25th August 2016

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Contents

1.

From the Editors Desk Sonali Dandekar - Tambe

2.

Quote - Shloka Sonali Dandekar-Tambe

3.

Music Therapy : History and Current Practices Dr. Aarti Dixit

4.

Bhimsen Joshi : The Man who connected India Aashay Gune

5.

Book review: Sajan Piya, a biography of Ustad Khadim Hussain Khan

Chetan Vinchhi

6.

Event review: Thumari Lecture & Demonstration by Dr. Sandhya

Kathavate Sampada Bhalerao

7.

Raga Conversation Bhavik Mankad

8.

FAQs about SVS e-Magazine

25th August 2016

Sangeet Vikas Sabha, Pune

From the Editors Desk

Greetings Friends and Music Enthusiasts!

every Indian stands still and holds their head high

Musicians and music lovers all over the

for the tune of the national anthem.

The brilliant lyrics by Nobel laureate

world are brought together on this virtual

Rabindranath Tagore illustrate the grand and

history, the technicalities, and the nuances of our

Himachala, Yamuna Ganga, Ucchala Jaladhita

platform to share the joys of music, to learn the

music. As we come together this month to discuss

various aspects of our music, let us give extra

attention to a powerful melody that brings us
together and think about the message it conveys.

The serene notes of Jana Gan Mana

have a way of tugging at the hearts of every Indian,

no matter what corner of the world they may be.

The national anthem has a profound impact on the
minds of all Indians. It brings back nostalgic

memories of early school days the starched and

ironed school uniforms, the polished shoes, an

majestic picture of India. With the words Vindhya

Ranga, Tagore makes references to the music
echoed in the magnificent peaks of Vindhya and
Himalaya mountains. It portrays the deep,

soothing sounds of the waves of Ganga-Jamuna

Rivers and the Indian Ocean. The national anthem
is composed in Raag Alhaiyya Bilawal, known for

its Shanta Prakruti (calm nature). No doubt,

Tagores fitting use of this raag for the melody of

the national anthem inspires profound calmness in

the listeners mind.

Written and composed over 100 years

early morning excited rush to reach school for a

ago, Tagores original poem in Bengali was

school officials adorned in white outfits. The pride

anthem in 1950. The pluralistic message of the

flag hoisting ceremony amongst the teachers and

and patriotism felt at the unfurling of the Tricolor
as the national anthem is sung, is above all!

All these memories flood back and make

us all proud to be Indians this month as we

celebrate Independence Day on August 15. Like

history, music binds generations of Indians

together with its long-lasting hold on the psyche

of the people. In a land of many languages, many

religions and a vast diversity of people, music is

our common language. Millions of Indians

scattered across the globe are brought together by

music. The musical preferences of Indians may

range from Raag music to Bollywood music but
25th August 2016

translated in Hindi and adopted as the national

lyrics was apt for the all-inclusive vision of the
new born nation. The idea of freedom and

democracy have been put to test and challenged at

times in the last 69 years since the independence.
But the largest democratic nation of the world

marches forward holding these values high.

Amidst turmoil and uncertainty around the world,

when peace and basic freedom of people is

threatened in all parts of the world, when even the

most powerful nations get dangerously close to

fascism, the values implied in our national anthem

need to be preserved more than ever. The

underlying message of peaceful coexistence in the

Sangeet Vikas Sabha, Pune

lyrics of the national anthem seem to have a global

1931) and Pt. V. N. Bhatkhande (August 10, 1860

peace and tolerance this Independence Day as we

their contributions to Hindustani classical music.

significance now. Let us invoke the message of

hail Jaya hey and salute the flag. As musicians

and as global citizens, let us pledge to spread the

message of unity, equality and fairness to all.

September 19, 1936) will be remembered for

SVS team would like to pay a special homage to

their memories in this edition.

August is also a very significant month for music

connoisseurs, as the remembrance days of two

giants in Hindustani classical music are celebrated.

Sonali Dandekar - Tambe

Pt. V. D. Paluskar (August 18, 1872 August 21,

25th August 2016

Sangeet Vikas Sabha, Pune

QUOTE SHLOKA
-

from Sangeet Ratnakar by Sharangdhar

|
||

|
||
Chaitanyam Sarvabhutanaam Vivruttam

Aatma Vivakshanoyam Manah Prerayate Manah

Jagadaatmana

Dehastham Vanhimaahanti Sa Prerayati Maarutam

Naadbrahma tadaanandamdvitiyamupaasmahe

We worship God in the form of sound. The

sound

(or

voice)

defines

the

sprit

or

consciousness in living beings, and encompasses

the entire world and is divine joy.

A desire of expression triggers the soul to inspire

the mind, which in turn, strikes the fire element
and the wind element in the body.

|
||

s |
||

Naadopaasanaya Devaa Brahma Vishnu Maheshvarah

Brahmagranthisthitah So Tha Kramaadurdhvapathe

Bhavantyupaasita Noonam Yasmadete tadatmakah

charan

NaabhihrutkanThamoordhhaasyeshvavirbhavayati
dhwanim

Sound has a beginning (Brahma), existence

The wind originates in the lowest gland in the

(Vishnu) and an end (Mahesh). Thus sound is a

body (Brahma Granthi) travels upwards to the

form of God, and practicing music is a form of

navel, chest, throat, and head, ultimately

worship.

emerging out of the mouth as an audible sound

(voice).

25th August 2016

Sangeet Vikas Sabha, Pune

s s |
||

|
s ||

Naadotisukshmah Sukshmascha Pushtopusthascha krutrimah

Nakaaram Praannaamaanam Dakaramnalam viduh

This sound takes five different forms subtle,

Breath that sustains the body (Prana) and the

ultra-subtle, gross, ultra-gross and artificial

bodily energy combine together to produce

gaining energy as it progresses in order.

Naad (voice).

Itee panchabhidha dhatte panchasthaansthitah kramaat

Jaatah praanaagnisanyogatten naadobhidhiyate

Deeper Meaning
In these shlokas, Sharangdhar explores the origin and forms of sound. He explains that the sound
originates in the sacral chakra or energy center below the navel (Brahma Granthi, as defined by
Ayurveda). He identifies that the basic desire of expression starts the process of production of
sound in human beings. As this desire inspires the mind, one uses breath and bodily energy, the
emotions from the heart become an essential part of the sound in the next stages and then finally
the sound emerges as an audible voice. Sharangdhar refers to this sound as Naad (voice),
whereas Dhwani (sound) is a sound produced by instruments. Since Naad or voice of human
beings is produced using all these elements, he considered Naad superior to Dhwani. He
believed that the spirit of human beings is distinguishable due to Naad or the voice of human
beings. In ancient times vocal music was considered superior than the instrumental music
because of this special quality of human voice.

Translated by
Sonali Dandekar Tambe

25th August 2016

Sangeet Vikas Sabha, Pune

Music Therapy - History and Current Practices

~ Dr. Aarti Dixit (MD)

As we celebrate the 70th anniversary of

also remember summer nights, where local

Indias Independence, one song that springs to

Varkari s (group of devotees who go on yearly

mind is her national anthem Jana Gan Mana

pilgrimage to Pandharpur) gathered together

Adhinayak Jai he. It is a unique combination of

under a tree and sang bhajans. Memories of those

words and tune that unifies Indian minds under

peaceful and simpler times bring back a feeling of

her national flag and brings a sense of pride in

calmness in my mind and those tunes and sounds

their hearts. Before that, another tune became a

of Taal (small clash cymbals) and Mrudang

symbol of Indias struggle for freedom. Numerous

(percussion instrument) are an integral part of it.

people, young and old alike, sacrificed their lives

without hesitation while singing Vande Mataram
to make the dream of an independent country of
India a reality. The heartfelt tune of Ae Mere

Vatan Ke Logon sung by Lata Mangeshkar became

immortal in the Indian peoples psyche to revere
the loss of Indian soldiers in the Indo-China war.
It is amazing to see how one simple song can create
such a powerful effect on a persons mind and
heart.

I am sure everyone has a song or a tune

very dear to their hearts, which takes them to a
special place where they feel happy and safe.
While many people feel relaxed and less anxious
in general after hearing music, some tunes can
evoke a very emotional response. One does not
have to be an astute musicologist or a musician to
know how music affects us. Cultures worldwide
have observed the power of music on the human
mind. A lullaby sung by her mother soothes a fussy

I was fortunate enough to grow up in a

baby. Sick people report forgetting pain and

household where a day started with my

recovering faster when exposed to music. Farm

grandmothers singing of Bhoopali (Awakening

workers and laborers sing while working under

song for deities). I remember going to the temple

harsh conditions to help them relax. It is known

in the early mornings for Kakad Aarti (morning

that music calms down fierce animals and affects

prayers) with her, and quiet afternoons in our

plant growth. Music in general helps to improve

family home in Wai (then it was a small town),

the quality of life.

where she would sing Ovya (rhythmic prose)

while grinding special flour on grinding stone. I
25th August 2016
Sangeet Vikas Sabha, Pune

For last few decades, the effects of music

personalities. Various raags are capable of

on the human psyche are being studied more

affecting the human psyche to invoke different

scientifically and adjunct use of music to treat

emotions and ultimately lead to the divine

some ailments like depression, anxiety, dementia

calmness of meditation. The first known use of

etc. is getting a lot of attention. However, it is very

musical instruments for healing broken bones and

interesting to know that the concept of therapeutic

muscle tears is reported by Australian aboriginal

use for music is not recent. In fact, it is quite

medicine men who have been using a musical

ancient and dates back to the origins of

instrument called Yidaki since tens of thousands

humankind. It is becoming apparent that the

of years. The sounds emitted by the Yidaki are

wisdom of the ancients was based on sound'

similar to modern sound healing technology.

principles.

Tibetan monks are known to use chants and gong

Historical aspect of music and its use in healing

Hindu culture commonly believes that
(sound) Om was the basic sound energy that
created the universe. Our deities Shiva and
Saraswati are associated closely with music and
musical instruments including Damaru (two
headed drum) and Veena (string instrument), and
believed to have created various Ragas in Indian
Classical music. Sama Veda, one of the four
original Hindu scriptures, is the first ancient
scripture that has incorporated music in its recital.
It is read as a music score sheet. The Vedic chants
were believed to be powerful enough to create
various beneficial (and harmful) effects on
humans and nature. We have stories about Rishis
(saints) who possessed the ability to empower food
or water with special chants (mantras). This food
or water was used to heal ailments in humans and
even bring about change in nature including rain
and drought.
As many are aware, the association of
various raags with seasons has been depicted in
Raagmala

paintings

25th August 2016

that

portray

Raag

as

percussion for healing for thousands of years.

In 4000 BC, ancient Egyptian culture
mentions sound therapy that used chants and
musical instruments called Sistra, (which created
a rattling sound) and the harp. These supposedly
created ultrasound waves that helped cure
ailments. The resonant properties of a sarcophagus
were believed to help alleviate back pain. Healing
temples

routinely

used

chants

to

heal

psychological ailments.
Per ancient Greek mythology, Apollo and
the Muses were deities for music and medicine. A
plague occurred in Sparta around 600 B.C. which
was said to be cured by the music of Thales. The
Greek philosopher Pythagoras (500 BC) believed
in the therapeutic use of music. Plato refers music
to be the medicine of the soul. Aristotle believed
that the cathartic effects of music provide relief
from negative emotions and help to achieve
mental and physical well-being. Ancient Greek
civilization used various musical instruments like
the flute and lyre to help cure affections of the
psyche like mania and depression and even
alcohol hangover! Healing shrines in Ancient

Sangeet Vikas Sabha, Pune

Greece provided services of hymn specialists as

Initial studies conducted in the post war

well as physicians. Turbo Persian music theorist

era to determine and possibly quantify the healing

and psychologist Alpharabius (Al Farabi) noted the

effects of music were focused on post-traumatic

therapeutic effect of music on the soul in his

stress, pain relief from physical injuries for

writings. (Meanings of intellect, 872-950)

soldiers admitted in hospitals and rehabilitation

In the Bible, King Sauls depressive

symptoms were relieved by Davids harp playing.
Folk songs and dances are an integral part
of the lives of tribal communities. Native
Americans often employ chants and dances as a
method of healing patients.

century) wrote, Anatomy of Melancholy which

states that music and dance are important tools in
treating mental illness (melancholia, depression).
As understanding of the nervous system in
terms of soul and mind became clearer in
1800s, the consensus about effects of music on
nervous system grew. It gave birth to a concept of
using Music doses (as in doses of medication). It
was mentioned in many writings especially those
of Lichtenthal, a musician, composer and
physician.
studies
The therapeutic use of music or Music
Therapy became more common after World Wars
I and II, especially in the United Kingdom and USA
military hospitals. Musicians visited the hospitals
and played music for soldiers to help alleviate

25th August 2016

patients of all ages with the goal to alleviate pain.

Later, studies in outpatient settings focus
on effects of music on improvement in movement

COPD/ asthma, improvement in speech and

cognition in autism and dementia patients and
pain relief in patients suffering from chronic
illnesses like cancer.
Studies have shown favorable effects of the
human immune system, response to therapies and
length of recovery periods and feeling of
wellbeing.
Studies in non-clinical settings like the
workplace and the home environment focus on
stress management, sleep disorders, and mood
improvement

Post war Era: Modern perspective and clinical

sufferings.

injury, trauma, cancer therapies and terminally ill

Parkinson's disease, reduction in the recurrence of

In more recent years, Robert Burton (17th

war-related

other patients hospitalized for surgery, brain

and gait disorders in patients of trauma and

Prewar Era

pain,

centers. The scope of studies quickly encompassed

emotional

and

physical

including

depression,

fatigue,

anxiety, addiction, academic grades and overall

sense of wellbeing in all age groups.
How does music therapy work?

American Music Therapy association

defines music therapy as the clinical and

evidence-based use of music interventions to

accomplish

individualized

therapeutic

relationship

Sangeet Vikas Sabha, Pune

goals
by

within

credentialed
8

professional who has completed an approved

relief of anxiety and agitation and pain

music therapy program.

control. It also decreased blood pressure

Of

course,

different

music

therapy

societies worldwide have their own definitions!

and heart rate.

Although effects of music are more

pronounced on children since their neural

There are various ways to introduce music therapy

connections are in developmental stage,

like learning to play a musical instrument, singing,

every individual is affected by music in

listening to music and music guided imagery. The

some manner.

goals of therapy and choice of music are highly

individualized per the needs of the patient and

Nowadays, it is not surprising to hear streaming

objectives for treatment can be improvement in

music in patient waiting rooms and operating

communication, cognitive, motor, emotional, and

rooms in hospitals, live music in the hospital lobby

social skills. The treatment team can be

or pediatrics wards. In long term care nursing

multidisciplinary including music therapy, art and

facilities and other elder care settings, iPods with

dance therapy and psychology.

headphones are being used for frail and elderly

Although a topic for a separate article,

briefly, the effect of music therapy can be
summarized as follows

Playing an instrument helps motor skills,

impulse control, coordination, balance
and gait.

Listening to music improve attention,

socialization, memory retention.

Singing improves articulation and breath

control, socialization.

Music guided imagery: helps expression,

confrontation and exploration of feelings
and emotions.

Singing

and

Discussion

methods;

patients in addition to actual visits from musicians,

choirs and activities involving participation by the
patients to play musical instruments or sing (or
dance!).
In my clinical experience as a Geriatric
Physician, cognitive and behavioral changes in
Alzheimer's dementia patients are quite dramatic
after music therapy. Although not sustained for
long periods, patients demonstrate improvement
in cognition, mood, attention and motor skills. The
majority of elderly and frail patients verbalize
decreased pain and calming of anxiety symptoms
along with improved sense of wellbeing and sense
of achievement.

Encourage socialization and dialogue.

This is an immensely satisfying experience

Sensory stimulation of both hemispheres

for me as a physician and lifelong learner of

of brain from music helps develop speech

music!

and language skills, communication, and

improve coping skills and self-esteem.

Music stimulation releases endorphins in

the brain and provides relaxation of mood,

25th August 2016
Sangeet Vikas Sabha, Pune

Bhimsen Joshi The man who connected India

-

India

gaining

independence

was

Aashay Gune

region where it is developed or nurtured. For

significant step for her Music. It meant that all the

instance the Kirana style of singing indicates an

musical forms, from all the corners of the country

influence of Carnatic Music, because Ustad Abdul

would be collectively classified as Indian Music.

Karim Khan did get influenced by Musicians from

The artist who perhaps contributed the most in this

the South.

musical unification of the country was Pandit

characteristic of being Layapradhan (primary

Bhimsen Joshi. He was the man who connected

focus on tempo) because of the influence of the

India, musically!

Dhrupad-Dhamar style of singing. One of the

It was not that musicians and their music

did not travel in pre-independent India. Marathi

Natyasangeet was heavily influenced by musical

tunes that had come to Maharashtra from the
North as well as the South. Ustad Abdul Karim
Khan had traveled from Kairana in Uttar Pradesh,
his birthplace, to Miraj in Maharashtra. Indian

The Agra style of singing has a

features of the Patiala form of singing is the use

of Sargams (fast patterns sung using musical note-

letter pronunciation). However when we think of

showcasing this under the banner of Indian
Music, we have to accommodate all of these. Not
to forget, Carnatic Music also now falls under the
same banner! How do we achieve this?

Music owes a lot to Vishnu Digambar Paluskar and

In order to make sure this happens, we

Vishnu Narayan Bhatkhande and they did travel

have to ensure a constant interaction of one style

all over the country for their respective missions.

of Music with another. An Agra Gharana (stylistic

But Music in those days was under the patronage

school of musical thought) vocalist should travel to

of the Kings of the different princely states of the

regions that have not heard his/her style and all

country. India was an amalgamation of these

others should follow the same path. With this a

princely states and there was no collective, central

style of Music largely confined to a particular

responsibility to promote Arts. However, people

region will find acceptance from other regions.

did listen to live performances and Music had

This style will also get influenced by certain

become open to public.

Gayakis (styles of singing) from these different un-

A style or a Shaili of performing Music

is associated with different influences around the
25th August 2016

explored regions and hence that will ensure

evolution of Music. It is also through this process

Sangeet Vikas Sabha, Pune

10

that we know our country better. The greatest

hometown, Gadag! Here too, the base of his Gayaki

challenge before independent India was to make

was Kirana and all these styles (including

sure that the North interacts with the South and

Dhrupad) got assimilated within him. As if this

East enters a dialogue with the West, all under the

was not enough, he stayed in Uttar Pradesh for six

unified banner of India! What better than Music

months to assimilate Thumri in his Gayaki. He had

could help in achieving this? Bhimsen Joshi was

a flavor of the whole of India much before he

perhaps the best example of those times to help

became a performing artist! This was perhaps the

attain that objective. It was largely because his was

reason he could connect with all styles of

an amalgamation of the different Gayakis in the

audiences in India, through the styles of Music

country! Maybe that was the reason a large section

prevalent there.

of the people in the country could relate to his

music. His Kirana Gharana Gayaki was at the base
of his singing. Through this base he carried with
himself the flavors of all elements from
Maharashtra and North Karnataka and also the
slight influence and inclination towards Carnatic
Music that Ustad Abdul Karim Khan had
integrated! At the young age of 11, when he ran
away from home in search of a Guru, he stopped
at Gwalior en route Jalandhar. At Gwalior he spent
some time with Ustad Hafiz Ali Khan who taught
him Raag Marwa. After Gwalior, he also spent a
few days at Kolkata under the then actor-singer
Pahadi Sanyal who taught him a rare Raag called

Gandhari. However as there was no continuity in

the training, Bhimsen finally reached Jalandhar
via Delhi! At Jalandhar, he learned Dhrupad under
Pandit Mangatram until Vinayakbua Patwardhan
told him to go back to Kundgol and learn under
Sawai Gandharva! All this is very well documented
in his biography in Marathi by Vasant Potdar.
However what had urged him to travel so much
was that epic Thumri by Ustad Abdul Karim Khan
Sahab in Raag Jhinjhoti Piya Bin Nahin Aavat

Chain which he heard at a shop in his

25th August 2016

Bhimsenjis biographer Vasant Potdar

depicts his India conquest in detail in his book.
Apart from Mumbai and Pune, he mentions three
important cities where Panditji made his mark and
attained maximum popularity. These cities were
Mangalore, Kolkata and Jalandhar, all in different
corners of the country. Mr. Potdar also mentions
that Bhimsen was the only Musician who gave full
house concerts at the Sangeet Academy of
Chennai, an organization otherwise strictly
reserved for Carnatic Music concerts! It was he
who made a Punjabi of Jalandhar request for a

Vitthal ka Abhang (Abhang devotional song style

prevalent in Maharashtra, largely sung in praise of
Lord Vitthal avatar of Lord Vishnu), thus reuniting India in her initial decades since
independence! Mr. Potdar also explains a very
significant incident from a small town on the
Bihar- Uttar Pradesh border that involves Punebased Sitarist Ustad Usman Khan. When people
from that small village came to know that Usman
Sahab is from Pune, immediately came a question,
Hamare Bhimsenji Kaise hain? (How is our

Bhimsenji?)

Sangeet Vikas Sabha, Pune

11

It is often easy to follow Instrumental Music

then in order to generate a people to people

because there are no language barriers and also

interaction, we have to make sure that art and

because of the excitement it generates at the end in

music from one region gets introduced to other

terms of speed. As a result, instrumentalists often

and vice versa. This is the best way we know our

achieve

acceptance.

country and understand its nuances better. Film

However a Vocal Musician reaching the four

Music contributed to this cause on a large scale.

corners of the country and crossing all barriers,

However a rasika from Chennai listening to the

much before the advent of globalization and that

Classical form of Music from the North and a

too in the Classical Music domain is an astonishing

Punjabi requesting for a Marathi Vitthal ka

feat! This was long before the television explosion

Abhang is a part of the larger process of nation

and Mile Sur Mera Tumhara (short film popular

building, the Idea of India, and Bhimsen Joshi was

in the 80s featuring musicians from all corners of

the best example of this process. Hence he can be

India, based on the theme of national integration).

considered the man who truly connected India!

quick

popularity

and

Each region is associated with its own folk flavors

and they in turn influence the Classical Music that
develops and progresses around that region.
However when regions get unified into a nation,

25th August 2016

Sangeet Vikas Sabha, Pune

12

Thumari Lecture & Demonstration by Dr. Sandhya Kathavate

~ Sampada Bhalerao

July 24, 2016 Seattle, USA

Introduction of Dr. Sandhya Kathavate

message with various expressions and concludes

SandhyaTai holds a Doctorate degree in Music

from Indore University. Her thesis is titled

Comparative Study of the Light Classical Forms of

Hindustani and Carnatic Styles. She is also a
visiting faculty and examiner for graduate and
postgraduate students at the University of
Mumbai,

Bharati

Vidyapeeth,

and

SNDT

University in Pune and a guide for PhD students at

the University of Mumbai.

the song.
So what is a Thumari? she asks.
Then she answers the question herself: Jo
thumakati hai woh Thumari (Thumakana is a
graceful, elegant, trotting walk of a lady). She
continues, and the word Thumari came from the
word Thumakari. It is a semi classical vocal
expression where mood and beauty or aesthetics
are given the highest importance (and not the Raag

Thumari

or other technicalities of classical music). These

Thumari is a semi-classical genre of Indian

classical music. It originated from a combination

emotions are conveyed via melody (sur), words,

and dialogue.

of folk music and the Kathak dance tradition in the

It is said that Thumari has different Swara-Lagav

royal courts of North India. It is especially known

(tonal expression) from Khayal. SandhyaTai gives

for its romantic mood and sensuality.

an example of Raga Maru Bihag. A raga like Maru

Bihag, if sung in a lighter way may sound more like

Sandhyatais workshop
It is about 6 pm in the evening and we have all
gathered around SandhyaTai with curious minds,
anticipating a musical feast any lover of Indian
music would adore.

Swara Lagav plays an important role in

distinguishing two genres.
Thumari indeed came from the royal courts of
North India where its main purpose was to assist

Kaun Gali Gayo Shyam

SandhyaTai begins the workshop by singing a
well-known Thumari. She conveys the melodic

25th August 2016

Thumari and less like Khayal. In other words,

the court dancers with lyrics and music. Naturally,

the main mood in Thumari is romantic, either
Sanyog ki Thumari (anticipating the meeting with

Sangeet Vikas Sabha, Pune

13

a lover) or Viyog ki Thumari (separation from the

Thumari became known as Bol Banaav ki Thumari

lover).

which means Bolon Ka Banana (conveying more

Although Thumaris origin can be traced back to

expressions with less words).

Mughal courts, the role and the description of

Bol Banaav Ki Thumari always ends with Drut

Asarika Dhruva (musicians who sang at various

Laggi (fast tempo version) on tabla, thus

social occasions) mentioned in Bharat Munis

maintaining their root connection with their

Natya Shastra (200 BCE - 200 CE) sound very

dance origin. This is the most popular style of

similar to that of Thumari singers in the court.

Thumari that is sung these days.

On a broad basis, Thumari is further classified into

In addition to Deepchandi, Thumari is also sung in

Bol Baant Ki Thumari or Bandish ki Thumari and

Dadara, Keherawa, Chachar, and Addha Taals.

Bol Banaav Ki Thumari.

In spite of the dominance of lyrics and moods in

Bol Baant Ki Thumari means bolonka baantana

Thumari, Raga is still the base of Thumari. Ideal

(giving away words). It has a lot of words and it is

Ragas for a Thumari are the ones that allow soft

usually sung in fast Teen Taal so the dancers can

expressions and do not have rigid rules of melody

do their Tukadas (short pieces of Taal variations)

phrases. Most common ragas for Thumari are

and Aavartans (fast movements of complete Taal

Khamaj, Kafi, Pilu, Bhairavi, Gara, Des, and Tilak

cycle). A couple of examples of this style are the

Kamod. Most lyrical compositions in Thumari

traditional bandishes such as Na Manungi Na

come from the languages from Uttar Pradesh, e.g.

Manungi in Raga Khamaj or Lut Ulzi Sulza Ja

Hindi, Brij Bhasha, Awadhi, Lukhanawi, Urdu, and

Balam in Raga Bihag. Bol Baant Ki Thumari has a

Khadi Boli.

stronger connection to the Kathak dance tradition

where it originated from.

SandhyaTai talks about different Thumari Baj

(which means Gharanas in Thumari) along with

Nawab Wajid Ali Shah (1822-1887), who wrote

demonstrations of them. These of course include

poetry by the pen-name Akhatarpiya, gets the

the names of the maestros associated with that

credit for the origin of Bol Banaav Ki Thumari. He

Thumari Style.

removed

the

dancer

from

the

Thumari

presentation and relied completely on singers for

the Thumari experience in the court. Singers then
needed to convey the complete expression of
Thumari without a dancers elegant movements.
Thumari singers words became more expressive
and tabla slowed down from Drut TeenTaal to
Deepchandi. Thus Thumari became Baithak Ki

Banaras Thumari (also known as Purab Ang Ki

Thumri meaning Thumari from Eastern India)
The Banaras Thumari Baj is considered to be the
pioneer of Thumari music. It is known for its Bol
Banaav style. The vocalists known for this Baj are
Girija Devi, Channulal Mishra and Siddheshwari
Devi. This style has made a huge contribution to

Thumari (sit-down version of Thumari). This

25th August 2016

Sangeet Vikas Sabha, Pune

14

the development of Thumari and its influence can

with us. I wish I could include her melodious

be observed in many contemporary vocalists.

demonstrations in this article! Maybe some other

time!

Lakhanawi Thumari
This style uses Urdu words and Sher-o-Shayari in
their compositions. Begum Akhatar is a very
famous name in Lakhanawi Thumari. This
Thumari is also known for its lilting (rhythmic
swinging) Dadaras.

Summary

Thumari originated from Kathak Dance tradition

in royal courts and folk music of North India.
Differences between Khayal and Thumari:
1. Khayal is sung in a specific raga and it adheres
to strict structure of that raga whereas

Patiyala Baj Ki Thumari

Thumari is not necessarily sung in one raga

This style came from Punjab. Ustad Bade Gulam Ali

Khan is the most well-known artist of this style. It
does use a few shades of Tappa (another well-

and the rules of the raga are flexible.

2. Lyrics and raga for both Khyal and Thumari
might be the same however Taal structure and

known singing style from Punjab).

Taal treatment can vary.

Khayal Ang Ki Thumari

3. In Khayal, the exploration of the raga is more

As the name suggests, this style uses Khayal style

important. In Thumari, expression is more

for Thumari expressions. It does not use Bol

Banaav, it uses Aakar in a very effective melodic
way instead. Abdul Kareem Khan Sahib and Pt.
Bhimsen Joshi are famously known for this style of

important.
Two types of Thuamri: Bol Baant Ki Thumari and
Bol Banaav Ki Thumari

Thumari.

Taals used in Thumari: Deepchandi, Dadara,

Tappa Ang Ki Thumari and Mand Ang Ki Thumari

trotting

are other small categories of Thumari.

Keherwa, Chachar, and Addha. These taals have

nature

which

adds

the

lightness,

playfulness and allows expression to easily flow in

Before concluding the lecture, SandhyaTai also

Thumari.

talks about some allied forms of Thumari songs,

Ragas used in Thumari: Khamaj, Pilu, Bhairavi,

which she says, can be considered as Chhota

Khayal (short version) of Thumari. They are Hori,
Chaiti, Kajari, and Dadara. SandhyaTai concludes
the workshop with a Dadara in Bhairavi, Le Gayo
Re Piya Pyare... giving yet another musical treat
for us!
We sincerely thank Dr. Sandhya Kathavate for
sharing her knowledge and the art of Thumari
25th August 2016

Kafi, Des, Gara etc.

The languages used in Thumari: Hindi, Brij

Bhasha, Awadhi, Lakhanawi, Urdu, and Khadi Boli.
The Shringar and Viraha expressions can be
expressed better in these languages.
Various Thumari Baj (Gharanas / styles): Banaras
Ki

Thumari,

Lukhanawi

Thumari,

Patiyala

Thumari, Khayal Ang Ki Thumari

Sangeet Vikas Sabha, Pune

15

Book review: Sajan Piya, a biography of Ustad Khadim Hussain Khan

Author: N. Jaywanth Rao

In

an

informal

conversation,

- Chetan Vinchhi

Shri

Jaywanth Rao and Vidushi Smt. Lalith Rao recalled

her gandabandhan event. Ustad Khadim Hussain

Khan insisted on a Ganesh pooja to be a part of the

ceremony, as if that is the most natural thing in the

world!

His

personality

defines

the

informed

but

nonprofessional rasika (connoisseur), a quickly

depleting population. It is from this perspective

that he wrote this biography, as a tribute on the

occasion of Ustad Khadim Hussain Khans 75th

birthday. It is a heartfelt tribute and a personal

narrative that brings out the various facets of Khan

Sahibs personality. It also brings out the rich

history of the Agra and Attrauli gharanas (style of

Hindustani classical, specifically vocal music),

with both of which Khan Saheb was closely

related.

The book is titled Sajan Piya, the nom de

plume of Ustad Khadim Hussain Khan Sahab. He

has composed a number of compositions under

this name in the hoary tradition of his gharana. His

compositions are known for the beautiful

confluence

of

melody

and

rhythm

they

represented. He has also created a few raagas,

although he was a traditionalist and did not

endorse the rampant creation of raagas. One of the

most valuable aspects of the book is that it gives a
detailed

and

authentic

description

of

the

genealogy of the Agra and Attrauli gharanas. This

was done based on a number of older publications,
This sheds light on his broadminded nature and
his immense respect for one and all. That is a trait

seen throughout his life, and reflects on his method

of teaching. Shri Jaywanth Rao has had an

oral history and, most significantly, the seminal

work on the gharanas family trees done by Ustad
Yunus Hussain Khan. Such a detailed gharana

description spanning several generations is surely

a treasure trove for any student of music history.

outstanding career as an engineer and technocrat.
25th August 2016
Sangeet Vikas Sabha, Pune
16

Additionally, there are several anecdotes and

teaching this invaluable vidya (knowledge). He

gharanas, and how they were passed on from

Hindustani music owes a great deal to this selfless

events that portray the rich tradition of these

generation to generation.

The main guru of Ustad Khadim Hussain

was as great a teacher as a performer and

service performed by the Khadim Hussain Khan.

A lot of information provided in the book

Khan was Ustad Kallan Khan, the doyen of Agra

is undoubtedly based on personal and intimate

(literally in tune, used to indicate the finest and

a flavor of an autobiographical sketch, not unlike

gharana, who was acknowledged as the most surel

most aesthetic form of tunefulness) singer of his

generation. This means that the fountainhead of

his taalim (training) was rooted in the latter part

of the 19th century, which is known to be one of

the greatest eras in the development of Khayal

(dominant composition and performance style of

Hindustani classical vocal music). Additionally, he
had the fortune of learning many bandishes

(compositions) and raags from other old masters,

including the venerable Daras Piya, Faiyaz Khan

sahab, Nanne Khan, Abdullah Khan and so on. The

book meticulously lists the bandishes received

interactions with the Ustad himself. It thus carries

the memoirs of Ustad Alladiya Khan. In spite of

such a stellar personality, Khadim Hussain Khan

remained

relatively

unknown,

had

few

commercial recordings, and honors that were too

late and few. The book brings to life his many

contributions, and inspires great respect for this

noble soul. The reader would do well to listen to

the few recordings available online, which
showcase his impeccable hold on raag structure,

and add to the persona of this great musician of

yesteryears.

from Ustads like these, which in itself is a

wonderful documentation of the origins of these
compositions.
This

list

of

gurus

is

veritable

compendium of the whos who of the gayaki of the

19th and early 20th centuries. In the authors

estimation, Khadim Hussain Khan was the most

authentic repository of raagdari (art and science of
raaga form and aesthetics) and bandishes in the
latter part of the 20th century. He was a fanatic
adherent to that brand of gharanedar (traditional
and authentic) music. He played a key role in

keeping that music alive, and transmitting it to not

only students who took it up professionally, but

also umpteen number of amateur students. Khan

Sahib dedicated his life to the noble task of
25th August 2016

Sangeet Vikas Sabha, Pune

17

Raga Conversation
-

Bhavik Mankad

Kaunsi Kanada (or Kaushik Kanada or

Emperor, Jalaluddin Akbar. However, it is not the

Kaushi Kanada) is an age-old Raag, even

oldest Kanada variant, as commonly presumed.

mentioned in medieval texts on music. Kaushik

Variants like Nayaki Kanada and Adana, as sung

(commonly

is

today, are much older and have facilitated the

considered to be a big Raag, the existence of which

creation of a lot of other Kanada variants. Certain

precedes most other Ragas known today. Myth

Kanadas, like Raisa Kanada, are creations of

referred

to

as

Malkauns)

attributes its creation to

Vaishnav

Parvati,

Shivas

(Raiso, as it is called even

consort, while a few believe

today, among practitioners

it to have its roots in the folk

of Haveli Sangeet).

Lord

tunes of Malwa (another

As mentioned above,

name for Malkauns being

Kauns and Kanada are

Malav Kaushik). It can be

two families (Ragaang) in

assumed that the Kanadas

Hindustani

came into the Hindustani

identity

scene around 13th or 14th

Century

AD.

The

derived

Music.

of

the

The
Kauns

Ragaang is the phrase g^S,

term

with a Meend (glide) and

Kanada is believed to have

been

Sampradaay

absence

from

of

Rishabh.

Similarly, the identity of

Karnaat, a family of Ragas

Kanada Ragaang lies in the

in Carnatic Music.

phrases n^P and g m RS R

Both, Kauns and

S with an oscillated Komal

Kanada are two major families of Ragas today in

Gandhar, which is also a little lower in frequency

Hindustani Music and a lot of their variants are

than the one played on Harmonium. Also, it needs

commonly sung. Among the Kanada variants,

to be mentioned that the oscillations on Komal

Darbari Kanada is the most popular. The creation

Gandhar are done with the help of Shuddh

of Darbari is credited to Miyan Tansen, the

Rishabh. If done with the help of Shuddh

legendary court musician in the court of Mughal

Madhyam, glimpses of Malhar Ragaang come in.

25th August 2016

Sangeet Vikas Sabha, Pune

18

Kaunsi Kanada is an amalgamation of

This Prakaar (variation) of Kaunsi Kanada

these two families. Since there are many variants

is generally sung giving equal weightage to both,

of Kauns and Kanadas, it is but natural to have

Kauns Ang and Kanada Ang, making it more of a

multiple types of Kaunsi Kanadas as well. Three

Jod Raag than a Chhayalag Raag. Malkauns is

versions of Kaunsi Kanada are found in circulation

shown in Arohi Prayog (ascending phrases) (S g m

today.

d n S), while the Kanada invariably dominates the

descending phrases (S d n^P, m P, g m R S).

Malkauns + Darbari Kanada

However, a few traditions, particularly the

Malkauns + Nayaki Kanada

Chandrakauns (Bageshree Ang) + Nayaki Kanada
It should be noted that the proportion of
Kauns in all these variants is far less compared to
that of Kanadas. That is why, all the three should
be considered as variants of Kanadas, and not
Kauns. This is also the reason why they have been
named Kaunsi Kanada and not Kauns Kanada.
All the three, like other variants of Kanadas, are
sung at midnight as per the Samay-Raag system.
A brief description of each Kaunsi Kanada
variant is as discussed:

Avaroh (straight descend) to depict even the

Kanada (S ndPmgR, mgRS), which otherwise
requires a zig-zag pattern (Vakra Chalan) as
mentioned

in

the

above

paragraph.

His

composition, Kaahe karat mose barajori (refer to

recordings of Pandit Bhimsen Joshi, Pandit
Venkatesh Kumar and Vidushi Malini Rajurkar) is
a testament to their treatment of Kaunsi Kanada. So
is the case with the composition of Pandit
Chidanand Nagarkar, Naina bharo kajra sohe
(recorded by Ustad Rashid Khan). The Khayal
popular among Jaipur musicians, Kolaun maanri

Kaunsi Kanada (Malkauns + Darbari Kanada)

This variant of Kaunsi Kanada is the most popular
among musicians and connoisseurs. It has been
accepted across all the Gharanas and a few old
Dhrupad compositions are also available. Most
Khayaliyas across all Gharanas, however, prefer
the standard Vilambit Khayal, Rajan ke Sirtaaj.
Note that the treatment of komal Gandhar
and komal Dhaivat of Kauns and Kanada have to
be different. Kauns doesnt allow oscillations of
Gandhar-Dhaivat, while the Kanada not only
requires them to be oscillated (Andolit), but they
are a little lower in pitch as well (Utri Shrutis).
25th August 2016

lineage of Pandit S.N.Ratanjankar, uses Saral

sakhi also has distinct phrases that give a unique

dimension to Kaunsi Kanada. This has probably to
do with the treatment that Agra and Jaipur
Gharanas offer to Jod Ragas, blending them to
create a unique identity, often through phrases
that neither of the constituent Ragas bear. But this
however, does not harm its identity as Kaunsi
Kanada.
The only drawback in singing Kaunsi
Kanada through straightforward Avarohi usages is
that an amateur musician may easily meander off
into Sampoorna Malkauns, a Raag very similar in
terms of patterns of notes used. However, through

Sangeet Vikas Sabha, Pune

19

Kanadas andolit Gandhar-Dhaivat, this could be

S, R Sn S, nPn^P, nm P gm, n P S nPn^P, nm P

avoided, since Sampoorna Malkauns does not

gm RSRS|

permit such a usage.

It is a common misunderstanding among

Nayaki Ang ka Kaunsi Kanada (Malkauns + Nayaki

a lot of musicians that the phrasing, d-n-S, R-g

Kanada)

shows Darbari. If pronounced (and heard)

A few attribute the creation of this Raag to

Haveli Sangeet. It was popularized by Agra veteran
Ustad Vilayat Hussain Khan through his Bandish
Kaase kahoon. It is sung mostly by descendants of
Vilayat Hussains lineage even today. Pandit
Jagannathbuwa Purohit Gunidass Khayal Naiyaa

correctly, there is a gentle pause after the Shadj,

making

the

phrases

disconnected,

thereby

showing Malkauns through d n S, and then

Nayaki through R g. However, this phrase is
infrequent and should be avoided as far as
possible.

mori paar karo is the standard Vilambit

Bageshree Ang ka Kaunsi Kanada (Chandrakauns

composition in circulation.

+ Nayaki Kanada):

Nayaki Kanada dominates a major part of

It is essential to throw some light on this

this Raag, spaced with intermingling phrases of

variety of Chandrakauns before its blend with

Malkauns. However, not all phrases of Nayaki

Kanada is discussed.

Kanada are incorporated as they are. The Deergh

Nyaas on komal Nishad, and the characteristic
phrases gmgmPmRSR-S and R-P are omitted,
while the Nyaas on Madhyam is subdued. The
identity of Nayaki, g-m-n^P is also used in a
slightly modified way, that can be explained only
through practical demonstrations.

Puraana Chandrakauns of Bageshree

Ang, as the name suggests, was in circulation long
before the current version of Chandrakauns
became popular. It totally omits Rishabh and
Pancham from the Bageshree scale (SgmDnS,
SnDmgS) and is thus, often called Audav
Bageshree (Audav = pentatonic). The g^S usage

A general delineation of the Raag can be

and absence of Rishabh retains its identity as a

given as follows. However, the writer maintains

Prakaar (variation) of Kauns, while the Shuddh

that practical demonstration/learning is the best

Dhaivat offers Bageshree flavour.

possible way to understand the movements of this

(rather, any) Raag.

This

Chandrakauns,

combined

with

Nayaki Kanada, gives the third (and the least

|S-- n R- S, RS nPn-P, m d n S, n R- S-- | R

known) variant of Kaunsi Kanada. Movement

wise, it is essentially the same as Kaunsi Kanada of

n S, nSR, SRgm, RSRS, nPn- P, S| SRgm,

m P--,

nm

P gm, RSRS, R nS| R n S m-, g m n

Nayaki Ang discussed earlier, the only difference

d^m g, n P, n m P g m RS RS| g m d n S, nSR-

being Shuddh Dhaivat of Puraana Chandrakauns

replacing the Komal Dhaivat of Malkauns. Pandit

25th August 2016

Sangeet Vikas Sabha, Pune

20

Bhatkhande has documented an old Dhrupad in

and barely a few musicians are aware of the

this Raag in his work Kramik Pustak Malika (Part

Swaroop (form) of this Raag.

6). Pandit S.N.Ratanjankar has also created a few

Bandishes in this, using a few unique phrases as
well. But more or less, this Raag is out of fashion
Kanada that differs from Bageshree Ang ka

It is important to bring to the knowledge of the

reader, that there is also a Raag called Bageshree
The writer has knowingly not delved into

Kaunsi Kanada. In Bageshree Kanada, Bageshree is

Vaadi-Samvaadi/Prakriti

etc.

of

the

above

the main Raag and Nayaki is subdued, while it is

mentioned Ragas, because the very concept of

exactly the opposite in Bageshree Ang ka Kaunsi

these terms becomes void during presentations

Kanada. Thus, subtle changes in proportions of

and performances.

constituent Ragas change the identity of the

subsequent combination.

25th August 2016

Sangeet Vikas Sabha, Pune

21

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