Watch old Doordarshan Serials online

Sunday, March 14, 2010
by abhishek kumar

Doordarshan is the public television broadcaster of India and a division of Prasar Bharati, which is a Government of India enterprise. Still in this world of huge competition among differnet TV, Doordarshan is one of the largest broadcasting organizations in the world in terms of the infrastructure of studios and transmitters. In India, Doordarshan is the number one TV channel. Now a days it is not so popular in urban areas but its old serials are still some of hot search items on internet. Everyday I got mails from my readers that how to watch blah blah blah old doordarshan serial online.

A quick recap of old Doordarshan Serials (via Wikipedia)

The 80s was the era of Doordarshan when it became integral part of living room of middle class in India with popular shows like Hum Log (1984), Buniyaad (1986-87) and comedy shows like Yeh Jo Hai Zindagi (1984). The first ever daily soap Hum Log, Buniyaad and Nukkad and mythological dramas like Ramayan (1987-88) and Mahabharat (1989-90), Shaktimaan, India's First Superhero, attracted millions of Indians to Doordarshan. There were some historical serials like Bharat Ek Khoj, The Sword of Tipu Sultan and The Great Maratha, which also appealed a large section of viewers.

Some of the popular Doordarshan shows, serials and programs were ::

Hindi film songs based programs like Chitrahaar, Rangoli, Ek Se Badkar Ek and Superhit Muqabla.
Crime thrillers - Jasoos Karamchand (starring Pankaj Kapoor), Super six, Barrister Roy (starring Kanwaljeet), Byomkesh Bakshi (starring Rajit Kapoor), Reporter (Shekhar Suman's first apperance on TV), Tehkikaat and Suraag (starring Sudesh Berry).
Shows targeted at children include Fairy tale Theatre, Dada Dadi ki Kahaniyan, Vikram Betaal, Sigma, Stone Boy, Malgudi Days, Tenali Rama, Potli Baba Ki, Superhuman Samurai Cyber Squad, Knight Rider, Street Hawk and a horror serial Kile ka Rahasya (1989).
Other popular shows include Oshin a Japanese drama series, Trishna, Mr. Yogi, Neem Ka Ped, Circus, Fauji (launching Shahrukh Khan),Rani Laxhmibai,Dastan-E-Hatim Tai, Alif Laila, Gul Gulshan Gulfam, Udaan, Rajani, Talaash, Phir Wohi Talash, Katha Saagar, Nupur, Mirza Ghalib, Wagle ki Duniya, Phulvanti, Sangharsh, Lifeline, Kashish (launching Malvika Tiwari), Srimaan Srimati, Tu tu mein mein, Junoon, Ajnabi (starring Danny Denzongpa), Zabaan Sambhal Ke, Dekh Bhai Dekh, Sansaar, Swabhimaan, Chanakya, Shanti (launching Mandira Bedi), Sea Hawks (starring R. Madhavan), Surabhi, Tana Bana, Mujrim Hazir (launching Navni Parihar), Jaspal Bhatti's Flop Show, Alif Laila, Meri Awaaz Suno, Captain Vyom, and Chandrakanta.
Doordarshan also telecast English cartoons at 12.00 noon during summer vacations in a programme named "Fun Time" which showed cartoons like Spider-Man, Giant Robot (Johnny Soko and his flying robot), Gayab Aaya, Guchhae, He-Man, The Jungle Book, Talespin & Duck Tales also the comic plays of Charlie Chaplin, Laurel & Hardy and Didi's Comedy Show.
You can see the complete list of Doordarshan serials here.

Now a big question comes, how to watch these old TV shows and serials online?

Some of serials are available on YouTube like Mahabharat, Shriman Shrimati, Byomkesh Bakshi, Yeh Jo hai Zindagi, Vikram Betaal, Flop Show, Dekh Bhai Dekh, Fauji, Talaash, thanks to rajshri channel and several other anonymous users.

These are some of the Doordarshan TV shows and serials which are available on internet.

For Mahabharat, visit http://www.youtube.com/watch?v=EwnDC3_fVgM

For Shriman Shrimati, visit http://www.youtube.com/watch?v=jDld3hDhG7g

For Ramayan, visit http://www.youtube.com/watch?v=Z3mc6liE_9Q

For Jungle Book, visit http://www.youtube.com/watch?v=OU95tdRuInw

For Byomkesh Bakshi, visit http://www.youtube.com/watch?v=yleUyg6m1jU

For Fauji, visit http://www.youtube.com/watch?v=xBUryt4BpMY

For Vikram aur Betaal, visit http://www.youtube.com/watch?v=ZKStSy1bnjc

For Bharat Ek Khoj, visit http://www.youtube.com/watch?v=9dd6bc1xPfI

For Flop Show, visit http://www.youtube.com/watch?v=LBmylILrutE

For Dekh Bhai Dekh, visit http://www.youtube.com/watch?v=U5k7k_O3ziA

ForTaalash, visit http://www.youtube.com/watch?v=f8nDBrAdml0

For Paying Guest, visit http://www.youtube.com/watch?v=6F_LQtbukrg

For Kachchi Dhoop, visit http://www.youtube.com/watch?v=-vqgWnyJHUU

For Captain House, visit http://www.youtube.com/watch?v=KDEvr3MBszc

For Uppanyas, visit http://www.youtube.com/watch?v=aojo5_SasWY

Indian Classical Music and the Gharana Tradition

This article looks into various aspects of the Gharana tradition. The tradition of Gharanas has been an integral part of Indian classical music. All learned musicians talk of Gharana and its valuable contribution to the Indian music. Most of the artists of Indian music are convergent upon the point that the Gharana tradition is the best institution when it comes to the teaching of music. In this article, we would go a bit deeper into the various features, characteristics, opinions etc about this very important institution of Indian classical music.

 

Meaning and definition of Gharana

 

Gharana is an Urdu word which has been adapted in Hindi language too. It basically means: family, members of a family, several generations of a family etc. in the field of arts as well as the academics, the English synonym for this word seems to be "school". For example, there are many schools which interpret history in different manner. For them we can call different school of historical interpretation. Likewise, there are different styles of painting. For instance, "the Venetian school of painting". Therefore, colloquially, we can connect Gharana with different styles of arts. We are aware of the facts that not one single style can persist when it comes to the performing arts. Different styles are developed according to the tastes of the artists as well as the audiences. Sometimes, these styles represent the regional aspirations too. There is a famous saying in the Northern India, "as many tongues, so the tastes! As many heads, so the interests." This saying can further be stated as "as many musicians, so the styles of performance". Indian music is very flexible. It differs from region to region, from artist to artist and from place to place. The regional influences, the individual influences, the linguistic influences etc are chiefly responsible in developing new style in any form of music. Be it Dhruvapada, Khayal, Thumari or any other form of Indian classical/semiclassical music, there are and can be numerous styles of singing and playing of musical instruments. These different styles, when practiced for more than three generations, become a Gharana. In a Gharana, there are some main contributors, who play the important role in developing and shaping that style. These artists are called the originator of that style or Gharana.

 

Evolution

 

The concept of Gharana is very much related to the Guru Shishya Parampara. In fact, music is an art which can only be taught through the system of Guru Shishya Parampara. It cannot be taught through the formal educational methods. Therefore, it is very important that we should analyse this Parampara. It is this tradition of Guru-Shishya which has played a very vital role in the shaping and development of our classical music. In the ancient works of the Indian literature, the importance of a learned Guru has been felt and admired at numerous places and instances; so much so that the Guru has been given the higher status than even the Almighty God. When it comes to the learning of fine arts and especially the Indian classical music, the importance of guru is said to be much more important. That is why, in the modern days too, when there are a lot of means of learning music, the serious learners still look for a learned and appropriate Guru. But for a skilled guru, one cannot learn music in its proper spirit. But our concern is not to discuss the importance of a guru but to look into the aspects of Gharana. As we have mentioned earlier, the Gharana tradition is based upon the Guru Shishya parampara. Now we would explain how the tradition of Gharana evolved and took shape in the initial stages.

 

For this, we have to peep into the history of Indian music and through its glimpses we would try to find some facts and signs about the tradition of Gharana. The history of Indian music begins from the Sam Veda, the most important one of the four Vedas. During the period of Sam Veda, we find that there were around a thousand styles of Saamgaan, which were practiced by the singers of the Sam. Gradually, as the ancient Indian culture got diluted because of various socio-political reasons, many styles of saamgaana were forgotten on account of overlapping of other cultures over our own ancient civilization. It is believed that presently, there are three basic styles of Saamgana. Namely, Kautubhi, Ranayani and Stobhi. What I mean to say that these styles may represent different schools or Gharanas of singing the Richaas of Sam. This is the initial concept upon which the tradition of Gharana is actually based. Therefore, though the Gharanas are said to be the result of the so-called Durbari Sangeet yet the elementary concept of Gharana existed in Indian heritage even during the period of Vedas.

 

After the extinction of the tradition of Saamgaana, the vacuum which was very much there in the field of the Indian classical music was filled by the new tradition of Prabandha Gaan. This tradition was also based upon the several kinds of Prabandhas which were sung in different manners and styl4es. In Sangeet Ratnakar, a separate chapter has been dedicated to the study of Prabandha. This shows the importance of Prabandhas. This form of Indian music was very rich in content as well as in respect of various styles of its presentation. Thus, the tradition of Gharana still existed in Indian music. Though the name for this tradition was different. There were numerous styles of singing Prabandhas which were known as different schools of Prabandhagan. In Karnatik music too, there are different schools of presentation of music popularly known as the Sampradayas. These sampradayas also represent the concept of Gharana. Thus, it is very clear that the concept of Gharana existed in Indian music. There is no doubt about it. However, the word "Gharana" was not used prior to the period of Durbari Sangeet.

 

After the suppression of Prabandhagaan, came the form of Dhruvapada singing. It is believed that the prabandhas were eliminated from the Indian music because of the unpopularity of Sanskrit language amongst the ruling class. We are aware of the fact that during the period of Sultanate in the Indian history, the foreign invaders captured the mainland of the Indian subcontinent. The new rulers, who had come from the central Asia and the Afghan Territory, did not know Sanskrit. They even were unaware of our native languages and dialects. Neither did they have any idea of our cultural heritage. They tried to impose their cultural practices over the Indian culture. This overlapping of cultures resulted in different cultural changes. During this hustle and bustle Sanskrit lost its glory and the same happened to be with the Prabandhagaana, which were based on Sanskrit language. In its place, a new singing form was originated by the scholars of the Court of great king of Gwaliyar, Raja Mansingh Tomar.

 

In this form of singing too, there were different singing styles. These styles were called as Baanis. There were mainly four baanis in the singing of Dhruvapadas. These baanis were as follows:

1. Dagurbani, 2. Gobarhari, 3. Nauhari and 4. Khandari.
   

   
    

   These baanis of Dhruvapada singing were also in tune with the basic concept of Gharana. They represented different singing styles of Dhruvapada. Hence, it is beyond any reasonable doubt that the concept of Gharana very much existed in the Indian music. The only thing was that its name was not Gharana. In Karnatik music, it is still called Sampradaya. In the Northern India, which was very much influenced by the period of Sultanate, the ancient system gave way to the new system designed and imposed by those who had little knowledge about our culture, let alone music. Therefore, it is claimed that the tradition of Gharana is the creation of those musicians who had been connected with the Durbar and the Sultanate. The Sultans and the Nawabs had little knowledge of ancient Indian music. Neither did they know our language. Therefore, they had nothing to do with our traditional arts and musical forms. They did whatever they liked. Therefore, the music of their liking was specially devised by the court musicians. This specific kind of music was later called as "Durbari Sangeet". From this durbari sangeet, many singing styles were originated in due course of time. These singing styles were later called as Gharanas.
   

   
    

   The artists of most of such Gharanas try to relate themselves with Tansen or the members of his family. Some of the musicians seem to relate themselves from some prominent regions, which have once been famous for the art of Durbari Sangeet, like Gwaliyar, Agra, and Banaras etc.
   

   
    

   The fact of the matter is that every Nawab in the medieval period of our history had a tendency to award patronage to different arts. Especially, music was liked by the rulers of that time and hence it got more patrons than any other form of the fine arts. Thus, the Court musicians of different Nawabs and emperors developed different styles of singing, dancing and playing of musical instruments. This way, different Gharanas came into being.
   

   
    

Fall of Gharana Tradition

 

These gharanas or singing styles were practised by almost all the musicians of that particular region. It is note-worthy at this point that there were no quick means of transport and the communications available at that segment of time. Therefore, the style of one place could not easily be conveyed to another place. This led to further enhancement of those styles. More or less, at that period of time, one region had no frequent contact with other regions. The artists of a particular area would hardly ever visit other places. Especially, when the artists were attached to a specific Durbar, they were not supposed to go to another such Durbar. This tendency gave birth to a kind of competition between these Gharanas. This competition though generally was a healthy one but at times, it would get some kind of rivalries too. Gradually, such rivalries became very often and the artists of one Gharana snapped all contacts whatsoever with other Gharanas. This led to many illogical practices like each artist of a gharana tried to let down the artists of other such Gharanas. This leg-pulling developed ill will and hostilities between different gharanas. Followers of one Gharana were told not to listen to the music of any other Gharana. The Guru strictly prohibited his pupils from establishing any contact of any nature with the followers of other Gharanas. Not only this, the Gurus were not impartial to every pupil. They fragmented their knowledge in three broad compartments. First fragmentation of the knowledge group was for the common pupils. These were considered the average kind of pupils. The second knowledge-group was meant for those pupils who were brilliant but were not related to the family of the Guru himself. Other relations like cousins were given training in this group. The most important and the real knowledge were given to the direct relations of the Guru, like his sons, grandsons etc. This division of knowledge was very common in the tradition of Gharanas during the period of Durbar and Sultanate. These and many more sharp practices started in this tradition of Gharana which once had been one of the best traditions. This attitude of the artists related to different gharanas began corrosion in the system itself. Gradually, the popularity of Gharanas started to come down. Presently, the Gharana system is on the verge of collapse.

It is not only the aforesaid factors which can be held responsible for the unpopularity of the tradition of Gharana. There are other reasons too which need to be discussed here.

 

The first and the foremost of such factors is that the present era is the age of information and the technology. In the medieval period, it was difficult for a person related to a specific Gharana to communicate with the artists of other gharana. However, in the modern times, one can listen to any kind of music at just a click of a mouse. Today, it is not just possible for the Guru to seclude his pupils from the music of other artists. The electronic media has made it very easy to listen to music of our liking. Moreover, we can record different kind of music on digital recorders and play it back at our convenience. Therefore, in this era it is not possible for the guru to keep his pupils away from other kind of music.

 

In addition to this, these days, there are several music concerts and shows where one can go as per his/her liking and enjoy the music. The development in the transport and the communication has made it possible for us to travel at ease and communicate with anybody in the world by just dialling a specific code. Therefore, these days, there are numerous options of music-listening as well as music-following. This boon of science and technology has contributed in more than one ways to dismantle the system of Gharana.

 

The new system of institutional education has also played a great role in ending the Gharana tradition. These days, music is taught in the schools and the colleges. There the students learn music from more than one teacher. In this environment, they cannot follow the tradition of just one teacher. They come in contact with the styles of many teachers. Moreover, they get exposure to many famous artists. Thus, it is not possible for them to follow the style of just one teacher. This is the reason that these days, the glimpse of any particular Gharana is very rear even in the traditional artists.

 

Conclusion

 

Thus, we can conclude that in the modern times, the Gharana tradition has lost its relevance. It is true that in the medieval period, it contributed a lot in the preservation and conservation of the tradition of music. It helped prepare high quality artists. In the era when the recording of compositions was not possible and there was not a suitable notation-system for writing those compositions either, this system of Gharanas preserved those musical compositions and it is thanks to that same system that we can be able to listen to those great compositions. But for the present era, it looks that this system has been a bit old-fashioned. The students just do not listen to their teachers. They do not believe anything without verification. In this age, the learners ask for the logical explanations of whatever they are said or preached. Therefore the system of Gharana needs many changes for its own survival.

Appreciating music,The challenges of the present and the future

A connoisseur of fine arts is aware of the fact that without the knowledge of an art, one is not in a position to appreciate the art with perfection and authenticity. As a layman, one can appreciate music; he/she can enjoy it according to his/her capacity. However, when it comes to serious criticism, evaluation of a musical composition or critical analysis of a musical work, solely appreciation of music or the layman’s point of view does not work. It needs something more, a kind of deep understanding of the art, in order to properly evaluate its effects on the audience or its artistic value. Criticism is very important for any art to evolve. Without proper criticism, the negative/positive points of the art cannot come into light. A critique explains logically the strength as well as the weaknesses of the arts as well as the artists. The criticism has some specific features which keep on changing from time to time. This article draws the attention of the reader towards the present status of the criticism with special reference to music. It also tries to look into the future of the music criticism.
Meaning of criticism
First, let us understand as to what the criticism is. It is a kind of cleanliness drive which washes the faults in the pure water of logic and purifies the “subject of criticism”. In day-to-day life, our friends indicate to our faults in order to remove errors from our behaviour. The teachers evaluate the performance of their students and take the remedial measures if required. Likewise, a book review, review of a musical composition etc are also criticism in its broader term.
In The Dictionaries, the word “Criticism” has been defined as:

1. The act of passing judgment as to the merits of anything
2. The act of passing severe judgment; censure; faultfinding.
3. The act or art of analyzing and evaluating or judging the quality of a literary or artistic work, musical performance, art exhibit, dramatic production, etc.
4. A critical comment, article, or essay; critique.
5. Any of various methods of studying texts or documents for the purpose of dating or reconstructing them, evaluating their authenticity, analyzing their content or style, etc.: historical criticism; literary criticism.
6. Investigation of the text, origin, etc., of literary documents, especially, Biblical ones: textual criticism.

Criticism can be classified in many categories. For example, the literary criticism, Music criticism etc. from the psychological point of view, the following information is available on the Internet.
Psychology of Criticism
1 Criticism and the narcissists
Vulnerability with their own self-esteem makes individuals with narcissistic personality disorder very sensitive to criticism or defeat. Although they may not show it outwardly, criticism may haunt them and leave them feeling humiliated, degraded, hollow, and empty. They may react with disdain, narcissistic rage, or defiant narcissistic personality disorder.
Narcissists are extremely sensitive to personal criticism and extremely critical of other people. They think that they must be seen as perfect or superior or infallible or else they are worthless. There's no middle ground.
The narcissist is constantly on the lookout for slights. He is hyper vigilant. He perceives every disagreement as criticism and every critical remark as complete and humiliating rejection: nothing short of a threat.
2 Criticism and paranoids
Individuals with paranoid personality disorder are often rigid, critical of others, although they have great difficulty accepting criticism themselves.
3 Criticism and avoidant
Individuals with avoidant personality disorder are hypersensitive to criticism or rejection. They build up a defensive shell.
4 Criticism and dependents
Individuals with dependent personality disorder are readily willing to "self-correct" in response to criticism.
5 Constructive criticism, or constructive analysis, is a compassionate attitude towards the person qualified for criticism. Having higher experience, gifts, respect, and knowledge in specific field and being able to verbally convince at the same time, this person is intending to uplift the other person materially, morally, emotionally or spiritually. For high probability in succeeding compassionate criticism, the critic has to be in some kind of healthy personal relationship with the other one, which is normally a parent to child, friend to friend, teacher to student, spouse to spouse or any kind of recognized authority in specific field. Hence the word constructive is used so that something is created or visible outcome generated rather than the opposite. Participatory learning in pedagogy is based on these principles of constructive criticism, focusing on positive examples to be emulated over precepts to be followed. There can be tension between friendly support and useful criticism. A critic might usefully help an individual artist to recognize what is poor or slapdash in their body of work, but the critic may appear harsh and judgmental in the process. Useful criticism is a practical part of constructive criticism.
6 Hypercriticism
Hypercriticism is a feature of certain personality types and is colloquially known as nitpicking or nagging. Nitpicking is minute, trivial, unnecessary, and unjustified criticism or faultfinding. Nagging is to scold, complain, or find fault constantly.
7 Hypocriticism
Hypocriticism is criticism by somebody (a hypocrite) who criticizes another but does the same as the person they are criticizing.
8 Self-criticism
Self-criticism (or auto-critique) refers to the pointing out of things critical/important to one's own beliefs, thoughts, actions, behaviour or results; it can form part of private, personal reflection or a group discussion. Most people regard self-criticism as healthy and necessary for learning, but excessive or enforced self-criticism as unhealthy.
9 Criticism of criticism
Notable scholars of the Post-Structuralist tradition have often emphasized the self referential nature of all criticism. Stanley Fish argues that all interpretations are subjective projections and have no inherent meaning; therefore, the critic undermines himself for he undermines only his own interpretation. Thus, concludes Fish, all criticism is self criticism.
Criticism is a process of balancing the merits and demerits, through properly analyzing the facts. However, many a times, it gets personal and hence perverted. One should not take the criticism emotionally. It is seen as fault-finding by many of us. Of course, nobody is free of faults. To err is human. Therefore, when someone indicates to the faults without any prejudice or ill will, this act should be welcomed by those who may be benefitted by removing the indicated faults. Many important personalities and scholars have praised the healthy criticism. Some of such quotations are given below:
Scholarly views on criticism
“Criticism may not be agreeable, but it is necessary. It fulfils the same function as pain in the human body. It calls attention to an unhealthy state of things.”Winston Churchill “You can't let praise or criticism gets to you. It's a weakness to get caught up in either one.”John Wooden
“The trouble with most of us is that we would rather be ruined by praise than saved by criticism.”Norman Vincent Peale“I am sorry to think that you do not get a man's most effective criticism until you provoke him. Severe truth is expressed with some bitterness. There is no just and serene criticism as yet.”Henry David Thoreau
Indian music and criticism
If we look into the history of Indian music, we find that most of the ancient as well as the medieval works of music are based upon the two basic aspects. Namely, the theoritical and the practical aspects. Most of the music scholars [wilfully or otherwise] tried to distance themselves from any kind of criticism of other scholars. In the “Guru Shishya Parampara”, there is hardly any scope for a healthy criticism. One cannot question one’s seniors, Guru, or any other person who has got the favour of the Guru. It was through the Western scholars that the criticism in Indian music got a place. Scholars like Teresa Albuquerque, Benedict Anderson, Alison Arnold, J. T. Becker Judith, Titus Burckhardt, Stoddart William, J. Crandall, Alain Daniélou, Gerry Farrell, Thomas J. Hopkins, Paul Humphreys etc wrote extensively on Indian music. The Westerners presented a new image of Indian music. Initially, their views about our music looked to be “the laymen’s opinions”. However, gradually, these intellectuals took to excellent research on a variety of topics relating to the subject.
In the Modern Period, many Indian artists and scholars too presented genuine research works. Many of these presentations laid the foundation for the appreciation and criticism of Indian music. Pt. Vishnu Digambar Pulaskar[1] Pt. V. N. Bhatkhande[2]etc redefined the basic principles of music and hence started a new discourse on Indian music full of analytical and critical components.
The objective of this essay is not related to the history of music criticism. Therefore we restrict this description to the theoretical aspects of criticism only.
Presently, Indian music is passing through a phase where there are lots of possibilities. Many experiments have been taking place for around half a century now, which have the capacity to give a completely new direction to our music. These experiments are not limited to just one or two forms. Be it the light or the classical music, folk or popular music, countryside or urban music, North Indian or south Indian music, in all forms of Indian music new experiments are taking place.
In classical music, new trends are rapidly emerging. Some of these trends are experiment of bringing together not only the great artists of Hindustani/Karnataka music, but also combining the Indian and the Western musical arts together. Pt. Ravishankar, Pt. Vishwamohan Bhatt, Pt Hariprasad Chaurasiya, Ustad Zaqir Husain Khan Illiyaraja etc are engaged in such new musical experiments. The readers may wonder as to why I am mentioning these great names. My point is that these new experiments with Indian music need a thorough criticism. Listeners enjoy the aforesaid musical compositions. They like them. True. But is it enough? Should the critiques of music come forward to analyze these compositions with a view to properly evaluate the same?
When a book is published, we have many book reviews for that book. Several critiques present their views over the book. But in case of musical compositions, such trend is nowhere to be seen. It is my personal feeling that musicians in general, do not like to be criticized. I am aware that sometimes the generalization proves to be wrong. I am also aware of the fact that fault-finding is not taken positively by most of the human beings. However, in the civilized society. Let us be ready to welcome the real feeling of the appreciator of the art. Sometimes, it may not suit to our taste. Sometimes we may not like it. But that does not qualify us to stop the honest expression of likes or dislikes of a connoisseur. In the absence of a proper criticism, Indian music, especially the popular music has been fully captured by market forces. The sole objective of the companies involved in the production of popular music, [Including movie melodies], looks to be making as much money as possible through it. The result is before us. The quality of our popular music is falling incessantly day by day. The good quality compositions in the popular music category are seldom seen these days. In terms of quantity, a lot of music is coming up but it is the quality and not the quantity that counts.
The communities like that of SPICMACAY (Social Promotion of Indian Classical Music Amongst Youth) “Naad Mandal”, “Sankalp” etc are doing a commendable effort in promoting the classical music. However, there is something missing. The review of such musical performances is full of praises of the artists concerned. The persons, who review music concerts, do not bother to look into it minutely. They generally use the “same old phrases” for the review of almost all the concerts. Thus, a purposeful, objective and critical analysis does not come up. The readers are ousted of a valuable review of musical performances. This is not a good sign for the music of our region. Let us join hands in evolving a mechanism whereby expert review-writers can be made available. For this, we have to include the criticism of music as a part of curriculum of different music departments. No doubt, in most of the music department of different Universities, a paper on “aesthetics” has been included in the curriculum. However, not much endeavour has been made to impart upon the students the skill to critically evaluate the musical compositions.
In the absence of proper criticism of musical performances, the basic rules of classical music are sometimes compromised by eminent artists while performing on stage and there is nobody to raise a finger on it. The result is that there no set rules for the Ragas which are said to be the very basis of our classical music. In the name of different singing styles or gharanas, sometimes, Ragas are twisted to the taste of the performer. It has also been seen that sometimes the artists break rules just to create a kind of strange element in their compositions. This way, they get cheers and a lot of applause but the rules of music are compromised.
Conclusion
I am no authority to decide that the instances stated above are right or wrong. What I wish to state that there should be a healthy debate over what is right and what is wrong. For such debates, there needs to be some scholars who can objectively and without any prejudices could evaluate and criticize the musical performances of great artists.
Therefore, the need of the hour is that we should develop the criticizing skills in the students of music so that they can review the musical compositions as well as the musical performances. By this, we would be able to develop an atmosphere wherein, the good quality music would be available for the listeners and the Rasikas.
About the Author
Dr. Vedprakash Sharma has been teaching music in a Delhi Government School since 1986. He has written extensively on Indian music. Comments or suggestions are always welcome. He is open to new ideas and approaches. Please feel free to send in your valuable ideas, suggestions, likes/dislikes etc about this article.
[1] "An Introduction to Indian Music" by B. Chaitanya Deva (Publications Division, Ministry of Information and Broadcasting, Government
of India, 1981
Posted on RMIC by Rajan Parrikar as part of Great Masters Series.
For a more detailed account, see 'Pandit Vishnu Digambar Paluskar' by V.R. Athavale (National Book Trust, 1967)

[2] Hamare Sangeet Ratna [Hindi] by Lakshmi Narayan Garg

Changing Indian Society Through Music

Introduction:

I have always wondered as to how we are so naturally capable of maintaining two different kinds of life styles – one, for our own self, the real one, and the other, for the persons around us, well-behaved, full of the intricacies of mannerism as well as acting. From the time when I attained the capacity to distinguish between the right and the wrong, I have observed this hypocrisy at different levels and different times. When I was a child, I was preached not to tell a lie as it was a sin. However, I observed that the preachers themselves would commit that same sin as and when they found them in a tight corner. Likewise, I was supposed to get up early in the morning as it was very important for my health, I was told. Though, I saw my elders sleeping comfortably in the morning as I went to school. These contradictions could confuse me in the very beginning of my life but thanks to the "good old days", when they had enough time for interaction with their kids. Additionally, the convention of joint families also provided ample opportunities for the children to ask for the guidance and assistance from the grandparents in case of any confusion. They somehow stopped frustration from entering into my subconscious mind on account of the insincerity or the hollowness of the behaviour of the adults around me.

Now, as I have grown up, I think, I am leading the same life, full of contradictions and duplicity, which, I know for sure, is not the real life. In fact this feature is not just limited to me; it is the characteristic of the whole Indian society. Some of the readers of this article would agree with me and some would not. But let me tell you that this very hypocrisy of our society inspired me to write this essay. This is very important for us that we should look into the confusing signals which we [knowingly or otherwise] are sending to our ancestry to come.

Dilemma

We, as the civilized society, have not been able to harmonize our actions with our expectations. For instance, we expect of others that they should speak what they think and act accordingly too. However, when it comes to our own actions, we fail to act equally in tune with our expectations from others.

As an adolescent student, I memorized a Sanskrit verse full of moral values. The essence of the Shloka is as under:

There is no difference in the manner the "mahatmas" [great men] think, speak and act; they say whatever they think and do whatever they say. Whereas, the bad men [Duratmas], are opposite the former, the Mahatmas.

According to this definition of the great men, most of us will fall in the category of the bad men or Duratmas.

That is why; Mahatma Gandhi used to say, "do to others what you like others to do to you". We are judged by our conduct and not by our preachings. However, most of us would like others to observe high standards of moral behaviour. But when it comes to our own behaviour, we ignore the simple principle of "as you sow, so shall you reap".

This leads to the duplicity of behaviour or conduct. One is to show others and the other one is our real being. When we are in public domain or in the limelight, our behaviour is very different from our conduct when nobody or very few people are observing us. In our public life, we praise patriotism, preach honesty, boast of about bravery. However, in our private life, we seldom follow the same. That is why, the menace of corruption is creeping in our society so fast. We oppose bribery publicly and when it comes to our smallest advantage, we do not hesitate to use this effective tool of corruption.

Solution

Many examples can be furnished. But it serves no purpose. Neither I need to prove it. Everybody is aware of it. My concern lies as to what can we do to stop this kind of duplicity of behaviour? How can we tune our behaviour to match our words? How can we stop the hypocrisy in our social life?

This is one of many points that can change our society and let me tell you, we shall have to insist upon these points in the future.

I am not a moralist. Therefore i am not going to suggest any moral remedies. I am a musician. And I can suggest the musical method.

Music therapy can control the negative feelings within us. Especially, listening to good instrumental classical compositions helps elliviating anxieties, frustrations etc. These days, many psychologists agree that listening/creating relaxing music can prove to be very helpful in resolving many of the psychological ailments as well as neurological disorders.

For Further reading

More on Music Therapy!

It is very important to develop the listening skills for Indian classical music. Initially the following links can be used:

Music For Relaxation!

Music For the Youth!

Also visit My Website

Types of Laughter

It has to be understood that there are three types of laughter. The first is when you laugh at someone else. This is the meanest, the lowest, the most ordinary and vulgar when you laugh at the expense of somebody else. This is the violent, the aggressive, the insulting type. Deep down this laughter there is always a feeling of revenge.
"The second type of laughter is when you laugh at yourself. This is worth achieving. This is cultured. And this man is valuable who can laugh at himself. He has risen above vulgarity. He has risen above lowly instincts -- hatred, aggression, violence.
"And the third is the last -- the highest. This is not about anybody -- neither the other nor oneself. The third is just Cosmic. You laugh at the whole situation as it is. The whole situation, as it is, is absurd -- no purpose in the future, no beginning in the beginning. The whole situation of Existence is such that if you can see the Whole -- such a great infinite vastness moving toward no fixed purpose, no goal -- laughter will arise. So much is going on without leading anywhere; nobody is there in the past to create it; nobody is there in the end to finish it. Such is whole Cosmos -- moving so beautifully, so systematically, so rationally. If you can see this whole Cosmos, then a laughter is inevitable.
"I have heard about three monks. No names are mentioned, because they never disclosed their names to anybody. They never answered anything. In China, they are simply known as the three laughing monks. And they did only one thing: they would enter a village, stand in the market place and start laughing. They would laugh with their whole being and suddenly people would become aware. Then others would also get the infection and a crowd would gather. The whole crowd would start laughing just because of them. What was happening? The whole town would get involved. Then they would move to another town..
"They were loved very much. That was their only sermon, their only message; that laugh. And they would not teach; they would simply create a situation.
"Then it happened that they became famous all over the country. Three laughing monks. All of China loved them, respected them. Nobody had ever preached in such a way that life must be just a laughter and nothing else. They were not laughing at anyone in particular. They were simply laughing as if they had understood the Cosmic joke. And they spread so much joy all over China without using a single word. People would ask for their names, but they would simply laugh. So that became their name -- the three laughing monks.
"Then they grew old. And while staying in one village. one of the three monks died. The whole village became very much expectant because they thought that when one of them had died, the other two would surely weep. This must be worth seeing because no one had ever seen these people weeping. The whole village gathered. But the two monks were standing beside the corpse of the third and laughing -- such a belly laugh. So the villagers asked them to explain this.
"So for the first time, the two monks spoke and said, 'We are laughing because this man has won. We were always wondering as to who would die first and this man has defeated us. We are laughing at our defeat and his victory. Also he lived with us for many years and we laughed together and we enjoyed each other's togetherness, presence. There can be no better way of giving him the last send off. We can only laugh.
"But the whole village was sad. And when the dead monk's body was put on the funeral pyre, then the village realized that the remaining two monks were not the only ones who were joking, the third who was dead was also laughing. He had asked his companions not to change his clothes. It was conventional that when a man died they changed his dress and gave a bath to the body. So the third monk had said, 'Don't give me a bath because I have never been unclean. So much laughter has been in my life that no impurity can accumulate, can come to me. I have not gathered any dust. Laughter is always young and fresh. So don't give me a bath and don't change my clothes.'
"So just to respect his wishes, they did not change his clothes. And when the body was put to fire, suddenly they became aware that he had hidden some Chinese fire-works under his clothes and they had started going off. So the whole village laughed and the other two monks said: 'You rascal, you are dead, but you have defeated us once again. Your laughter is the last.'

"There is a Cosmic laughter which comes into being when the whole joke of this Cosmos is understood. That is of the highest. And only a Buddha can laugh like that. These three monks must have been three Buddhas. But if you can laugh the second type of laughter, that is also worth trying. Avoid the first. Don't laugh at anyone's expense. That is ugly and violent. If you want to laugh, then laugh at yourself.
"That's why Mulla Nasruddin, in all his jokes and stories, always proves himself the stupid one, never anybody else. He always laughs at himself and allows you to laugh at him. He never puts anybody else in the situation of being foolish. Sufis say that Mulla Nasrudin is the wise fool. Learn at least that much -- the second laughter.
"If you can learn the second, then the third will not be far ahead. Soon you will reach the third. But leave the first type.. That laughter is degrading. But almost ninety-nine percent of your laughter is of the first type. Much courage is needed to laugh at oneself. Much confidence is needed to laugh at oneself.
"For the spiritual seeker, even laughter should become a part of Sadhana. Remember to avoid the first type of laughter. Remember to laugh the second. And remember to reach the third."
Source:
Osho - "202 Jokes of Mulla Nasrudin"

Indian music and aesthetics

-Vedprakash Sharma

 

Generally speaking, fine arts and the aesthetics have intermingled together. The study of the fine arts is incomplete without the assistance of the aesthetics. Likewise, the concept of aesthetics is inconclusive without an analysis of the fine arts. Especially, when it comes to the study of the art of music, the significance of the aesthetics seems to be greater simply because of the two major general notions:

1. It is a general perception that the aesthetics is the study of "beauty", which is supposed to be the characteristic of vision, whereas music is expressed through the medium of sound.
   
2. The characteristic of music is pleasantness or "enjoyable to ears" and hence has nothing to do with the aesthetics which is said to deal with the beauty.
   

   This article studies music with a view to explain its relation to the study of aesthetics.
   

   The philosophy of "Satyam Shivam Sundaram" expresses the importance of purity and pleasure in all the fine arts. When we talk of music, nobody can claim to disagree from the fact that it has the capacity to give pleasure even in the adverse conditions like trouble and tensions. That is the reason why music-listening is now recommended to the patients of hypertension, sleeplessness, cardiac diseases etc. music has the potential to diverge the mind from the negative attitude to the positive one and thus to provide relaxation and relief, though only for a shorter period of time. It is this speciality of music which is very important. In other arts, we have to concentrate our minds first in order to appreciate them. On the contrary, as far as the art of music is concerned, as a musical sound is perceived through our ears, our mind is diverted towards the sound itself. We do not have to make an extra effort in order to appreciate the pleasure inculcated through the perception of amazing and pleasing tones. That is why, music is liked by almost all the men and women of different ages, classes, social backgrounds etc. why the human beings only! It is taken in good taste by animals also.
   

   Music is the expression of one's state of mind through the means of the permutations and the combinations of the interesting and pleasing sound-patterns representing the tones and overtones of musical notes. Thus, it is perceived through our ears. Though on the higher levels, when we listen to the great artists, we make an eye-contact too with the performer. However, this eye-contact hardly affects or influences the pleasure which we receive by listening to the good music. It hardly makes any difference – listen to the music through a radio set [where it is not possible to view the artist], or listen to it through some visual media like the television, video etc. the only condition is that the listener should have the capacity to appreciate music. We are aware that those who are not "Rasika" cannot appreciate any arts. That is why this condition is important. This condition does not mean that most of the persons cannot appreciate the music. This only means that one has to attain certain level of understanding of the art in order to appreciate it. In the field of music, especially, Indian classical music, if one does not know the concept of Ragas, he/she is not able to enjoy it. The same thing can be applied to other arts too.
   

   Therefore, it is very important for the audience of music that they should have the capacity to appreciate the same. This is the reason why the level of appreciation differs from person to person. Some people like a particular piece of music but at the same time some others dislike the same piece. This does not mean in any manner that the piece of music itself is defected but it shows the difference of opinion amongst the masses or the classes.
   

   Sometimes, the question is raised about the popularity of some specific musical compositions. The compositions which seem to be popular sometimes are not liked by even the great artists. This is the reason that the insight as well as the anticipation of the masses is very different from that of the perception and the expectations of the artists. An artist can understand the concept of raga and if the performer deviates from any of the rules of the raga lakshanas given in musicology, he/she would not like it. On the contrary, it is difficult for the general listener to find fault in the concept of the art as they are not aware of it. In the compositions related to the popular music, the situations are different. These compositions are meant for the masses. Therefore, anybody can appreciate and enjoy them. However, in the classical compositions, only those persons can appreciate the music that has a basic knowledge of the Branch. Not only in the field of music but in any of the fine arts, when it comes to the Classical compositions, the rules have to be different from that of the popular piece of work. For example, in Literature, the "road-side books" are meant for the masses and hence catch more attention than the literary and Classic ones. In music the situation is the same.
   

   Music has therefore many forms. It has many modes of expression. We can find whatever level or standard at our will. We have folk music, regional music, cine-music, popular music [Pop music], classical music, semi-classical music etc. It is for the performer and the listener to decide which form of it they wish to go to. Therefore, let us concentrate upon Indian classical music.
   

   Indian classical music has a very great and illustrious tradition. It has passed through many ups and downs. It has developed the capacity to survive under the most adverse circumstances. It has the power to submerge music of different regions, kinds and categories. We have seen that in the medieval period of our history, when there was a total cultural invasion, the tradition of Indian music adapted itself in a manner that the chaos could not damage the beautiful and pleasing treasure of the musical tradition laid down by our great ancestors. History tells that there have been several instances when our tradition of music was tried to be changed and transfigured to the taste of the invaders who have come from different parts of the Asian region and elsewhere. But the power of our music was such that it did not succumb to the pressures and prejudices. It took all the changes in a positive manner and modified itself accordingly. That is why, in the present era too, when there are different streams flowing through our music, we see that the basics are still the same.
   

   Before analyzing the beauty aspect of our music, let us consider the "individuality" aspect first. It is very important that we should ascertain the capacities of an individual musician to the field of music. generally, the art is patronized by institutions and hence at times, the individuality of a particular artist is hampered.
   

In South Asian cultures the arts traditionally have been associated with "religion," but in at least three general ways, and with varying degrees of explicitness. First of all, even when textual content is not present to make the association explicit, music and dance are implicitly "religious" by virtue of the Indian cultural idea that music and dance are paths to salvation, or at least valued vehicles of devotional expression. Secondly, they may be "religious" because the text of the performance is explicitly religious. Finally, they may be "religious" because they function in a specifically religious performance context.

These essays provide instances of each of these ways of being "religious." Bharata Natyam and Kathakali are "religious" in the first two ways. Dhrupad sung by the Dagar family is "religious" in the first and usually the first two ways. Qawwali (Muslim) is "religious" particularly in the last two ways (but to some, in all three ways), though when performed out of the context discussed here, is religious primarily textually.

In contrast with the Indian association of religious expression with music and dance, orthodox Muslim thought does not associate these two art forms with religious expression. (The Sufi tradition within the greater Islamic world view must be seen in its own terms.) Through the Qureshi article on qawwciliand the Owens article on the Dagars, (a family who were high caste Indians but who converted to Islam several generations ago), we observe the results of the adjustment of the two value systems. The process of adjustment, the results in human and musical terms, have scarcely been considered by historians of Indian music. Nor is the process at an end. Owing to shifting patterns of patronage, the hegemony of Muslim musicians in North India is presently giving way to an hegemony of Hindu musicians, with both groups functioning socially and artistically within a rapidly changing India.

Another major topic in the study of the performing arts within the broader South Asian cultural context is patron-client relationships. In an analysis of one performed song, the performance provides an extraordinarily clear example of the direct musical result of the patron-client relationship. One facet that the teachers of the Indian classical music elucidate is what the performer must learn about the audience's response (including and especially the patron's) in order to perform effectively. They also are unusually direct about the matter of financial renumeration and its effect on the music INTRODUCTION itself. Those concerns are explicit in the Sufi assembly context to a far greater extent than in the concert context, of course, but those same concerns are equally significant in other spheres of artistic life.

A dual topic addressed in several of the Westerners research is the grouping of artists and the cultivation of "schools" within an art. Owens considers a North Indian gharani, while Jones discusses sampradiyas (teacher-student descent groups) in the history of Kathakali. Similarly, Qureshi points out that qawwali musicians normally belong to a community of hereditary professional musicians who trace their musical identity through lineages parallel to, or even converging with, the gharanas of North Indian musicians in the classical music sphere. And Jon Higgins notes that in the world of Bharata Natyam, dance musicians maintain allegiance primarily to a single dancer or school of dance.

The grouping of artists and the cultivation of "schools" within an art are topics integral to the greater context of South Asian studies, for several reasons. Studies of social and/or occupational groupings are crucial to an understanding of South Asia. The relationships of artistic groupings to those of the larger society are obviously significant, involving as they do criteria of artistic achievement as well as birth. Such studies, across the arts as well as within a single art form, particularly those studies that compare Hindustani and Karnatak cultures, inevitably lead to discussion of such important matters as values, religious belief, status, communalism, and many others. The subject of groups is important for the history of all Indian arts, for teacher-student groupings have controlled transmission, continuity, and change-therefore the very nature of the arts themselves.

Groups are vital facets of Indian culture, but so, too, are individuals. Thus, in the study of any Indian art form, there must also be considerable emphasis on the particular artist, as in Owens's presentation of Ustad Nazir Aminuddin Dagar and Qureshi's discussion of Meraj Ahmad Nizami. In any discussion of a single artist we are presented with three complex matters for consideration:

1.    The musical tradition with which the artist is associated-a system of training, teaching, performance and repertoire, its history over the centuries, and its expression in several contexts;

2.    The family of which he or she is just one member-a group of musicians who have concentrated their lives on the tradition, who have held places in a relatively long musical history and who have maintained their tradition in various places, therefore various contexts;

3.    The individual musician within the group who has viewed and therefore maintained the tradition in certain ways, lived during one phase of the history, and in several contexts.

South Asian artists and scholars certainly emphasize individuality within tradition, as when they praise a singer for carrying on a tradition (for example by showing proof of good training), but then temper their praise with a statement such as "but he (or she) is not yet free of his (or her) teacher's style." Conversely, sons of great ustcids complain that when they first try to establish themselves professionally, critics compare them to their fathers (usually unfavorably). Each new generation wishes to have its own musical individuality recognized.

For North Indian musical culture the two facets of a musician's responsibility-his maintenance of tradition and his development of individuality-must always be kept in perspective by scholars, as they are in the minds of musicians whom they study. Mention Kirana gharana and the response is likely to be: Ustad Abdul Karim Khan, Ustad Abdul Wahid Khan, Bhimsen Joshi, Hirabai Barodekar, and other distinguished individuals. Mention Agra gharana and the response is likely to be: Ustad Vilayat Khan, Ustad Faiyaz Khan, Ustad Nathan Khan, M.R Gautam, and the like. Mention any other Gharana and the response probably will be the same: naming of individual singers, only some of whom belong to the hereditary family. Furthermore, particular characteristics in the style of each individual singer will readily be mentioned, along with general characteristics associated with the Gharana style. (Note: it is also important to distinguish between the view of Gharana from members of the hereditary family (gharcinedcir) and the view of Gharana from non-gharcinedcir- two views which may or may not agree in all respects.)

The importance of the individual artist is also reflected in the attention given to biography (and hagiography) by South Asian writers on the arts. Journals devote a great deal of space to biographies of musicians, numerous book-length biographies are published and there are also many dictionaries of musicians. In this way our attention is drawn constantly to individual artists. Since the individual musician is so important to music, one should ask: who is "the individual" in South Asian and, particularly, Indian society and culture? In the collection of essays on The Status of the Individual in East and West (University of Hawaii Press, 1968), several perspectives on that question were offered. P.T. Raju in "Indian Epistemology and the World and the Individual," asserts: What we know in perception is not the abstract individual, but a particular individual, not a mere member of a class, but this or that member (p. 123)

The world does not consist primarily of individuals and relations, but of individuals and

their activities, involving relations of course (p. 136) . . . . One may express the central teaching of Indian epistemology about the individual and the world thus: [With regard to the empiri- cal world] The true and significant knowledge of the individual and this world is the knowledge of the individual in his field of action (p. 137).

Surama Dasgupta, in "The Individual in Indian Ethics," asserts: The theory of karma attributes full responsibility for one's actions to the individual himself. . . . Society has tried to help the average man by mapping out for him a scheme of life and duties, but it is on the individual himself that his karma depends, and results will accrue to him accordingly. So, from every point of view, the social good or the personal, the final responsibility for actions rests on the individual alone (pp. 288- 89).

S.K. Saxena, in "The Individual in Social Thought and Practice in

India," asserts: Indian tradition has always been tied in intellectual and emotional admiration only to individuals who created and molded the society. The heroes in the Indian social mind are all individuals-sages and saints-and not schools or "isms" or ideologies. . . . What is adored in social Indianism or in any social period is not a historical process as such, but a particular individual who has brought about social betterment. Not the adoring of the age of Gandhi, but Gandhi himself (p. 348).

Perhaps the most eloquent statement in these essays about individuality in India is the following: "In fact, there is no one Indian view of the status of the individual. There are many views, each upheld by substantial Indian thinkers and by a large section of the Indian people" (Kalidas Bhattacharyya, in "The Status of the Individual in Indian Metaphysics, p. 48). In these essays we perceive that we should view theindividual (not the idea of him), and know him by his particular set of actions (then his relations), for in the end he alone is responsible for his own actions which determine his karma.

Related to the topic of individuality is the concept of authority in the Indian context. When an Indian musician tells one (or writes- the two modes of communication being more similar to each other in Indian than in Western scholarship) "the origin of sargam is . . . ," or "Raga Todi is sung like this . . . ,"one is supposed to understand that "this is the gospel according to . . . ." Authority resides in the individual and an Indian student will decide whose authority he endorses and abide by that. But there are many other views, each equally authoritative, and this is tolerated and understood. Just as "there is no one Indian view of the status of the individual," so is there no one Indian (or South Asian) view about very many things, including details of musical tradition. Thus, it is critical for Western scholars of Hindustani or Karnatak music to inform their work with this value perception and to avoid the pitfalls of unbending generalizations about a body of knowledge based on the "authority" of one performer, one perspective, or one scholar. Thus, when analyzing the Indian musical tradition, the problem of identifying the "Individual" potentials of a musician is very challenging.

Now, after discussing about the "individuality" aspect of Indian music, let us see the beauty aspect of our great tradition. We have mentioned earlier that the medium of expression in the music is the tones which are called Nada. From Nada, musical notes are formed. Nada itself has been compared by the God. The concept of Nadabrahma is present in almost all the great Works of Indian music. This shows that our music was not meant just for fun or the worldly entertainment. But it had some higher levels than that. In the great Work of Pt. Ahobal, "Sangeet Parijat", two eminent objectives of music have been mentioned.

1. Music should be entertaining. It should have the capacity of pleasing the masses through various tools and forms attached to it.
   
2. At the higher level, it should also have the capacity which can liberate the artist/listener from the worldly problems. It should have the power of "self-liberation". In Indian philosophy, this "self-liberation" has been called as "moksha". "Moksha" or "bhav-Bhanjan" is said to be very important in the four "Purusharthas". These four "purusharthas are as under:
   
   1. Dharma, 2. Artha, 3. Kaam and 4. Moksha.
      

      One has to attain first three of them in order to get the forth one – "moksha".
      

      Through the practice of the tradition of Indian classical music one can attain these Purusharthas very easily. That is why, in Indian philosophy, music has been praised at many instances. I do not wish to go deep into it as it does not come under the present topic. The main purpose of my describing the aforesaid facts is that music in Indian tradition has been considered very pure form of the fine arts.
      

      It is the very famous saying, "Beauty lies in the eyes of the beholder". This applies to the beautiful musical tones too.
      

      As the literal meaning of beauty relates to the sense of vision, one may raise the doubts over the beauty of musical tones. But when it comes to the expressive meaning of the word "beauty", its scope seems to have no borders. Whatever gives you the pleasure, satisfaction, relaxation of mind, enjoyment etc is said to be beautiful. The things, situations, tastes, events, occurrences etc which one likes to experience again and again and feels happiness experiencing the same, can also be called as beautiful. Thus, everything that delights us is beautiful.
      

      However, the term "beautiful" in different Branches of knowledge like philosophy, literature, moral sciences, cookery etc has different meanings associated to it. Likewise, in the art of music this term has a specific meaning.
      

      As the broadest platform of convergence amongst the musicians, it can be underlined that the musical compositions which are based upon the set norms follow the rules and patterns set by the musicologists, are original and authentic, have the capacity to entertain the connoisseur are said to be beautiful. Many more parameters can be attached to it as and when suitable. But the basic rules remain the same. We are aware of the fact that the term "beauty" differs from place to place and from one cultural background to another. Hence, the beauty with reference to music also takes different shapes in different sociocultural setups.
      

      Here in India, we generally think in terms of our own musical traditions. In fact, the three basic dimensions of the arts in general and the fine arts in specific are: 1. the place, 2. the time and 3. The circumstances. These three aspects change the terminology of any concept let alone the beauty aspects of music. Therefore, while studying the aesthetical values of any musical composition, let us keep in mind these basic aspects which really make a vital difference. That is the reason why, the music of comparatively the olden times is not appreciated by the new generation. The exceptions may lie here and there but broadly, it is found to be true that generation gaps can be seen in the fine arts too like every other sphere of our social and cultural life. It is this generation gap which generates new trends and the fashion in the cultural scenario of the era. It is due to this fact that newer concepts, trends, systems, practices, habits, fashion etc keep on emerging from time to time. The famous poet Bhaas has once said, "The beautiful is that which is ever new".
      

      This newness of the compositions makes them appealing and beautiful. There are some classics which are liked in the present era too. It is because these classics are beyond the three basic aspects of arts. Namely, the time, the place and the circumstances.
      

      Playwrights like Kalidas, Shakespeare etc were beyond the limitations of place, time and the circumstances. They chose the topics which the masses can still identify themselves with. That is why, their plays still satisfy the readers and viewers aspirations and expectations.
      

      Likewise, the Western composers like Mozart, Beethoven and Handel as well as the Indian composers like Tyagraja, Muthuswami Dixitar, Shama Shastri etc from the South and Vishnu Digambur Pulaskar, Onkarnath Thakur, Pt. Ratanjankar etc from the North were ahead of their times. They composed very beautiful traditional Bandishes which are still being followed by the learners as well as the teachers of the Indian classical music.
      

      In the field of Popular Music too, there have been some great composers who revolutionized the style of composing music. Great music composers for movie melodies like S. D. Barman, Madan Mohan, Anil Biswas, O. P. Naiyar, and many other artists have contributed their skills in this field. Their music is still listened with pleasure and satisfaction. Many singing stars – the classical singers or the playback ones – have shown us the new hopes and horizons following which we can contribute to the aesthetic value of our music.
      

Through the above analysis, we can conclude that there is a fundamental relation between the arts and the aesthetics in general and between music and aesthetics specifically. That is the reason Naada is considered to be close to the Almighty God. In our tradition of music, music has been associated in all the religious rites. Not only that, music has been an integral part of our cultural heritage. Thus, music cannot be studied without the study of the aesthetics.

The Origin of Banaras Gharana of Tabla

Banaras, known also as Varanasi or by its ancient name, Kashi, is the holiest city of Hinduism. Located on a northward curve of the Ganges as it cuts through the plains of Uttar Pradesh, Banaras has for centuries been a pilgrimage center and the bastion of Hindu orthodoxy. Maintaining tradition is the life blood of Banaras, and this holds true not only for religious practices, but also for the various arts and crafts that remain thriving family traditions. The elegance and fine workmanship in the Banaras silk sari industry is both legendary and contemporary. Banaras is an opera: the rhythm of leatherworkers pounding out hide for sandals; the clang of blacksmiths along the Thatheri alley; the ring of cycle-riksha bells; train whistles on the edge of the city; balloon bulb bus horns; cawing crows and whining peacocks; mendicants chanting, "Jai Sita Ram, Jai Jai Sita Ram;" a group of shen5r players leading a bridal party down the street; the normal din of six hundred thousand people living in an area little bigger than New York's Central Park.

Musical traditions run deeply in Banaras and the most famous tradition in the classical form is the Banaras Gharana or "style" of Tablaa playing. Drumming is at the heart of Banaras music and some of the best known tabla players in India came originally from this city. The style itself is hard to define in words and is flexible according to each Tabla player's taste. here is a Banaras "sound" in Hindustani music, just as there is a "Motown," or a "Chicago" sound in Afro-American music, but the exact definition of that "sound" is a matter of personal appreciation. The variety of individual styles within the total conglomeration of Tabla playing known as the Banaras Gharana is so great that any generalization about the Gharana as a whole may prove invalid from musician to musician. The mythology, the genealogies , the typical compositions and the favorite forms of improvisation are all uniquely Banaras.

late Kanthe Maharaj, one of the best known Tabla players of this century, recounted the good old days amongst his well-wishers and the disciples the as well as the musical history of the Banaras Gharana as he remembered it. His story, spiced with the numerous legends of the past that are an integral part of Indian tradition, was elaborated upon further by Sharda Sahay, the great-great grandson of the founder of the Banaras Gharana of Tabla , Ram Sahay .

Ram Sahay was born in 1798 in Banaras. His family had originally come from Gopalpur, a village in Jaunpur district bordering Banaras, but had moved due to a smallpox epidemic. One brother went to Lucknow and two others went to Banaras.

Ram Sahay's father was the elder of the two brothers in Banaras. The family astrologer predicted an auspicious musical future for the boy and when just two years old, Ram Sahay began learning Tabla, the basic sixteen-beat Trital of Hindustanimusic. Ram Sahay became the disciple of his uncle, a well-known Tablah player of the day. His uncle introduced him at various music programs and encouraged him to play solos. Under the pressure of constant public exposure, he began to arduously practice the tabla and the t'alas of Hindustani music.

When he was seven years old, Ram Sahay travelled to Lucknow with his father and uncle to attend a musical gathering at the court of the Nawab of Oudh, Shujatuddhaula. Many of the finest Tabla players of India were present and Ram Sahay sat entranced at the feet of the great musicians of the day. One old Muslim gentleman in the audience noted the boy's interest. Several days after the programs at the court, Sharda Sahay (the Sahay brother who had originally come to Lucknow to live) held a music party at his home. Modhu Khan, the old Muslim gentleman, as well as the other Tabla players attended the program and heard Ram Sahay perform a solo. While he was playing Modhu Khan began to pace about the room, acting like a man of a peculiar nature. The other musicians began to mock the eccentric old man under their breath.

After his performance, Ram Sahay asked his uncle why everyone had mocked the old man. Modhu Khan, overhearing the boy's question, answered sadly, "If I had a son, I would have stopped this disgraceful laughter.

" Ram Sahay's uncle took the boy aside and explained that Modhu Khan was a learned Tabla player but that he had given up his practice and now couldn't produce clear strokes. In fact, he was being ridiculed as a person who was no longer capable of doing anything like a "wingless pigeon, " because his fingers moved like a waddling pigeon with clipped wings. Modhu Khan had neither a son nor disciples. He had taken a vow never to initiate anyone from Lucknow into his musical tradition because of their inimicable attitude toward him. But after hearing Ram Sahay's playing and seeing his interest, Modhu Khan appealed to the boy's father to allow him to stay with him in Lucknow as his disciple. The father prayed the next morning and then agreed to the proposal.

Ram Sahay learned wholeheartedly from his inspired teacher. After several years, Modhu Khan was called away to his father-in-law's home in the Punjab. Ram Sahay continued to go to his teacher's house with the same vigor as when his teacher had been there. Each day, he awaited the return of Modhu Khan until after a month he broke down and cried in the fear that his teacher would never return. After consoling the boy, Modhu Khan's wife agreed to teach him in her husband's absence. She had learned over five hundred compositions of Punjab-style Tabla playing from her own father, though she did not play publicly.'

After five months, Modhu Khan returned and was very pleased with Ram Sahay's progress. Modhu Khan taught his disciple for twelve years in Lucknow. The old nawab of Avadh died and was succeeded by his son, the illustrious Wajid Ali Shah. On his "coronation" day, a large musical gathering as held in Lucknow featuring musicians and dancers from all over north India. Wajid Ali Shah himself had studied kathak (Hindusta'ni classical) dancing with Ram Sahay's cousin, Thakur Pra sadji, and the new nawab was anxious to hear Ram Sahay play. Modhu Khan declared that his young twenty-year old disciple would play under one condition: that Ram Sahay be allowed to play as long as he liked with no one stopping him. The nawab agreed.

That night, Ram Sahay began playing at eight o'clock and played through the night until four in the morning. As remarkable a feat as this was in itself, what was even more remarkable as that he played only two types of elaboration -the uthaan and mohra.' Even the greatest of the Tabla players could only play a few of these elaborations and yet Ram Sahay played for eight hours without repeating a phrase'. Seven straight days of playing passed and Ram Sahay continued to dazzle the audience with spectacular varieties of elaboration. His Khazana,or compositions of intricate and pronounced stroke and tempo change, were extraordinary. The audience remained spellbound to the end and then broke into excited conversation and nervous laughter.

Modhu Khan rose and approached Wajid Ali Shah with a final request: he wished to ask the illustrious tabla and pakhzwaj players present if they had the courage to play now, after Ram Sahay. The musicians answered in a chorus of resounding, "no, thank you'. " It was Modhu Khan's moment of glory and he relished it to the limit. He smiled and said, "All right, you pompous blowhards. You have been calling me a 'wingless pigeon' for years. Now come and lay garlands on Ram Sahay's shoulders. If that is too much for you, come and challenge my disciple. " Modhu Khan's challenge caught those present by surprise: if they laid garlands on the young Tablaa player's shoulders, they would be destroying the own esteemed reputations. Khudo Singh, the disciple of a famous pakhzwaj family, was the first to step forward and he declared, "Of all the drummers I have heard in my lifetime, Ram Sahay is the best. " The other musicians followed suit and presented garlands to Ram Sahay. The young master, with the legendary humility of the great, refused to be garlanded and instead asked for help from those present. One Tabla player, Salar Khan, immediately offered Ram Sahay his entire traditional knowledge.

Others volunteered to teach the boy rare compositions that only they knew. Shortly after the music gathering concluded, Wajid Ali Shah called Modhu Khan and Ram Sahay to his palace. He presented Ram Sahay with two diamond and two emerald necklaces, four elephants, 400,000 rupees, bolts of the finest silk, and gold jewelry. The nawab then ordered Modhu Khan to allow Ram Sahay to return to Banaras to see his family whom he had left twelve years earlier.

In Banaras, Ram Sahay eagerly learned new compositions and practiced faithfully. From the pakhwaj player Khudo Singh he learned gaja paran, "elephant composition, " which could tame wild elephants if played properly. From another player he learned a chakradar paran by which a cocoanut could be blown to bits with the correct combination of strokes. Popular history has it that Ram Sahay learned compositions that could bring rain, that could extinguish the flame in a clay oil lamp, and that could invoke the gods.

By this time, Ram Sahay had become a well-known concert performer, and his fellow Tablaa players grew jealous of his success. They concocted a plan among themselves to stop Ram Sahay and thus promote their own chances. One night, Ram Sahay was playing a concert when a man who had been bribed by the dissident Tabla players stood up in the middle of the performance and said, 'When we hear you play, master, it seems as if God made the tabla only for you. " Another stood in the back row shouted out, "Listen friend, you've got to remember that he was lucky to have learned in Lucknow. No one from Banaras could play like this. " Ram Sahay was very proud of Banaras and was hurt by the man's statement. When a fist-fight broke out between Ram Sahay's loyal followers and the conspiring musicians and their associates Ram Sahay rose up from behind his drums: "What the second man said is true. The future will judge me as a musician born in Banaras but playing the Lucknow style. From today onward, I will not touch the Tabla because no matter how many innovations I may create, it will all be attributed to Lucknow. Though I love my teacher and will always be grateful for his teaching, I love my city and feel I can't esTablaish it as a unique musical city because of my history.

" Ram Sahay's admirers were upset. His Banaras relatives and the elders of the city prevailed on him to change his mind, calling him a fool for ruining his career because of a madman's words. Ram Sahay agreed that the words were those of a madman, but that musicians and musicologists of the future would say the same thing: that he played the Lucknow Gharana in Banaras. Ram Sahay's uncle, understanding his nephew's determination, suggested that if he was no longer going to play publicly, he should at least teach others what he had learned. Ram Sahay accepted this proposition and, after a respite of six months during which he wrote down his repertoire and theory of music, he began to teach his brothers Janaki, Gauri, and Ishwari, and six other disciples from outside his immediate family.

Ram Sahay completely altered the traditional placement of the fingers on the Tabla head. The use of the ring firger as a main stroking finger, unique to the Banaras style, was introduced at this time. People in Banaras were shocked at Ram Sahay's new methods. His uncle couldn't bear this departure from tradition and demanded an explanation.

Ram Sahay presented his uncle with the manuscript he had been working on for six months -"The Banaras Ba'j ." Ram had created, analyzed, and rationalized the style on paper. The new style was suitable for any type of music from heavy classical dhrupad singing, (usually accompanied by the pakhwaj drum), to the lighter forms of thumri and tappa, to all styles of instrumental music, and lastly, to Kathak dance, a specialty of Banaras and Lucknow. Ram Sahay's uncle was still displeased, since Pakhawaj strokes were introduced on the Tabla, a practice considered "impure. " Ram Sahay countered that his disciples would learn both sets of strokes so that they could accompany any kind of music.

Many years passed, and Ram Sahay, who had not married, decided to become a sadhu or wandering holy man, and made pilgrimages to the sacred places of Hinduism.

A nephew of Ram Sahay's named Bhairav Sahay became the last disciple of the Tabla master; he spent the last six years of his life training the boy. On his death bed Ram Sahay predicted a glorious musical future for Bhairav, whom he felt would spread the new Banaras style throughout India. Bhairav Sahay often went to pray at the shrine of Lord Bhairav in the Nici Bag area of Banaras where drummers before him had prayed for strength in their lifetime goal of constant music practice. By the age of eighteen, Bhairav Sahay was regarded as the finest Tabla player ever heard in Banaras . His ceaseless devotion to practice earned him the astonished respect of the old experts.

Once Bhairav Sahay was invited by the Maharajah of Nepal, Bahadur Sinha, to perform at a large musical gathering. Niyamatulla Khan, the most famous sarod player of the day, was also invited, and Bhairav Sahay was selected as his accompanist. Together, these two masters turned out new improvisations, tempo changes and technique variations that dazzled the listeners. During the larant or "fighting" style of improvisation when each artist tries to outdo the other by taking the other's material and complicating it slightly, the experts in the audience gasped in astonishment. Niyamatulla Khan laid down his instrument and proclaimed, "Bhairav Sahay is not a Tabla player, he is an angel from heaven. God has given eyes to each of his fingers so that whenever a singer or instrumentalist begins his improvisation, those fingers visualize it and reproduce it instantly. " The Maharajah was so pleased at Bhairav Sahay's playing that he presented him with a costly rifle and sword.

The disciples of Bhairav Sahay were his own son Baldev Sahay, and Ehagavan Mishra. The direct descendants of Ram Sahay and Bhairav Sahay were many and their musical virtuosity has become legend in Banaras and amongst Hindustani music concerts.

Baldev Sahay, the son of Bhairav Sahay and an excellent Tabla player in his own right, had many famous students. His own son, known as Durga Sahay or "Nannu" Sahay, was considered as one of the greats of his day. This blind musician, who died at the age of thirty-four, was supposed to have a smooth technique and a fierce concentration in his disciplined practice throughout his life. He is particularly known for his speed of execution. Kanthe Maharaj, a name familiar throughout the Indian music community, was also a disciple of Baldev Sahay, as well as being his cousin. Legend has it that Kanthe Maharaj's father was had no son and hence used to pray to god for it. Often he went to the Ganesha temple in Kabirchowra to pray for hours at a time, for a son. One day, a priest of the temple overheard the prayers and immediately brought the man some prasaad telling him that if his wife ate the prasad before the sun was at its peak, she would bear a son. That night, Kanthe Maharaj's mother had a dream that a chain of fire was entering into her heart. The priest from the temple was called and he predicted that the boy to be born would become a great musician.

Kanthe Maharaj , who was the drean of the Banaras Gharana , died in 1969. With him vanished a unique style and a unique approach to the aesthetics of tabla playing. He believed that for every raga there should be a specific Tabla sound produced and that of each raga had a corresponding tala rasa. For every raga, he believed there are slight changes made to suit the rasa of the piece. In order to produce this feeling on the drums, Kanthe Maharaj mastered the dynamics of the loosely tuned left-hand drum, the bayan. Through proper control of the pressure on the bayan head, he produced an amazing variety of tones and could even play a complete scale, with each note clearly heard, just by shifting the weight and position of the heel of his left hand. Kanthe Maharaj was not interested in mathematical drills, only in clarity of sound. It is said that the only exercise he practiced was a slow, "na dhin dhin na, " while he concentrated on the exactness of each stroke. Kanthe Maharaj's unique and prominent style and vision is still remembered and respected.

Problems relating to Hindustani music

In the present scenario, many traditional art-forms are passing through a phase where the artists concerned have to decide whether they should leave the arts to the mercy of the "market forces" or sacrifice their own interests in order to safeguard the traditional values thereof. Most of the artists relating to different arts have to go through the aforesaid dilemma at least for once as they pursue their career. This essay is an attempt to identify the concerns of the artists who are related to specifically, the Hindustani music, and are going through the dilemma of "to do or not to do", and for one reason or the other, are flowing with the strong current of the market forces.

Hindustani music has a very rich and traditional heritage. It has been admired and appreciated the world over. However, in the present era of the Globalization, many of the musical forms are on the verge of collapse. The beautiful and affluent tradition of Dhruvapada and Dhamar is getting weak day by day. The singing form which once had been the measuring scale of the purity of a Raga, is dying and those who should come forward to save this tradition, are busy either making their own "future" or performing "new experiments" so as to mesmerize the masses with the miraculous "unique" style of theirs. Likewise, the traditional musical instruments like different forms of the Veena are facing the danger of extinction and the artists who can do something to protect these musical instruments are busy in the innovation of new instruments. There are very few artists who are capable of playing Rudra Veena. They wish to pass the valuable knowledge to the descendants but nobody is prepared to devote his/her "precious" time to learn it. The question rises as to what is the remedy or solution to the problems which the world of Hindustani music is encountering. The answer is not very easy. It is said that the present makes the future and the past makes the present. Therefore, in order to find the answers to the problems being faced by the world of Hindustani music, we would have to search its past.

Indian music can be traced back as early to the Indus Valley Civilization. However, the written references about the music are available only in the Vedic Literature. Therefore, we can submit without any reasonable doubts that the Indian music was flourishing during the Vedic Period. The history of our music, we can suppose, begins with the history of Vedic Period. At that instance, we find a lot of references regarding the evolution of music. The references regarding the vocal as well as the instrumental music are available in that period. Hence, we can assume that in the Vedic Period, our music had been come to a stage where the vocal as well as the instrumental music was practiced fluently. After the Vedic Period, during the Period of Natyashastra, we find clearly two different streams of music. One, which was concerned with the religious rituals and ceremonies, and was expressed in the forms like Sam Ganas etc, and the other was related to the folk music and was expressed in the form of Deshi Sangeet.

Gradually, these two streams evolved as Margi Sangeet and Deshi sangeet. In the Work of Matanga called "Vrihaddeshi", these two forms of music are available. However, the original Work of Matanga is not available these days. That is why; it is not possible to trace back these terms in detail. But many scholars have referred the Work of Matanga in their books. It is from their Works that we get some knowledge about Margi and Deshi Sangeet.

The trend of Margi and Deshi continued with several changes in the style as well as the content. In his book, Sangeet Parijat, Pt. Ahobal has described the two famous targets of music – one, Janaranjan or the entertainment of people, and BhavaBhanjan, the Liberation of soul from the worldly illusions.

The first objective of music is related to the entertainment aspect of music and other is related to the spiritual evolution.

Let us first talk about the latter. A deep analysis will be provided about the entertainment aspect of music after discussing its spiritual aspects.

The spiritual aspects of music

The spiritual aspects of music are not necessarily related to the religious acts or rituals. Spiritualism does not denote any faith in particular. On the contrary, it deals with the basic human conscience. This is the reason that music is said to have the powers which can cure many physical as well as the mental illnesses. We are aware that presently, music is being used as an alternative medical therapy or the supportive medical treatment in many hospitals. Many clinical psychologists now have ample evidence to believe that listening to the refined kind of music can energize the human mind. It supports the level of concentration of mind and controls the negative attitude. Hence, the listener gradually is transformed into the positive state of mind. It is through the power of the spiritual aspect of music that the Indian musicians are able to contribute to the promotion of world peace and international brotherhood. Spiritual music together with the devotional and the religious music can have enchanting and miraculous effect on the masses. Those who are able to appreciate music would have experienced this effect at some point of time. This is the reason that the Sufi music, Bhajan singing, Gurumukhi style of music etc are very high on the popularity charts. Many a classical musicians too are adapting the religious music these days.

Music as an entertaining medium

In addition to the spiritual aspects of music, it has the entertainment value too. We have already mentioned that the ancient as well as the medieval scholars of music have recognized two objectives of music. The first, the spiritual one, has just been described in the aforesaid paragraphs. Now we will discuss other one, that is, the entertainment feature of our music.

The first and the foremost objective of any fine art are to entertain the masses. Nobody will come close to the arts without it. That is why; all the fine art forms have the aesthetical value around which they evolve. The basic element of all the arts is the beauty. The creation of the artists must be beautiful. It is the very first criterion which is used to ascertain the standards of the art forms. In the art forms other than the fine arts, the utility aspect is also used to standardize them but in case of the fine arts, the beauty facet is prominent. When we listen to a song, we like or dislike it on the basis of the fascinating effect of the melody. The rules of the composition and other such issues which may be related to the "grammar of music" come at a later stage. The first priority of the listener as well as the artist is the "mass appeal" of the melody.

It is on the considerations like these ones that the two streams of music, (as has just been mentioned), incessantly and parelelly keep on growing. The stream which satisfies the entertainment aspect becomes popular amongst the masses. On the other hand, the stream which deals with the spiritual values is practised by some specific classes of the society and hence gets the name "classical music".

This division of classical/popular music has been clearly and distinctly reflected in the society beyond the ages. The names of the categories may be different at different times. But the basic essence of the division has been the popularity/spirituality of the art. In the Vedic Period, these two streams were known as 1. Aranya Geya Gana and 2. Grama Geya Gana. In the later periods, these two streams were known as 1. Margi and 2. Deshi Sangeet. In the present era, these streams are known as 1. Popular music or the pop music and 2. Classical music or Ragdari Sangeet.

Classical music and popular music

Before coming to the central idea of this essay, (Problems relating to Hindustani music), let us have a closer look at these two streams of our music.

All the fine arts can be categorized in two groups: 1. Classical arts and 2. Folk arts or the arts of the masses. However, in the present context, we are more concerned with music. Therefore, we will discuss the art of music in its classical as well as the folk form.

Music is a fine art wherein, the medium of expression is the sound. However, not all sounds are used in music. Only musical sounds are permitted. In the terminology of music, the sounds that are considered musical are called 'tones' or 'naada'. These tones are expressed through musical notes. Names of these notes differ from place to place but in the present era, it is universally accepted that there are seven musical notes in one octave. These musical notes are the alphabet of music. We have just these notes to express ourselves musically. This is the reason, these notes are said to be so important. In the Indian subcontinent, the teachers as well as the scholars of music insist on the practice of these notes. This process of getting control over the musical notes is called 'Swara Saadhana'.

Before going deep into the technical issues, let me tell you that in the folk music, the art comes naturally and instinctively. The folk singers (excluding the professional ones) do not formally learn how to sing or how to take to 'swara saadhana'. In the countryside, people impulsively sing and dance to express their joy and other sentiments. This is the reason that we find folk songs for almost all the occasions. Be it marriage ceremony, occasion of birth of a baby, harvesting season, and what not; there are folk songs for every occasion? Festival songs, seasonal songs, songs associated with different rituals etc are passed on from one generation of folk singers to another one. Thus, the chain keeps on growing.

This is a fact that the origin of all other forms of music is our rich, vibrant and ever new folk tradition. The classical music, popular music, regional music, devotional music, theatrical music, movie songs, light music etc have been originated and evolved from the great ocean of the folk musical tradition. If we go through the first written references about Indian music (the Rigveda), we find that two streams of music have been mentioned there. 1. Aranyagaan and 2. Graamgeya Gaana. It is said that the first one represents the music that was sung by the tribes of the forest. These tribes were far from the urban life and therefore were not cultured enough to devise the rules of singing and dancing.

The second stream of music – 'the gramageya gaana' - was governed by a set of rules and hence it can be considered "nearer to the classical music".

Although the folk music is the basic edifice upon which all other its forms evolved, yet the music which is assumed or reflected as the folk music has not been given its due share. Till the time of Sangeet Ratnakar, we find the references of the folk music under the various types of Prabandhas. We are aware that Prabandhas like "Chachchari", "Kreeda", "vasanti" etc were related to and are compared with many folk melodies by the present day scholars. Dr. Prem Lata Sharma has tried to highlight the similarities of folk music with various Prabandhas in her commentary on Sangeet Ratnakar.

However, after Sangeet Ratnakar, no such effort is reflected in the medieval works on music. The history of Indian music in fact had been limited to the Durbars and the Nawabs and the folk traditions were highly ignored. Durbari Sangeet was established as the "ragdari Sangeet or the classical music at a later stage. Musical forms like "Dhruvapadas", "khayals", "Thumaris" etc looked upon the folk music disdainfully and the classical musicians viewed it as something untouchable.

Nevertheless, amongst the masses, the folk music was not only preserved through the oral traditions from generation to generation, but it also got enriched through the contributions of many renowned folk singers.

However, in the era of the globalization and the Electronic Media Boom, this rich tradition of the folk music was badly hit. On one hand, it was tampered with by the market forces whose sole objective has been to exploit the maximum value from everything, and on the other hand, it was disfigured by the popular music which moulded it to the popular taste. Thus, it got new expressions like "Disco Garba", "Punjabi Pop" etc. Indipop singers like Daler Mahndi, Ila Arun etc gave it a new shape. It was transformed into disco music to be suited to the disco theques.

Movie melodies also contributed to the alleviation of the folk tradition. Many lyricists and music composers exploited the folk music and earned millions. However, in the process of creating more money, the folk musical tradition was shattered.

At present, the situation is such that those who even do not know the Punjabi (for instance), claim to sing Punjabi folk. My opinion is that unless one is familiar with the cultural traditions of a particular region, he/she cannot sing the folk melodies of the region. Surely, there are artists who can perfectly copy the style of the folk singers. However, the photocopy of a document cannot be considered as the original document. Likewise, the imitation of a folk style cannot be considered as the real one. To sing a folk song, one has to be familiar with the culture of that region. Secondly, folk songs are not composed. They just are transferred from one generation to another. Of course, these songs keep on changing according to the changing societies as the lyrics are not generally in the printed form. Every singer of the folk melodies contributes to the little changes that take place from time to time. The singers who are used to the cultural heritage of the particular society generally keep on changing the tunes as well as the text as per the requirements of that society. But those who are not related to the cultural heritage of the region cannot compose a folk song as is being done in some cases.

The problem is that the electronic media and the cyber space have changed the very definition of Hindustani music. Singing for the viewers and singing for the microphone cannot be alike and hence do not create the same enthusiasm in the hearts of the performers. When the artists perform for the recording machine, they do not get the feedback from the audience. Therefore their performance is affected. Performing before an appreciative audience provides a challenge to the artist; the challenge to enchant them with his/her charming innovations, the challenge to share with the viewers the same aesthetic experience which has been mentioned in the Upanishads as "Parmananda". This challenge is missing while performing in the captivity of a recording studio. However, the professional artists have changed their mindset according to the demands of the era. The artists of great repute hardly bother for such circumstantial realities. They have just been used to these situations.

The other problem is that new forms of music like the movie melodies, the fusion of two different kinds of music etc have changed the scenario completely and sometimes adversely. Here I would like to make some comments upon the Movie Music.

It is true that the film music has contributed immensely to popularise the music amongst the masses. It is also beyond any disagreement that the movie melodies have provided a lighter alternative in comparison with the traditional but tough classical music. But gradually, this kind of music has been transfigured into "computer-programmed" mechanical kind of music which, instead of giving us pleasure, increases the blood circulation thereby contributing to the high blood pressure. The yearn to imitate the Western style of music has also made the matters worse. Then there are "copy cats" who have not even got the basic training in Hindustani music and have still become composers. All these circumstances have created a kind of confusion. This confusion is reflected in the learner of music. When one wishes to learn music, he/she generally is not sure as to what kind of music he/she wishes to learn; the classical traditional music or the popular music of the modern era.

The result is that the appreciators of classical music are decreasing in numbers. Subsequently, the great artists of the classical music are forced to change their strategy of their performances. They are adopting new forms of music like Bhajan singing, fusion of different kinds of music, performing in duets and trios to make the performance more appealing etc. Many classical music artists are trying their luck in the world of cinema. Some have succeeded some others were not so fortunate. But the main thing is that many traditional artists are getting away from the classical music because they do not see any future in this direction.

Here let me tell you that the Electronic Media (Especially, Radio and TV), which is supposed to be the guardian of our heritage of music, is cashing upon the popular music only. Gradually, the space for the classical music is shrinking on these traditional avenues. On electronic media, now-a-days, the content of the broadcast is decided on the basis of the TRP rankings. The features which go high on the popularity charts, survive whereas, the programmes which have low ranking on the popularity charts but happen to be excellent in their content, vanish. On the state-owned TV channels too, the space for the classical music is shrinking day by day. Secondly, the time slot for such programmes falls at an odd time so that very few persons ever watch these wonderful programmes.

The world of glamour is slowly swallowing the world of our illustrious traditional arts and music. Disco Bhangda, DiscoGarba, DiscoDandia etc are the trends of today. In the strong and exciting beats of these new trends, many of us misunderstand these popular forms with the folk music of the oral tradition. Pop singers sing the folk melodies and some of us think that this is the real one. Recently, the song "Saas Gaari Deve" by Rekha Bharadwaj is actually based upon the traditional Chhattisgarhi folk melody. The difference is that the movie melody does not represent the real tradition of the folk culture. However, the new generation of today think that this is the real one.

On the internet, too much of classical music is available but there is nobody to decide what is right and what is wrong. In this era of IT Boon, everybody can upload the stuff of one's choice. There are sites like "YouTube" which host such video content. But there is no control on the quality side. Therefore, those who are not aware of the classical music cannot decide the authenticity of such music.

The only hope is from the traditional musicians. They can devise their strategies in such a way that the classical music gets more popular. They can create an appreciative audience by teaching the basics of the classical music. Not a single individual can do this. Therefore, the classical musicians should come together for the cause of our music. We have to save our heritage of wonderful music. Through small concerts, lecture/demonstrations, seminars, workshops etc the awareness for the classical music can be increased.

We have to counter the challenges posed by the Media Boon, the IT Boon etc. It is the human tendency that they like the spicy food and avoid the healthy one. Likewise, the exciting spicy music is liked more than the positive traditional music. Let us admit this fact. But it is our duty to present the facts in the right perspective. As the parents explain to their young ones about the benefits of the healthy food in comparison to the junk food, so we shall have to explain the students and the audience of music about the benefits of positive classical music over the modern pop music.