Chapter 7 Notes: The Old World Joins the New

The Postcolonial Era

• India's classical music at the end of the 20th century is compared to Europe at the end of the 18th century, specifically the time of Mozart and Beethoven.
• Mozart and Beethoven innovated within an established musical language during significant social changes.
• Mozart lacked consistent patronage from the church and nobility, while Beethoven depended on aristocratic support.
• Beethoven's music reflected the social optimism emerging from the French and American revolutions.
• India experienced similar social changes affecting its music, though the personalities involved were different.
• Before European influence, India was admired for its opportunities, similar to how America is viewed today.
• By 1858, the British had established the Raj, effectively annexing India after driving out other competitors.
• Colonization impoverished India, transforming it from a wealthy nation into a debtor nation burdened by overpopulation, poverty, and illiteracy.
• Post-independence in 1947, India adopted a democratic system instead of reverting to a feudal system.
• Adjusting to the new democratic system has been challenging due to regional disparities in language, religion, and local traditions.
• The federal government oversees economic development to address disparities in wealth, literacy, and cultural variety.
• India aims to increase industrial production and world trade while also addressing the needs of its large population.

The Effect of the New Democracy on Music

• Indian artists have had to adapt to new social realities after independence.
• Making a living as a musician is difficult, even with good training.
• Musicians need to travel frequently and cater to audiences with varying tastes.
• Older artists lament the dilution of music to appeal to broader audiences, leading to a decline in the "purity" of the old music.
• Modern audiences prefer more variety and speed compared to the older, slower concert style.
• Young tabla players focus on speed, particularly on "railās" (fast repeated figures).
• Some teachers concentrate on preserving older compositions, emphasizing patience and time to master them.
• The old style is at risk of vanishing due to the emphasis on speed and entertainment in modern performances.
• Traditional compositions have set rhythms and tempos. Following them is essential to get the 'whole music'.
• Modern playing styles are seen as noisy and shocking but lack substance and longevity.
• Older music was simpler, focusing on beauty, while modern music often lacks respect and surrender.
• True music requires surrendering oneself, learning, and paying respect, leading to balance, clarity, and mood.

Tabla and Cultural Exchange

• The tablā has facilitated connections across various styles and cultures.
• It's a popular percussion instrument in North India, used in classical, pop music and even in the West.
• Innovative ensembles combine the tablā with other drums and instruments.
• The Toronto Tablā Ensemble, led by Ritesh Das, blends tablā with Western trap-drum sets, bass, tānpurā, marimbas, electronic sounds, and African rhythms.

Electronics: Preserving and Spreading the Traditions

• The recording industry in India is a century old.
• Classical music was a late entrant to the recording scene, gaining traction with the advent of long-playing records in the 1950s.
• Light music, ghazals, bhajans, and film songs have received more attention from electronic media.
• Jagjit Singh's ghazal "Mirāsim" exemplifies the eclectic nature of modern recordings, featuring flute, guitar, sitār, tablā, and violin.
• Instrumental elements are carefully crafted to add variety and flavor.
• Krishna Bhatt and Jody Stecher's duets integrate Indian and Western sounds, exemplified by their rendition of the fiddle tune "Yellow Gal."
• The recording features a five-string banjo, string bass, and mandolin, creating a bluegrass sound with a unique sitār lead.
• "Yellow Gal" has an rhythmically eccentric seven-bar rhythm in its first part, which is uncommon in fiddle music for dance.
• The structure of the tune is AABBA, lasting only twenty-two seconds.
• The sitār solo at 1:07 slows down the harmonic rhythm, challenging the accompanists to adjust to the implied chord changes.
• The tendency to play across regular harmonic rhythms is a reason why east-west blends are not more common.
• Krishna Bhatt's solo melds with the final statement of the tune at 1:30.

Some Views From An Old Master

• Ali Akbar Khansahib's home. Khansahib lives in San Rafael, California.
• Khansahib's teaching occurs in a room above the clamor of his children.
• The room contains religious icons, photos, and mementos.
• Khansahib welcomes guests cordially.
• Khansahib's musical genius inspires awe and humility.
• He teaches Hindustani music freely, regardless of background.
• Khansahib believes humility is essential for a musician.
• Khansahib compares music to prayer, emphasizing the need to avoid ego.
• Playing in rhythm and tune is divinely aided.
• Box-office music is hopeless.
• Dhrupad style emphasizes rāg purity more than khyal style.
• The music is gradually declining but will eventually rise again.
• Younger generations lack awareness, and older maestros are gone.
• In the past, musicians would critique performances directly.
• Today, musicians prioritize touring, money, and entertainment.
• Television, recording, and concerts have improved but can also spoil the music.
• Publicity can create the wrong impression.
• Today's musicians have access to better facilities and resources but lack purity.
• They often mix elements from different artists.
• It is sobering to contemplate the potential decline of tradition.
• Khansahib has dedicated his life to preserving the tradition in its purest form.
• Khansahib finds satisfaction in his teaching, especially when students sacrifice to keep the music pure.
• This music is a pathway to God, offering peace and pleasant feelings.