Words and sentences have power.

By Subranil Sarkar for The SPK Academy of Music

Many listeners often mistakenly believe that only words and sentences (ie. the sahitya) of a composition allow a vocalist to express deeper Rasas like Karuna, Shanta-rasa, Bhakti.

It is true that words sung correctly could highlight the above-mentioned Rasas.

However, that also brings up a very important question - How are instrumentalists able to create the same impact even though their instruments do not use a spoken language to express emotions?

Pandit Kishen Maharaj had beautifully said:

““Jab koi achche Guru se shiksha praapta kartaa hain, to Tabley ko bhi jubaan aa jati hain”. ”

— Pandit Kishen Maharaj

Translation: When a Tabla disciple receives training from a good Guru, even the Tabla speaks.

Proper tālīm and riyāz, truly, have no substitutes.

An instrumentalist has to have complete knowledge of the Raags and Taals that he/she wishes to perform, and master control over his/her instrument. But are these enough to sail through? Are these enough to elevate an instrumentalist to the level of a musician?

Many listeners (who have listened to the masters of yore) often say that the present era has been blessed with many exciting young instrumentalists and vocalists who have beautiful touches and fantastic control over their instrument/vocal cords. Incredible talents each. Yet they also feel that the depth and the subtlety are lacking in their playing/singing. But do only listeners feel so?

Ustad Vilayat Khan, himself, had once said:

““Aaj ka sangeet humein kahan le ja raha hain? Ek woh din ka sangeet tha.. jo hum aankh bandh karte thhe aur kaan se dekhte thhe.. aaj ka sangeet .. hum kaan bandh karte hain aur aankh se sunte hain” ”

— Ustad Vilayat Khan

Translation: Where is today’s music taking us? There were days when we would close our eyes and watch music through our ears; now we close our ears and listen to music through our eyes.

I have personally heard an anecdote from Pandit Kashinath Mukherjee about Ustad Bade Ghulam Ali Khan. A funny one. But an incredible one too. One day Kashinath ji said –

““Do you know what kind of presence Bade Ghulam Ali Khansahab had? What an aura he had! What an incredible vibration he carried around him! Even those who had no interest in music would fall in love with music, if they came in his presence.””

— Pandit Kashinath Mukherjee

Then he told me that Khansahab had once caught a teenager (whom Khansahab knew and loved) smoking. Khansahab was in a hurry and said nothing to the kid at that time. Later that day when he met the teenager in his room, there were other people (including the teenager’s father) there. That’s when he started singing in Bhairavi – “... Mat Piyo beta ... Mat piyo” (‘Don’t smoke, son… don’t smoke’ - the word ‘peena’, which means 'drinking’, is synonymous with smoking.)

There were great rasikas in the room. Khansahab’s singing evoked pathos, joy and optimism. Everyone in the room started saying that Bhairavi could not have been more ethereally beautiful than what Khansahab had sung.

Needless to say, there is no such bandish as - “... Mat Piyo beta ... Mat piyo”. And, the sentence, itself, is too ordinary to evoke such strong Rasa in the listeners’ hearts. What happened there that day, many decades ago?

Perhaps the answer could be found in Ustad Bade Ghulam Ali Khan’s own words. Khansahab was enthralling the audience at a mehfil in the Dixon Lane (Kolkata) residence of Pandit Gyan Prakash Ghosh, where knowledgeable rasikas and musicians were in the audience, when suddenly Ustad Bade Ghulam Ali Khan stopped and said –

““ … ‘Nevar baji re’… kabhi bol hain?
Mamuli bol hotein hain.. Gharelu bol hotein hain zindegi ke..
par bandish Ustad ki jo hoti hain, woh kaam deti hain.. wah wah woh deti hain.. “ ”

— Ustad Bade Ghulam Ali Khan

Are these great lyrics? They are just words from day-to-day conversations. But the melodic ideas used in the composition by the Ustad are what bring in the applause.

It is true that words do fall short to express deeper feelings/ emotions even when the speaker/writer is articulate enough. Perhaps that is why the Sufi Hazrat Inayat Khan had said:

““What science cannot declare, art can suggest; what art suggests silently, poetry speaks aloud; but what poetry fails to explain in words, music can express. ”

“Whoever knows the mystery of vibrations indeed knows all things.””

— Sufi Hazrat Inayat Khan

The mystery of the vibrations is perhaps the most intriguing of all mysteries. But could the solution be found outside? Or does it need one to dive deep within oneself?

““Some time has to be set aside to look within to find the essence of music...When the sadhaka exercises his mind thus, he will find taal in his heartbeat, laya in his pulse, and music in his soul... ”

https://youtu.be/ubnGPqs2bQo

“His body then becomes the triveni sangam of taal, laya and raag” ”

— Pandit Mallikarjun Mansur

Bharata Muni has explained in the Natya-Shastra that the bhāva-s (or emotions within) need to be expressed with expertise through actions. And, if done successfully, the expression of bhāva-s inspires within the hearts of the listeners an emotional response or Rasa.

Let me express the same phenomenon analogically. The tarab of a well-tuned instrument starts singing spontaneously on its own when a phrase lands on the intended Shruti precisely on the baaj string. In short, it is a transmission of vibrations - from the baaj string to the tarabs; from the musician to the listeners.

However, both need to be in tune with each other.

““The magic happens only when the artist serves with love and the listener receives with the same spirit.”

— Pandit Ravi Shankar

https://youtu.be/H3DmotRGeME

The human mind has a huge potential. If a musician delves deeper within oneself, he/she will surely come up with treasures from within. Then the musician could go beyond his/her dependence on words or literature to express deeper emotions like Karuna, Shanta-rasa, Bhakti, and others.

https://youtu.be/hd7MNpTqp40

“Indian classical arts are meant to transform the self, as spirituality is woven into its tapestry….Music was and is an easy tool to meditate”

— Pandit Shiv Kumar Sharma

However, if musicians do not go for that inward journey as human beings; would their music express depth or compassion? Could words alone save them?

A Short Conversation about Indian and Western Classical Music

Running around at shibirs one often overhears bits and pieces of interesting conversation. This time around (the January Chaiyanat – Kamod shibir) SPK tried to corral some of this conversational energy by asking a group of students to discuss what they understood to be the differences and similarities between Indian and Western Classical music.

The result was a very spirited 40-minute discussion full of different points of view and, I think, a lot of insight.

During the conversation, many of the participants prefaced their remarks with “I am not an expert, but…” and it was in a spirit of humility and mutual respect that things went down.

In what follows you will find a unique opportunity to listen in on a group of sitar players seeking better to understand their place in the delightfully multifaceted world in which all of us live and play.

Having gathered the group together after our morning session on Sunday, I asked the participants how they defined “classical” in the most general sense. Sudhir was quick to point out that the word “classical” was a western translation, and that there was no equivalent in Sanskrit or Hindi. He proposed “shastri” – a word relating to scholarship and ancient texts – as the closest thing. From there the discussion moved directly to comparisons. Thomas, a trained cellist, put forth “periodization” in Western classical music as a major difference. And although the group granted that there are no equivalents to “Baroque,” “Classical,” “Romantic,” or “Modern” in Indian music, the music nonetheless develops - as do the instruments.

Avichal then said boldly of Western Classical, “It’s all about harmony. It’s chordal.” Taking up on this idea, Jawwad noted that scales worked differently in Indian and Western music. The microtones (shrutis) that help define a raag, would not work in the counterpoint and harmony of the West. “The Western scale has to be mathematically precise for harmony, while the “re” (minor second) of Todi is not the same as the “re” of Shree.”

At this juncture, Thomas observed that Western classical music seldom departs from the written score. He also reminded everyone how western musicians seek to recreate the sound of the period in which a piece was originally composed – often using instruments constructed how they were in that earlier age. This important observation made me think, “In the West, the past is the past and must be conjured while in India the past remains in nearly every way part of the present.” Once, again this idea was “moderated” with Sudhir observing that even raag and Indian classical instruments are always changing. Is it a matter of degree?

Enter Sanjeev with his calm, considered tone: “I can define classical… what is timeless and what survives, and what people remember and cling to – that is classical.” Jay then emphasized the quality of work and originality saying, “Mozart produced things that were not there, Hayden did the same.” Sanjeev defended his point: “No matter if it is good, if it is forgotten and buried, it is not classical.” Jay answered, “I see what you’re saying, but I think classical is the FORM… ragas have rules, maybe that’s why Westerners associate it with classical music.” Good points all!

Pt. Ravi Shankar and Yehudi Menuhin - courtesy of The News Minute

In response to Jay, Kristopher spoke up for the first time, bringing in yet another important aspect of the “classical”: “It has not so much to do with the music, but [depends] on the class of people upon which the music is being played and who are listening to it.” Kristopher then mentioned African tradition as an example of the importance of community and audience in defining their particular “classicism”.

At this point, Avichal pulled the ideas together saying, “These are all elements that make up a part of it [the classical]. None of them by itself will define it.” This point was welcomed by all involved.

The conversation moved onto the idea of “universalism” in classical art forms. Jawwad presented the possibility that thinking the structures of any classical music are somehow “universal” is putting the cart before the horse. It is wide dissemination and accessibility that make up this aspect of music: “It’s just that Western music is in everywhere, it’s in the movies, in the cartoons (sic).” As for Indian classical, it was “a post-Independence export” helping make the case that “the West has science, India has culture.” Avichal then contended that before independence Indian classical music was virtually unknown – even in India – being mainly the music of the royal courts.

At this point, I mentioned something Ustadji had said over two decades ago and that I have never forgotten, namely that he had known of many classically trained Western musicians who had given it up and committed themselves fully to Indian music but did not know of a single example in the other direction. After asking why people thought this might be, Anna answered in a soulful and very personal way: “I heard Mozart every day in the cradle. Ok. This is music, but in India, it is more than that – it is very deep; it goes up to the root…. The difference between Indian classical music and Western is that it is deeper, it is spiritual… When I heard the sitar for the first time, finished, that’s it! Not interested in Western Classical music – at all.” Anna’s frankness was much appreciated and certainly spoke to the group’s “bias,” but as was characteristic of the discussion as whole voices came in to balance things out.

JJ mentioned musicians in the Western classical tradition may well have the same “convictions” about their music if you asked them (thereby inadvertently bringing up possible future panel discussions involving Western musicians!).

In direct response to my question as to why so few Indian musicians “move West” Jawwad commented, “In the West, there is a certain freedom to make your choices, there is a freedom from others which is not there in more traditional cultures.” Sudhir concurred and said, “It’s the same thing [in India and the West], it’s not like Indian music is more exalted.” JJ commented how Anna’s (and I suppose all our) “perceptions had changed” since learning sitar.

Anna then defended her position admirably saying, “If I go to Europe, I prefer to buy bread where there are seven generations of

bakers. Not because that bread is different.

It has something in it that was passed down from one generation to generation and it will always be tastier than any other bread that I eat.”

Things wound down, but many left the music room still talking about issues raised. It is my hope that these ideas will inspire all of you to think more deeply about the fantastic music we are learning and, perhaps, to share some of your ideas in response on our blog.

Thank you to all who participated. Wonderful…

The SPK Academy Learning Experience

Many music academies exist, but few that rigorously uphold the tradition of the guru-student relationship, or guru-shishya parampara; here at SPK Academy, this is the foremost pillar of our foundation. Though Ustadji uses a variety of more modern techniques, such as Skype, to impart his musical knowledge, the tradition itself remains intact. However, no amount of online lessons can replace the experience of in-person lessons, for it is not only material being taught, by observing the guru, how he lives apart from music, his philosophies, personality, only then can his music be more deeply understood, and ultimately, played.

It is at a shibir, a three-day music camp, where the magic happens, where for those three days, no matter how long it has been, we are instantly at home in the company of our fellow students and Ustadji.

One student writes, “...Shibirs. Weekends away from everything, when I can truly focus on my passion - music. These amazing events give me a chance to spend first hand time with those I consider family, and at the heart of it all is my guru, my Ustad.”

~Avichal Jha

To the newcomer, the first shibir can be very intimidating, but by the third or fourth, one knows what to expect, and what is expected of him or her, but even within the usual shibir schedule, it is really Ustadji’s mood that dictates the flow of the shibir. It is not an easy art, but like all difficult things, every minute of hard work and practice is rewarded in the end. Whether you are simply curious or wish to pursue music seriously, a shibir is the place to experience Ustadji’s music in all its brilliance; it is the place to discover and or deepen musical love.

Workshops provide a shibir-like environment that is accommodating to those who cannot attend shibirs, due to busy work schedules, as well as a supplement to keep students on track as shibirs are usually spaced several months apart. At workshops, students can receive undivided attention from Ustadji (Ustad Shahid Parvez Khan)

Skype lessons with Ustadji offer musical training to students who are travelling or unable to attend workshops or shibirs, and are an invaluable tool we can use to stay connected to music.

Senior students Gagandeep and Jay shared their thoughts on Skype lessons.

“I would describe Skype lessons with Ustad ji as a great medium of instruction. It's as real as it can get to replicate a one on one in-person experience of learning from Ustadji. What I like most about Skype classes is that the content of class is tailor-made to suit your individual learning needs. It's Ustadji speciality to come down to the level of the learner, irrespective of his/her proficiency level or command of the instrument.”

~Gagandeep Singh

“It provides priceless one on one time with Ustadji, something that can be very difficult to obtain during a large shibir or group workshop. When the Shagirds get together, we always ask each other, "Have you had any Skype lessons? What are you working on?”

~Jay Matrona

Each mode of learning offers something unique, but the combination of shibirs, workshops, and Skype lessons fulfills all of a student’s musical needs, making for a complete learning experience.