Hindustani music is predominant in the northern region of India. Hindustani music is more concerned with musical structure and the possibilities for improvisation. The Hindustani branch adopted the Shudha Swara Saptaka scale, also known as the "Octave of Natural Notes." In Hindustani music, there are ten main singing styles: 'Dhrupad,' 'Dhamar,' 'Hori,' 'Khayal,' 'Tappa,' 'Chaturang,' 'Ragasagar,' 'Tarana,' 'Sargam,' and 'Thumri.'

In this article we will study Hindustani music from the perspective of its importance in the UPSC Civil Services Exam.

Hindustani Music - Origin and Evolution

• Hindustani classical music can be traced back to the Delhi Sultanate period and Amir Khusrau (AD 1253-1325), who encouraged musical performance with specific instruments.
• He is credited with inventing the sitar and tabla, as well as introducing new ragas.
• Tansen is the ancestor of the majority of Hindustani musicians.
• Tansen's music is said to have had a magical effect. He could stop the Yamuna's rising waves and make rain fall with the force of his 'Megh Rag.'
• In fact, his melodious songs are still sung with great interest throughout India.
• Musicians such as Baiju Bawra, Surdas, and others were patronised by some of Akbar's courtiers.

Characteristic Features of Hindustani Classical Music

• It consists of gharana system.
• It has scope of improvisation.
• It consists of a scale of octaves of natural notes.
• Is based on Guru Shishya Parampara.
• Raga system forms the basis of this type of music.
• Musical instruments used are tabla, sitar, sarangi, violin, santoor and flute.
• It lays emphasis on vocals.
• Tansen is considered as Father of Hindustani Classical Music.

Types of Hindustani Classical Music

As it is based on vocals, therefore is based on various vocal forms. These can be divided in following types:

Dhrupad

• It is one of the oldest and most grandiose forms of Hindustani classical music, and it is mentioned in the Natyashastra (200 BC–200 AD).
• Dhrupad is said to have descended from earlier forms such as Prabhanda and Dhruvapada.
• The name is derived from the words 'dhruva' and 'pada,' and it refers to both the verse form of the poetry and the style in which it is sung.
• Although Dhrupad became a classical form of music in the 13th century, it reached its pinnacle in the court of Emperor Akbar.
• He employed and supported musical masters such as Baba Gopal Das, Swami Haridas, and Tansen, who was regarded as one of the Mughal court's Navaratna, or nine gems.
• It is also speculated that Baiju Bawra sang at Akbar's court.
• In the court of Raja Man Singh Tomar in Gwalior, we find evidence of singers who mastered Dhrupad.
• It was the dominant form of singing during the mediaeval period, but it declined in the 18th century.
• Dhrupad is essentially a poetic form that is incorporated into an extended presentation style that is distinguished by the precise and obvious elaboration of a raga.
• Dhruva means 'unmoving' in Sanskrit. It denotes the return to a fixed point of the Swara (tonal), Kala (time), and Shabda (textual) trajectories.
• Dhrupad begins with Alap, a song sung without words.
• The alap creates a mood in the audience that corresponds to the mood of the chosen raga. It's just music with no words to distract you.
• After a while, Dhrupad begins, followed by Pakhawaj.
• Dhrupad is of temple origin and includes the use of sanskrit syllables.
• Dhrupad compositions are typically 4 to 5 stanzas long and performed by a duo. Dhrupad-style performances are typically performed by two male vocalists.
• They are usually accompanied by Tanpura and Pankhawaj.
• Dhrupad singing is further classified into four types based on the vanis or banis performed:

Gharana System

• A gharana is a social organisation that connects musicians or dancers through lineage or apprenticeship, as well as adherence to a specific musical style.
• Gharana is derived from the Urdu/Hindi word 'ghar,' which means 'family' or 'house.' It usually refers to the location of the musical ideology's inception.
• A gharana also denotes a comprehensive musicological ideology and distinguishes one school of thought from another.
• It has a direct impact on musical thinking, teaching, performance, and appreciation.
• Agra, Gwalior, Indore, Jaipur, Kirana, and Patiala are some of the well-known gharanas for singing Hindustani classical music.

Khayal

• 'Khyal' is a Persian word that means "idea or imagination."
• Amir Khusrau is credited with inventing this style. This form is popular among artists because it allows for more improvisation.
• Khyal is built around a repertoire of short songs with two to eight lines. In general, a Khyal composition is also known as a 'Bandish.'
• In the 15th century, Sultan Mohammad Sharqi was the most generous patron to Khyal.
• The use of taan in the composition is one of the most distinctive aspects of Khyal. As a result, Alap is given much less space in Khyal music than Dhrupad.
• Two songs are typically used in a Khyal performance:
  • Bada Khyal - It is sung in slow-tempo
  • Chhota Khyal - It is sung in fast tempo
• Typically, the theme for these Khyal bandish is romantic. Even if they are related to divine creatures, they sing about love.
• Outstanding Khyal compositions are written in praise of Lord Krishna.
• The major Gharanas of Khyal music are as follows:

Tarana Style

• The rhythm is very important in this style.
• The structure consists primarily of a melody, which is usually short and repeated many times, with variation and elaboration at the discretion of the performer.
• A second, contrasting melody is introduced once before returning to the main melody, usually with higher notes.
• They concentrate on producing rhythmic matters, so singers must have specialised training and skills in rhythmic manipulation.
• Pandit Rattan Mohan Sharma of the Mewati Gharana is currently the World's Fastest Tarana Singer.
• The audience at Pandit Motiram Sangeet Samaroh in Hyderabad bestowed upon him the title "Tarana ke Baadshah" in 2011.

Semi-classical Styles of Hindustani Music

• Swara (note) is also used in semi-classical music.
• They do, however, deviate slightly from the standard structure of the raga in the way that lighter versions of ragas such as Bhoopali or Malkaush are used.
• They use a lighter version of tala and madhyam or dhrut laya, which means they have a faster tempo.
• They place a greater emphasis on bhava and lyrics than on alap-jod-tan-jhala.
• Some of the most well-known semi-classical styles include:

Thumri

• It is based on mixed ragas and is widely regarded as semiclassical Indian music. The tunes are either romantic or devotional in nature.
• This was so heavily influenced by the Bhakti movement that the text usually revolves around the girl's love for Krishna.
• The composition is usually written in Hindi, Awadhi, or Braj Bhasha dialect.
• The songs are typically sung in a female voice.
• This is distinct from the other forms because thumri is distinguished by its inherent sensuality.
• It also allows the singer to improvise during the performance, giving them greater raga flexibility.
• Thumri is also used as a generic name for several other, even lighter, forms, including Dadra, Hori, Kajari, Saavan, Jhoola and Chaiti.

Tappa

• The rhythm is very important in this style because the compositions are based on fast, subtle, and knotty constructions.
• It evolved from the folk songs of camel riders in North-West India, but it gained legitimacy as a semi-classical vocal specialty after being introduced to Emperor Muhammad Shah's Mughal court.
• Tappa was the preferred genre of both the wealthy elite and the lower classes.
• The "baithaki" style evolved under the direct patronage of the landed elites of the zamindari classes in their baithak-khanas and jalsaghar (halls for entertainment) in the late 19th and early 20th centuries.

Ghazal

• Today, the style is becoming extinct, and no one is interested in it.
• Mian Sodi, Pandit Laxman Rao of Gwalior, and Shanno Khurana are among the few exponents of this style.
• It's a poetic form made up of rhyming couplets and a refrain, with each line having the same metre.
• A ghazal is a poetic expression of both the pain of loss or separation and the beauty of love in the face of that pain.
• It is thought to have started in Iran in the 10th century AD. A Ghazal is never longer than 12 ashaar or couplets.
• The Ghazal became popular in South Asia in the 12th century as a result of the influence of Sufi mystics and the courts of the new Islamic Sultanate, but it reached its peak during the Mughal period.
• Amir Khusrau is said to have been one of the first expounders of the art of writing Ghazals.
• Many of the major historical Ghazal poets were either avowed Sufis (such as Rumi or Hafiz) or sympathisers of Sufi ideas and beliefs.
• Ghazal not only has a distinct form, but it also traditionally deals with a single topic: love, specifically unconditional and superior love.
• The Indian subcontinent's ghazals are influenced by Islamic mysticism.
• The ghazal has undergone some simplification in terms of words and phrasings over the years, allowing it to reach a wider audience around the world.
• The majority of ghazals are now sung in styles other than khyal, thumri, raga, and other classical and light classical genres.

Conclusion

After its initial origin, it flourished under the patronage of the Mughal empire with constant changes and improvisations. Being vocal-centric in nature, musical instruments associated with it are such that they accompany the singer. It included the amalgamation of various forms that led to the emergence of newer distinct styles.

FAQs

MCQs

1. Which of the following instruments is commonly associated with Hindustani Classical Music?

A) Mridangam
B) Tabla
C) Veena
D) Nadaswaram

2. Who among the following is a renowned Sitar player in Hindustani Classical Music?

A) Pandit Ravi Shankar
B) Lalgudi Jayaraman
C) Ustad Zakir Hussain
D) Dr. M. Balamuralikrishna

3. Which of the following is a key difference between Hindustani and Carnatic music?

A) Hindustani music focuses on fixed compositions only
B) Carnatic music places a stronger emphasis on improvisation
C) Hindustani music is from North India, while Carnatic is from South India
D) Both traditions use entirely different instruments

4. What is the significance of 'Raga' in Hindustani music?

A) It is a rhythmic pattern
B) It is a fixed composition
C) It is a melodic framework
D) It is a type of instrument

5. Which of the following is an element of Hindustani Classical Music?

A) Kriti
B) Raga
C) Pallavi
D) Thillana

GS Mains Questions and Answers

Q1: Discuss the evolution of Hindustani Classical Music and its significance in Indian culture.

Answer: Hindustani Classical Music has a rich history that traces its roots back to ancient Vedic traditions. Over time, it absorbed various regional, cultural, and foreign influences, including Persian elements during the Mughal era. The interaction between Indian and Islamic music traditions helped shape Hindustani music into its current form, characterized by its improvisational nature, ragas, and talas.

The significance of Hindustani Classical Music in Indian culture is profound. It has been a medium of artistic expression and spiritual experience, deeply intertwined with Indian philosophy and aesthetics. It also plays a critical role in preserving India's musical heritage and continues to be a symbol of India's rich cultural diversity. The music tradition is not only popular within India but has also gained international recognition, with musicians like Pandit Ravi Shankar and Ustad Zakir Hussain playing pivotal roles in popularizing it globally.

Q2: Analyze the role of ragas in Hindustani Classical Music and how they contribute to the overall performance structure.

Answer: Ragas form the backbone of Hindustani Classical Music, providing a structured melodic framework for both compositions and improvisations. Each raga is associated with specific moods, times of the day, and seasons, giving performances a unique emotional and spiritual depth. A raga comprises a specific arrangement of notes (swaras) and rules governing their usage, guiding the artist in creating a cohesive and expressive musical experience.

In a typical Hindustani music performance, the raga dictates the progression of the melody, allowing for elaborate improvisation within its framework. This improvisational freedom is a hallmark of Hindustani music, offering the performer a platform to demonstrate their creativity and mastery. The structure provided by the raga ensures that while the performance is fluid and dynamic, it remains within a defined melodic system, making ragas an essential component of the overall performance structure.

Q3: Examine the contribution of Hindustani Classical Music to India's soft power on the global stage.

Answer: Hindustani Classical Music has contributed significantly to India’s soft power by serving as a cultural ambassador on the global stage. Indian musicians like Pandit Ravi Shankar, Ustad Zakir Hussain, and Ustad Amjad Ali Khan have performed worldwide, bringing Indian classical music to international audiences. This form of cultural diplomacy has helped enhance India's global image, portraying it as a nation with a rich artistic and cultural heritage.

Furthermore, the fusion of Indian classical music with Western genres has gained global popularity, especially in the realm of world music. Collaborations between Indian classical musicians and Western artists have opened new avenues for cross-cultural exchange, making Hindustani Classical Music an important tool in fostering cultural understanding and international goodwill. Its spiritual and artistic appeal has also contributed to India's influence in the global arts community.

Previous Year Questions on Hindustani Music

1. UPSC CSE Prelims 2021:

Question: Which of the following is a well-known Hindustani Classical Music instrument?

A) Veena
B) Sitar
C) Mridangam
D) Nadaswaram

Answer: B

Explanation: The Sitar is a prominent stringed instrument in Hindustani Classical Music, often associated with virtuosos like Pandit Ravi Shankar. Other instruments like Veena, Mridangam, and Nadaswaram are more commonly associated with Carnatic music, the classical music tradition of South India.

2. UPSC CSE Mains 2019 (GS Paper 1):

Question: "Hindustani Classical Music has played a significant role in shaping India's cultural identity." Discuss the key elements of Hindustani music and its contribution to India's cultural heritage.

Answer: Hindustani Classical Music, one of the two principal forms of Indian classical music, is deeply intertwined with India's cultural identity. Its key elements include ragas (melodic frameworks) and talas (rhythmic cycles), which provide the foundation for both compositions and improvisations. The tradition evolved from ancient Vedic chants and incorporated Persian influences during the medieval period, making it a unique blend of diverse cultural inputs.

Hindustani music has contributed to India's cultural heritage by preserving centuries-old musical traditions and fostering artistic expression. It has also gained international recognition, with artists like Pandit Ravi Shankar and Ustad Zakir Hussain playing significant roles in promoting Indian music worldwide. This global appeal has helped Hindustani Classical Music become a symbol of India's rich and diverse cultural legacy.