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The range of musical instruments
and confluence of Indian classical music and miniature paintings
have also been illustrated with a view to enunciating the
all-important aspect of the thematic content of the raga.
Besides, the
predominant characteristics of inner dynamism and resilience, as
also the unlimited potential, amazing elasticity and power of
assimilation of the raga as medium of creative musical
expression have been duly emphasised. The author, an
accomplished sitar player, had her initiation into the musical
world under the guidance of well-known violinist S. N. Gulati.
Presently she is learning from Ustad Amjad Ali Khan the sarod
maestro. Because of her long association with the realm of the
music, she seems to have acquired deep insight into the
intricacies of classical music. Though she has been a student of
North Indian music, her knowledge of Carnatic music is
commendable.
The chapter on
historical perspective commences with a quote from the greatest
composer of Carnatic music Saint Tyaga Raja "Many are the
great souls, To them all my salutations". Legend has it
that origins of the divine art is the Trinity — Brahma the
Creator, Vishnu the Preserver and Shiva the Destroyer. According
to mythology the cosmic dance or tandava of Shiva
symbolises the everlasting rhythm of life and death in the
universe. In addition, she has quoted from numerous scriptures
regarding evolution of the music. Striking paintings of Ganesh
and Saraswati, Hazrat Nizamuddin Aulia and Amir Khusrau bear
testimony to this fact. While much of the writing is on familiar
lines the author has chosen to highlight the intensity, the
devotion and spiritual expression.
Having outlined
graphically the development of music she has made a special
mention of Mughal Emperors — Akbar, Jahangir and Shahjahan.
During this period of royal patronage, music attained
unprecedented heights in the context of refinement and evolution
of style. Another notable fact ignored is the reign of Ibrahim
Adil Shah II of Bijapur who, with his liberal views and earnest
attempts tried to integrate the elements of Hindu and Islamic
philosophy. His collections of poems are intended to be sung in
different ragas. The ragas are among the means
through which God can be reached.
This book can
be particularly useful for anyone engaged in composite research
on Indian classical music. The author has dealt at length on the
similarities between North and South Indian ragas.
Despite the variegated approach and presentation, the common
heritage is apparent. Some of the Hindustani ragas played
in the South were given altered names. For example, Hindustani
Jhinjoti was renamed Serinjoti in Carnatic music and Raga Kafi
became Raga Kapi. She has given numerous illustrations to show
common names.
Ragas,
both in Hindustani and Carnatic music, have been extensively
discussed in a full chapter. It reveals the author’s depth of
knowledge for the two distinct styles. She is perhaps one of
those few writers who have presented facts of different gharanas
without any personal bias. However, while naming doyen of
different gharanas, she has made a blunder by stating that Abdul
Wahed Khan and Abdul Kareem Khan belong to the Patiala Gharana.
In fact, they were originators of Kirana Gharana. Moorthy would
do well to issue a correction in the next edition.
In its
totality, however, this book is unique, having established the
fact that classical music has been in vogue for centuries,
notwithstanding certain fundamental changes in its composition
and content.
The book also has a clear and
bold message. "To maximise once enjoyment of the great
musical traditions inherited, personal prejudices should not be
allowed to eclipse or dominate the selection of musical
works".
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CLASSICAL
music of India is undoubtedly one of the refined and
sophisticated forms of artistic music in the subcontinent.
Numerous books have been written on the subject and the latest
addition is Romance of the Raga.
