Showing posts with label Hindustani Music. Show all posts
Showing posts with label Hindustani Music. Show all posts

Wednesday, June 2, 2010

Book Review: by Abhik Majumdar

The Book Review Monthly, New Delhi
Volume XXXI, Number 7, July 2007



Hindustani music: a tradition in transition
By: Deepak Raja
DK Printworld, Delhi, 2006. Pp.432 + xxii.
Rs. 490.00

Connoisseur activism?

Reviewing an interesting, somewhat idiosyncratic compilation of articles, poses a challenge, as it escapes the usual taxonomic classification for writings on a subject. It is clearly not a scholarly work in the formal sense. As is the case with most such compilations, the various topics it encompasses form too broad a spectrum and though some footnotes and other references have been provided, they are sparse and infrequent.

On the other hand, characterizing it as a compilation of journalistic essays will be inaccurate. It bears a depth of perception and analysis seldom found in such works, or indeed anywhere else. The book seems to have been compiled with a definite, clear-cut objective in mind.

Indeed, so intriguing is Raja’s perspective that it makes sense to focus on this. The author makes use of the rather provocative phrase “connoisseur activism” to describe his agenda, which is very apt. Another approach is to treat the book as a response, a quintessentially Indian response, to certain (shall I say, western-inspired?) scholarly practices.

The discipline of ethnomusicology is traditionally anchored to a “cultural outsider” approach. Its discourses begin with the assumption that the author has no specialist knowledge as such, and conducts his research using objectively verifiable methods and processes accessible to everyone.

Raja’s methods are also an inversion of this. In the introduction, he sets out his conceptions of the writer’s role. “A writer is, after all, nothing but a connoisseur who has decided to share his understanding with other connoisseurs. And, as such, he is a part of the watchdog mechanism, which keeps art faithful to its elevating (sic) ideals.

Thus, he locates the author firmly within the cultural tradition on which the book bases itself. He assumes both author and audience to be “insiders” to the tradition. Often, his pronouncements seem to be bare assertions unverified and unsubstantiated by external corroboration. Such an appraisal is misleading. His view are intended to make sense to only those who possess a familiarity with the subject-matter, and often it happens that this “making sense” constitutes substantiation enough for “insider” audiences, a fact that those unfamiliar with the milieu may fail to appreciate.

An example may bear this out. In the essay entitled “Archival music and the cultural process”, he discusses the impact of sound recording on our musical tradition. In course of this, he makes the startling pronouncement – “The Guru-Shishya Parampara was not very different from a reliance on pre-recorded music in its explicit intent”. He goes on to point out that this pedagogical tradition invested considerable time and effort to ensure that the disciple emerged as a faithful clone of the mentor.

Fortunately, three human failings prevented this from being successful – imperfect perception, imperfect retention, and imperfect reproduction. As a result of these three, gaps in the disciple’s learning emerged over time ... gaps which he was obliged to fill by interpolating his own ideas within the framework of the mentor’s tutelage. And, in this manner, a modicum of originality was infused into the tradition. As Raja himself puts it, “Because of these imperfections, the traditional system became an effective instrument of continuity within change”.

I cannot imagine how such an insight can be empirically verified. Indeed, seeking to objectively substantiate it approximates and exercise in futility. And, yet, the history of our music is filled with instances of talented musicians being denied recognition as artists of the first rank, simply because they sounded too close to a Gharana forbear. Hence, to those familiar with his background, Raja’s assertions make perfect sense.

The book is divided into five parts: viz: Culture, Technology and Economics; Form, Idiom and Format; The World of Ragas; The Major Genres; and the Major Instruments. While all the parts conform to a uniformly high standard of exposition, to me the first chapter is of special value. Here, the author deals with how our music relates to various social, economic and technological developments. In the chapter entitled “If peanuts is what you pay…”, he even uses his background in finance to analyze how market forces have actually promoted a deterioration in music quality.

The sums add up because of the role of the two dominant intermediaries in the music market: the recording companies, and concert sponsors. They are both playing a progressively larger financial role in the music market – without having either the need or the desire to promote quality music.

The third part is also very interesting. Here, Raja examines certain aspects of the concept of the Raga. In “Raga Chemistry and Beyond”, he draws parallels between ragas and concepts of chemistry. Surely, an original approach, though how far the parallels are borne out is a pertinent question. On the other hand “Kedara at sunrise”, where he debunks many commonly held myths about the time theory of ragas, is unquestionably a piece of analysis of the highest order.

The last two parts are keyed to more functional objectives. The inside flap describes them as respectively, presenting comprehensive backgrounders on the four major genres of vocal music, and featuring detailed fact-sheets on eight major melodic instruments of the Hindustani tradition.

Here, more than his analytical insights, it is his familiarity with the nuances of the subject-matter that is manifest. In the chapter on the Rudra Veena, for example, he touches upon an astonishing range of topics, including mythical lore; historical antecedents; organology; instrument design; ergonomics; acoustics; and recent performers. These chapters constitute valuable resource material, notwithstanding the paucity of external references.

Another thing that stands out is his integrity. For example, he himself belongs to the school of Vilayat Khan, the Sitar maestro. However, when discussing the origins of the Surbahar, whose creation is variously ascribed to Sahebdad Khan (the maestro’s great grand-father), and Ghulam Muhammad of Lucknow, he freely admits – “The latest research favors the latter attribution”.

All in all, it cannot be denied that the book marks an exciting new approach to writing on Hindustani music. To be honest, it is not without its drawbacks. At certain times, the forcefulness and candor of Raja’s expression might give the impression of being opinionated. But, when one attempts such a strongly individualistic work, I suppose this is only inevitable. In any case, it does not mar the overall excellence of the book.

However, I feel compelled to end with a caveat. A significant part of the book, especially the earlier chapters, presumes a prior familiarity with the subject matter on the part of the audience. For this reason, despite the author’s easy writing style, some parts of the work may not be accessible to lay persons.

The book can be ordered online from the publisher's website, or by email.

Thursday, March 18, 2010

Book Review: by Neeru Dhall


Indian Horizons
The Journal of The Indian Council for
Cultural Relations, New Delhi
Vol. 51, Autumn issue

Hindustani Music – A tradition in Transition
Author: Deepak Raja
Publisher: DK Printworld Pvt. Ltd.
pp. 432. Rs. 490, US$ 24.95

Peter Drucker surely did not hint at Hindustani music when he said: “If peanuts is what you pay, monkeys is what you get”; but the fact is that the scales of economy have influenced Hindustani music over a period of time and as a result, Indian Classical Music that had its strong moorings in traditions, is in transition today.

Hindustani music has always been passed over to generations in its traditional Guru-Shishya Parampara (Teacher-disciple Tradition) in which a teacher gives his knowledge with full sincerity to his disciple. A disciple, in turn, is expected not only to master the knowledge but also to pass it on to another deserving candidate of the next generation. But no musician can be an identical Xerox copy of his teacher. Even the music of the same gharana (family) changes from generation to generation. Change is the permanent reality of this universe, and music is no different.

Various socio-economic and cultural changes have been changing the music over the centuries. Although some lament this, it is no surprise that today the great gharanas have merged into “cocktail gharanas” and we see the emergence of the Rotterdam gharana, the San Rafael-Seniya gharana. Their commitment to excellence may boost Hindustani music; but it may also result in globalization, and perhaps “de-culturation” of Hindustani music.

What should be done under such circumstances? Should not the efforts be made by cultivated listeners of Hindustani music – the connoisseurs or Rasikas -- to perhaps demand higher standards of music, act as watchdogs and help in retaining the inherent traditional values of Hindustani music? This is what Deepak Raja talks about in his book, “Hindustani Music – A tradition in Transition” by giving a very rational, logical, and analytical overview of Hindustani Music in the post-independence era. His description of this change has, both, depth and a matter-of-fact approach.

Hindustani music is an expression of India’s pluralistic, dynamic, multi-racial, multi-lingual vibrant society. The unity within diversity and continuity within changes, are two of its basic phenomena. While talking about various ragas, genres, lineages, musicians, and Hindustani music, Raja very beautifully describes as to where Hindustani music is heading.

Until the 20th century, Hindustani music was chamber music hosted by aristocracy. The classical music was performed in Jumme Ka Takiya (Friday evening gatherings) or on special occasions. Audiences were small, but very knowledgable. Those were cognoscenti who maintained a tough yardstick to maintain the music standards. The “innocenti” soon outnumbered these cognoscenti in the post-independence era, as that was the time of great upheaval in political, social, economic, and technical situations. Suddenly, the music was out of private chambers and was being dished out to the masses that were made of innocenti and did not understand it much.

Music became a commodity. It became price-sensitive and market-oriented. The yardstick of music changed. The large number of innocenti preferred popular music and classical music took a back seat, leaving the Rasikas in a minority. This was mainly due to the explosive growth of the electronic media. On the price index, the cost of music is becoming cheaper as a result and market continues to explode. Today’s market consists of 80% innocenti and 20% cognoscenti. Hindustani music is set on a path of irreversible globalization.

Raja explains this trend in Hindustani Music through six parts of his book:

Part I starts with social, cultural, economic and technological changes in Hindustani music by taking the reader through a journey of music starting from traditions to contemporary changes in gharana models. Part II deals with musical forms and structures.

Part III and IV can be defined as the heart of the book, in which Raja talks about the melodic framework on which Indian music is based. He starts with Ragas (melodic structure) interwoven with Rasas (emotional states), the significance of timings of each raga, the rights and wrongs in it and thus describes the complete flavour of Indian music. He explains the four major genres of Hindustani vocal music – Dhrupad, Khayal, Thumri and Tappa in their historical, aesthetic, and melodic forms.

Part V deals with the background and expressions unique to each of the major solo melodic instruments of Hindustani music, such as, Rudra Veena, Sitar, Shehnai, Sarod etc. and the entry of Slide Guitar of Hawaii into Indian music, soon after World War II. The book finishes with the list of glossary.

Only Raja, a musician, and MBA, a media person, and a writer, himself a multi-faceted person, could give such a multi-dimensional treatment to music in the most logical form. The quantitative leap of music is the need of the time; but it does not mean that we must not produce connoisseur quality music.

The old model of music that survived under royal patronage is extinct today. Keeping in mind the latest trends, Raja suggests a new model of music based on price and value, which allows a collective of musicians, rather than audiences to validate a musician’s status. He advocates the formation of a musicians’ guild to grade the music and musicians. His idea is to revitalize the connoisseurs of a bygone era, bring them to the forefront as music watchdogs, enhance their insights into the inner workings of modern and contemporary music by explaining them the alternative benchmarks and changing yardsticks.

Deepak Raja thus strives for higher standards of Hindustani music by advocating a balanced approach. Consumerism and commoditization of music can pose a threat to its quality; but as they say, “the grammar of today’s music is based on yesterday’s literature”. One only hopes that this beautiful piece of literature will help maintain tomorrow’s grammar on music with high standards, even in the changing scenario of market needs.

The book can be ordered online on the publisher's website, or by email.