Raga performance in the Dhrupad genre

Dhrupad performances on the contemporary concert platform are either of vocal rendition or of Rudra Veena recitals. The Rudra Veena – a member of the tube zither family of instruments -- has been the traditional accompanist to vocal music in the Dhrupad tradition. As a result, the content and idiom of the two manifestations of the genre have come to be identical. 

Presentation format  
Phase I is a totally improvised form called Alap, rendered without percussion accompaniment.
Phase II consists of percussion accompanied presentation of one or more compositions, along with melodic and rhythmic improvisations. 

The 3-tier  Alap protocol 
Tier 1: This is called the Vilambit (low density) Alap. A free-flowing , low melodic density exploration of the Raga’s melodic personality through two octaves, rendered without any perceptible pulsation or rhythm. 

Tier 2: This is called the Madhya Laya (medium tempo) Alap. Its melodic span and structure are similar to the Tier 1 Vilambit Alap; but the melody will now acquire a 2-beat pulsation.  This tier of the Alap is generally performed at about 60 beats per minute, without any escalation during the course of the rendition. 

Tier 3: This is called the Drut (brisk tempo) Alap. Its melodic structure can be similar to the Tier 2 Alap; but the melody is rendered to a distinct 4-beat rhythm. This tier of the Alap may be launched at above 180 beats per minute, and escalate before closure. 

Compositions in the Dhrupad genre
Compositions encountered in contemporary Dhrupad are primarily of three types, corresponding to different Tala-s of the genre. 

(a) Compositions set to Chautala of 12 beats, generally performed at a slow to medium tempo. These compositions are the mainstay of the genre. 
(b) Compositions set to the Dhamara Tala of 14 beats, generally performed in medium tempo. The poetic content of these compositions as typically related to Holi, the festival of spring. 
(c) Compositions set to the Sula Tala of 10 beats, generally performed at a brisk tempo. These are the liveliest contemporary manifestations of the medieval genre. 

Format options
(a) A 3-tier Alap, followed by a Chautala composition.
(b) A 3-tier Alap, followed by a Chautala composition, and then by a Dhamara composition in the same Raga. 
(c) A 3-tier, or even a single-tier (Tier 1) Alap, followed by a Dhamara composition. 
(d) A 3-tier or a single-tier (Tier 1)Alap, followed by a Dhamar composition, and then by a Sula Tala composition in the same Raga. 
(e) A 3-tier Alap, followed by a Chautala composition, and then a Sula Tala composition in the same Raga. 

Dhrupad ensemble
A mention must be made of the ensemble for Dhrupad performance. As a rule, Dhrupad musicians only use the Tanpura as an accompaniment for vocal or instrumental music. They have kept away from the Sarangi and the Harmonium for melodic accompaniment, both of which have acceptance in the modern Khayal and Thumree genres.  In rare cases, a Dhrupad vocalist may have a Rudra Veena player accompanying him, as this is the traditionally established practice in the genre. For percussion accompaniment, Dhrupad uses the Pakhawaj (a two-faced horizontal drum), instead of the modern Tabla. This austerity and  conservatism in the presentation of music has enabled Dhrupad to retain its distinct identity in a Khayal dominated environment. 

Raga performance in Khayal vocalism

The overall architecture of Khayal vocalism is similar to that of instrumental music.  It conforms to the modern architecture of Hindustani music, featuring a steady escalation of melodic and rhythmic density and complexity, intertwined with a cyclical treatment of melody in each phase.  

In comparison with Sitar/Sarod music, however, Khayal rendition tends to have a more compressed structure. Phase I of a Khayal presentation is very short, while Phase II and III are almost equally elaborate.

Phase I 
Phase I of Khayal rendition is an entirely improvised prelude, performed without percussion accompaniment. It can last between 2 and 5 minutes.  The purpose of this prelude is to identify the Raga being performed, and to introduce its melodic contours to the audience. 

Phase II 
Phase II is called Bada Khayal (the major Khayal). It consists of a slow-tempo composition, performed to percussion accompaniment at 25-40 beats per minute, with mild acceleration permissible, though not always found, during the course of the rendition. Along with logically sequenced improvisations inserted into the composition, the slow-tempo composition can consume 80-85% of the duration of the rendition. 

Phase III 
Phase III of Khayal presentation is called the Chhota Khayal (the minor Khayal. It features a brisk-tempo composition launched at 120+ beats per minute, once again with permissible acceleration as the rendition approaches its closure. Phase III can take up 15-20% of the duration of the performance. 

Tarana
The Tarana is a lively compositional form – generally performed in medium to brisk tempo -- which features an articulation of meaningless consonants in lieu of the poetry characteristic of Khayal compositions.  A musician may choose to perform a Tarana either in addition to a Chhota Khayal (Phase III) or, in lieu of it. 

Raga performance on the Sitar and Sarod

The Sitar and the Sarod evolved concurrently and interactively in the 18th and 19th centuries as major solo instruments in Hindustani music. Both being plucked lutes, they also cultivated a shared format for Raga presentation.  Their protocol was later also found suitable for the percussive-melodic instrument, the Santoor, and adopted by its performers. 

Phase I
The first Phase of a Sitar/Sarod/Santoor performance is an entirely improvised solo, without percussion accompaniment. It has three movements: This phase can consume 40-50% of the duration of the presentation. 

1. The first movement is called the Alap, which is an entirely improvised free flowing melodic movement. It consists of low-density melody, without explicit pulsation or rhythm.  Along with this, the movement also features a systematic perforation of the melody by the harmonic ambiance of the tuned instrument. 

2.  The second movement is called Jod. In this the melody is medium density, and acquires a simple 2-beat pulsation.  In this movement, the structured use of the harmonic ambiance of the instrument is deployed more actively than in the Jod movement. 

3. The third movement is called the Jhala. This movement consists of high-density melody with a structure approximating a 4/6/8 beat rhythmic cycle. The melody is perceptibly more complex, with even elements of harmony entering the music.  The Jhala raises the first phase presentation to a crescendo before it ends. 

This Alap-Jod-Jhala phase of solo music is carried over from the protocol of the Rudra Veena (also a plucked string instrument), which was the primary instrument of the Dhrupad era. 

Phase II
In the second phase of the performance, the musician presents a slow-tempo composition to percussion accompaniment. Logically sequenced improvisations are inserted into the frame of the composition. Slow tempo compositions are generally performed at a tempo of 45-60 beats per minute. This phase can consume 30-40% of the duration of the presentation.

Phase III
In the third phase of the performance, the musician presents a fast-tempo composition, also to percussion accompaniment, and with logically sequenced improvisations inserted into the frame of the composition.  These compositions are generally performed at a tempo of 150+ beats per minute, and undergo a steady escalation culminating in a crescendo at over 300 beats per minute. This third and final phase of the presentation can take up 10-20% of the duration. 

Phase II and Phase III of the Sitar/Sarod protocol mainly represent post-Dhrupad musical idioms. They could belong either distinctively to the the plucked lutes, or exhibit the influence of the modern Khayal vocalism. 

Raga presentation in Hindustani music

In contemporary (post-Dhrupad) Hindustani music, the musician works with the composition and the improvisatory movements as distinct musical elements. His task is to integrate them seamlessly into a composite and well-organized musical experience. It is therefore not possible to see the two elements as claiming different shares of the duration of a Raga presentation. 

Because the composition is already pre-composed, it requires minimal composing effort from the musician. The improvisations, on the other hand, require a fairly intense effort at interpreting the Raga in the format of a movement. One can therefore see the two elements as taking up different shares of musical energy. 

Viewed in this manner, the pre-composed element in modern Hindustani music may take up less than 15% of the musical energy, with the improvised element consuming the remaining 85%. In the medieval Dhrupad genre, however, the pre-composed element can consume over 60% of the musical energy. Evidently, the enlarged scope for individual creativity has been an important feature of the transition from Dhrupad to post-Dhrupad music. 

Tala: the cycle of musical time

The rhythmic element in a Hindustani music composition is called a Tala. Its main function is to interpret geophysical time as musical time. Like geophysical time, a Tala is also cyclical. But, as musical time, subordinated to the human aesthetic sensibility, it can be given any duration and tempo, and can also be sub-divided in a variety of ways. It can thus be imparted different cycle durations and cadential patterns. 

The art and craft of the composer arranges a convergence of these cycle durations and cadential patterns with the meter of the melodic lines, and the poetic verse (where present). This convergence of the three elements imparts to each composition its distinctive form. 

Twentieth century literature lists about 50 tala-s. However, across all genres, contemporary Hindustani music is dominated by ten to twelve Tala-s. The smallest Tala in circulation has 6 beats, while the longest has 18 beats.  The subdivisions of the Tala-s can be regular or irregular. Some Tala-s are particularly suited for slow-tempo compositions, while others are specially suited for medium or brisk tempo compositions.  A few, very few, Tala-s are versatile enough to be performed at any tempo without losing their distinctive cadential structure. 

The composition in Hindustani music

A musical composition, by its general definition, is a pre-composed musical form which integrates melodic, rhythmic and poetic elements. This definition would fit a song in any category of music, including folk, devotional, and popular. It will not, however, satisfy a composition in Hindustani music. The Hindustani tradition does not, as a  rule, deploy a composition as a stand-alone piece of performed music. Instead, the composition is required to function as the nucleus of the performance, and hold the entire performance together as a seamless piece of well organized music. 

The composition can perform this function only if it conforms to the grammar of a particular Raga, and facilitates the insertion and integration of the various improvised movements appropriate to the genre. In the context of vocal music, ideally, the literary element should also support the emotional values (Rasa) of the Raga with appropriate poetic expression.

Though rarely performed in isolation, and normally used as a melodic-rhythmic-poetic frame for the improvisatory movements, a composition of merit commands respect as an exemplary specimen of the composer’s art and craft. 

Each genre of music provides the musician with a bank of such compositions, which are composed in different Raga-s and set to rhythmic cycles appropriate to the genre, along with their prescribed tempo. Having chosen his Raga, a musician can perform either a composition from this bank, or decide to compose his own.  Most musicians accept their own limitations as composers, and find it convenient to draw upon familiar and time-tested musical material in the public domain. 

Architectural conventions in modern Hindustani music

Architectural conventions govern the sequencing of the improvisatory movements and their integration with the composition to shape the totality of the Raga presentation. The sequencing logic is based on widely accepted assumptions about human comprehension. Anyone who has been a teacher will easily recognize these principles as being equally applicable to education. 

Sequentially, the rendition begins with the slowest movements, and moves steadily towards the faster movements.  It starts from the melodically and rhythmically simpler movements, and moves towards to the more complex movements. It commences with the relatively unstructured movements in which the details are transparent, and progresses towards the more structured movements, where the detail can often get blurred.  The sequencing of movements is exponential in terms of density and complexity.

Complexity is a self-evident term. But, what do we mean by density? In melody, it is measured by the number of explicit intonations per second. In rhythm, it will mean number of beats per second. The density of the overall musical experience can be visualized in terms of sound-bytes delivered per second.

Within each movement, the melody undergoes a cyclical treatment. Why should there be any prescribed pattern?  To begin with, art music has to be disciplined. In the process of providing ample scope for individual creativity, it cannot permit any facet of it to be random or whimsical. The melodic framework of a Raga is the primary emotional trigger, and has to be given complete scope for performing this function. The minimum condition for this is that the exploration of the Raga must go through ascending, descending and valedictory motions through two octaves in the major – if not all – movements in order to release its emotional charge inherent in the melodic framework.

Schematic representation of architectural conventions

This combination of exponential sequencing of movements and cyclical melodic formations within each movement will be easier to appreciate with a schematic representation.

It will be observed in the graph that there 

 is an exponential trend-line representing the density and complexity. Running through it is a cyclical wave pattern representing the melodic path. 

This model is verifiable by a systematic plotting of melodic and rhythmic trends in a modern Hindustani music performance. Raga-based music in the medieval Dhrupad-Dhamar genre would need to be represented by a different architectural model. 

The principal genres of Hindustani music

An art music tradition supports various genres of music. Each genre has its own history, geography and specificity. But, for the purposes of comprehension, a genre is defined primarily by its architectural features. There are two aspects to understanding the architecture of a musical genre: First is that of understanding its subordinate forms and their movements, and the second, the sequencing of the movements within the subordinate forms.

Hindustani art-music, as performed, can be compared to the telling of a story through the interpretation of a Raga. Movements in a genre of Raga-based music may be compared to the chapters in a book, or acts and scenes in a play. In music, each movement progresses the “story” by the distinctive way in which it crafts the interaction between melody, rhythm and poetry (in the case of vocal music). The sequencing of the movements determines the build-up and release of aesthetic tension in a piece of art music, just as chapters in a novel, or acts in a play, are sequenced to achieve the aesthetic impact of the story-telling.  

In literature, we know that a novel, a short story, a cinema script, and a play, will tend to build and release the tension of the story line in different ways. And this, of course, is why each of them has its own place in the world of literature. Likewise, there are different genres in art music because they deliver different qualities of aesthetic experience. 

On the contemporary art music platform, a listener is likely to encounter the following genres. 

1. Dhrupad (along with its companion sub-genre, Dhamar): This was the dominant genre of vocal and instrumental art music between the 15th and 18th centuries. 

2. Khayal:  This genre began evolving in the 13th century as a fusion of older Indian musical genres and Middle Eastern influence, and began to replace Dhrupad as the dominant genre of vocal music from the 18th century. The Khayal remains, to this day, the dominant vocal genre, with a significant presence also in the music of the bowed and wood-wind instruments. 

3. Thumree: This genre originated as an accompaniment to Kathak (North Indian) dance. The Thumree evolved as a  genre of solo vocal music from the 18th century and retained a significant presence till the middle of the 20th century. As a genre of vocal music, it could not survive the transition from the intimacy of its original milieu to the impersonal  atmosphere of the modern concert hall.  Its manifestation in instrumental music has, however, remained stable. 

4. The modern genre of plucked instruments: This genre is heard primarily on the plucked lutes – Sitar, Sarod, Hawaiian guitar. Their idiom has also been adopted by the percussive-melodic Santoor, the most recent entrant into art-music from folk traditions. Because of the dominance of the plucked string instruments in contemporary music, their idiom is also influencing the wood-wind and bowed instruments. This genre combines elements of the medieval Dhrupad genre, with post-Dhrupad modes of presentation. 

Note:  Of the above four, the Thumree is a borderline case of a Raga-based genre. Its melody is rooted predominantly in the Raga pantheon. But, the musician is allowed considerable liberty in observing the rules of Raga grammar. In addition, the melodic resource of the genre includes folk melodies, which cannot qualify as Raga-s.  

Hindustani Sangeet and a Philosopher of Art

Music, Rhythm and Kathak dance visa-a-vis  aesthetics of Susanne K. Langer

Author: Sushil Kumar Saxena 

Pages: 363. Hard-cover price: Rs. 600.00

Publisher: DK Printworld Pvt. Ltd. New Delhi. 2001

 This book is decidedly the first of its kind. It seeks to weigh some basic facts and concepts of Hindustani Sangeet (music, rhythm and dance) against the art theories of the influential modern aesthetician, Susanne K. Langer, and with consistently meticulous attention to the text of her writings.

The expression theory of art has for long dominated the history of aesthetics. At the hands of Langer,however, the theory takes a new turn. She conceives of art not as a direct self-expression of the artist’s immediate affective state, but as a symbolic expression of his knowledge of what she terms variously as felt life, sentience, or forms of feeling. 

Drawing freely upon examples from the region of Hindustani Sangeet, the author accepts Langer’s protest against the popular view of artistic expression. But, he also contends that there is a good deal in our music and dance which has nothing to do with feeling, and is admired simply because of its sweetness, clarity, shapeliness, and accordance with grammatical norms.

Perhaps the most two most striking features of this book are: first, a lucid exposition of the essentials of Langer’s aesthetics, and second, abounding illustrative references to the manifestation and assumptions of Hindustani Sangeet.

Sushil Kumar Saxena (1920-2013), formerly Professor of Philosophy  at Delhi University, was amongst the most respected and original thinkers on the aesthetics of Hindustani music, rhythm and Kathak dance, with several pioneering works to his credit. He was a Fellow of the Sangeet Natak Akademi and of the Indian Council of Philosophical Research.

Raga: The "Commanding Form" in Hindustani music

All art submits to its audience a form for aesthetic appreciation.  Literature submits a verbal form. Painting and sculpture submit a visual form. Architecture submits visual and spatial/enveloping forms which warrant aesthetic evaluation apart from the structure’s functional values. Music submits an auditory form.  Like other forms, the musical form is governed by a “commanding form” which governs the entirety of the musical endeavor and its experience. With specific reference to Western art music, the influential aesthetician, Susanne K Langer, granted the status of the "Commanding Form" appropriately to the composition. In Hindustani music, we find that the composition is itself subservient to the Raga.  In our music, therefore, the status of the “commanding form” most be  accorded to the Raga.

A Raga is a partially precomposed matrix of melodic contours, tight enough to remain recognizable and loose enough to provide substantial creative freedom. Each Raga justifies itself as performance material because it makes a distinctive emotional statement. It can be described as a psycho acoustic hypothesis which relates qualifying melodic patterns to the associated quality of emotional responses. At each rendition, a musician works on this hypothesis and deploys his creativity in an attempt to maximize the probability of communicating the associated emotional idea.

Raga-s are not “composed” by any particular musician. Their origins are mostly indeterminate. They evolve over a period of time from a variety of source melodies as plausible triggers for well-defined categories of emotional responses. It is estimated that the melodic grammar of about a 1500 Ragas has been documented.  The music-scape of each generation sees some Raga-s coming into circulation, and some going out of fashion. The core of commonly performed ragas remains around 200. 

Note: For a comprehensive view on this subject, read:  "Hindustani Sangeet and a Philosopher of Art" by SK Saxena, DK Printworld, New Delhi 2001.