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And now for India…
Written by Chennai - Srikrishnan
When Jimmy asked if I’d be interested in writing about Indian music, I jumped at the opportunity without fully thinking through what a mammoth task it might prove to be. Granted, I’m blogging here, not putting together a scholarly work on the musical traditions of India (a fun doctoral thesis if ever there was one!), but even contemplating the incredible variety at play here never fails to leave me amazed and delighted–having an endless source of music to last a lifetime brightens up every morning like little else does. Writing about it can only add to the joy, and even if my only contribution through these pages is to introduce people to AR Rahman’s music beyond ‘Slumdog Millionaire’, Carnatic music, and the genius of the Indian composer Ilaiyaraja, I will count it as a win. So here goes!
Let’s begin by considering some facts about Indian music:
- It has over 35 varieties of indigenous stringed instruments (including the Sitar, the Sarangi, and the Veena), 18 different wind instruments (such as the Shehnai, the Nadaswaram, and the Bansuri), and over 50 percussion instruments (among others, the Mridangam, the Tabla, and the Tavil)
- It has two fully developed forms of classical music (Carnatic and Hindustani) which trace their roots back several centuries and have created a rich canon of work that is part of the staple musical instruction to every succeeding generation of Indian kids
- It has a folk music history that is as vast as India’s cultural diversity itself, representing every different state in the country (Bhangra, Naatupura Paattu, Dandiya, Qawwali, Garba, etc.), not to mention the innumerable variations within districts, brought on by the number of different languages, religions, social classes, and histories that peacefully co-exist here
- Add to these the fact that Indian pop music (including the traditional song and dance of Indian films) readily absorbs influences from abroad, ranging from hip-hop to heavy metal to western classical, it is little wonder that there is no dearth of variety on Indian air waves: practically every other composition in popular music is a “fusion” of multiple styles
My musical journey began, like so many other kids in India, with an initiation into the classical music form prominent in Chennai, where I hail from: Carnatic classical. While its roots are deeply set in spirituality and the Hindu religion, the present day practice of this art form in no way shackles the musician to one faith. It is notable for its disciplined emphasis on structural rigour (scales, rhythmic cycles, harmony, song structure, etc.) while simultaneously allowing the artiste every flexibility to improvise, interpret, and improve upon the existing canon. Across both the vocal and instrumental forms, it is marked by spontaneous creation (not unlike the collaboration between Jazz musicians), technical virtuosity, and a strong foundation in the fundamentals. I once overheard a remark at a concert:
“Carnatic music is the Universal set of music theory, and all other forms are proud derivatives.”
This is something which is making more sense to me with every passing year, and every new instrument or genre I pick up. But Carnatic music will not be the prime focus of my posts on this website, although I certainly will return to it time and again, as I will to AR Rahman and Ilaiyaraja’s music–all three represent very core Chennai influences that have shaped my musical world. My attempt on Abubilla is to introduce readers to the richness of the entire Indian music tradition, invite their comments on the video and audio files posted, give a basic introduction to Indian music theory, and pretty much just ramble on with other musical musings.
To that end, let me begin by giving you a brief glimpse into this wonderful world. These are snippets of some of the instruments I mentioned earlier, book-ended by two full songs that I’ve had the privilege of covering with my band in college.
1. ‘Kandisa’ by Indian Ocean: An Aramaic chant set to tune, this is one of the most outstanding compositions by the Indian fusion band ‘Indian Ocean’ renowned for the unique melody of their guitar scores, thumping percussion with Indian and western influences, and a bass line that firmly takes the guitar beyond the rhythm section of the song.
2. Smt. Ranjana Pradhan’s Jal-Tarang recital: A unique Indian melodic percussion instrument, the Jal-Tarang (literally ‘waves in water’) uses ceramic bowls filled with varying levels of water to create notes
3. The magnificent Ustad Bismillah Khan’s Shehnai recital: A BBC recording of an Ustad Bismillah Khan recital (‘Ustad‘ is an honorific title for an accomplished musician in Hindustani classical music). The Shehnai is a North Indian wind instrument that, like its South Indian counterpart, the Nadaswaram, has connotations of sanctity and auspiciousness. To me, it additionally conveys soulfulness, regardless of the mood or scale of the exposition (also see AR Rahman’s use of the Shehnai in ‘Swades’).
4. George Harrison with Pandit Ravi Shankar: A lovely video with Pt. Ravi Shankar talking about his initial perplexity at George Harrison of ‘The Beatles’ wanting to learn the sitar from him, and an actual lesson.
5. The strings in ‘Rakkamma Kaiya Thattu’: Recorded for a Tamil movie ‘Thalapathi’ in the early 1990s by an Indian maestro named Ilaiyaraja, this song features some of the best strings heard in popular Indian music. Add to it the chorus sections, the alternating finger snapping and full-blown percussion, and the cinematography, and you’ve got a classic.
Many thanks to the people who originally uploaded these on YouTube and, naturally, the musicians themselves. No copyright infringement intended.
Coming up next: On Raagams, Rahman, and Ravi Shankar.
Until later then!