origins & ends of indian classical music

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An Essay by | bhargav kaushik

ORIGINS & ENDS OF INDIAN CLASSICAL MUSIC

Origins & Ends of Indian Classical Music

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Indian Classical Music is one of main pillar that holds the unique and diversely

blended culture of the Indian subcontinent. It makes the oxymoronic statement “unity in

diversity” possible. Indian Classical Music is evolutionary phenomena that absorbs

influences from the folk and native musical cultures and radiates its influences back and also

to other Music cultures. Indian classical music is the amalgamation of the beats and pieces

of the elements picked up from various sources in and around the subcontinent that

constructed the gigantic swirl of Indian classical music over a period of millennia. From

hymns in ancients scripture chanted for sacred religious rituals to short pieces abstract

notations called “Alap” sung before a raga to create the mood and ambiance; every piece of

music is touched by one another in some way, they are all connected to each other.

However, practitioners have categorized these pieces based on compositions, instruments

and even time to practice or perform. In the process of formation this music genre has

experienced in‐numerous experiments and developments that have it woven with the music

practiced by humanity especially those of West. Apart from this, Indian Classical music,

along the evolutionary path, carries certain values and senses essential to the philosophy

and thought generated in the subcontinent that infiltrates listeners mind and eventually

influences the lives of the listeners.

Indian Classical Music is a transformational form of hymns and chants of the earliest

religious rites both in Vedas and Non‐Vedic practices such as Dravidian and Tantric. Pre

Aryan period in this land, animalism and spirituality was practiced in context of the nature

surrounded. Natural sounds where adapted to suit human vocal system and also brought

into practices of appreciating the nature.


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After the practices for prayers in the rhythms of nature, a new culture entered the

Indus valley and intended to penetrate into the whole of the subcontinent. This was the

entrance of Aryans from Central Asia with their patriarch, politics and warrior skills

governed by the scripture called “Vedas” (notably Wrig Veda or Rig Veda). These scriptures

are set of poems written in praise of the God (Indra). They included certain abstract or

relatively new words or meaning that were important, as Aryans intended to surpass the

sole influence of nature and gain control over it by their vigour. After the decline of the

Indus Civilization and retreat of the Dravidians back to the south, the Aryans gained control

of many patches of land in the north. In spite of, having won over the new comers could not

resist certain essence of the Dravidian culture, some of the major influences to be seen are:

1) Adaptation of the non‐Aryan God Shiva and Shakti and 2) the use of instruments along

with the chants in the rites. It can be said here that Hindu, as a faith, as a way of life

blossomed in the muddle of this union and ever since Hinduism has been the religion that

absorbs all the faiths, thoughts or concepts that came across.

With the first Veda Wrig or Rig, Aryans spread out into Indo‐Gangatic plane and

beyond and so spread their culture and faith. Interestingly and to the original character of

this subcontinent, the Aryans had to give in and adapt to the context they were in. In other

words, Aryan way of worship changed or better said evolved to a Vedic + Tantric way.

Inclusion of sounds like “him/hing” “klim/kling” and certain word types like reduplications

and loan words are clear evidence for counter invasion of local culture on Aryans. It is not a

new event in history, as the Romans have undergone similar occurrence during and after

their conquest over Greece. But unlike the Romans, Aryans lost their unity as one tribe or

group and rather got scattered in the diverse land of this subcontinent. They also adapted


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the life and culture of the locals. This influence can be seen in next level texts to Vedas that

is the Puranas and Upanishads. In these texts, the sages have composed many stories in

form of couplets, some of which are to be recited as prayers to different Gods and deities.

These recitations were passed verbally in Guru‐kulas (Hindu Religious School of ancient

India). These rhymes are also a part of the music that formed the Indian classical music

mostly sung in 3 notes.

The above discussion was necessary to narrate the first formative stage of Indian

Classical Music being a product of the blend of Aryan and Dravidian cultures. Devotional or

religious music is start of musical practices being observed, studied and developed with a

theoretical approach beside its practical use for religious rites. Along the way, as the new

religious texts like Kirtanas and Kathas have been written in various languages to reach

commoners various rasa (flavours) of life also got merged into these texts in order to make

those religious/mythical stories interesting. As a result of which devotional music of

medieval India got a new direction of working on emotions to generate devotion. Although

the devotional music overwhelmed other forms of music such as music used in royal courts

and occasions of social life, it could not resist the development of these various occurrences

of music that brought in the local instruments and also the tunes. However, the main

stream music theory (on which the present Indian Classical music is based) had its

development going on. With 7 notes in different melodic compositions, Ragas are one of key

the contributions of mainstream music in medieval India. Earliest composition of raga is

credited to Matanga, predecessor of King Nanyadeva, who wrote Brhaddesshi a compilation

on ancient and medieval development of Indian music (1). Taal is another component in


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Indian Classical Music. Taal is the rhythm of beats, not only in percussion instruments, but

even Ragas are composed to be accompanied by certain Taals.

There are many different ragas composed by various artists with the scales known as

Thaat or Mela, such as: Bilawal, Yaman, Khama, Bhairav, Poorvi etc. With certain similarities

like ragas, Indian classical music is divided into two branches 1) Hindustani (for North) Music

and 2) Carnatic (for South) Music. These two branches are the result of addition of new

concept. Actually Carnatic Music is the rather unchanged version of the music discussed in

the above paragraphs. Hindustani Music is a comparatively newer as it was influenced by

external factors like Sufism as well as internal factors like folk music.

Sufi philosophy entered India during with the other Islamic contexts in the beginning

of 2nd millennium AD. This mystic thinking from Islam was welcomed by the land of

amalgamation. As Sufism was spreading the words Islam addressing to its new contexts,

there went another reforming process in Hinduism, which is known as Bhakti Movement.

Both Sufism and Bhakti Movement occurred in such period of time when India was getting

its golden times in the later medieval age. Sufism and Bhakti movement has certain things in

common such as, both had used music to preach and propagate their philosophy, both focus

on devotion. Sufi saints like Hazarat Moinuddin Chishti, Baba Farid, Hazarat Nizamuddin

Auliya and Amir Khusro has contributed with their beautiful poems, songs on various

maters. Most notably Amir Khusro is known for his contribution toward Indian classical

music, especially, as he has devised many instruments like Sitar from Veena (a heavy string

instrument) and the pair of Tabla from Pakhwaj (a bolted two sided drum). Contribution of

Amir Khusro to Indian classical music is huge, he also started Khayal and Qawali two style of

vocal music the later one aligned with Bhajan of Bhakti Movement. He was a poet of mainly


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three languages, Hindavi (predecessor of present Hindi), Parsi (also known as Farsi) and

Urdu.

On the other hand, Bhakti Movement was seeded by the reforms of Gautama

Buddha and Mahavira, brought initially by Sri Adi Guru Shankaracharya as clear dictum to be

spiritually inclined in daily life. He was followed by Guru Nanak Dev (Founder of Sikhism),

Kabir (Hindu – Muslim unifier), Mirabai (Women devotee of Lord Krishna), and many

regional reformers like: Purandara (Karnataka), Tulsidas (from Awadh), Surdas (from Brij),

Chaiytanya Dev (from Bengali) and Shankardeva (from Assam). They all have contributed to

the vastness in variety of Indian Classical Music. During this period Indian Classical Music got

the form and shape that is known as on today. One of the disciples of Bhakti Movement was

Tansen, who was renowned for his contribution of ragas to the chest of Indian classical

music. He was also responsible for being the generator of Dhrupad style of singing.

As the Bhakti Movement had spread throughout the sub‐continent, most of parts

got revived musically and blended new theories of music with old rhymes of each part. In

other words where ever Bhakti Movement and Sufism had spread its melodious tunes it

generated revival of the music that belong to that region and also contributed musical

theories and philosophical thoughts. Therefore if one discusses about Indian Classical Music,

one cannot do without touching its regional traditional music. Not only vocal singing, Bhakti

Movement brought up a lot more to the social life of people in various parts of India, such

as Stage Dramas such as nautanki, ramleela, bhaona etc., various musical instruments such

as, Khol/Pungi (terracotta two sided drum) and Ek‐Tara (single string player).


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Apart from Bhakti Movement’s touch, there are many ethnic music forms that are

recognized as a part of Indian music, however the Indian Classical Music is the mainstream

music that is divided into two branches 1) Hindustani Classical and 2) Carnatic Classical.

There again one can find variation of style in these two branches. Another important but not

noticeable variety for fresh ears is the Gharanas (the schools), present in every sect of

musicians, is the result of the Guru‐Shishya (Master‐Disciples) relationship and tradition

followed right from the Vedic days in India.

In the main stream Hindustani, Druppad is known for its age and level among all the

styles. Drupad advocates the use of single syllable sound and mastery over vocal functions.

This style of singing started by Haridas and Tansen, demands rigorous practice as Dhrupad

singers sing for longer times and show extreme control over their respiration while singing

in one pitch for long. Khayal, Thumri and Tarana are the variations in Hindustani Classical

that is mostly seen performed by artists. There are several Gharanas for each style

mentioned above. Except the Dhrupad musicians, musician from these Gharanas are seen to

explore the content of Hindustani Classical Music outside of their respective Gharanas.

However their identities are from their respective Gharanas.

In Carnatic branch of classical music, there is not much variety in terms of style like

Hindustani, however this southern branch does have variation in compositions: Varnam,

Kriti and Geetham.

The classical artists of both Hindustani and Carnatic Classical also perform pieces

lying outside of the classical perimeter, such as: Ghazal, Bhajan, Kirtan, Qawwali and of

course Filmi Music of Bollywood. All of these styles are branches of the same tree giving the


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nectar of melody as the key essence of the tree of Indian Classical. These styles are

interconnected and this connection is made stronger by musician practising the vast variety

with his/her own qualities acquired from one style. Most of the pieces performed by these

artists are used in movies which brings popularity to the artist. However the artists’ fame is

not dependent on the movies.

Indian folk music, one of the early contributors to the classical base of Indian music,

is under constant and direct influence of Indian classical music. During the Bhakti Movement

many folk music got organized and documented. Moreover, the classical musical

developments such as inclusion and invention of new instruments also shaped the folk

music in many parts of Indian subcontinent. At present most folk artists acquire the mastery

over classical music in order to improve their folk music.

The filmi (related to movies) music of Bollywood is a good example to look at. Pre‐

independence Bollywood movie‐music was all inspired by classical mainly, Khayal, Thumri

and Taranas. From late 50s Bollywood got its musical influence from the west as well,

notably from Elvis, Jazz and Rock & Roll. However the grip of Indian classical remained the

same on films in spite of the hits of Disco and Rap & Hip‐hop like in 80’s and 90’s. Bollywood

music has become a main stage for the common listeners, and hence influences their taste

from time to time.

West has influenced and been influenced by Indian Classical Music. One of the

important influences from the west on Indian classical music is the instrument harmonium,

which is extensively used by the vocalist to keep with scale of Ragas. Contrary to that, Indian

music has influenced western music through the last century. Apart from Pt. Ravi Shankar’s


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influence on Beatles, there are plenty many occurrences that are worth mentioning, such

as: fusion music, featuring Indian pieces in western singles. New Age Movement can

also show how deep western culture got influenced by east.

Indian Classical music has influenced Indian subcontinent over the centuries. Indian

classical music is the basis of all the music performed in this land. Artists from all the parts

of India, Pakistan, Bangladesh, Sri Lanka and even abroad practice Indian classical music as it

is or as a tool to improve their respective performances. This way Indian classical music has

reached the diversity of the demography and brings all under one roof.

Most significant contribution that Indian classical music has made not only to India

but also to all of humanity is that, it helped build the inter‐religious harmony, especially

amongst the Hindus and Muslims. Most Dhrupad musicians are Muslim and they believe &

worship Hindu gods as their music demands. On the other hand, many noted Ghazal (a

poetic musical piece written in Urdu) singers are Non‐Muslims.

In the most densely populated countries like Bangladesh, India and Pakistan, life is

not very smooth as the struggle of survival takes every essence of life’s beauty. The music is

one of main relief one can have in such a tense routine.

India is not only a country; it is a subcontinent of many ethnic nations beyond its

political borders. In this land variety Indian Classical Music is one of the few threads that ties

all the diversity into one entity. The origin of Indian Classical can be traced back to Vedic and

pre‐Vedic times. It has sprung up from the union of Vedic and Dravidian music of rites.

Raaga and Taal are the key components of this music. There have been many influences on

the Indian classical music, namingly: Sufism, Bhakti Movement and Folk Music. The number


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of Gharanas in every style shows the vastness in variety of Indian Classical music. It has

spread its influence over Indian Contemporary Folk Music, Filmi Music of Bollywood,

Western Music in many aspects and most importantly Indian Life & Culture. Indian classical

music has inherited the major characteristic of being Indian that is the ability to absorb from

& adapt to its surrounding and contribute & radiate back.

For Further Reading

Books: Raagas in Indian Classical Music by Anupam Mahajan The Music of India Reginald Massey and Jamila Massey North Indian Music by Richard Keeling Two Men and Music by Janaki Bakhle Dawn of Indian Music in the West by Peter Lavazzoli

Websites:

Vedic Music The Chronology : Vedic Literature & Music Sai Kirtan Group ‐ History of Music ‐ Pre‐Vedic Music Period The Form and Function of Music In Ancient India (A Historical Study) (In Two Volumes) Raaga Hindustani Classical Music, Origin, History ‐ Rhythm n Raga.org The Raga Guide ‐ Introduction Orion : A Search into the Ancientness of Aryan‐Vedic Culture (An Ignored Historical Research) Contemporary Indian Music and the Vedas) HINDU HISTORY ‐ Contents Page Stuti ‐ A Practical Sanskrit Dictionary Indian Classical Music Sunil Mukhi's Indian Classical Music Page Patrick Moutal's Indian Music Page PureBhakti.com Kamat's Potpourri: Important Proponents of the Bhakti Movement Amir Khusro ‐ Amir Khusrau Biography ‐ Life of Amir Khusro ‐ Amir Khusrau Life History Amir Khusrau, Khusro, Khosrow http://www.sscnet.ucla.edu/southasia/Culture/Music/Music.html

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