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Dec. 8, 2009 - PRLog -- The Samaveda, one of the four Vedas, describes music at length. The Samaveda was created out of Rigveda so that its hymns could be sung as Samagana; this style evolved into jatis and eventually into ragas. Indian classical music has its origins as a meditation tool for attaining self realization. All different forms of these melodies (ragas) are believed to affect various "chakras" (energy centers, or "moods") in the path of the Kundalini. However, there is little mention of these esoteric beliefs in Bharat's Natyashastra, the first treatise laying down the fundamental principles of drama, dance and music.

Ms Kakuli Sarkar is a popular and renowed vocalist of classical, semi-classical and light music. She has received training and guidance from Late Pandit Sakharam Shivnarayan Goshalewaleji, Shri A.S. Karkare, Shri G.J. Morone and Dr. Ramdas Mungre.



INDIAN CLASSICAL MUSIC

Indian classical music has one of the most complex and complete musical systems ever developed. Like Western classical music, it divides the octave into 12 semitones of which the 7 basic notes are Sa Re Ga Ma Pa Dha Ni Sa, in order, replacing Do Re Mi Fa Sol La Si Do. However, it uses the just intonation tuning (unlike most modern Western classical music which uses the equal temperament tuning system). Indian classical music is monophonic in nature and based around a single melody line which is played over a fixed drone. The performance is based melodically on particular ragas and rhythmically on talas.
Main genres

The two main streams of Indian classical music are:

   * Hindustani classical music, originally from North India
   * Carnatica music, originally from South India

In Hindustani music, the performance usually begins with a slow elaboration of the raga, known as alap. This can range from long (30-40 minutes) to very short (2-3 minutes) depending on the style and preference of the musician. Once the raga is established, the ornamentation around the mode begins to become rhythmical, gradually speeding up. This section is called the drut or jor. Finally, the percussionist joins in and the tala is introduced. There is a significant amount of Persian influence in Hindustani music, in terms of both the instruments and the style of presentation.

Types of Vocal Classical music
Dhrupad
Indian classical music has been vocal, instrumental music as a solo performance being a modern development. The most traditional form is Dhrupad, correctly spelled as dhrupad that is “with feet firmly on ground.”  Dhrupad, or its variation, Dhamar, is a style of singing which brings out the pristine quality of music that is the sheer profundity of human voice. Dhrupad keeps away from tans, tarana, and other frills and stays in slow movement. The Taal is generally Ektaal or Chautal, as percussion instrument Pakhawaj is preferred to Tabla. In modern times, Dhrupad singing has become ‘high classical’ and is becoming rare, since large audiences cannot sit through such music in a crowd.

Kheyal

There is no historical knowledge how music was presented in the social setting of ancient India. It is, however, obvious that during the medieval, the so- called ‘Muslim’ period music acquired a respectable place in the set of entertainments which rulers, princes and rich people made available to themselves, In this setting, Dhrupad gave way to a lighter form of music which came to be known as Kheyal. Kheyal is an Urdu word meaning ‘emotion.’  In other words, the song or the poem became an important element, unlike Dhrupad where the chain of sounds was the main frame. The Kheyal is the mainstream classical music as performed today

      A good Kheyal singer uses the song as the frame on which appear various forms of musical artistry, such as alaap, taan or tarana. The importance given to the words of the song is not the same with every singer. It is interesting to note that almost always the languages of the songs are no longer current. It is neither modern Hindi that is Khari Boli, or Urdu, as in the Ghazals. Songs used by classical musicians have been handed down by generations; the language which commonly appears is Brajbhasha. True to India’s secular tradition, Muslim and Hindu singers do not select their songs on a religious basis.

      Kheyal starts with alaap, in lower sounds and in slow motion. This is intended to unfold the ‘face’ of the Raag, its swaroop. The song has two alternating parts, sthayi (stable) and antara (higher). Sthayi is the resting level where the singing must return every time after having covered the ascendancy of the antara. As for rhythm, after alaap the singing stays at a normal rhythm, but it gradually speeds up until we reach a crescendo which is presented as tarana. The consonants and the vowels which make the ‘words’ in tarana are without meaning - as in a mantra - and to make this a true representation of the Raag requires some skill.


Light Classical Music

      For the purists, ‘light classical’ or ‘semi- classical’ is an area of controversy. This class includes Thumri, Dadra, Tappa and Holi. The Thumri developed in about 18th century and was practiced mainly by courtesans for the entertainment of the rich. Varanasi and Gaya came to be known as the most prolific centers of Thumri. The practitioners of this genre do not accept its designation as ‘semi-classical’. It is pointed out, with good justification, that if Raag and Taal are both being adhered to, nothing else is required to name it ‘classical’. The reigning queen of Thumri singing today is Girija Devi, fully trained in classical music. She comes from Varanasi, but has settled down in Calcutta to run an institution for training and programs in classical music.
Ghazal
      Poetry is the main component in a Ghazal. In fact, ‘ghazal’ is the name of a particular form of Urdu poetry, which is generally romantic, and sometimes devotional. Ghazal need not incorporate any Raag and is not contained within the discipline of Taal. The Ghazal singer needs only a light support of Tabla. Quite frequently, instead of the performer adhering to the framework of Taal, it is the Tabla player who adheres to the way the singing takes place. Understandably, the eminent Ghazal singers have used the lyrics of great Urdu poets, such as Zauq, Ghalib, Meer, or Faiz Ahmad Faiz. The words of the poem sometimes contribute much more to the listener’s pleasure than the music through which it is presented. Not being bound down with Raag and Taal, Ghazal singers are able to display great originality and innovation is the frills they provide. Combined with the beauty of poetry, the performance is delightful.

Qawwali

Qawwali emerged as the musical expression of Sufi thought. Sufism, or Islamic mysticism, arose in Arabia and Iran about 9th century, as a philosophical movement within Islam which places man in a passionate, emotional relationship with God and ultimately in union with Him. After Islam came to India in the 11th century, Sufism converged with Hindu Vedantic thought of advait (non-duality). As far as is known, the musical presentation of Sufi experience as Qawwali was not developed until about 15th century when Sufi orders arose in different parts of India.

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Ms Kakuli Sarkar is a popular and renowed vocalist of classical, semi-classical and light music. She has received training and guidance from Late Pandit Sakharam Shivnarayan Goshalewaleji, Shri A.S. Karkare, Shri G.J. Morone and Dr. Ramdas Mungre.