Study of the Roots of the Hindustani Classical Music to This Period of Cultural Synthesis

Airo International Research Journal October, 2016 Volume IX, ISSN: 2320-3714 Impact Factor 0.75 to 3.19

STUDY OF THE ROOTS OF THE HINDUSTANI CLASSICAL MUSIC TO THIS PERIOD OF CULTURAL SYNTHESIS

Dr. Abhilasha Sharma Assistant Professor in Music (Instrument), Mata Harki Devi College for Women Odhan (Haryana) [email protected]

ABSTRACT

Of course, the music of India likewise underwent a change which could be due to the Delhi sultāns and later, in a more prominent manner, to the Mughals. The origins of the Hindustani classical music could be traced back to this particular period of cultural synthesis. With regard to the improvement of the aṣṭanāyikā bheda, and the reputation of its in the area of the performing arts, it's been mirrored in the cultural shifts that kept taking place in the social atmosphere and patronage patterns. Experimentation, blending, fusions, combinations of various art styles and their recently created practices also provided a fantastic opportunity for this particular idea to exist through the lengthy span of time since the conception of its. In this paper, we attempt to explore the possibilities of the aṣṭanāyikās in the different forms of semi-classical music - Ṭhumrī, Dādrā, Horī, Kajrī, Caitī, Ghazal

Keywords: Music, classical, cultural, semi-classical, etc.

1. INTRODUCTION

The starting point of the Turkish rule in Delhi Experimentation, blending, fusions, with the creation of the Mamluk Dynasty combinations of various art styles and their (1206 AD), brought about a revolution in the recently created practices also provided a lifestyle of north India. The era of the Delhi fantastic opportunity for this particular idea to sultāns ruled by different dynasties introduced exist through the lengthy span of time since its the Turkish, Arabic and Persian poets and conception. Initially a development of the musicians in the court of Delhi. The sultāns Nāṭyaśāstra, Kāmasūtra along with other not only patronized artists from Turko Persian ancient texts, the Nāyikā existed from the origins but also those from Indian origins. This several kinds of females performers that led to the fusion of Turko-Perso-Arabic entered the country with the rulers and patrons culture with that of north India. Of course, the that came from various places and cultures, as music of India likewise underwent a change well as interacted as well as interspersed with which could be due to the Delhi sultāns and the current cultural space of India. The naṭī, later, in a more prominent manner, to the mehārī, vilāsinī, gaṇikā, amrad, ḍhaḍhī, daff- Mughals. The origins of the Hindustani zan, pātur, kāncanī, rāmjanī, vṛnd-izanān, classical music could be traced back to this tavāif and courtesans were some of the terms particular period of cultural synthesis. With used for women performers over the period of regard to the improvement of the aṣṭanāyikā time, who were expertly trained in several fine bheda, and the reputation of its in the area of arts. These were the artists that kept alive the the performing arts, it's been mirrored in the traditions of culture and art along with the cultural shifts that kept taking place in the changing trends that appear to permeate the social atmosphere and patronage patterns. cultural situation along the period following the 13th century AD. The interaction of the

Airo International Research Journal October, 2016 Volume IX, ISSN: 2320-3714 Impact Factor 0.75 to 3.19 local artists from performers of international addition to poetry. The two popularly countries created an influence on all sorts of recognized types of Ṭhumrī that developed are arts. Music, poetry, literature, dance, painting actually Bandiś ki Ṭhumrī or perhaps bol-bānṭ and theatre all progressed and flourished under ki Ṭhumrī, and bol-banāv ki Ṭhumrī. The the reign of the sultāns in addition to the Bandiś ki Ṭhumrī is actually the bound mughals. Courts became the area for the composition, which was carried out primarily expression of all sorts of fine arts, music being along with the Kathak dance. This particular one of the more prominent ones. Generous Ṭhumrī type was a lot more rhythmic and fast patronisation from the rulers gave a fertile paced with layakāri as its base. It's a lot more ground for creative genius and like drut Khayāl or the chotā Khayāl and also experimentation to flower and prosper involves greater vocal acrobatics expressing the vocal dexterity of the singer. This 2. HISTORY OF ṬHUMRĪ particular Ṭhumrī type is found even in really serious rāga as Darbari and Malkauns. The The valuable music treatise of the 15th tālas used are also rhythmic ones as tīntāla, century, Sangīta Damodara mentions a type jhaptāla and ektāla, to suit the dancing steps. called jhumri, which is actually replete with The other style, i.e. the bol-banāv Ṭhumrī is with love sentiments, not bound by the actually the one which wasn't accompanied by constraints of prosodic rules, sweet as wine, dance, but was an independent music genre the rhythm oriented thumri is actually sung by which allowed for a slow paced improvement dancing females. The Ṭhumrī type of singing of the literary copy of the Ṭhumrī and is actually believed to have originated in Uttar sufficient scope for melodic improvisation of Pradesh, around the 18th century AD. Though the rāga. The poetic content was extremely Nawab Wajid Ali Shah of Lucknow (19th expressively brought out through the medium century AD) is actually acknowledged to have of bol-banāv. Here the rāgas too were of the patronised it significantly in the courts of his, milder variety like the Gārā, Pilu, Khamāj, it was thought to have created even earlier etc., and the tālas the softer Dīpcandi, Cācar, thumri was created by the popular musician Kehervā, Dādrā. This allowed for a more Sadiq Ali Shah. It's thought to have been emotive type of expression. The aṣṭanāyikās affected by Horī, Kajrī and Dādrā, famous in have been a widely used design with both the Eastern Uttar Pradesh. Many people consider color of Ṭhumris, , as the nāyikās have found that an older musical presentation called a number of ways and immense scope of Shalika, discussed in the Harivansha (400 expressing the feelings of theirs in this AD), to be the precursor of Ṭhumrī. particular genre.

The Ṭhumrī style of singing fully developed You will find 3 primary Gharānās of Ṭhumrī along the 19th century. At first it was used as a that emerged over a period of time Benaras, color of singing along with the Kathak style of Patiala and Lucknow. Initially, the Lucknow dance. The word Ṭhumrī has developed from gharānā was the only that existed. Qadar Piya, the term thumak rī‘. This particular kind of Sanad Piya, Lallan Piya, Kenwar Shyam, singing spread all through Lucknow, Banaras, Nawab Wajid Ali Shah, Rang Piya were Bengal and Bihar and developed into powerful prominent artists of the Lucknow gharānā. As independent style of music. There seemed to the type created to regions close by, they had be a great deal of importance given to the been classified according to the geographical poetic content through the expression of locations of theirs. In the Kolkatta and Banaras music. Thus the Ṭhumrī style of singing regions, this became an extremely popular demanded the expertise of dance, music in style of music and then came to be recognized

Airo International Research Journal October, 2016 Volume IX, ISSN: 2320-3714 Impact Factor 0.75 to 3.19 as Purab-Ang Ṭhumrī. Rasoolan Bai, himself well versed in these performing arts Siddheshwari Devi, Girija Devi are actually and additionally an accomplished composer luminous voices of the Benaras gharānā. In himself. He got vocal instruction out of a Punjab, the tappā and Kāfi types of singing number of ustāds and was an excellent singer emerged. The Patiala and Shyam Chaurasi in addition to poet. He published a few poems, gharānās developed the Purab Ang Ṭhumrī Ghazals as well as Ṭhumrī s under the pen with an additional colour of tappā ang into a name of Akhtar Piya. The Nawab had an totally new genre known as the Punjab Ang elaborate and unusual sense of aesthetics. He Ṭhumrī. Ustad Bade Ghulam Ali Khan is created the Kathak dance to great heights, actually an exponent of the Patialā gharānā. enriched it with rasa as well as bhāva and Aside from the Ṭhumrī the Dādrā and Kajrī additional poetry to it. These Kathak dances are also really popular types of semi classical had been carried out by tavāifs of the courts to music Ṭhumrī , as defined by Projesh Banerjee the music of Dādrā, Kajrī, Ṭhumrī as well as in the book Dance of his Ṭhumrī, is actually a Tappā. This particular grandeur as well as broken down analysis of the Devanagri magnificence of production to performing arts alphabets which constitute the word, i.e. Ṭhu, which was attributed in the Nawab's courts Ma and Rī. Ṭhu stands for the term ṭhumuk, or significantly popularised the Ṭhumrī style of maybe the cāl, which hints at the dancers singing together with the Kathak dance and graceful gait, Ma stands for Mana, meaning proven it as a classical type of music heart and head, and R is actually the starting letter of the term rijhānā, which suggests the This combined generation of arts was the best capability to enchant. Projesh Banerjee further chance to provide the aṣṭanāyikās in all the states Dancing is actually an essential adjunct glory of theirs. The physical externalisation of to Ṭhumrī which is actually carried out to be the conditions of the nāyikās might be able to improve the splendor of the sentiments conveyed through their dances and costumes of the text of the songs. As the different ways and their psychological expressions through a of ornamentations are actually used with their blend of poetry and music. With this sense, it respective strategies to embellish the flavour appears to be a great interpretation of how in the exact same way hands, eyes, fingers and Bharata embodied his nāyikās being those head come into play to aggravate the charming, females that are beautiful that had magnificence of the romantic lyricism. This the capability to enchant and influence the confluence of dance and music, along with the target audience with the roles they played. In literary richness grants the Ṭhumrī a unique the early plays or maybe dramas, these condition and also makes it an invaluable females will sing and dance and emote their vehicle for the expression of emotions and feelings captivating the audience into a net of moods, the fundamental design of the idea of rasa and also the experience of that emotion. the aṣṭanāyikā Accordingly the poetry in Ṭhumrī songs, for their effeminate character, are actually 3. ṬHUMRĪ, KATHAK AND saturated with the concepts of Nāyikā bheda'. AṣṭANĀYIKĀ Thus, many compositions of Wajid Ali Shah represent the various Nāyikās. The Nawab of Awadh Wajid Ali Shah was recognized to be the primary promoter of 3.1 Ṭhumrī, Abhinaya (Drama) and Ṭhumrī style of music and it is recognized to Aṣṭanāyikā have composed numerous Ṭhumrīs. The Nawab was obviously an excellent patron of In the Ṭhumrī type of singing, the singer is no music, dance, drama as well as poetry. He was cost to make use of measures, voice

Airo International Research Journal October, 2016 Volume IX, ISSN: 2320-3714 Impact Factor 0.75 to 3.19 modulation, gesticulations, gestures, voice express the aṣṭanāyikā theme of moods, textures with appropriate musical methods to expressions and emotions. successfully express the emotions. Abhinaya is additionally an extremely crucial component 3.2 Aṣṭanāyikā in Ṭhumrī Vs Khayāl of Ṭhumrī singing. Abhinaya utilizes a mix of codified facial expressions and hand gestures The rāgas were well designed and well known that are natural outcome of the singers make in the courts with their ornamented style of an effort to express. The interpretation of singing in the Khayāl genre, replete with lyrics is actually a crucial element for facial embellishments of mīnḍ, gamaka, murki, tān expression and hand gestures to go by. A etc., which excited and appealed to the thorough analysis of the song is a vital aspect audiences of the refined tastes. Great classical of Ṭhumrī singing and so that the essence to be musicians, singers and composers as Sadarang, expressed is aptly understood by the listener in etc., Adarang, had brought the Khayāl to its addition to performer. Aṣṭanāyikā, being highest glory. What was then the demand for originated from the dramatic arts, find a great another genre as Ṭhumrī to develop alongside affinity to this bhāva pradhān style of gāyakī the mighty Khayāl, which had the popularity (vocal music), which enables abhinaya of its already in place? The Khayāl had all the (gestural expressions) and acting as an capabilities that satisfied the entertainment acceptable and prominent part of its musical quotient in a listener. But in spite of this, the genre. The bol-banāv type of Ṭhumrī is much Ṭhumrī grew to become a popular approach to more helpful to exhibit the psychological reckon with because ultimately, the dramatic problems of the Aṣṭanāyikās in the form of elements began disappearing from the Khayāl, music, as they offer adequate room for the and more stress was provided on the vocal rāga to unfold its many hues and express its strategies as well as the systematic rasa. The very style of singing is actually improvement of the rāga adhering to its rules called bol-banāv. The literal meaning of this and established framework. The lyrics also lost particular term may be broken into 2 parts bol the value of theirs and most singers paid no (words/poetry) and banāv (create/improvise). heed to the poetic attractiveness of the This the strategy which uses the rāga of the compositions, distorting the words to match composition to its fullest extent by using the demands of theirs of the rāga presentation. musical decorations and a number of nuances This greatly took away from the Khayāl its to intensify the mood, sentiment and also the immediate power to speak with the rasa of the rāga it conveys. It literally squeezes inexperienced listener. While the presence of the essence of the composition to make an the Nāyikā in the Khayāl can't be denied, entire character of the rāga in such a fashion so (several Bandiśes in the Khayāl type of music as to sweep away the listener in a tide of also have the Nāyikā as their lyric ‗I') it's expressive emotions. It's as a dialogue that is more a subtle kind of presence. It's nearly like completed by the performer to communicate to the Nāyikā is actually a veiled entity. The the listener in an everyday and ordinary very singer isn't intentionally attempting to project fashion coaxing them into the artistic world of the text content as far as the Nāyikā bheda is bhāva. A Ṭhumrī style of singing is extremely actually concerned. The Khayāl singer is communicative and creates a feeling of actually attempting to express the bhāva and engaging with the listener. As it's a bhāva- also the rasa of the Rāga on which the Bandiś pradhān kind of music it highlights the is actually based, mainly through the musical emotional context of the composition. This notes, alamkāras, tāns, gamakas, and any other will make Ṭhumrī a suitable music genre to such embellishments, making the text of the Bandiś secondary Ṭhumrī singer is definitely

Airo International Research Journal October, 2016 Volume IX, ISSN: 2320-3714 Impact Factor 0.75 to 3.19 attempting to estimate the lyrical attractiveness As language followed the local influences, the of the Bandiś in all its magnificence and usage of Sanskrit declined with the latest hence, the text material enjoys equal value emerging trends of the use of the language of along with the musical phrase for the the masses. The application of Braj bhāṣā, exposition of the bhāva and the rasa. which was the commonly spoken language and had a great deal of consonant words, 4. ṬHUMRĪ, POETRY (BANDIŚ) AND proved to be really appropriate for the Ṭhumrī ASTANĀYIKĀ compositions. Readily understood by many, it developed a direct and quick connect with the The Ṭhumrī style of music being basically a psyche of the listener, immediately generating genre of vocal music, (though these days a word picture in the head of his with the there's a pattern of the instrumentalists also lucidity of its language and presentation style. playing a Ṭhumrī on their vādya), uses both The softness of the text of the Braj bhāṣā musical notes and words. The functionality of sounded pleasing and charming to the ears, a Ṭhumrī provides equal value and elaboration and the literature of the region endowed the to the poetic copy of the song as well as to the Ṭhumrī with rich influences of the saintpoetry improvement of the Rāga with certain along with the folk songs common then. The methods. Thus the performance involves men folk travelling out of their houses to far literary methods and also musical structure. off lands in search of livelihood was a norm of Aṣṭanāyikā may be extremely well conveyed those regions, and these greatly contributed to in the Ṭhumrī type of music as this particular the theme of aṣṭanāyikās, exactly where the topic provides equal value to the literary copy females had been pining in separation. This is of the composition. The lyricism or even the where the folk styles of Ṭhumrī - the Kajrī, poetic quality and the sentiments and emotions Horī, Caitī, etc emerged. It's worth observing, of Ṭhumrī song are primarily connected with at this juncture, that a transformation was Śṛngāra rasa that's amorous flavour of occurring together in all of the types of art in romance and love. The music and also the India. A comparable evolution was taking poetry are intrinsically woven into one another place in the literature and poetry sectors also, to communicate the bhāva in the most and this as well affected the music genres. As appealing and easy fashion. For instance, a richer poetry started being written, then simply basic term can certainly be conveyed in a 100 was a greater demand for the singers to ways that are different, with various phrasings provide recognition and attention thanks to the to express various emotions. This helps make lyrics. This was the period when the Bhakti space for the aṣṭanāyikā to be perfectly (Devotional) poetry which was the mainstay of conveyed in the Ṭhumrī type of music. This the 13th to 17th century AD was gradually makes needed for the Ṭhumrī performer to giving way to the śṛngāra based Rīti have a deeper understanding of the poetic (romantic) poetry which was gaining content for her to have the ability to justice to recognition in the Mughal courts. Here the the rich poetry that she will be presenting. A erotic literature started to be predominant in knowledge of sāhitya is actually a crucial the Hindi literature. This particular type of criterion for the performer. When the singer singing created during the Mughal period, and isn't connected to the sentiment of the poetry the lifestyle in the courts of the Mughals was or perhaps doesn't comprehend it completely, leaning towards entertainment. Romantic the overall performance will be incomplete to themes and amorousness were a lot more some extent. popular. In order to keep a veil on the very blatant expression of love and passion nearly

Airo International Research Journal October, 2016 Volume IX, ISSN: 2320-3714 Impact Factor 0.75 to 3.19 all of the Ṭhumrī songs have been resolved in the sky in the monsoon season. and often dwelled with the romantic pranks of Another story says that there was a Radha and Krishna. There's a perspective that woman named Kajli who loved her Ṭhumrī is actually a derivation of the Madhurā husband deeply, but unfortunately Bhakti treatises of the Mathura Vrindavan, she could never meet him in her life. concerning about the love intrigues of Krishna When monsoon came, and the pain and Radha. But in the courts, the spiritual level of her separation became of poets descended to the human level. They unbearable, she started crying at the transposed the devotional spiritual poetry and feet of the Kajmal Goddess. This is then set it in the context of human love which how the Kajrī songs came into folded within itself a canopy of romantic being, and Kajli still lives through eroticism. As the poets used the Radha those songs. These folk tales add to Krishna themes, justifying the romantic the charm of these songs, and lend a eroticism as the Līlās of Krishna became the rural aura to the expression. These majority. This particular sort of love poetry songs carry descriptions of the rains, was no cost to dwell in detail on the actual and the other factors in nature physical characteristics and attractiveness of associated with the rainy season. the female's forms in the garb of describing the They describe dancing peacocks and magnificence of Radha and her sakhis and also singing cuckoos. They describe the gopīs of Braj. So this particular genre of gently showering rains creating a poetry also proved to be an excellent chance to sense of romance and beauty all provide all of the Nāyikās in the many states around. Practically speaking, one of theirs, situations and moods. There was an can imagine that after an extremely easy acceptance of the romantic themes as hot and simmering summer, when they were being connected to romantic pranks the rains arrive, they bring with and the frolics of Krishna. Holi was a favourite them a feeling of joy and design with the poets as it provided them rejuvenation. immense liberty to check out all of the sentimental and also extroverted shades of II. Horī : The varied folk cultures of romantic love. This earth was very favourable our country strongly influence its art for the Ṭhumrī style of music to create, as and vice-versa (refer to Chapter7). Ṭhumrī was a bhāva pradhān and sāhitya Every season in India brings with pradhān gāyakī, so this type of poetry had itself a riot of cultural impressions good chance of being provided in a musical of festivals, harvesting, planting, form. traditional rituals, and so on. These are then woven into the lives of the 5. SUB-GENRES OF ṬHUMRĪ common people through song and dance and poetry, and a celebration I. Kajrī Kajrī is a sub-genre of is created out of the mundane Ṭhumrī. It originally has its roots in routine of every particular season the folk culture of Uttar Pradesh. that is cyclically occurring, tireless, There are several folklores that are year after year, every year. Nature is associated with this style of Ṭhumrī. the inspiration because lives revolve It is said that the word Kajrī is around the benediction and derived from Kajrā, meaning kohl, benevolence of natural resources in which is black in colour, to this primarily agricultural country represent the dark clouds that gather

Airo International Research Journal October, 2016 Volume IX, ISSN: 2320-3714 Impact Factor 0.75 to 3.19

Figure 1: Hori thumri

III. Caitī This sub-genre of Ṭhumrī entertain and entice. The Dādrā gave belongs to the season of summer, a great scope for the singers to that is Cait. It describes the most create and express an appealing commonly appealing motif beauty of all love sentiments of the associated with the season of Aṣṭanāyikās. Most of the Dādrā summer- the cooing koyal. This songs typically contained the koyal is the culprit which ignites the expressions of the Nāyikā bhāvas. love-sentiments of the Nāyikā, and encourages her to burst forth in a V. Ghazal The Ghazal also developed song, just like the koyal which is in the Lucknow Nawabi period of also giving her mating call. We find the 19th century. Since the stress lazily romantic Nāyikās in the Caitī, was more on poetry rather that the co-relating the heat of the summer, musicality of the genre, they are not to their heated erotic sentiments for referenced independently herein. their nāyakas. A Caitī has been Though the Ghazal couplets were referenced in the analysis section. popularly inserted amongst the antarās of the Ṭhumrī s and Kajrīs as IV. Dādrā The Dādrā as a sub-genre of independent shers, they were used Ṭhumrī is recognised and identified more for their poetic richness rather by the tāla that it is structured in- the than a music style of singing. Dādrā tāla. The subjects are the same as Ṭhumrī, describing the 6. THUMRĪ ANALYSIS WITH Nāyikās in sanyog or viyog REFERENCE TO THE śṛngāraa. The difference being that ASTANĀYIKĀ-BHEDA the Dādrā is generally sung in madhya-laya and is therefore a In the evaluation section that follows, some faster paced Bandiś than the Ṭhumrī. Ṭhumrī bandiśes have been describe in detail It is an extremely popular style of with reference to the aṣṭanāyikā bheda. A singing, and was widely used by the thorough mental analysis of the psychological courtesans of the 19th century to state of the nāyikā helps us to recognize the appeal to their patrons in a bid to Bandiś in the perspective of the mood it generates. The way in which a bandiś has been

Airo International Research Journal October, 2016 Volume IX, ISSN: 2320-3714 Impact Factor 0.75 to 3.19 composed, the Rāga chosen, the tāla utilised, the nāyikā in the mind's eye, as well as will all go into producing a photograph of the help the viewer to create the capability to nāyikā. The primary goal of this particular comprehend the sentiments of the nāyikā. type of an examination is actually, it Above all, it's urging the viewer to value and stimulates the performer/reader/listener to look understand that if the listener as well as the into all of the elements of the nāyikā-bheda singer enters into the bhāva-jagat, or maybe that are in the Bandiś and imbibe the experiential universe of the poetry along with capability to recognise the nāyikā-bheda (if) the rāga, rather than just being conscious of that is present in any Bandiś that he might the technically appropriate demonstration of perform/listen to. This particular sort of the musical piece, it will lead to the sublime analysis aims to bring to light the full experience of enjoying the art form. This understanding of the impact of the intricate interest towards the nāyikā-bheda that understanding of the nāyikā's emotions, which are in the music pada or maybe bandiś is would then be mirrored in the overall primarily to enlighten the music enthusiast performance. It helps a total categorisation of towards this possibility. .

Baansuriya sunungi tab jaane dungi Kanha

Baansuriya sune bin na jaane dungi Kanha

Arey morey kaare kaare Kanha

Torey matwaare nayanwa

Bansri ki dhun suni, mai bhai bawri

Torey matwaare nayanwa.

As the definitions of the svadhīnabhartṛkā circumstances. She's making needs in a nāyikā mention, the Nāyikā exercises control flirtatious way. The essence of teasing and over her beloved. This management comes flirting is actually obvious from the way she from the reality that the beloved is deeply in addresses Krishna or maybe Kanha in the love with the Nāyikā concerned. Or maybe it song. She teases him by saying ―morey kāre may also be the dynamics of the Nāyikā which kāre kānhā/ torey matvāre nayanwā‖ (Kanha makes her demanding and dominant in the the dark one! You've some intoxicating eyes). affair. In the Ṭhumrī mentioned above the This flirtatious flavour of the song is mirrored extremely popular Radha Krishna motif has in the musical structure of this particular been used apparently. Since the title of Radha Ṭhumrī that is set to Mishra Gara. The has not been mentioned, the Nāyikā may also tendency of the Gara Rāga is the fact that it be viewed as any other gopī. The Nāyikā may be coloured in any mood. This versatility within this song is actually telling Krishna that makes it possible for the Ṭhumrī performer to she will not let him go unless he plays the craft the motion of the rāga based on the mood bānsuriya or maybe the flute for her. It's just of the lyrics concerned. In a similar manner, in after she's paid attention to the the tunes of his that Ṭhumrī a type of playfulness has been bansuri that she is going to let him go. It bestowed on the musical framework making appears she's completely in command of the the mood of the svadhīnabhartṛkā very

Airo International Research Journal October, 2016 Volume IX, ISSN: 2320-3714 Impact Factor 0.75 to 3.19 prominent She can also be a parakīyā nāyikā nāyikā whose demands aren't physical. She because the lyrics are actually hinting that wants in order to pay attention to the bansuri after the sojourn is actually over, the lover will as well as to derive pleasure from the tune be going away. That they've met at the place played. She's a nāyikā who's commanding of the romantic tryst, and would be going their aesthetic fulfilment from the lover of her independent means once again. Though the rather compared to amorous overtures. needs of the nāyikā are metaphysical and Actually, in the next stanza of the song it's unusual in nature This mirrors the maturity of been pointed out that the tune of the flute has the svadhīnabhartṛkā. The ṭhāy laya, or maybe thrown her into frenzy. This means that Kanha the slow speed of the bandiś confirms the has fulfilled the demand of her by playing a patient trust of the Nāyikā. She may be a lovely melody on the flute which has resulted madhyā or perhaps, most probably, a prauḍhā in an intoxicating bliss in the listener .

Ṭhumrī

Balam tere jhagre mein rain gai

Ghul gaye badra chhitak gaye tāre

So ab ginata rah

This bandiś by Shubha Mudgal is actually an aṣṭanāyikā apparently, she can be described as ideal model of a kalahāntaritā nāyikā who's possibly a vipralabdhā or maybe an abhisārika. repenting that she wasted the night quarreling The traditional understanding of an abhisārikā with the lover of her. Even though it's not nāyikā is actually the person who's out to meet stated that the lover went away as a her beloved, typically, at a previously decided consequence of the quarrel, it's apparent from place. But in this particular song the nāyikā the lines ―ghul gaye badra chiṭak gaye tāre/ isn't aware where Krishna is actually. There's so ab ginata rahe that the lover wasn't there no mention of any pre decided spot in which with her all night. Instead she'd to count the the lovers had been going to to meet. It's stars (so ab ginata rahī') all night in order to obvious that this particular abhisār isn't of the while away the time of her. This mirrors that type and that is extremely popular. The nāyikā the Nāyikā is actually repenting that the entire is actually trying to find the beloved at the night was going to waste as a consequence of banks of Jamuna, at gokul and all over the quarrel and she didn't achieve something Brindavan but couldn't find him. Interpreting besides the loneliness. The repentance isn't in this particular line, one might determine that about the quarrel itself, quite the pressure the nāyikā is actually an abhisārikā who's out appears to be on the reality that the quarrel to search for the lover of her and is actually spoiled the romantic encounter that is going to moving from one area to another for the same. have taken place. Rather, she'd to invest the On the other hand, in case it's viewed that the night by yourself, seeing the fading out of the nāyikā had gone to the banks of Jamuna where clouds as well as the gradual disappearance of her lover was supposed to meet her and who the stars from the sky which signifies the didn't turn up at the end making her look for morning's arrival. him at various other locations in Brindavan, While the nāyikā in the song mentioned above then she's a vipralabdhā nāyikā. As a result, doesn't appear to fit in the product of the this seemingly simple song of just 3 lines has

Airo International Research Journal October, 2016 Volume IX, ISSN: 2320-3714 Impact Factor 0.75 to 3.19 the potential to stop the focus of the listener 28-37). Vadodara (India): Oriental with a lot of choices. It should also be pointed Institute, 2006 out that the way Roshanara Begum has rendered the song, the grief of the vipralabdhā [3]. Kulshreshtha, Khushboo. History and is much more prominent in it. The singing Evolution of Indian Music. New style of her and voice modulation was Delhi: Shree Natraj Prakashan, 2010 uniquely effective to the degree that the listener is usually confused whether it's a [4]. Kumar, Raj. Essays on Indian Music human voice she's listening to or maybe a (History and Culture Series). New śehnāi. Although śehnāi is linked with Delhi: Discovery Publication House, celebration, it cannot be denied it's a big 2003 potential of checking out the karuṇa rasa. In [5]. Losensky, Paul E. In the Bazaar of this particular rendition of the song, the karuṇa Love: The Selected Poetry of Amir part of the shehnai has been reproduced by the Khusrau. UK: Penguin, 2013 singer properly expressing the psychological state of the nāyikā after not being in a position [6]. Manuel, Peter Lamarche. Thumri in to find her beloved. Historical and Stylistic Perspectives. New Delhi: Motilal Banarsidass, 1989 7. CONCLUSION [7]. Mehta, Ramanlal Chhotalal. Thumri, In this paper, we attempt to explore the Tradition & Trends. Bombay: Indian possibilities of the aṣṭanāyikās in the different Musicological Society, 1990. forms of semi-classical music - Ṭhumrī, Dādrā, Horī, Kajrī, Caitī, and Ghazal. The [8]. Miller, Barbara Stoler. Gitagovinda of interaction of the local artists from performers Jayadeva: Love Song of the Dark of international countries created an influence Lord. New Delhi: Motilal Banarsidass, on all sorts of arts. Music, poetry, literature, 1984 dance, painting and theatre all progressed and flourished under the reign of the sultāns in [9]. Misra, Lalmani. Bharatiya Sangeet addition to the mughals. Courts became the Vadya. New Delhi: Bharatiya area for the expression of all sorts of fine arts, Jnanpith, 1973 music being one of the more prominent ones. Generous patronisation from the rulers gave a [10]. Mitra, Khagendranath; Sen, fertile ground for creative genius and Sukumar; Chaudhury, Vishwapati and experimentation to flower and prosper. Chakrabarti, Shyamapada. Vaishnav Padabali. Kolkata: Calcutta REFERENCES University, 1952

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