Music knows no boundary, no language, no colour and no creed: It pervades this planet and universe. Santosh Kamari, a PhD student in music from Patiala, says that there is no need of any language to understand Music. It has no boundaries. Music keeps people of different religions and lands united. It casts its impact on the spirit and personality of listeners. Music helped a lot in achieving freedom for India from British rule. Santosh says that today youth is forgetting our old culture and music. It should be preserved and promoted among youth.
Before making an attempt to understand Indian Music, I frequently pray to Lord Vishnu that He gives me a long life so that I can utilize my serendipity fully. Christopher Marlowe would equal --------if not excel------William Shakespeare, if the former had lived a long life. There are many examples of premature death. For example, John Keats from UK and Master Madan from India.
William Wordsworth’s beautiful poem ‘The Solitary Reaper’ establishes the eternal significance of classic music. PB Shelley says: ‘Our sweetest songs are those that tell of saddest thoughts’. Shelley’s remark is applicable to all ages and all lands. Dr Samuel Johnson remarks: ‘Music is the only art without sensual pleasure”. But this remark is not applicable to vulgar and erotic music. Many classical singers like Kirtidan Gadhvi and Ustad Hamid Ali Khan have beautifully sung the Bandish ‘Pyar Nahi Hai Sur Se Jisko, Who Murakh Insaan Nahi Hai’ in the serious Raag Malkauns.
Listening to any classic music of the globe transports one to the esoteric world of spirits and duplicates, as well as to the mysterious but gorgeous and enchanting infinite past. It is believed by many that awakening of your Serpent Power (Kundalini) yields you the exact memory of your past incarnations .But, the esoteric ‘taste’ of the past can be had simply by hearing music. For this, there is no need of Kundalini-Jagaran.
Every classic music has a magnetic quality of attracting and fascinating the listeners. A beautiful dance is being performed by artistes on classic songs during night under a clear sky. Right above them is a star-spangled sky, an eternal space. Music exists on innumerable planets in endless space.
Classic music gives us Anand(Bliss) instead of Sukh (Pleasure).The latter is yielded by ‘ordinary ‘music.
Matthew Arnold holds that poetry is a’ high serious ‘criticism of life. In my view, every classic music is also a high serious criticism of life. It is Cathartic, to use Aristotle’s term. It mesmerizes all listeners. It has variegated moods, flavours, and tones. It has eternal validity and eternal appeal. Plato also suggested that Music ought to be taught to all students.
Classical Music of North and South India
Indian Classical Music is much more superior to Western music. Indian music affects your heads whereas Western music affects your legs. Today, many people of foreign countries are enjoying and learning Indian classical music.
There exist strong correlations between Music and Astrology. For instance, people born under Ashwini Nakshtra like the Raag Malkauns. Aries ascendant men and women like Raag Desh in particular. People born under Capricorn ascendant prefer raag Bhairav and Ragini Sindh Bhairavi. Sanskrit word Sarang means a deer.
The Anuradha Nakshtra is considered a deer Nakshtra. That is why ragas like Vrindavani Sarang , Madhyamadi Sarang, Miyan ki Sarang, Gaur Sarang and Barhans Sarang are liked in particular by people born under Anuradha Nakshtra, it is generally believed. In my view, each raga has its own fruit and own flower. Probably, there exist books on this in this globe. If not, then this field is an interesting, but tedious domain for seminal research. One can take help of “Siddhas and gods” in this wherever there is any doubt.
‘Aesthetic body jerks ‘in classical music {My term, may get tallied}. For example, jerks by Pandit Rajan and Sajan Mishra in Monsoon Khayal {Raga Megh} have thematic and aesthetic validity. Same comments hold true for aesthetic body jerks by Pandit Bhimsen Joshi, Ustaad Hamid Ali Khan and others. Some listeners also exhibit aesthetic body jerks in a live concert as well as at home with a mobile {earlier, with a tape-recorder}.
Pandit Jasraj and Pandit Bhimsen Joshi have sung, in jugalbandi, the serious raag malkauns through the words ‘Rangraliya karat Guru jan ke’ in a classic manner. But they should not have chosen these lascivious words because these lusty words despoil the serious sanctity of the raga.
Pandit Kumar Gandharva, who has only one lung by birth, sings beautifully in short steps. His music is a good example of the saying ‘In short measures life may be perfect’. Jane Austen, the famous English novelist, also chose a small field but created super beauty within a small gamut. In this, Jane Austen is also like Kumar Gandharva.
In English Phonetics, we speak of three kinds of stress---primary stress, secondary stress and tertiary stress. Similarly, we have three broad kinds of human beauty-----primary, secondary and tertiary. These may also be termed as A, B, and C or 1,2 and 3 stresses/beauty. Generally , artistes who have learnt classical music in Gharanas produce complex, tedious and primary Koot-tans, the way artiste sings and renders the complex music notes.
But singers belonging to schools, colleges and universities yield easier and simpler Koot-tans. Primary koot-tans have been yielded by artistes like Pandi Jasraj, Pandit Bhim Sen Joshi, Pandit Mallikarjun Mansur, Pandit Venkatesh Kumar,Kaivalya Kumar,Ustad Hamid Ali Khan,Ustad Rashid Khan,Bade Ghulam Ali Khan,Fateh Ali Khan and Pandit Jayateerth Mevundi.
Secondary koot-tans are provided by Master Manhar Barve, Shruti Sadolikar, Sawani Shende, Anand Bhate, Jayshree Patnekar, Shafqat Ali Khan etc. Tertiary koot-tans are given by school, college and university music teachers.
Jalota-Kumar Sanu Classical Connection
Perhaps the only classical gazal singer among Hindu artistes is Anoop Jalota, the famous gazal singer and son of Late gazal singer Purushotam Das Jalota. Other Hindu gazal singers who sing in a Sugam/easier manner are----Kumar Sanu,Pankaj Udhas,and Jagjit Singh and Chitra Singh. In my opinion, the most poignant gazal by Kumar Sanu is Sharab Pi Lena. In this gazal by Sanu, the initial, intervening and last instrumental tunes are heart-touching and poignant.
The popular Malkauns bandish Pyar Nahi Hai Sur Se Jisko has been sung in primary classical mode by Ustad Hamid Ali Khan,Ustad Asad Amanat Ali Khan,KirtidanGadhvi,Yogesh Puri and Osman Mir etc. Another popular classical song is ‘Ae Re Sakhi Mangal Gao Re’ by Osman Mir and Birju Barot especially.
Women’s Gazal Dhamaal
Malini Rajurkar, Shobha Gurtu,Vidushi Poonam, Girija Devi,Savita Devi d/o Siddeshwari Devi, Kishori Amonkar etc are famous Classical females from India. Among these Shobha Gurtu is hailed popularly as ‘The Thumri Queen’. She has rendered classic thumris like Andheriyan Hai Raat,Nazariyan Lage Nahi Kahin Aur ,Rangi Sari Gulabi Chunariya,Saiyan Rooth Gaye etc.
Music Today has presented and thus preserved a myriad of classical pieces along with a catalogue. These pieces also have been produced through audio cassettes intended for listening on tape-recorders. Some other top class classical artistes are ----- Ustad Amjad Ali Khan (Sarod),Pandit Hari Prasad Chaurasia (Flute),Bismillah Khan(Shehnai),Pandit Ravi Shankar(Sitar),Panna Lal Ghosh(Flute),Shiv Kumar Sharma (Santoor),Ustad Zakir Hussain(Tabla).
Carnatic Music and Lord Vithal
In Carnatic Music,Pandit Venkatesh Kumar has produced classics like Kugidharu Dhvani Kelade. Pandit Mallikarjun Mansur has produced beautifully a South Indian classical item Kanaad Vachans.The greatest exponent of South Indian classical lore is Pandit Bal Murli Krishna. Parvatiye Deviye is also a beautiful and classic tour de force in Kannad tradition by the classical maestro Pandit Venkatesh Kumar .Another devotional song is Kamale Kamalaalaye .Most of these Bhakti songs are in praise of South Indian God Vithal. Radhadhar Madhu Milind Jai Jai is a classical devotional song sung by many maestros like Pandit Bhimsen Joshi.
Classic Old and New Bollywood Filmi Songs
Bollywood musical renderings have transformed the music for its mass appeal and popular taste. Vaijayantimala has danced beautifully to the classic song Suno Ji Kya Kya Kharidoge. The intervening second instrumental tune in this song is poignant and heart-touching and may make a sensitive or sentimental listener weep. This tune comes twice in this song. Another serious classic song is Aan Milo Sajana in which Late Rajesh Khanna and Asha Parekh have danced beautifully. The intervening instrumental tunes here too are poignant enough.
Other old classic filmi songs from India are :---Chalte Chalte ;Inhin Logon Ne;Teere Nazar Dekhenge;Thare Rahio;Khuda Nigehban Ho Tumhara;Piya Aiso Jia Mein Sama Gayo Re;Chahe Mar Dalo Raja;Ho Maine Pyar Kiya;Tum Mujhe Bhool Bhi Jao To Ye Haq Hai Tumko;Rang Dil Ki Dhadkan Bhi Lati To Hogi;Rasik Balma;Kabhi Tanhaio Mein Yun Hamari Yaad Ayegi;Mar Gaya Papi Bichhua;Koi Nahi Hai,Phir Bhi Hai Mujhko Na Jane Kiska Intezaar;Yeh Dil Aur Unki Nigaho Ke Saye.
Mujhe Na Bula is a classic song of 1957.There are supernatural elements in it. B.Saroja Devi has danced beautifully in it. She has also danced exquisitely in another classic song Balma Mane Na.
Some later/recent Hindi filmi songs, some jovial and others sad, are also classics in themselves. For example, instrumental tune in Tip Tip Barsa Pani(Film Mohra). Akshay Kumar and RavinaTandon have performed good dance in this songs. Second classic song Aisa Lagta Hai, Achha Lagta Hai,Pyar Ka Sapna Achha Lagta Hai,is also a highly commendable ,light, and sweet-sour filmi song. Classic songs in Rekha’s Umrao Jan also deserve applause.
The Bollywood stars can be classified into two broad generations and they have got their own tribe of followers or lovers as per their tastes. The listerners not only relate to the stars by their acting but beucase how they sing and dance the popular hot numbers.
Generation 1 Bollywood Stars: Prithvi Raj Kapoor.Shammi Kapoor.Dev Anand.Balraj Sahni.Aga.Johny Walker.Nirupama Roy.Vaijayantimala.Vaheda Rehman.Nargis.Mala Sinha.Asha Parekh.Meena Kumari.Madhu Bala.Nutan.Rajender Kumar.Raj Kapoor.Dilip Kumar(most beauteous in my view).
Generation 2 Bollywood Stars. Amitabh Bachchan.Jitender.Mithun Chakravarti.Shatrughan Sinha.Rajnikant.Rajesh Khanna.Asrani.Johny Lever.Jacky Shroff.Rishi Kapoor.Naseerudin Shah.Anil Kapoor.Randheer Kapoor.Amjad Khan.Amrishpuri.Prem Chopra.Shakti Kapoor.Ranjeet.Hema Malini.Rekha.Jaya Prada.Reena Roy.Raj Babbar.Sadashiv Amrapurkar.Madan Puri.Om Puri.Rati Agnihotri.Dipti Naval.Sunil Dutt.Poonam Dhillon.Sri Devi.Smita Patil.
Third Generation Bollywood Stars: Salman Khan.Ajay Devgan.Akshay Kumar.Sunil Shetty.Sushant Rajput.Amir Khan.Munish Bahal.Sanjay Dutt.Madhuri Dixit.Ravina Tandon.Kareena Kapoor.Shilpa Shetty.Sushmita Sen.Priyanka Chopra.Preity Zinta.Karishma Kapoor.Bhagyshree.Varsha Usgaonkar.Mandakini.Padmini Kolhapure.Neha Dhupia.Payal Rohtagi.Isha Koppikar.Divya Bharati.
Marvelous Muslim Musicians
Most classic songs were written and composed by Muslim artistes. Their words, tunes and presentation were extraordinary and classical. The sufi songs like Boohey Barian by Hadiqa Kiani(in four modes) tell us about the miracles and social reforms by Sufi saints like Baba Bulleh Shah and Khwaja Muinudin Chishti.These sufi singers today are heard by many religions all over the globe. Sufi Music provides us mental peace, union with gods. We also get self-realization with the aid of sufi music. Boohey Barian is the best classical golden song by sister Hadiqa Kiani and shall remain immortal in future.
Allah Ka Mehboob Hai, Gum Abhi Paya Nahin Hai. These beautiful words occur in the famous Qawwali Teri Har Ek Ada Ko Maan Gai Mein. Famous Qawwali singers are—Badauni Brothers,Warsi Brothers, and Nusrat Fateh Ali Khan etc. Great Sufi composers have been Amir Khusro, Mirza Ghalib and Sahir Ludhianvi.
Understanding Music in Totality
If I have to put the way artistes render their music in one word, I will say, “Indian throat is milk whereas Pakistani throat is curd (yoghurt)”.
The King of Gazals, Late Mehdi Hassan sings gazals in a slow but majestic and beautiful manner like the waters of Siloah and Tons (both rivers), tributary of Yamuna, flow down its course. In general, Pakistani/Muslim singers follow and utilize classical music more abundantly than Indian singers. Gulam Ali learnt a lot from Mehdi Hassan. Both of them provide sufficient and beautiful Koot-tans in their gazals .
Other classic Muslim singers are---Reshma,Noor Jahan,Shamshad Begum,Mala Begum,Munni Begum and Begum Akhtar.
There are copious beautiful Antaras in the Pakistani song Ek Bar Muskura Do. Gulam Murtaza Khan Niazi has sung raag Jog in an appealing manner. Niazi also has sung beautifully Kyun Mujhe Maut Ke Pegam in raag Malkauns. Some other great Muslim classical singers are Shafqat Ali Khan, Hamid Ali Khan and Rashid Khan. These three yield copious Koot-tans in their classical items.
Begum Akhtar also sings gazals slowly like Mehandi Hassan. Her classic gazals are-----Dil Hi To Hai Na Sung-o-Khisht,Ibn-e-Mariam Hua Kare Koi,Mere HamnafasMere Hamnava,Vo Jo Hum Mein Tum Mein Karar Tha,etc.
Popular gazals of Ustad Mehandi Hassan are--- Ranjish Hi Sahi(in yaman kalyan),Ku Ba Ku(in Darbari, a heavy raag),Rafta Rafta Vo Meri Hasti Ka, Zindagi Mein To Sabhi Pyar Kiya Karte Hain(in Bhimpalasi).
Top gazals by Gulam Ali are---Chupke Chupke Raat Din,Mehfil Mein Bar Bar Kisi Par Nazar Gai, Hungama Hai Kyun Barpa, Apni Dhun Mein Rehta Hoon, Patta Patta Boota Boota.
Reshma sings in a unique and semi-classical manner. Her masterpieces are— Old Song, Sadde Wal Mukhda Mod, Aundiyan Naseeban Nal, Dhole Re Moomal, Mhara Malshika Rigat Mal Bhairon, Goriye Jana Pardesh.
Ustad Shafqat Ali Khan is a promising young voice. He sings classical in a unique and marvelous manner. My relative Pummy Chandra Panwar is a great fan of Shafqat Ali Khan.Pummy himself is a good singer.His filmi songs can be listened and viewed on You Tube and Facebook under the title Yogesh Chandra Official. Pummy sings in a melodious and semi-classical manner.
Yaar-e-man-bia bia is a famous composition (Qalam) of Amir Khusro. It has been sung in Raag Darbari Kanhra by many reputed singers.
Sahir Ludhianvi’s Tum Mujhay Bhool Bhi Jao To Koi Baat Nahi,Meri Baat Aur Hai, Mene To Mohabbat Ki Hai has also been sung by different artistes in a debonair and classical mode.
Gajara Bana Ke Le Aa Malania is a famous Pakistani song in raag Yaman Kalyan. Different classical singers have sung it beautifully to the delight of sentimental and discerning listeners. It has been sung superbly by Habib Wali Mohammad and Rizwan Wali Mohammad. Similarly, an old Pakistani Urdu song by Mala Begum Dil Le Ke Na Dil Tarpana is an appealing classic item.
Ustad Asad Amanat Ali Khan sings in an immaculate, gorgeous and classical manner. He has sung Pyar Nahi Hai Sur Se Jisko in a highly commendable mode by providing beautiful Koot-tans.
Peenaj Masani who sings rather simply is not that popular. Bahaar Ayee To Jaise Yak Baar Laut Aye by Tina Sani moves slowly but majestically in a sweet, debonair classical mode. Top Qawwali singers are---Nusrat Fateh Ali Khan, Warsi Brothers,and Badauni and Party. Yet another classical Sufi singer is Ustad Pathane Khan who sings slowly in a poignant mode.
Gorgeous Jaunsar Music
Music echoes its tunes as beautifully deep inside the Himalayan valleys and villages in Uttarakhand, Himachal and Jammu and Kashmir and other states.
Bijora Li is a serious and poignant Jaunsari Pahari song by Nati King Dharmender Parmar. The recording of this song is interspersed with hilarious and razzmatazz exclamation Hey. This is an ethical error. This despoils the serious sanctity of the song. Same is the case with many other serious (old) folk songs of India. Such exclamations must be curtailed so that impressionable youngsters of the nation get bowdlerized pure inspiring folk music.
In Non- Stop Muzra by Priyanka Panwar, the term Portima Li for Pratima Li is a characteristic Jaunsari linguistics that corroborates Jaunsar’s psychology and ideology. It yields sufficient aesthetic pleasure. This spelling could not have been otherwise. It is quite pertinent with respect to all parameters. This song is a classic item. The same explication holds true for Jaunsar’s Lala Doya Rama wherein they have used Doya Rama for Daya Ram. Equally superb is Priyanka’s Mama Mohar Singa.
Jeet Singh Chauhan’s classic Ramo Pufiye is a magnificent tour de force and a long enough Jaunsari song. His exquisite dance steps perfectly match the themes contained in the songs. My ‘unnamed quality ‘for Garhwal’s folk in my research on Garhwali music is also applicable to classic Jaunsari songs.
It is said that grandparents love and are loved more than one’s parents. This theme is presented beautifully in classic Jaunsari song Mera Daduye by Mahender Singh Chauhan. The intermediary tune on harmonium transports a sensitive and sentimental listener to a new domain of pure ecstasy. Om Badhani also has sung this song beautifully. His another classic song is on Veer Madho Singh Bhandari. Mahender Singh Chauhan’s another classic Rato Biyani depicts the ideal divine couple of Lord Rama and Devi Sita in a classical tune with dancers dancing in a beautiful mode. Similar remarks can be made for Mahender’s other classic songs like Phuli Jai Jai and Sirpocha Mohar Singa.
Poignant Jaunsari Song Dade Ki Kureri Metu Ko Desh by legendary singer Reshma Shah is also a worth listening song replete with local themes and high values.
Himachal -Uttarakhand Connectivity
Recently, Reshma Shah was invited to perform on stage by organizers of Chopal Utsav in District Shimla.
After concentrated listening I found that much of folk music of Himachal Pradesh and Uttarakhand resembles considerably (if not fully) in several respects. By the way, my Garhrwali friend and ex-colleague Dr Brijmani Shilval has published an authentic book titled Uttarakhand aur Himachal Ki Sanjhi Sanskriti.
Jaunsar’s Kodo Ko Kodua sung by males and females both is a partly sad and a partly gay folk song. It is quite fun and joy to dance on this crisp and light song.
Pufiye Naro Harul by Virender Chauhan and Nidhi Rana and another Jaunsari song Aaole bhuli ghughuti are poignant and slow songs.They give us Anand, not merely Sukh. The effect of these songs is 100% cathartic, to use Aristotle’s term for tragedy. These songs exquisitely depict the still, sad music of humanity.
About the author 
{Ashwini K. Loathta is a writer, a connoisseur and researcher of Music in his own way and has studied English Literature at HP University. Presently, he is Principal, Govt Sr Sec School Dhabas, Chopal, district Shimla(Himachal Pradesh).
Mob No:-6230436863, 9418942190}
