Hindustani Classical Music

Abstract

Hindustani classical music, a rich tapestry of cultural integration and musical evolution, stands as one of
the most profound musical traditions of the world. This paper focuses on how Hindustani classical music
evolved from time to time with an ultimate passion for artistry. The instruments, each with its distinct
tonal quality, contribute to the symphonic resonance that is unmistakably Hindustani. Notable maestros
have not only kept this tradition alive but have also ensured its vibrant evolution, adapting and responding
to changing times. Later part of this research focuses on Hindustani influence on Bollywood, and how it
also resonates with other regional music genres throughout India. Hindustani music is woven to hearts of
many with its classic sense of eloquence, where truth and beauty mean the same thing.

Contents
Indian Music and History .............................................................................................................................. 2
Thaat and Raagas ......................................................................................................................................... 3
Gharanas ....................................................................................................................................................... 4
Instruments ................................................................................................................................................... 6
Famous Artists .............................................................................................................................................. 8
Recent influences – Bollywood and others .................................................................................................. 10
Conclusion ................................................................................................................................................... 11
Indian Music and History

The sphere of Indian music ranges from “Mehbooba Mehbooba” to “Kun Faya Kun”, from “Apsara Ali” to
“Bonde Maya Lagaise”, from “Sanu Ek Pal Chain Na Awe” to “Taar Bijli”. Indian music is vast, rich and
colorful. Indian music is an unique genre of world music which contributes with its diversity and warmth.

The history of Indian music dates back to prehistoric age. The Paleolithic cave paintings, recognized by
UNSECO, stands today as the proof of music in Indian subcontinent of 30,000 year ago. But, in the specified
domain of classical music, music of India basically developed in two parts: Carnatic Classical Music, and
Hindustani Classical Music. As the legend goes, Sage Narada was the one who introduced the art of music
to the Earth. He is famous for perpetuating divine gossip and is always seen with a tanpura which he uses
while he sings the praise of Lord Vishnu. Both the form of Indian Classical music is sung in a melodic mode
(Raga), composed with different variations of the Sursaptak, with a specific measurement of time (Taala)
with or without improvisation. E.g. Raga Kalyana.

Classical music of India dates back in the 3rd century when Bharata and Dattilum formalized the musical
treatises, Natya Shastra. But, Hindustani Classical Music is more of an modern genre if compared to
Carnatic variation, as it started developing from the 12th century. The reason of the formation of Hindustani
Classical Music was political and religious, as Delhi, the heart of India, was conquered by Muslim rulers on
that time.

The diversity within Hindustani Classical Music is praiseworthy, as it is the place where two completely
different cultures diverged and formatted such a genre which continues to dominate todays one of the ruling
film industries in the world. The Carnatic Classical Music was fused with Persian music, where the first
influencers were Sufi poets like Amir Khusrow, and later on Mughol Courts.

Since then Hindustani Classical Music was patronized by Mughols till their fall. Later, musicians from
Mughol court went to different parts of India and created different Gharanas (in general, but there are
genres which were created because of completely different reasons). Zaminders and Nawabs started to lose
the financial capacity to patronize the musician in the 19th century. Till then, Hindustani Music was
transferred from generation to generation by Guru-Shishya (Teacher-Student) ritual. But, since the century
long patronization had come to an end, formal and grade based musical training was started.

Hindustani Classical Music still influences many of the 21 st century Bollywood music. Till today, music
enthusiasts in India starts their music vocal training with Hindustani Classical Music.
Thaat and Raagas

Thaat can be compared to axioms: axioms are some rules that remain true universally in the domain of a
specified study, say Euclidean geometry. Thaats are basically combinations of the Sursaptak. E.g. Thaat
Bilawal. Raagas are designed on the basis of the axioms, Thaats. For example: Bihag is a raaga under Thaat
Bilawal. A raaga is divided in two parts: Aroha and Abharohana. Aroha is the ascending order of notes,
and Abharohana is the opposite. Let’s look into an example.

Raaga Bihag
Aroha: Ni Sa Ga ma Pa Ni Sa
Abhorohana: Sa Ni Dha Pa Ma Ga Re Sa

A very similar notation can be found in Raag Bheem Palasri:

Aroha: Ni Sa Ga Ma Pa Ni Sa
Abhorohana: Sa Ni Dha Pa Ma Ga Re Sa

It is amazing that, they have almost same Chalan, but when sung a strict difference can be noticed.

Difference between a Thaat and Raaga can be transcend, as most of the Raagas are quite similar to each
other, and almost a replica of the Thaat. There are ten Thaat in total. The names can vary in Hindustani
Classical Music and the Carnatic one, but they are same more or less. For example – Thaat Bilawal in
Hindustani Classical Music is very much (almost same) similar to Melakarta of Carnatic Classical Music.
The Sursaptak – Sa Re Ga Ma Pa Dha Ni – are abbreviations, and they have full names. For instance, Dha
is called Dhaivat in Hindustani Classical Music. But, in Carnatic Music it is called Dhaivata. Throughout
the journey of Hindustani Classical Music, it has created it has created its own unification, own standards.
Gharanas

Gharana is generated from the Sanskrit Griha, which means house/home. After the 16th century, the singing
style of Hindustani Classical Music gained special characteristics at different princely states. Zaminder,
Nawab, and Owners of princely states were the patronizing figures of these musicians. The fall of Mughols
was one of the primary reasons why different gharanas was creates. Luckhnow, Punjab, Hyderabad, Patiala,
Rampur – each of them had their own flavor of Hindustani Classical Music – which the musicians crafted
with Indian aroma and excellence.

Khyal refers to a performance in general. Bandish is a four-to-eight-line long poem performed in a certain
manner. A standard performance can include these aspects:
1. Alap
Often performed, but some Gharanas sometimes avoid it
2. Bandish
3. Taan
4. Different types of improvisations
5. Tehai
A performance can be sung in an unique style. The improvisations, importance of Taal, whether or not to
perform Taan. Taans are quite mathematical. They are 8, 16, 32, 48, 64, 128 bits of Sursaptak performed
quite rapidly. Most of the Bandishes are designed to be sung on Tin Taal, which is a 16 bit Taal.

8 bit of Bandish + 8 bit of Taan

16 bit of Bandish + 16 bit of Taan

Musicians often follow these types of methods to perform a Khyal, but there are plenty of exceptions.
Artists often try to perform Taans in such a way so that the bandish starts right after they complete
performing the Taan – which is a comfort to both ear and math.

Traditionally, many Bandishes start from the 9th bit. In Raaga Yamana, an example of a 8 bit tan is: NR
Gm DN S’N DP mG RS. Each two Svadas makes a bit.
The oldest of all Gharanas, Qawal Bacchon Ka Gharana, is one of the most famous Gharans throughout
the subcontinent. The founding musicians are the legend Amir Khusrow, and his 12 students. Practitioners
of this genre lived in Delhi for many years. Till 13th century, this gharana amazes people all around the
world, with the mixed aroma of Persia and India. This gharana offers more freedom to a artist than many
gharans, but an exception is that Sarangi cannot be played.

The founder – Amir Khurow – in a 1975 stamp

Another Gharana is Kirana Gharana. Abdul Karim Khan and Abdul Wahid Khan, both are considered to
be the formative artists of this genre. Till it formation in late 17 th century to Ustad Amid Khan – this
genre of music continued to build the music buds for Hindustan, and indeed, the most strongest version of
Hindustani Khyal. Slow-tempo raga development, long and sustained pitches, and some classic Carnatic
Ragas – made this unique and tasteful.

Abdul Wahid Khan Abdul Karim Khan

Instruments

Sitar: You can’t imagine a classical night with a Sitar. Sitar is a stringed
instrument, developed by Khusrau Khan in 18th century, motivated from Setar
(Iran) (some scholars dispute that it was motivated from Veena). Sitar is quite a
modern instrument, which has primarily two styles: one is instrumental style,
developed by the legend Pandit Ravi Shankar, and another is Gayaki style, often
mentioned as Vilayat Khan style.

Anoushka Shankar, a famous Sitar player, had performance in Paris, France: The
Voice of Moon. A must watch to understand the magical insightfulness of Sitar.

Sarod: The beauty of Hindustani Classical Music is its diversity. Sarod is a perfect
example. Many scholars believes that it has the influence of Chitravina (an ancient
Carnatic Veena), Rubab (Iran), and modern Sursingar.

It is a stringed instrument as well. Over the years, the sarod has seen notable maestros
who've expanded its repertoire and reach. Among these luminaries are Ustad Ali Akbar
Khan and Ustad Amjad Ali Khan, both of whom have greatly popularized the
instrument globally.

You can’t imagine a subcontinental music without Tabla. It is a nonempty

intersection of all kinds of music instruments played in different genres in
the continent: from Qawwali to Bhajons, from Punjabi beats to Assam,
from Kashmir to Kanyakumari.

It is very much similar to bongos, but the sound of table is unique and
distinguishable. Debates continue till today regarding the origin of
Tabla. Tabla is mostly used for rhythmic purposes, time measurement,
and beat based musical sense.
 Harmonium is a quite a recent inclusion in Hindustani Classical Music,
but plays the most vital role in both Bhajans and Qawwali. Introduced
by Dwarakanath Ghose in 1875, Harmonium still continues to be the
part of every Indian household.

It is often accompanied by Tabla. Alike Tabla, every music genre of

Indian subcontinent uses it in different style. A Harmonium and Tabla
– the perfect duo – is all you need for a Hindustani Classical Music
performance.

Rudra Veena is often associated with Hindu mythology, as its name “Rudra”
refers to Lord Shiva. The legend says that Lord Shiva created this Veena,
where the two large circular shaped balls refer the breasts of Parvati (or
Saraswati), and the straight string bearing part refers to the Merudanda
(backbone). Another oral traditions offers a different story, where asura
Ravana is considered to be the designer of Rudra Veena. Though Rudra Veena
is one of the oldest musical instrument of Indian Classical Music, its popularity
is in decline since the development of Surbahar, another instrument
accompanied by Hindustani Classical Music.
Famous Artists

Amir Khusrau: The legendary Sufi poet Amir Khusrau is widely

acknowledged for his contribution in Indian music. He is often mentioned
as the father of Qawwali, or as the father of Urdu literature. Born in
Patiali near Etah in North India, he served under various Delhi sultans
over his lifetime. His poetic compositions encompassed a vast range of
styles, including ghazals, qawwalis, and masnavis, reflecting his profound
love for India's rich cultural tapestry. His work is a blend of Persian and
Indian music, which remains relevant and widely heard till today. For
instance, Chaap Tilak – one of the most listened songs written by Khusrau
– is about 700 years old which still continues to amaze people around the
world.

Hindustani Classical Music has developed in many phages. Many different artists explored and introduced
new variations in Hindustani Classical Music, and most of them was rich in its mystic and spiritual value.
For instance, back in 3rd and 4th century, when Indian music got its first formalized version, it had a sole
aspect – devotion. Devotion and Spirituality got a new shape in the works of Mirabai, a 16th century saint
from Rajasthan.

Mirabai: Mirabai was born in a Rajput family. Her works is a place where
devotion to Lord Krishna and love – took a new enchanted meaning. Her
bhajans dates back to the 16th century, and as a result, authentic poetries
written by Mirabai is less in number. Payo ji Maine Ram Ratan Dhan Payo –
one of the well heard bhajans written by Mirabai – is indeed a must listen.

She was married to Bhoj Raj, elder son of Rana Sanga (a great ruler of
Rajputana).
Nusrat Fateh Ali Khan: When one mentions the phrase "world music," few names resonate as profoundly
as Nusrat Fateh Ali Khan. Born in 1948 in Faisalabad, Pakistan, Nusrat was destined to inherit the
centuries-old family tradition of Qawwali, a devotional form of music rooted in Islamic Sufi traditions. While
the genre had been around for more than 700 years, it was Nusrat who breathed a new spirit into it,
elevating its status from regional reverence to global acclaim. Nusrat Fateh Ali Khan’s live performances
were one of a kind – full in both energy and passion.

If you've never heard Nusrat Fateh Ali Khan's music, you're in for a soulful voyage – a beautiful intersection
of passion, spirituality, and unparalleled musical prowess.
Recent influences – Bollywood and others

Hindustani Classical Music has been a great influence in many of the todays composers – specially in
Bollywood. For instance, one of the most listened songs in the subcontinent, Kun Faya Kun has a pure
Hindustani influence. The lyrics was written in Urdu (Hindi and Urdu has a transcendental borderline).

Jab kahin pe kuch nahi bhi nahi tha

Wahi tha Wahi tha Wahi tha Wahi tha

---

In the midst of utter loneliness, He was there. Indeed, He was.

The Sufi vibe is Bollywood in not uncommon. Any film from romantic genre at least have one “Sufi” type
song, written in Urduic Hindi (frequent use of Arabic-Persian-Pashto word is clearly visible). Most of the
songs have the use of several Hindustani instruments like Tabla, Harmonium, Sarod, Esraj etc.

Another example could be Rangrej (Javed Bashir and Shreya Ghoshal). "Rangrej" beautifully marries Javed
Bashir's robust, traditional vocals with Shreya Ghoshal's mellifluous tones. A musical treat, it evokes deep
emotions and showcases the richness of Indian classical influence.

"Apsara Ali" beautifully blends Marathi folk rhythms with traces of Hindustani classical elements. The
song's melodic structure and nuances reflect the profound influence of North Indian music traditions,
creating a harmonious fusion that captivates listeners across regions. A must watch. Other strong examples
include songs like Kesariya, Taar Bijli, Jhallah Wallah, Pee Loon, Sajan Bade Senti etc.

Specially the compositions of AR Rahman, Pritam, Atif Islam offers you the royal aroma of music which
developed for centuries in the Mughol courts. I would pick only one word describe that influence – elegance.
Within the last five years, Coke Studio Pakistan has gained enormous popularity where many of its
productions are based on different genres of Hindustani Classical Music.
Conclusion

Hindustani classical music remains a timeless embodiment of India's diverse cultural and historical tapestry.
From its roots in ancient Indian music to its harmonious synthesis with Persian elements, the genre
exemplifies the ethos of unity in diversity. Hindustani classical music isn't just a genre; it's a living testament
to India's evolving musical journey, woven together by threads of tradition, innovation, and an enduring
passion for artistry. The approach Mughols took to unify Hindustan, and to make the cultural differences
transcendent remain relevant till today. From Chattogram to Kabul – Hindustani Music spreads its magical
rich tapestry – the real magic.