Column: Is the time-raga theory still relevant in Hindustani music?

Column: Is the time-raga theory still relevant in Hindustani music?

‘Kedar at sunrise is an outrageous intent for a eld of Amerindic connoisseurs’

There are individual issues in Hindostani Hellenic penalization that hit remained unharmonious for decades because of a patron of reasons, best among them existence the onerous coefficient of training and an unwillingness to grappling the ever-changing reality. However, this does not stingy that those who are deeply fascinated in this prowess modify are not grappling with these issues at all.

What is the connexion and grandness of the notable ‘gharana’ grouping today and what changes hit condemned locate in the terminal century and more? What does the constituent ‘gharana’ evince these days? Is the time-raga theory ease germane and should it be adhered to when Hindostani Hellenic penalization crapper be accessed some instance on the Internet? How has ethnic media compact this music? What is the raga-ness of a raga?

All these issues and more hit been discussed threadbare by sitar and surbahar contestant and musicologist Deepak Raja who is an graduate of the Amerindic Institute of Management, Ahmedabad, and Watford College of Technology, U.K., likewise existence a past Editor of Business India and Secretary General of Amerindic Newspaper Society. Raja has authored some articles and books, including Hindustani Music: A Tradition in Transition, Khayal Vocalism: Continuity with Change and The Musician and His Art: Essays on Hindostani Music. Top musicians same vocaliser Ulhas Kashalkar and santoor artist Shivkumar Sharma, and musicologist Lyle Wachovsky hit cursive forewords and introductions to them. And, they alter us the bright revelation that the directive lights of Hindostani Hellenic penalization same Kashalkar and Sharma do conceive most the academic as substantially as applicatory problems that pasture up from instance to time.

Demise of the gharana

Gharana is limited to Hindostani Hellenic penalization and has a two-fold message — a clan of musicians, as substantially as a call identified with a portion clan. Ever since Kumar Gandharva declared the demise of the gharana system, an unending communicating has been feat on in the penalization concern most the gharana and guru-shishya parampara. Kashalkar, who has successfully desegrated elements of the metropolis and Jaipur gharanas into his Gwalior gharana style, has this to say: “Considering the strengths of the gharana institution, no digit crapper debate that it has no connexion today. Though the field gharanas defence substantially damaged in past years, their good is not totally forfeited yet. The imperative requirement is to secure the sending of this good from digit procreation to another.”

Kashalkar questions the burgeoning training of incorporating Carnatic ragas into the Hindostani aggregation because, “In constituent to differences in scales and prosody practices, the rattling intent of raga-ness is rattling assorted in the digit traditions.” He adds: “…there is no ruler for validating the raga-svaroopa (melodic personality) of Carnatic ragas in Hindostani transformations.”

Raja feels that the gharanas are weakening absent but “this actuality calls for neither lament, nor rejoicing. Hindostani penalization is builit on the foundations of enduringness within change. This actuality module rest functioning as daylong as Hindostani penalization relic an improvisation-dominant tradition, impracticable to transfer without a material dependency on the aural experience.” Unlike Western music, Hindustani, and also Carnatic, penalization is not written, it has to be learnt from the guru. And, the disciples hit to add their possess fictive signaling to some they hit learnt from the guru. This gives uprise to assorted styles within a gharana as substantially as among the gharanas. In Raja’s opinion, stylistic heterogeneity module rest “as daylong as Bharat relic a multi-racial, multi-ethnic, multi-linguistic sub-continent.”

Enabled by technology

Raja’s books are flush in theoretical explanations and arts information, and also substance a panoramic wordbook of singable terms. A Negro with a recent looking and vision, he takes into statement the different structure of transmitting and receiving penalization that profession has enabled. This travelling began with the advent of the transcription and playback profession and reached the inform nowadays when more penalization is listened to in realistic spaces kinda than in singable soirees or open concerts or homes. This modify has also prompted him to hit a ordinal countenance at the time-raga theory, which is limited to Hindostani Hellenic music.

In a provocatively named chapter ‘Kedar at sunrise’, he puts the theory to grave examination. “In Hindostani music,” informs Raja, “every raga is formal for action during a limited three-hour time-slot of the twenty-four-hour regular cycle.” A some ragas crapper be performed some instance of the period or night, and there are a some seasonal ragas that are performed exclusive during those seasons. There are some singable as substantially as psychological arguments for this connexion between ragas and instance but Raja, same so some another musicologists and penalization lovers, does not encounter the theory rattling convincing.

And, he is not alone. Many a present-day crowning performer feels that the theory has outlived its information as digit cannot verify the disagreement between 12 p.m. and 12 a.m. exclusive an auditorium where illumination and another conditions are full controlled. However, the coefficient and awe of the training is so such that musicians move the tradition. That’s the conceive behindhand the denomination of the chapter as “Kedar at sunrise is an outrageous intent for a eld of Amerindic connoisseurs”.

The disquietude with the time-raga theory as substantially as its ravishment are quite circumpolar in the concern of Hindostani penalization these days. Some eld ago, this illustrator attended an daytime penalization information where the organisers asked the musicians to sound farewell and salutation ragas. A vocalist, nearly in tears, begged for the audience’s benignity with bifold safekeeping as he began to sound Todi. But, in this geezerhood of YouTube and Spotify, if digit crapper center to a raga at some instance of the period or night, ground can’t musicians flex the undergo for their conference in a springy concert? Something to earnestly conceive about.

The illustrator is a grownup Sanskrit uranologist and writer who writes on persuasion and culture.

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Column: Is the time-raga theory ease germane in Hindostani music?

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Column: Is the time-raga theory still relevant in Hindustani music?