana (B) Occasional – Meditation camps in two every (C) Annual festivals – Osho Nirvan Dina Prayers: Omkaar, Mantras, English prayers Method of prayer: Group chanting. The meditation is mostly done on the background music of recorded tracks of instrumental music such as Indian flute, Santoor, Sitar, etc. or so called ‘world music’ numbers and also on recorded chanting. Occasionally there are music concerts by the devotees, who hail from all over the world – mostly Americans and French, who perform their own music genre. Also, Hindustani Art music concerts are organized for devotees. Instruments: No instrument used for prayer service. Pitch: Undefined, Language of prayer: Sanskrit, English, Regional impact of music: (-), Influence of other music category: Confluence music, Use of amplification: Yes Architectural details: Various large prayers halls and cubicles Number of attendants: Around 40-50

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Remarks:

At Prarthana Samaj and Avtar Mehar Darbar, three major forms of prayer, namely recitative, cantillation and song are used. The use of responses from the congregation is observed at both the places. The melodic designs are interestingly complicated, with deliberate use of Raga. The Ragas which were commonly noticed are Bhoop, Yaman

Kalyan, Bhimpalasi, Tilak Kamod, Bhairav, Bibhas, Bhatiyar, Malkauns, Darbari

Kanada, and Kafi, Piloo, Majh-Khamaj, Khamaj, Bhairawi.

Along with forms of prayer such as Shloka, Stotra and Arati, the use of other song forms with influences from Marathi Keertan and Natya Sangeet song genres were found in

Prarthana Samaj. Similarly influence of Ghazal and popular Hindi songs was found in

Avatar Mehar Centre.

A strong rhythmic framework was observed in the prayer music at these places, with common use of Teen Taal, Jhap Taal, Roopak, Deepchandi along with Keherva and

Dadra.

They use their own published books as a prescribed collection of prayer songs. Prarthana

Samaj uses ‘Prarthana Sangeet’, first published in 1912 and Avatar Mehar Centre has

‘Mehar Padawali’, first published in 1978.

There is an emphasis on the gathering of people and collective prayer singing to achieve a state of philosophical enlightenment at both these places, unlike in other religions where the music is considered to be a vehicle of attaining spiritual inclination rather than indulging in music achieving philosophical revelation.

Both these prayer places have good acoustic design, which makes the devotee to attain a state of concentration using music, similar to the Christian churches.

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Osho Ashram stands on a different ground of musicality where on finds confluence of music cultures from various parts of the world.

In this chapter, a description of a detailed survey of music at the places of prayer other than those of Hindus is provided. The third and fourth chapters give a holistic picture of the contemporary musical reality of the places of prayer in urban Pune. In the next chapter, the actual ethnomusicological analysis is undertaken, which reveals specifically, the nature music at prayer places in Pune and the theoretical aspect of the devotional music in general.

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