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Hindustani Classical Music (Hindi ,Urdu) is the Hindustani or erstwhile North Indian style of Indian classical music. Originating in the Vedic period, it is a tradition that has been evolving from the 12th century AD, in what is now northern India, Bangladesh, and Pakistan, and also Nepal and Afghanistan, and is today one of the two main parts of Indian classical music
The tradition was born out of a cultural synthesis from several musical streams: the vedic chant, the equally ancient Persian tradition, and also existent folk traditions prevalent in the region. The terms North Indian Classical Music or Shastriya Sangeet are also occasionally used.
It is traditional for performers who have reached a distinguished level of achievement, to be awarded titles of respect; Hindus are usually referred to as Pandit and Muslims as Ustad. An interesting aspect of Hindustani music going back to sufi times, is the tradition of religious neutrality: Muslim ustads singing Hindu bhajans, or vice versa.
Indian classical music has 7 basic notes Sa Re Ga Ma Pa Dha Ni, with five interspersed half-notes, resulting in a 12-note scale. Unlike the 12-note scale in Western music, the base frequency of the scale is not fixed, and intertonal gaps (temper) may also vary; however with the gradual replacement of the sarangi by the harmonium, an equal tempered scale is increasingly used. The performance is set to a melodic pattern called a raga (also spelled as raag).
The major vocal forms-cum-styles associated with Hindustani classical music are Dhrupad, Khayal, Tarana and Thumri. Other forms include Dhamar, Trivat, Chaiti, Kajari, Tappa, Tap-Khayal, Ashtapadis, Dadra, Ghazal and Bhajan
Dhrupad is a yet older style of singing, traditionally performed by male singers. It is performed with a tanpura and a Pakhawaj as instrumental accompaniments. The lyrics, which sometimes were in Sanskrit centuries ago, are presently often sung in Brajbhasha, a medieval form of Hindi that was spoken in the Mathura area. The Rudra Veena, an ancient string instrument, is used in instrumental music in the style of Dhrupad.
Dhrupad music is primarily devotional in theme and content. It contains recitals in praise of particular deities. Dhrupad compositions begin with a relatively long and acyclic Alap, where the syllables of the following mantra is recited.
Dhrupad was the main form of northern Indian classical music until two centuries ago, but has since then given way to the somewhat less austere, khyal, a more free-form style of singing. Dhrupad ran the risk of becoming extinct in the first half of the twentieth century. Fortunately, the efforts by a few proponents from the Dagar family have led to its revival and eventual popularization in India and in the West.
Khayal is a form of vocal music in Hindustani music, adopted from medieval Persian music and based on Dhrupad music. Khayal, literally meaning "Thought" in Hindi/Urdu originally from Arabic, Khyal, is special as it is based on improvising and expressing emotion. A Khayal is a 4 to 8 lined lyric set to tune. The lyric is of an emotional account possibly from poetic observation. Khayals are also more popularly depicting emotional significance between two lovers, a situation evoking intense feeling, or situations of ethological significance in Hinduism and Islam.
The origination of Khayal is controversial, yet it is accepted that this style was based on Dhrupad gayaki and influenced by Persian music. Many argue that Amir Khusrau created the style in the late 16th century.
Tappa is a form of Indian classical vocal music whose specialty is its rolling pace based on fast, subtle, knotty construction. The arrangement of words, with the help of tone vibrations performed in an exquisite vocal style, create a charming atmosphere. It originated from the folk songs of the camel riders of Punjab and developed as a form of classical music by Mian Ghulam Nabi Shori.
Another vocal form, Tarana are medium-to-fast paced songs that are used to convey a mood of elation and are usually performed towards the end of a concert. They consist of a few lines of poetry with rhythmic syllables or bols set to a tune. The singer uses these few lines as a basis for fast improvisation. In some sense the tarana can be compared to the Tillana of Carnatic music, although the latter is primarily associated with dance.
Thumri is a semiclassical vocal form said to have begun with the court of Nawab Wajid Ali Shah, 1847-1856. There are three types of thumri: Punjabi, Lucknavi and poorab ang thumri. The lyrics are typically in a proto-Hindi language called Braj bhasha and are usually romantic.
Prominent recent performers of this genre are Bade Ghulam Ali Khan and Barkat Ali Khan, Girija Devi, Siddheshwari Devi, Begum Akhtar, Shobha Gurtu and Pandit Channulal Mishra.
Ghazal is an originally Persian form of poetry. In the Indian sub-continent, Ghazal became the most common form of poetry in the Urdu language and was popularized by classical poets like Mir Taqi Mir, Ghalib, Zauq and Sauda amongst the North Indian literary elite. Vocal music set to this mode of poetry is popular with multiple variations across Iran, Afghanistan, Central Asia, Turkey, India, Bangladeshand Pakistan. Ghazal exists in multiple variations, including folk and pop forms but its greatest exponents sing it in a semi-classical style.
The tradition was born out of a cultural synthesis from several musical streams: the vedic chant, the equally ancient Persian tradition, and also existent folk traditions prevalent in the region. The terms North Indian Classical Music or Shastriya Sangeet are also occasionally used.
It is traditional for performers who have reached a distinguished level of achievement, to be awarded titles of respect; Hindus are usually referred to as Pandit and Muslims as Ustad. An interesting aspect of Hindustani music going back to sufi times, is the tradition of religious neutrality: Muslim ustads singing Hindu bhajans, or vice versa.
Indian classical music has 7 basic notes Sa Re Ga Ma Pa Dha Ni, with five interspersed half-notes, resulting in a 12-note scale. Unlike the 12-note scale in Western music, the base frequency of the scale is not fixed, and intertonal gaps (temper) may also vary; however with the gradual replacement of the sarangi by the harmonium, an equal tempered scale is increasingly used. The performance is set to a melodic pattern called a raga (also spelled as raag).
The major vocal forms-cum-styles associated with Hindustani classical music are Dhrupad, Khayal, Tarana and Thumri. Other forms include Dhamar, Trivat, Chaiti, Kajari, Tappa, Tap-Khayal, Ashtapadis, Dadra, Ghazal and Bhajan
Dhrupad is a yet older style of singing, traditionally performed by male singers. It is performed with a tanpura and a Pakhawaj as instrumental accompaniments. The lyrics, which sometimes were in Sanskrit centuries ago, are presently often sung in Brajbhasha, a medieval form of Hindi that was spoken in the Mathura area. The Rudra Veena, an ancient string instrument, is used in instrumental music in the style of Dhrupad.
Dhrupad music is primarily devotional in theme and content. It contains recitals in praise of particular deities. Dhrupad compositions begin with a relatively long and acyclic Alap, where the syllables of the following mantra is recited.
Dhrupad was the main form of northern Indian classical music until two centuries ago, but has since then given way to the somewhat less austere, khyal, a more free-form style of singing. Dhrupad ran the risk of becoming extinct in the first half of the twentieth century. Fortunately, the efforts by a few proponents from the Dagar family have led to its revival and eventual popularization in India and in the West.
Khayal is a form of vocal music in Hindustani music, adopted from medieval Persian music and based on Dhrupad music. Khayal, literally meaning "Thought" in Hindi/Urdu originally from Arabic, Khyal, is special as it is based on improvising and expressing emotion. A Khayal is a 4 to 8 lined lyric set to tune. The lyric is of an emotional account possibly from poetic observation. Khayals are also more popularly depicting emotional significance between two lovers, a situation evoking intense feeling, or situations of ethological significance in Hinduism and Islam.
The origination of Khayal is controversial, yet it is accepted that this style was based on Dhrupad gayaki and influenced by Persian music. Many argue that Amir Khusrau created the style in the late 16th century.
Tappa is a form of Indian classical vocal music whose specialty is its rolling pace based on fast, subtle, knotty construction. The arrangement of words, with the help of tone vibrations performed in an exquisite vocal style, create a charming atmosphere. It originated from the folk songs of the camel riders of Punjab and developed as a form of classical music by Mian Ghulam Nabi Shori.
Another vocal form, Tarana are medium-to-fast paced songs that are used to convey a mood of elation and are usually performed towards the end of a concert. They consist of a few lines of poetry with rhythmic syllables or bols set to a tune. The singer uses these few lines as a basis for fast improvisation. In some sense the tarana can be compared to the Tillana of Carnatic music, although the latter is primarily associated with dance.
Thumri is a semiclassical vocal form said to have begun with the court of Nawab Wajid Ali Shah, 1847-1856. There are three types of thumri: Punjabi, Lucknavi and poorab ang thumri. The lyrics are typically in a proto-Hindi language called Braj bhasha and are usually romantic.
Prominent recent performers of this genre are Bade Ghulam Ali Khan and Barkat Ali Khan, Girija Devi, Siddheshwari Devi, Begum Akhtar, Shobha Gurtu and Pandit Channulal Mishra.
Ghazal is an originally Persian form of poetry. In the Indian sub-continent, Ghazal became the most common form of poetry in the Urdu language and was popularized by classical poets like Mir Taqi Mir, Ghalib, Zauq and Sauda amongst the North Indian literary elite. Vocal music set to this mode of poetry is popular with multiple variations across Iran, Afghanistan, Central Asia, Turkey, India, Bangladeshand Pakistan. Ghazal exists in multiple variations, including folk and pop forms but its greatest exponents sing it in a semi-classical style.
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