Tattva-Sindhu rŸo flU/kq

Ok’kZ 9] vad 2
ISSN: 2349-1426
HINDUSTANI CLASSICAL MUSIC: TRADITIONAL TO EXPERIMENTAL
APPROACH

Dr. Rishpal Singh Virk

Dr. Tajinder Pal Singh

Abstract:
In the ancient times or in the Vedic period, the teaching and learning process was not the same as
it is prevalent today in this modern era. Presently, the things have got a new shape in every sphere
of life. Certain changes have also been observed in the patterns of musical performances and
teaching and learning process as different methodology or innovative teaching aids like lecture
demonstration, learning by discovery, class participation, recitation, memorization or
combinations of all these methods for the purpose of teaching are now being used for the same
reason. If we go back in Vedic period, learning was based on oral instructions and transmission
by the teacher or guru. The place where this process used to be carried out was termed as a Gurukul.
This system included a special bond between the Guru and Shishye. Given the long tradition of
Guru-Shishya in India, and the way that Gurus or teachers are placed on a high pedestal, teachers
tend to be very whimsical and students conditioned themselves to work according to their whims.
Similarly, the subject music which was used for devotional or religious practises later became a
source of entertainment. In early 50's, Indian music got introduced as an elective subject in
educational institutes and have achieved global recognitions. Eminent artists of the subject in the
lieu of its popularity and due to the effect of Globalization have made tremendous growth. This
paper will highlight such factors and results which are evolved from traditional practices till this
present age of experiments.
Key Words: Indian Music, Traditional, Transmission, Gurukul.

India, a nation enriched with diverse cultures, comprises of variety of art forms that includes music,
poetry, painting, pottery, sculpture textile art etc. Out of all these art forms the art of music is
considered to be the superior most i.e. the finest form of art, as there is no limitation of either
language or literature. One can easily express his or her feelings through the medium of music. In
short, it can be said that the random flow of musical notes with a proper rhythmic pattern is enough
to express the inner feelings and emotions of an individual aesthetically.
If the current scenario is examined it is observed that due the advancement of science and
technology, things are growing and progressing on quite a higher note and certain changes are
being expected in each and every sphere of life. This continuous modification has made a deep
impact on the various art forms too, undoubtedly, music as an art form has also come up with
drastic transformations. The subject is directly related to society which includes a continuous

127
Tattva-Sindhu rŸo flU/kq
Ok’kZ 9] vad 2
ISSN: 2349-1426
change in thought process, needs, customs of a person and these changes have effected these art
forms including music directly.
Due to this influence it has brought Indian music out of the traditional practices and allowed it to
achieve a special place which can be termed as an experimental art. In ancient times, the traditional
music teaching style included the Guru (teacher) and Shishye (student) only. The taleem of
Hindustani Classical Music was imparted orally under the Guru Shishya Parampara representing
a gharana. The word “Gharana” is from the word “Ghar” (home) or a family. The style of that
Gharana means the style initiated by a particular family of musicians. Obviously, an outstanding
artist develops a style of his own when bears a distinctive mark at first he confines it to the members
of his family and then the shagirds or shishye studying under his Gharana. The tradition was kept
alive through this customary method i.e. Gharana which was passed from one generation to other
and hence flourishing it to many ages.
By the twentieth century, the trend of teaching music as a subject has grown incalculably. This
traditional training system termed as "gharana parampra" got itself established academically as a
subject. It has effectively reached at educational institutions, universities, schools and colleges,
where a new method of imparting music education in a written and oral form started all together.
This is the reason that music has got a proper status of a subject academically like other disciplines.
Music is now being offered as an elective subject at colleges or at schools and even at a higher
level i.e. at universities. Earlier the interests of the students were quite limited as the teaching and
learning of music was limited only at the Guru's place. As the students are being trained in music
at institutions now a days, it has earned a lot of respect as all the sections of the society are learning
the subject with full zeal and enthusiasm. It has shifted itself from a traditional form to
institutionalize form while maintaining its ethical and cultural values. The nature of music and the
sense of sacredness associated with it is such that, It is believed, there are certain aspects that are
present in the mind of a teacher while he or she treats music as a an important subject at
educational institutes. Although many essential steps are being taken by the teachers who are even
playing the role of a guru to adopt creative and innovative strategies which are not only making
the experience of learning music an enjoyable one but it is also helping in inculcating moral virtues
and moral education.
Initially, it was started on experimental basis under which the students were given information
about the intricacies of the subject in well-defined or scripted form and after evaluation awarded
with a degree in music. The notation of ragas, the bandishas, talas were written and explained in
such a manner that it guided the students even in the absence of a teacher.
Apart from this experiment, the subject also got a new recognition that added more dimensions
into it. The students and scholars started analyzing music with an interdisciplinary approach.
Evaluating the history via ancient texts, allowed the musicians and scholars to acquire new
knowledge of Shastras and many other topics related to the same. This experiment became quite
a successful one because if any student have forgotten about any raga, taal, bandish they have
learnt it again from the written source, hence remembering the forgotten part.

128
 Tattva-Sindhu rŸo flU/kq
Ok’kZ 9] vad 2
ISSN: 2349-1426
With the implementation of music as a subject, music education was effectively made accessible
to the masses in these educational institutions without any hassle. Many such experiments begun
with a sole aim to promote encourage and impart the musical education among students. The texts,
books, journals and articles related to the musical curriculum or subject came more into
publications, for example, a six volume book named Kramik Pustak Maalika by Pt. V.N
Bhatkahnde, Sangeetanjali by Pt. Omkarnath Thakur, Sangeet Bal Bodh by Pt. Vishnu Digambar
Pulaskar, Raga Vigyan by Pt. Vinayak Rao Patwardhan are few books which gained popularity in
the early 40's. Later to avoid language barriers the content was printed in various languages so that
every student or a research scholar around the world can understand the depths of Indian classical
music.
Along with the Guru-shishye parmpara, new scientific techniques, modern electronic gadgets and
other facilities also played a pivotal role in the method of musical teaching learning process.
Deserving and talented students were encouraged and supported financially by providing academic
fellowships or scholarships etc. The institutionalized education system also generated various
avenues of employment opportunities for students of music such as music teachers, music
directors, playback singers, composers etc. In this way, the scope of music education expanded
through the institutionalized method of teaching in which many other important subjects related to
music were added to it such as astronomy, music science, phonology, music therapy, vocal culture,
psychology, sociology etc.
This experimental approach has changed the conventional thinking of Musicians, earlier the
Maestros representing a particular gharana or tradition never collaborated with the artists of other
gharanas as they wanted to maintain the purity and identity of their respective schools of music.
But now the artists have also started believing in the importance and growing more of
experimentalism rather than the existing traditional method.
On the contrary, with the impact of globalization and wider job opportunities, people have started
migrating to other countries resulting in the blending of diverse cultures, they have also started
adopting and learning the native languages, cultures or clothing of that place etc. It is due to this
globalization that the Gharanedar artists have unchained themselves from the limitations of a
particular gharana. It has become equally important for every artist to maintain a balance between
the tradition and contemporary or experimental music prevalent nowadays. With this approach
Indian music has gained more popularity internationally.
This experimentalism has even encouraged many gharnedar artists to record their voice as
playback singers in films. Big starlets like Ustad Bade Ghulam Ali Khani, Ustad Amir Khanii,
Pandit D. V. Pulaskariii, Pandit Bhimsen Joshiiv, Pandit Jasrajv, Ustad Rashid Khan Sahibvi etc.
have become more famous with their melodic song recordings related to Hindustani Music. Thus,
it is observed from time to time that the artists of Indian classical music have also played a
significant role in the promotion of Indian film music.
Among the senior artists of Indian Classical music, the name of Pt. Ravi Shankar is particularly
worth mentioning and can be considered a hallmark in itself. While his performances he not only
just performed on stage but also explained Indian music to foreigners via lecture demonstrations,

129
Tattva-Sindhu rŸo flU/kq
Ok’kZ 9] vad 2
ISSN: 2349-1426
workshops etc. He also established many musical institutions in European countries. He worked
with a target to teach the students Indian classical music having different cultures and background.
He is responsible in creating many new ragas. Apart from Pt. Ravi Shankar, many other eminent
artists involved themselves into experimental music. Currently Ustad Zakir Hussain, Ustad Amjad
Ali Khan, Late Pt. Shiv Kumar Sharma, Pt. VishvaMohan Bhatt, Pt. Hariprasad Chaurasia etc. are
following his footsteps. These artists have performed Indian Music around the globe and have also
established many musical institutions.
A new genre of fusion was created with the efforts of Pt. Ravi Shankar and Ustad Zakir Hussain
by experimentally mixing Indian and western music while promotion of Indian music. This genre
or fusion music is not only popular at the national level but also at the international level and today
has a place of its own.
Other then this many experimental works have been done by the gharanedar artists like a
collaboration of Pt. Ravi Shankar with Yehudi Menuhin (violinist) and this jugalbandi became
very popular. This presentation merged the West with the East and created the music album
"Mamaj Dummaje Mange", and the album was awarded a Grammy Award in the music category.
This jugalbandi became very popular as a form of fusion music.viiIn addition, the orchestral style
introduced by his Guru Ustad Baba Allaudin Khan later carried out by him also became very
trendy. Pt. Ravi Shankar directed the music of some Bengali, Hindi, English films such as Kabuli
Wala, Anuradha, The Flute and The Arrow etc. He also composed a musical work called My Music
My Life.
Similarly, Ustad Zakir Hussain also did many experimental works in the field of music, like he
created many musical bands, first a band named Shakti with John McLaughlin and L. Shankar was
created. After that he founded another band having the title, "The Dig Rhythm Band" he exhibited
his art in collaboration with many foreign artists such as George Harrison, Jou Henderson, Jack
Burrows, Van Merisen, Titu Peuente, Panaro Serendas, Billy Cobham etcviii. In addition, he got
associated with many other bands like The Bitus and Shanti Band etc. ix
Collaboration with Shakti Band, he released many albums related to fusion music such as Saturday
Night, In Bombay the Believer etc.xApart from this, he released many more musical albums such
as In the Material World in 1973, Making Music in 1987 and East and West in 1988. xi
Another Maestro Ustad Amjad Ali Khan has also worked with foreign artists like Charlie Bird
(Guitarist) and Igor Farole (Violinist) etc.xii,Pandit Shiv Kumar Sharma and Pandit Hari Prasad
Churasiya give music in the films like Silsila, Lamhe and Chandni etc. He composed many musical
albums like ‘Call of the Valley’, ‘Music of the Mountains’, Megh Malhar etc. xiii
P. Ravi Shankar's disciple Pt. Vishva Mohan Bhatt is the inventor of Mohan Veena and winner of
the prestigious Grammy Award. He combined the techniques of Western Hawaiian guitar, sitar,
sarod and veena with 14 strings to create this instrument. He also collaborated with many foreign
artists such as Chinese faraway player Jie Wing Chen, Dobro guitarist Jerry Douglas, Arabic
Awadh player Simone Shadhinand presented a Jugalbandi. Adding more to it, he also composed
many musical albums such as Music for Relaxation, Tabula Rasa, and Meeting by the River etc. xiv

130
 Tattva-Sindhu rŸo flU/kq
Ok’kZ 9] vad 2
ISSN: 2349-1426
The experimental work done by present-day sitar player Niladri Kumar is also commendable and
appreciated. He invented a new instrument by blending of Hindustani Sitar and Western guitar and
named this unique instrument as Zeetar. He made a booming attempt to combine and fuse the
music of the East and the West.xv
In this way it can be seen that many of the above experiments were done in the field of music by
these Gharanedar artists and moving towards experimentalism. This development gave a new
direction to Indian classical music like sharing a common platform with foreign artists and became
a reason to attract the musical audience from different parts of the world. A musical relationship
got established between these different artists and music actually became a universal language to
convey the inner feelings and emotions. The invention of new musical instruments, the rise of
musical content or literature, the commercialization in direction of music etc. were adopted in
Indian music that led to the better promotion and propagation of the subject.

References:

i
https://www.youtube.com/watch?v=HmZnOlWYtqM
ii
https://www.youtube.com/watch?v=pkFrEKd4d-0
iii
https://www.youtube.com/watch?v=4MKmAJ_t17k
iv
https://www.youtube.com/watch?v=FseICrhx-W0
v
https://www.youtube.com/watch?v=85O5SRIHjzA
vi
https://www.youtube.com/watch?v=CNZMIhckaA0
vii
Naresh Kumr, Hindustani Sangeet Mein Fusion Jugalband, Sangeet Kala Vihar, September 2011, Page-30
viii
www.Iloveindia.com
ix
www.culturalindia.net/indianmusic/classicalsinger/zakirhussain.html
x
www.culturalindia.net/indianmusic/classicalsinger/zakirhussain.html
xi
www.culturalindia.net/indianmusic/classicalsinger/zakirhussain.html
xii
www.culturalindia.net/indiamusic/classicalsinger/amjadalikhan.html
xiii
www.culturalindia.indianmusicpanditsahivkumarsharma.html
xiv
Interview with Pt. Vishwa Mohan Bhatt.
xv
Niladri Kumar Wikipidia.org

131