zClass 44.8.19§ Announcements§ Go over quiz #1.docx

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Class 4
4.8.19
§ Announcements
§ Go over quiz #1
§ Practice listening quiz
§ Lecture on social organization of Hindustani music
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Announcements
§ Aashish Khan recital on April 28
§ Assignment #1 will be posted this week
§ Summer course on Indian rhythm
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Practice listening quiz
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Terms
§ Socio-musical identity – the connection of social rank to
musical
status; prevalent throughout musical communities in South and
Central Asia
§ Soloist – the lead musical role
§ Accompanist – the supporting musical role(s)
§ Heterophony – style of music in which a melody is closely
imitated by another instrument or voice
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Questions to keep in mind
§ What does social class have to do with music performance?
§ How is authority created and controlled?
§ How is it challenged?
§ What is the relationship between soloist and accompanist?
§ How does this affect music performance?
§ What is the relationship between student and teacher?
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Social class and caste in South Asia

§ Societies were stratified in a social hierarchy
§ High caste – rulers, priests, elite
§ Low caste – manual laborers
§ Dalits – “untouchables”
§ Caste specialization of artisan trades common among Muslim
communities
§ Carpentry, pastoralism, leather making, jewelry making, and
music!
§ The community to which you were born determined your
social rank and the
opportunities that would be available to you
§ People could ”change” their class through certain strategies
§ Marriage, contesting the hegemony of the upper classes
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Organization of specialist knowledge
§ Music is a practice of specialized communities
§ Music is your life!
§ No word for “musician”
§ Rather, terms denoting the specialty of the performer are used
§ This categorization indicates musical identity (the instrument

one
performs) as well as that person’s social rank and roles
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Organization of specialist knowledge
§ Dhrupadiya – singer of dhrupad
§ Gawaiya – vocalist
§ Binkar – bin (veena) player
§ Khayalia – singer of khyāl
§ Sitariya – sitar player
§ Sarodiya – sarod player
§ Tabliya – tabla player
§ Sarangiya – sarangi player
§ Rubabi – rubab player
§ Qawwal - singer of Qawwali
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Instrument association
Soloist
Vocal
Sitar
Rudra veena
Sarod
Dance
Rubab
Surbahar
Bansuri
Accompanist

Sarangi
Tabla
Harmonium
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Social roles and ranks
§ Relationship between occupation and social identity is very
close
§ Soloists are venerated and have great prestige
§ Accompanists have lower social and musical status
§ They are subservient to soloists in both roles
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Performance structure
§ Soloist (Dhrupad, khyāl, thumri, ghazal
§ Vocal
§ Instrumental
§ Accompanist
§ Melodic
§ Sarangi
§ Harmonium
§ Student
§ Heterophony

§ Rhythmic
§ Tabla
§ Dholak
§ Drone
§ Tanpura
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Social roles and ranks
§ Soloists and accompanists belonged to different social class
§ Never intermarried
§ Cousin marriages
§ Soloist class – kalawant
§ Accompanist classes – mirasi, dhari (dhadhi), qawwal
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Performance structure follows
teaching methods
§ Master leads; students follow
§ Learn through imitation
§ Ustad Zia Mohiuddin Dagar
§ Dhrupad vocalist, Rudra veena player

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§ Soloist in charge of the melodic contours
§ Vocalist sings melodic line, sarangi or harmonium follows
§ Most clearly visible when a maestro performs with a student
§ A music lesson while on stage
§ Ustad Ghulam Hussain (rubab)
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§ In Hindustani music the soloist is in charge
§ Determines raga
§ Regulates tuning
§ Decides rhythmic cycle (tala)
§ Regulates tempo (how slow to start, when to speed up)
§ Allocates time for accompanist solo interludes
§ Sarangi and tabla
§ Determines beginning and end of performance
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§ As well, soloists have social and financial control of the
musical
setting
§ Sits center stage
§ Can send accompanist (or student) to do errands
§ Controls how much the accompanists get paid
§ “Journey to the West” story
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Class 5
4.12.19
§ Announcements
§ Review of last class
§ Continue lecture on sociology of Hindustani musical culture
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Announcements
§ ISA Cultural show on April 20 – Extra credit
§ Aashish Khan recital on April 28 – Extra credit
§ Extra credit directions posted on canvas
§ Assignment #1 will be posted soon

§ Summer course on Indian rhythm
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Review of last class
§ Practice listening quiz
§ What to listen for
§ Relationship between social structure and musical culture
§ Distinction between soloist and accompanist
§ From different communities
§ Soloist in charge
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§ Social and musical hierarchy is plainly visible in the
arrangement
and orientation of musical personnel during a performance
§ Soloist sits front and center with accompanists surrounding
and
facing them
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Ustad Iqbal Ahmed Khan, singing at Hazrat Enayat Khan ‘urs,
Nizamuddin
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Tanpura 1 Tanpura 2
Tabla player
Soloist
Harmonium player
Audience
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§ The accompanist assumes a similar a role similar to that of the
student
§ Heterophony
§ Amir Khan
§ Most common in vocal music

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Sharing of socio-musical space
§ Sometimes there will be two soloists – Jugalbandi
§ Hierarchical system remains, but adjusts
§ One soloists becomes leader; the other follows
§ Roles switch off
§ Ustad Bismillah Khan and Ustad Amjad Ali Khan
§ Shehnai and sarod duet
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Soloist – accompanist tensions
§ When the accompanist begins to encroach on the musical
“space” of the soloists, the hierarchy becomes compromised and
tensions break out
§ Rekha Surya concert (student of Begum Akhtar)
§ Calls out harmonium player during performance
§ 2:20, 6:08
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Harmonium and sarangi

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Explaining this socio-musical tension
§ Rekha Surya example
§ FEMALE soloist–Rekha Surya
§ MALE accompanist–Zakir Dholpuri (harmonium)
§ Two contradictory hierarchies
§ Patriarchy, on the one hand, that favors the male harmonium
player
§ Socio-musical, on the other hand, that favors the female
vocalist/soloist
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Politics from the margins
§ Female soloist and male accompanist on harmonium
§ Rekha Surya and Zakir Dholpuri
§ Accompanists (harmonium/sarangi) are usually not named
before a
performance
§ Transparency and anonymity of accompanist role
§ It is this transparency to which the harmonium player is
responding
and resisting

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§ This encounter comes from a public concert that was part of a
large cultural festival being held in New Delhi
§ Rekha Surya is an acclaimed artist with a highly respected
musical
lineage (Begum Akhtar)
§ Zakir Dholpuri is a younger generation musician from the
Delhi
school of playing
§ Zakir’s accompaniment abilities pose an encroaching threat to
the
rarified domain of the soloist’s performance
§ She instructs him to not ”step on her toes” during the
performance and
gives him many stern glances during the performance (she is
also
playing harmonium)
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§ From the stage, what transpires is a form of jostling to
visibility
§ The accompanist engages in a politics of mobilization and
authority, either trying to gain a share of the spotlight or,
depending
on the rank and gender of the soloist, to appropriate it
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Break in performance
§ In the beginning of the performance the soloist politely
instructs the
harmonium player to play in a simpler style of accompaniment
as
not to overshadow her
§ The performance finds its point of tension at the place of
musical
climax
§ As the vocalist reaches the upper register melody (antara) the
harmonium continues to closely follow her melody
§ The vocalist briefly stops and tells the accompanist to stop
what
he’s doing and allow her to perform.
§ Change in voice register
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Why does accompanist

carry this burden?
§ Sarangi–previous melodic accompaniment instrument
§ Harmonium becoming increasingly popular
§ Instruments made out of animal skin and gut strings
§ Played with one’s hands
§ Association with dancing girls
§ “Outsider” status; not true descendants of respectable musical
communities and heritages
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Different musical castes used to indicate
different musical ranks
Faiyaz Khan
Vocalist, soloist
Higher caste background
Bundu Khan Ahmad Jan ThirakwaAccompanists; related
subordinate caste background
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Performance structure in dhrupad

§ All soloists were vocalists
§ All instrumentalists were accompanists
§ Veena and Seniya rubab
§ Instrumentalists were often brothers or cousins to soloists
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Dhrupad performance structure
Soloist, vocal
Melodic accompanist
Seniya rubab
(related;
brothers, cousins)
Rhythmic accompanist
Pakhawaj
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In khyāl this all changed
§ Story of brothers, Adarang and Sadarang
§ During court of Emperor Mohammad Shah Rangile (1719-
1748)
§ Adarang (soloist) and Sadarang (accompanist, younger
brother)

§ Sadarang was tired of being overshadowed by his brother and
eager to prove his musical worth
§ He broke with tradition and started to play his instrument in a
solo
manner that was more lively than dhrupad
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New dhrupad instrumental
performance structure
Soloist, Seniya rubab/veena
Melodic accompanist
vacancy caused by
Veena/Seniya rubab leaving
its traditional role
Pakhawaj
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New performance genre
AND structure: khyal
Vocal soloist
Rhythmic accompaniment
Tabla

Melodic accompaniment
Vacancy must be filled
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The sarangi filled the vacancy left by the
veena and rubab
Vocal soloist
Rhythmic accompaniment
Tabla
Sarangi
From different
communities
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The rise of the accompanist classes!
§ The story of Adarang and Sadarang identifies subordinate
roles
of the accompanist and instrumentalist
§ It also identifies the rise of those previously subordinate
positions,
which would repeat itself many times in the modern history of
Hindustani music

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New pool of musical recruitment
§ The sarangi filled the musical niche vacated by the veena and
rubab
§ The importance of this change was not just a matter of
different
instruments, but it was also a change in the mode of recruitment
for musical personnel
§ The soloists and accompanists in khyāl were from different
communities
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§ Binkar accompanists were recruited from the same families as
the vocalists they accompanied
§ Sarangi accompanists were recruited from outside family
lines,
and from lower social classes/ranks.
§ Why?
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§ Before the separation of soloist and accompanist did not have
a
social correlate

§ The decision of who was to lead and who to follow was a
family or
personal decision
§ By relegating the subordinate musical function to separate and
socially inferior music specialists, the problem of leading and
following was resolved through occupational caste
specialization
§ Lower-ranked musicians could make breaks with tradition and
provide innovations
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Sarangi players
§ Chose to accept their new subordinate socio-musical role
because it was a step up from their social status as minstrels,
folk musicians, etc.
§ This created a more hierarchical musical and social structure
§ No previous social distinction between soloist and
accompanist
§ Allowed space for innovation for those in subordinate social
and
musical roles–accompanists
§ Most, if not all, the great musicians of the 20th century came
from
accompanist backgrounds

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Structural tension in the solo-
accompanist dynamic
§ Productive tension
§ Never resolves itself, but always has extremely creative
musical
solutions and strategies of social mobility
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Class 6
4.15.19
§ Announcements
§ Go over quiz
§ Lecture on gharana and khandan
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Ustad Sultan Khan
4.15.40-9.27.11
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Announcements
§ Assignment #1 posted
§ Summer course on Indian rhythm (second session)
§ Quiz #2
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Last class review
§ Social and musical distinction of soloist and accompanist
§ Authority in musical performance
z
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Terms
§ Gharana – (from ghar “house”) a school of playing in
Hindustani
music, named after the place from which the progenitor of that

school was born.
§ Khandan – (from khaneh “house”) a family of musicians in
which
musical information is passed from one generation to the next
§ Kalawant – soloist (vocalist) class of musicians
§ Mirasi – accompanist class of musicians
§ Dharhi (Dhadhi) – accompanist class of musicians
§ Vani – Dhrupad lineages
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Questions to consider
§ How does one create authority in their craft?
§ How does one preserve authority?
§ How does social structure relate to this?
§ How are these rules broken?
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Gharana and Khandan
§ Socio-musical identities that are based on lineage
§ In Hindustani music, musicians are marked and authenticated
by

their lineage
§ Pedagogical (their teachers)
§ Hereditarily (their relatives)
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The production of a
socio-musical identity
§ Musicians are introduced by their musical lineage
§ Identity is also marked by the teacher and the musical family
(gharana) to which they both belong
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Imdadkhani/Etawah gharana
Ustad Shujaat Khan
Ustad Shahid Parvez Khan
Ustad Nishat Khan
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Maihar gharana
Pandit Ravi Shankar

Ustad Ali Akbar Khan
Baba Allaudin Khan
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The production of a
§ Such an introduction marks a musician as both a person and a
figure
§ An artist to whom we attribute particular musical features
§ A figure bearing the signs of a musical tradition
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The production of a
§ Socio-music identity – an identity based on musical heritage
§ A musician’s identity is defined by the identity of his or her
teacher, whose identity is also marked by his or her teacher
§ In 19th century musicians began to place an emphasis on
tracing
their pedagogical lineage to Mian Tansen
§ Through step son (Bilas Khan) and daughter (Saraswati Devi)

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Three concepts of lineage
§ Vani
§ Old Dhrupad lineages (Gauri, Kandhar, Nauhar, Dagar)
§ Khandan
§ A musical family
§ Musical tradition passed down through successive generations
§ Gharana
§ A musical lineage passed down through at least three
successive
generations
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Khandani musicians
Ustad Akram Khan, Ustad Hashmat Ali,
and Zalgai Khan, Ajrada gharana Salim Chishti Qawwals,
Fatehpur Sikri
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Gharana musicians
Pandit Nikhil Banerjee

Maihar gharana
Pandit Ravi Shankar
Maihar gharana
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Khandan and gharana
§ Three castes of musicians
§ Kalawant
§ Solo vocalists
§ Stand as primary figures of musical authority
§ Mirasi
§ Accompanist class
§ Can become soloist if they renounce their accompaniment
instrument (sarangi)
§ A Mirasi khandan can even achieve the status of gharana
§ BUT a Mirasi khandan will always have a lower status than a
Kalawant gharana
§ Lower in prestige and authority
§ Dharhi (Dhadhi)
§ Accompaniment class; replaced by Mirasi

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Gharana
§ ”The concept [of gharana] be said to include, minimally,
§ “a lineage of hereditary musicians,
§ “their disciples,
§ “and the particular musical style they represent” (Neuman, p.
146)
§ Definition entails three elements
§ Descent
§ Learning
§ Marriage
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Gharana requirements entail
three elements
§ Descent: Require three generations of musicians
§ Implies that there need to be enough distinguished musicians
to give it weight
§ Learning: Unique and distinct style
§ Makes a contribution to the development of the musical
tradition

§ Marriage
§ Marriage lines determined structures of inclusion and
exclusion to gharana
status
§ Traditionally, gharana-s did not have accompanists in them
§ If ancestors played the sarangi or tabla it discredits their
claim to gharana
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Gharana and the politics of pedigree
§ “A gharana identity provides a shorthand notation for a
musician’s pedigree, be it biological or a cultural inheritance or
both” (Neuman, p. 165)
§ The politics of pedigree revolve around attempts to
demonstrate
the authenticity, age, and consequent purity of a lineage and
the body of knowledge associated with it” (Neuman, p. 167)
z
§ Therefore to lay a claim to gharana status is to lay claim to a
level of authority otherwise not granted
§ Only vocalists could claim gharana status in the 19th and
early

20th centuries
§ Instrumentalists and accompanists could not
§ 20th century
§ Solo instrumentalists gain the authority to lay claim to
gharana
status
§ Accompanists still could not
z
§ In mid-, late-20th century accompanists gain credibility and
recognition to lay claim to gharana status
§ Term bāj (”style”) to identify tabla gharana-s and styles
§ Delhi baj, Lucknow (Purab) baj
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Gharana
§ Gharana-s were, until the 1970s, largely associated only with
the vocal traditions, not
instrumental or accompanist traditions
§ Vocal–Yes
§ Instrumental–No

§ Gharana-s were, until the early 20th century, associated only
with the Kalawant lineages
§ Orthodox soloists who had no accompanists in their
genealogical background
§ Kalawant – (caste lineage of soloists) – YES
§ Mirasi – (caste lineage of accompanists) – NO
§ Dharhi – (caste lineage of accompanists) – NO
§ All of this changed as the accompanist class not only assumed
the status of gharana but
also came to dominate them
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Khandan, gharana, and vani
§ Khandan
§ Any hereditary lineage of an occupational specialty
§ Music, sculpture, woodworking, etc.
§ In music can be accompanist, vocalist, dhrupad, or khyāl
§ To be khandani then implies the inheritance of musical
knowledge and style
§ Gharana
§ Vocal lineage of khyāl
§ Replaced Vani as central form of socio-musical identity

§ Vani
§ Dhrupad lineage, descendants of four court musicians of
Akbar, including Tansen
§ Lineage identity that preceded gharana
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Gharana
§ This shift also led to a new socio-musical phenomenon,
known as gharana “of the house”
§ “Ghar” means house
§ Traditionally gharana was named after a place rather than a
person
§ Agra gharana
§ Gwalior gharana
§ More recently it is sometimes attached to an artist’s name
§ Imdadkhani gharana
§ Refers to a stylistic school
§ A musical family, marked by a certain style
§ Denotes a level of authority

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Gharana vs. khandan
§ Gharanas
§ Emphasized authority and purity of lineage
§ Vocalists, not instrumentalists
§ Soloists, not accompanists
§ Kalawant - vocal soloist caste
§ Mirasi and Dharhi are accompanist caste
§ Khandan
§ Refers to a lineage and the style of that lineage
§ Can have accompanists as well as soloists
§ Can have Mirasi/Dharhi castes as well as Kalawant
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Difference between
gharana and khandan
Gharana Khandan
Lineage Yes Yes
Status of lineage Can be hereditary or non-
hereditary
Implies hereditary status

Prestige Higher Lower
Vocalist only Yes No
Instrumental soloists Not until recently Yes
Accompanists Not until recently Yes
Caste Kalawant (until recently) Kalawant/Mirasi/Dharhi
Generations required Three Not specified (can be one)
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Class 6
4.15.19
§ Announcements
§ Go over quiz
§ Lecture on gharana and khandan
z
Ustad Sultan Khan
4.15.40-9.27.11

z
Announcements
§ Assignment #1 posted
§ Quiz #2
z
Last class review
§ Social and musical distinction of soloist and accompanist
§ Authority in musical performance
z
z
Terms
§ Gharana – (from ghar “house”) a school of playing in
Hindustani

music, named after the place from which the progenitor of that
school was born.
§ Khandan – (from khaneh “house”) a family of musicians in
which
musical information is passed from one generation to the next
§ Kalawant – soloist (vocalist) class of musicians
§ Mirasi – accompanist class of musicians
§ Dharhi (Dhadhi) – accompanist class of musicians
§ Vani – Dhrupad lineages
z
Questions to consider
§ How does one create authority in their craft?
§ How does one preserve authority?
§ How does social structure relate to this?
§ How are these rules broken?
z
Gharana and Khandan
§ Socio-musical identities that are based on lineage
§ In Hindustani music, musicians are marked and authenticated

by
their lineage
§ Pedagogical (their teachers)
§ Hereditarily (their relatives)
z
The production of a
§ Musicians are introduced by their musical lineage
§ Identity is also marked by the teacher and the musical family
(gharana) to which they both belong
z
Imdadkhani/Etawah gharana
Ustad Shujaat Khan
Ustad Shahid Parvez Khan
Ustad Nishat Khan
z
Maihar gharana
Pandit Ravi Shankar

z
Three concepts of lineage
§ Vani
§ Old Dhrupad lineages (Gauri, Kandhar, Nauhar, Dagar)
§ Khandan
§ A musical family
§ Musical tradition passed down through successive generations
§ Gharana
§ A musical lineage passed down through at least three
successive
generations
z
Khandani musicians
Ustad Akram Khan, Ustad Hashmat Ali,
and Zalgai Khan, Ajrada gharana Salim Chishti Qawwals,
Fatehpur Sikri
z
Gharana musicians

Pandit Nikhil Banerjee
Maihar gharana
Pandit Ravi Shankar
Maihar gharana
z
Khandan and gharana
§ Three castes of musicians
§ Kalawant
§ Solo vocalists
§ Stand as primary figures of musical authority
§ Mirasi
§ Accompanist class
§ Can become soloist if they renounce their accompaniment
instrument (sarangi)
§ A Mirasi khandan can even achieve the status of gharana
§ BUT a Mirasi khandan will always have a lower status than a
Kalawant gharana
§ Lower in prestige and authority
§ Dharhi (Dhadhi)
§ Accompaniment class; replaced by Mirasi

z
Gharana
§ ”The concept [of gharana] be said to include, minimally,
§ “a lineage of hereditary musicians,
§ “their disciples,
§ “and the particular musical style they represent” (Neuman, p.
146)
§ Definition entails three elements
§ Descent
§ Learning
§ Marriage
z
Gharana requirements entail
three elements
§ Descent: Require three generations of musicians
§ Implies that there need to be enough distinguished musicians
to give it weight
§ Learning: Unique and distinct style
§ Makes a contribution to the development of the musical

tradition
§ Marriage
§ Marriage lines determined structures of inclusion and
exclusion to gharana
status
§ Traditionally, gharana-s did not have accompanists in them
§ If ancestors played the sarangi or tabla it discredits their
claim to gharana
z
§ “A gharana identity provides a shorthand notation for a
musician’s pedigree, be it biological or a cultural inheritance or
both” (Neuman, p. 165)
§ The politics of pedigree revolve around attempts to
demonstrate
the authenticity, age, and consequent purity of a lineage and
the body of knowledge associated with it” (Neuman, p. 167)
z
§ Therefore to lay a claim to gharana status is to lay claim to a
level of authority otherwise not granted
§ Only vocalists could claim gharana status in the 19th and

early
20th centuries
§ Instrumentalists and accompanists could not
§ 20th century
§ Solo instrumentalists gain the authority to lay claim to
gharana
status
§ Accompanists still could not
z
§ In mid-, late-20th century accompanists gain credibility and
recognition to lay claim to gharana status
§ Term bāj (”style”) to identify tabla gharana-s and styles
§ Delhi baj, Lucknow (Purab) baj
z
Gharana
§ Gharana-s were, until the 1970s, largely associated only with
the vocal traditions, not
instrumental or accompanist traditions
§ Vocal–Yes

§ Instrumental–No
§ Gharana-s were, until the early 20th century, associated only
with the Kalawant lineages
§ Orthodox soloists who had no accompanists in their
genealogical background
§ Kalawant – (caste lineage of soloists) – YES
§ Mirasi – (caste lineage of accompanists) – NO
§ Dharhi – (caste lineage of accompanists) – NO
§ All of this changed as the accompanist class not only assumed
the status of gharana but
also came to dominate them
z
Khandan, gharana, and vani
§ Khandan
§ Any hereditary lineage of an occupational specialty
§ Music, sculpture, woodworking, etc.
§ In music can be accompanist, vocalist, dhrupad, or khyāl
§ To be khandani then implies the inheritance of musical
knowledge and style
§ Gharana
§ Vocal lineage of khyāl

§ Replaced Vani as central form of socio-musical identity
§ Vani
§ Dhrupad lineage, descendants of four court musicians of
Akbar, including Tansen
§ Lineage identity that preceded gharana
z
Gharana
§ This shift also led to a new socio-musical phenomenon,
known as gharana “of the house”
§ “Ghar” means house
§ Traditionally gharana was named after a place rather than a
person
§ Agra gharana
§ Gwalior gharana
§ More recently it is sometimes attached to an artist’s name
§ Imdadkhani gharana
§ Refers to a stylistic school
§ A musical family, marked by a certain style
§ Denotes a level of authority

Prestige Higher Lower
Vocalist only Yes No
Instrumental soloists Not until recently Yes
Accompanists Not until recently Yes
Caste Kalawant (until recently) Kalawant/Mirasi/Dharhi
Generations required Three Not specified (can be one)
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Class 7
4.17.19
§ Announcements
§ Lecture on Raga, melody, and improvisation
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Announcements

§ Assignment #1 and lecture slides posted
§ Listening list posted
§ Learn tabla and dholak!
z
Last class review
§ Socio-musical identities in Hindustani music
§ Khandan
§ Gharana
§ Kalawant, Mirasi, Dhadhi
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Terms
§ Rāg (also raga) – A collection of musical pitches that serve as
a
basis of composition and improvisation. Translates to “coloring
of the mind.”
§ Sargam – Notation system using syllables to represent
individual
notes of a raga.
§ Pakar – Meaning “to catch”; key phrases in a raag’s melodic

movement.
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Raag
§ “The term raag has no counterpart in Western musical theory.
The concept of raag is based on the idea that certain
characteristic patterns of notes evoke a heightened state of
emotion. These patterns of notes are a fusion of scalar and
melodic elements, and each raga can be described in terms of
its ascending and descending lines (which may involve ̳turns‘)
as well as its characteristic melodic figures in which certain
intervals are emphasized and attention is focused on particular
notes”—Walter Kaufmann
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Raag
§ “Raga is often, and rightly, translated 'melody-type.’ A raga is
not
a ‘scale’; it is always more specific than a mere collection of
pitch-classes and their aggregate intervals, both as to the
ordering of scale-degrees and as to relative emphasis—Harold
Powers
§ “The rag [is] a set of musical materials that together form a
unique modal identity that serves as the basis for composition
and improvisation”–Peter Row
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Raag
§ Expressed in the following ways:
§ Notes in a raag
§ Which notes are used
§ Note itinerary
§ How those notes are used
§ Note emphasis
§ Which notes are emphasized and which notes are not
emphasized
§ Key phrases
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Sargam notation
Sa Re Ga Ma Pa Dha Ni Sa
1 2 3 4 5 6 7 1
§ Sargam – name comes from the first four notes
§ Sa, Re, Ga, Ma
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Raag rules

§ Sa = melodic foundation
§ All instruments are tuned to Sa
§ Tanpura, Tabla
§ Sa and Pa are ”fixed notes”
§ Form the main pitches of the drone
§ Other notes (Re, Ga, Ma, Dha, Ni) can be raised or lowered
§ Tivra – raised
§ Komal – lowered
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Raag rules
§ There are twelve possible notes in this system
§ Same as in Western European/American art music
§ Raag can be seven notes, must be at least five
Sa re Re ga Ga ma Ma Pa dha Dha ni Ni Sa
fixed komal tivra komal tivra komal tivra fixed komal tivra
komal tivra fixed
1 2 3 4 5 6 7 8 9 10 11 12 1
C Db D Eb E F F# G Ab A Bb B C

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Raag
§ Notes in a raag
§ Note itinerary
§ Note emphasis
emphasized
§ Key phrases
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Raag Yaman
§ Sa, Re, Ga, Ma, Pa, Dha, Ni
§ All tivra notes
§ Rag Yaman – Ustad Vilayat Khan
Sa Re Ga Ma Pa Dha Ni
1 2 3 4 5 6 7

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Raag Bhairavi
§ Sa, re, ga, ma, Pa, dha, ni
§ All komal notes
§ Raag Bhairavi – Ustad Sardar Mado
Sa re ga ma Pa dha ni
1 2 3 4 5 6 7
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Raag Kalavati
§ Sa, Ga, Pa, Dha, ni
§ Raag Kalavati – Pandit Shivkumar Sharma
Sa Ga Pa Dha ni
1 2 3 4 5
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Santoor
Pandit Shivkumar Sharma
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Raag
§ Notes in a raag
§ Note itinerary
§ Note emphasis
emphasized
§ Key phrases
z
Raag Yaman and Raag Bihag
§ Same sargam
§ Sa, Re, Ga, Ma, Pa, Dha, Ni
§ Different note itineraries
§ Ascending melodic motion
§ Descending melodic motion

z
Raag Yaman and Raag Bihag
Ni Re Ga Ma Dha Ni Re
7 1 2 3 4 5 6 7 1 2
Sa Ga Ma Pa Ni Sa
7 1 2 3 4 5 6 7 1 2
Raag Yaman
Raag Bihag
Ascending melodic motion
Raag Yaman – Ustad Imrat Khan
Raag Bihag – Ustad Rashid Khan
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Surbahar
Ustad Imrat Khan
z
Raag
§ Notes in a raag

§ Note itinerary
§ Note emphasis
emphasized
§ Key phrases
z
Raag Marwa and Raag Puriya
§ Same sargam, different note emphasis
§ re, Ga, Ma, Dha, Ni
Dha Ni re Ga Ma Dha Ni re Ga
4 5 1 2 3 4 5 1 2
Dha Ni re Ga Ma Dha Ni re Ga
4 5 1 2 3 4 5 1 2
Raag Puriya
Raag Marwa
Raag Puriya – Pandit Bhimsen Joshi
Raag Marwa – Srmt Kishori Amonkar

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Raag
§ Notes in a raag
§ Note itinerary
§ Note emphasis
emphasized
§ Key phrases
z
Pakar
§ Pakarna (Hindi/Urdu) – meaning “to catch”
§ Key phrases and melodic movements of a raag
§ Help identify and distinguish similar raag types
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Raag Bageshree

§ Sa, Re, ga, ma, Pa, Dha, ni
§ Pakar:
§ ma, Pa, Dha, ga, Re, Sa
§ Sa, ma, ga
§ Dha, ni, Re, Sa
Sa Re ga ma Pa Dha ni
1 2 3 4 5 6 7
Raag Bageshree – Ustad Shahid Parvez Khan
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Class 8
4.19.19
§ Announcements
§ Practice listening exam
§ Lecture on musical affect in Hindustani music
z
Announcements
§ ISA Cultural show on April 20 (tomorrow!!!) – Extra credit

§ Assignment #1
§ Listening list updated
§ Learn tabla and dholak!
z
Last class review
§ Raag
§ Scales–but more than just scales
§ 5, 6, or 7 notes
§ Scale itinerary
§ Note emphasis
§ Key phrase - pakar
z
z

Terms
§ Affect – to have an effect on; make a difference to; move
emotionally
§ Ras/Rasa – “Juice,” affective states that are evoked in
performing arts
§ Jinn – In Islamic theology, supernatural beings that appear in
animal and human forms; possess humans
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Musical affect
§ The ability of music to affect and/or evoke human emotion
§ Sometimes contains elements of the supernatural
§ Extra-musical affects
§ Music makes you feel emotion
§ Music has healing properties
§ Sufism, Bhakti
§ Relies not only on the power of the raag but the power of the
performer
§ Associated with musicians of the past
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Ras
§ Ras, or Rasa
§ ”Juice,” or “essence”
§ Affective states
§ Detailed in Natyasāstra
§ Sanskrit treatise on performing arts (c. 200 BCE – 400 CE)
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Navaras
The nine moods
Karuna Sadness, Pathos
Shringār Love, joy
Vita Heroism, valor
Hāsya Laughter, comedy
Raudra Anger
Bhayānaka Fear
Vibhātsa Disgust
Adbhuta Surprise
Shānti Peace
From the Natyasāstra, fourth century CE
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Raag
§ Can be divided into two major categories

§ Serious/heavy – strictly classical
§ Light – meant for non-classical genres
§ Folk music, devotional music
z
“Serious” raag-s
§ Only played in classical music
§ Todi
§ Bhairav
§ Darbari
§ Ustad Mustaq Ali Khan – Raag Darbari
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Light raag-s
§ Used in ”lighter” musical genres
§ Thumri
§ Folk music
§ Devotional music
§ Pahari (“of the mountains”)

§ Ustad Din Mohammad Saqi – Safa Safa Miaid
§ Megh
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Time theory in Hindustani music
§ Certain raag correspond to particular times of day
§ Early morning, dawn, morning, afternoon, dusk, evening,
night
§ Concert programs are decided according to when they occur
§ Evening program = evening raag-s to be performed
z
z
Weather and raag
§ Certain raag are also connected to seasonal weather
§ Monsoon raag-s
§ Megh, Miyan ki Malhar
§ Veena Sahasrabuddhe – Raag Megh

§ Summer raag
§ Deepak
§ Spring time raag
§ Basant, Basant Bahar, Hindol
§ Ustad Sabri Khan – Raag Hindol
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Miyan ki Malhar
§ Rainy/monsoon season raag
§ Differing stories and myths about its connection to the
monsoon
rains
§ Akbar and Tansen
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Raag Deepak
§ Famous for its power to produce heat/light lanterns (deepak)
§ Tansen and raag Miyan Ki Malhar
§ Ram Chattur Mallick – Raag Deepak (17:36)

z
Bilaskhani Todi
§ Created by the son of Tansen, Bilas Khan
§ Was so distraught by his father’s death that when he tried to
sing
his father’s favorite raag, Todi, some of the notes were altered
§ Associated with feelings of pathos
§ Morning time raag
§ Pandit Nikhil Banerjee – Raag Bilaskhani Todi
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Raag and the supernatural
§ Raag Malkauns
§ Associated to jinn-s (genies)
§ Jinn said to be attracted to raag Malkauns
§ To be played late at night (after midnight)
§ Some musicians admit to not practicing raag Malkauns when
alone
at night
§ Ustad Amjad Ali Khan – Raag Malkauns

z
Music of India,
Pakistan, and
Afghanistan
Music 80X
Spring Quarter 2019
Michael Lindsey
z
Class 1
4.1.19
§ Introduction to class
§ Go through syllabus
§ Listen and discuss musical examples
z
Class 2
4.3.19
§ Announcements
§ Key terms in today’s lectures

§ Overview of Hindustani music, part 1
z
Announcements
§ Extra credit opportunity: Ustad Aashish Khan concert, April
28
§ Canvas site not published yet
§ Summer class on Indian rhythm
z
Key terms and people
§ Mughal Empire – Ruling dynasty that controlled areas of
South and Central
Asia from 1526-1857 that was known for the lavish patronage of
art forms.
§ Akbar (1542-1605) – Third Mughal Emperor (r. 1556-1605)
and famous
patron of music and arts.
§ Mian Tansen (1506-1589) – Court musician for Akbar.
§ Swami Haridas (1478-1573) – Faqir, teacher of Tansen.
§ Dhrupad – Old and austere genre of Hindustani music
§ Khyal – Genre of Hindustani music featuring extensive

improvisation,
surpassed dhrupad in popularity
z
z
Emperor Akbar
Mian TansenSwami Haridas
Music as form of devotion Music as entertainment,
occupation
z
z
Tansen’s Baradari, Fatehpur Sikri, India
z
Akbar’s Tomb, Sikandra, India
z

Music offers two pathways to the divine
§ Elite, art music traditions
§ Meditative
§ Non-lyrical
§ Non-rhythmic
§ Devotional and regional traditions
§ Ecstatic
§ Lyric-centric
§ Highly rhythmic
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Devotional Devotional Light Classical Light Classical Classical
Classical
Genre Bhajan Qawwali Ghazal Thumri Khayal Dhrupad
Importance of
Lyrics
High High High High Low Low
Musical
Complexity
Low Medium Medium Medium High High

Spiritual Spiritual Spiritual/
Romantic
Spiritual/
Romantic
Secular Secular
High emphasis on lyrics Low emphasis on lyrics
Low musical complexity High musical complexity
Hindustani music genres
z
Classical
Importance of
Lyrics
Musical
Complexity
Romantic

Spiritual/
Romantic
Secular Secular
z
Dhrupad
§ More authoritative and austere tradition
§ Soloist
§ Vocal
§ In all traditions vocal music has the highest status
§ Rudra Veena
§ Ancient Indian instrument
§ Rudra is a name for the Hindu god, Shiva
§ Shiva was said to have enjoyed listening to the veena
§ Rarely played anymore
§ Accompanied by Pakhawaj

z
Rudra Veena (Bin)
Ustad Bahauddin Dagar
z
Classical
Importance of
Lyrics
Musical
Complexity
Romantic
Spiritual/
Romantic
Secular Secular

z
Khyal
§ Khyal translates to “imagination”
§ Surpassed dhrupad in popularity (late 16th/early 17th century)
§ Soloist tradition
§ Vocal
§ Instrumental
§ Sitar
§ Sarod
§ Rubab
§ Flute
§ Accompanist
§ Melodic – Sarangi
§ Rhythmic – Tabla

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Class 3
4.5.19
§ Announcements
§ Lecture on thumri, ghazal, qawwali, bhajan
z
Announcements
§ Canvas site is up! Readings and Quiz 1 will be posted by
Saturday morning. Information on assignments and extra credit
will be posted next week.
§ Extra Credit – Aashish Khan concert, April 28 $4
§ Summer class on Indian Rhythm
z
Review of last class
§ Mughal empire – lavish patrons of music, fostered musical
culture that developed into music as it exists today.
§ Akbar, Tansen, and Swami Haridas
§ Music as profession

§ Music as devotion
§ Dhrupad
§ Khyal
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Key terms
§ Thumri – Form of romantic poetry describing pain of
separation
§ Ghazal – Poetic form that is set to music in South and Central
Asia; discusses pain of separation
§ Qawwali – Sufi (mystical Islam) devotional chanting
§ Bhajan – Hindu devotional chanting
z
Classical
Importance of
Lyrics
Musical

Complexity
Romantic
Spiritual/
Romantic
Secular Secular
z
Thumri
§ Form of romantic poetry that discusses the spiritual romance
between Gods Radha and Krishna
§ Poetry often from the perspective of a woman (Radha)
§ Men sing Thumri, but do so from the subject position of a
woman
§ More liberal in performance practice than Khyal
§ Themes of romance inspired by the Bhakti movement

z
Bājū band khul khul jāe
My bracelets have slipped off
Baju band khul khul jae
Sanvariya ne jadu dara
Jadu ki puriya bhar bhar mara re
Ka karenga ved bichara?
My bracelets have fallen off;
My lover has cast a spell on me;
He has struck me with a vessel full
of magic;
What can the helpless doctor do?
z
Classical
Importance of
Lyrics
Musical
Complexity

Romantic
Spiritual/
Romantic
Secular Secular
z
Ghazal
§ Originally an Arabic form of poetry
§ Adapted to many Central and South Asian languages
§ Farsi, Urdu, Hindi, Pashto, Gujarati
§ Rhyming couplets (AA, BA, CA, DA…)
§ Popular in Afghanistan and Pakistan
§ Poetry contains themes related to Sufism
z
Iqbal Bano
1935-2009

§ Highly acclaimed Pakistani ghazal singer
§ Born in Delhi
§ Trained in classical and light classical forms
z
Dasht-e Tanhā-ī Maiṇ
(In the Wilderness of My Loneliness)
Dasht-e tanhā’ī maiṇ ae jān-e jahāṇ larazāṇ
haiṇ
Terī āvāz ke sā’e tere hoṭoṇ ke sarāb
Dasht-e tanhā’ī maiṇ durī ke ḳhas-o ḳhāk tale
Khil rahe haiṇ tere pahalu ke saman aur gulāb
Ūṭh rahī hai kahīṇ qurbat se terī sāṇs kī ānch
Apnī ḳhushbū maiṇ sulagtī hu’ī madham
madham
Dor ufaq pār chamaktī hu’ī qatra qatra
Gir rahī hai terī dildār nazr kī shabnam
Is qadr pīyār se ae jān-e jahāṇ rakhā hai
Dil ke raḳhsār pe is vaqt terī yād ne hāth
Yuṇ gumāṇ hotā hai garche hai abhī sub’-e
firāq
Ḍahil gayā hijr kā din ābhī ga’ī vasl kī rāt
In the wilderness of loneliness, darling,
shivering,
The shadows of your voice, the mirage of
your lips
In the wilderness of loneliness, under the
separation of straw and dust
The flower of your body is blossoming

From somewhere this intimacy is awakening,
the heat of your breath,
Smoldering in its own scent, like honey
On the far horizon glittering, drop by drop
Like dew, your captivating glances falling
Darling, out of love
Your memory has now placed its hand on the
face of my heart
Though this is the morning of separation, it
seems that this
Day of separation has fled, and now is the
night of union
Translation: Iris Yellum
z
Classical
Importance of
Lyrics
Musical
Complexity
Romantic

Spiritual/
Romantic
Secular Secular
z
Qawwali
§ Sufi devotional poetry set to music
§ Attributed to Amir Khusro (1253-1325), Sufi scholar, poet,
and
musician; student of Hazrat Nizamuddin Auliya (1238-1325)
§ Performed at dargahs (Sufi Shrines)
z
Nizamuddin Auliya Dargah, Delhi
z
Salim Chishti Dargah, Fatehpur Sikri

z
Allah Hoo
Nusrat Fateh Ali Khan
Allah Hoo, Allah Hoo, Allah Hoo
Malik ul mulk lashareeka lahoo
Wahadahoo laa ilaahaa illaahoo
Yeh zameen jab na thii yeh jahaan jab na thaa
Chaand suraj na thay aasman jab na tha
Raaz-e-haq bhi kisi per ayaan jab na tha
Tab na tha kuch yahaan tha magar tu hee tu
Sana bashar k liyeah bashar sana k liyeah
Har Shay Tere Jamaal Ki Aainaa Daar Hai
Har Shay Pukaarti Hai Tu Parvardigaar Hai
Teri Ruboobiyat Ki Ada Ka Kamaal Hai
Tu Rab-e-Qayaanat Hai, Tu Lajwal Hai
Ruler of the world, soul of my blood
The promised one, there is nothing but you
When this earth and world did not exist
When there was no moon, sun or sky
When the secret of the truth was still unknown
When there was nothing, there was you

Everything is a reflection of your glory
Every thing cries out that you are the Lord
It is the distinction of your enthralling visage
You are the unrivalled Lord of the Universe
z
Classical
Importance of
Lyrics
Musical
Complexity
Romantic
Spiritual/
Romantic
Secular Secular

z
Bhajan
§ Devotional Hindu poetry set to ecstatic music
§ Bhagavad Gita
§ Themes inspired by the Bhakti movement
§ Originated in South India in eight century
§ Used local languages and musical practices to be accessible to
everyone
§ Promoted a path to spiritual pursuit regardless of one’s caste
z
Sindhi Bhajan

zClass 44.8.19§ Announcements§ Go over quiz #1.docx

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