VOL. 01 NO. 01 APRIL 2018...Vol.1, No.1 April 2018-JK Music Initiative Contents 07. Foreword Abhay Rustum Sopori, Santoor Maestro & Music Composer 09. Editorial Dr. Asgar Hassan Samoon,

JKMUSIC INITIATIVEVOL. 01 NO. 01APRIL 2018

A PEER - REVIEWED JOURNAL OF MUSIC

HIGHER EDUCATION,J&K

EDITORDR. ASGAR HASSAN SAMOON (IAS)

PRINCIPAL SECRETARY HIGHER EDUCATIONGOVT. OF JAMMU & KASHMIR

NO

T F

OR

SA

LE

PUBLISHED,PRINTED & OWNED BYHIGHER EDUCATION DEPARTMENT, J&K

CIVIL SECRETARIAT, JAMMU/SRINAGAR,J&KCONTACT NO.S: 01912542880,01942506062

www.jkhighereducation.nic.in

CO

VE

R D

ES

IGN

: N

AU

SH

AD

H G

AY

OO

R

JK Music Initiative is a quarterly publication of

Higher Education Department,

Govt. of Jammu and Kashmir (JKHED).

All manuscripts published herein represent

the opinion of the authors and do not reect the ofcial policy

of JKHED or institution with which the authors are afliated

unless this is clearly specied. Individual authors

are responsible for the originality and genuineness of the work

stated in the papers and thatwork is not partially or fully published elsewhere.

The research papers published in JK Music Initiative are protected by copyright.

No material in this journal may be reproduced photographically or stored in a

retrieval system or transmitted inany form by any means electronic, mechanical, etc.

without the prior written permission of the publisher.

The contents of this publication are not to be quoted in the press

without permission of the editor.

Editorial correspondence: [email protected]

PRINTED AND PUBLISHED BYDr. Asgar Hassan Samoon (IAS),Principal Secretary to Government,Higher Education Department, J&KOn behalf ofHigher Education Department,Govt. of Jammu and Kashmir.Official websitehttp://jkhighereducation.nic.in/

PRINTED ATRanbir Government Press,

Ambphalla, Jammu-180001 J&KOfficial Website

http://rgp.jk.gov.in/

NOT FOR SALE

A soft copy of the manuscript should be submitted to the Editor of the journal in Microsoft Word le format. All the manuscripts will be blindly reviewed and published after referee's comments and nally after Editor's acceptance. To avoid delay in publication process, the papers will not be sent back to the corresponding author for proof reading. It is therefore the responsibility of the authors to send good quality papers in strict compliance with the journal guidelines.

MANUSCRIPT GUIDELINESAuthors preparing submissions are asked to read and follow these guidelines strictly:

LengthResearch papers should be between 3000- 6000 words long including notes, bibliography and captions to illustrations. Manuscripts must be typed in double space throughout including abstract, text, references, tables, and gures.

FormatDocuments should be produced in MS Word, using a single font for text and headings, left hand justication only and no embedded formatting of capitals, spacing etc.

NotesUse Endnotes not footnotes.

ReferencesAuthors should use the system laid out in the Chicago Manual of Style h�p://www.chicagomanualof style.org/tools_citationguide.html.

Papers in Journals and other PeriodicalsSmith, J. 2012. “Article Title: The Subtitle.” Journal Title in Full 10 (1): 30–40. doi:xxxxxxxxxxx.

Papers in Edited Books, Symposia Proceedings, etc.Book Single Author: Smith, J. J. 2012. Book Title. Abingdon: Routledge. Reprinted Work: Maitland, F. W. (1898) 1998. Roman Canon Law in the Church of England. Reprint, Union, NJ: Lawbook Exchange. Edition: University of Chicago Press. 2012. The Chicago Manual of Style. 16th ed. Chicago: University of Chicago Press. Translated: Smith, John. 2012. Collected Style Manuals. Translated and edited by Jane Jones. Abingdon: Routledge. Thesis: Smith, John. 2008. “Title of Thesis.” PhD diss., University of Chicago.

Photographs and ImagesPhotographs or other illustrations either in color or black and white should be submitted in digital form in high resolution JPEG format.

JK MUSIC INITIATIVEA PEER - REVIEWED JOURNAL OF MUSIC

INSTRUCTION TO CONTRIBUTORS

Vol.1, No.1 April 2018-JK Music Initiative

JK MUSIC INITIATIVE

JK Music Initiative is a peer Reviewed Academic and Professional Journal

dedicated to the promotion of research in all the aspects of World Music with

special focus on the Music of Jammu & Kashmir.

EDITORIAL BOARD

Editor

Dr. Asgar Hassan Samoon (IAS)

Principal Secretary, Higher Education,

Govt. of Jammu & Kashmir

Email: [email protected]

Associate Editors

Shabir Ahmad Mir, PhD.

Assistant Professor (Vocal)

Department of Higher Education, J&K


Kuldeep Raina, PhD.

Assistant Professor (Vocal)

Department of Higher Education, J&K


Editorial board

Abhay Rustum Sopori, Santoor Maestro & Music Composer

Email: [email protected]; Mob: 09811622055

Amit Verma, Assistant Professor, Tabla, Visva-Bharati University,

Shantiniketan, W.B .India;

Email: [email protected]; Mob: 09547933029, 09559629049.

Jasmeet Kaur, Assistant Professor, Vocal, Govt. Women‘s College Parade,

Jammu


Muzafar Ahmad Bhat, Associate Professor, Tabla, Govt. Women‘s College MA Road

Srinagar


mailto:[email protected]:[email protected]:[email protected]:[email protected]:[email protected]:[email protected]:[email protected]

2

Naveen Sharma, Assistant Professor, Vocal, Govt. Women‘s College

Udhampur


Naveen Sharma, Assistant Professor, Sitar, Govt. Women‘s College parade,

Jammu

[email protected]; Mob: 9419450854

Ranjeet Singh Katoch, Assistant Professor, Vocal, Govt. Women‘s College,

Parade Jammu


Samosh Kumar, Assistant Professor, Sitar, Govt. Degree College, Udhampur


Sukhwant kaur, Assistant Professor, Vocal, Govt. Women‘s College, MA Road

Srinagar


ADVISORY BOARD

Pt. Bhajan Sopori (Chief Advisor)

Santoor Maestro & Music Composer

Agni Shekhar, Culture & History Writer, Jammu.

Anupam Mahajan, Professor of Music, Faculty of Music & Fine Arts, University

of Delhi.

B. N Mishra, Dean Faculty of Music, BHU

Mallika BanerjeeAssistant Professor, School of Performing & Visual Arts,

IGNOU, New Delhi.

Meena Banerjee, Eminent Musicologist, Critic & Writer Kolkata.

Madhu Shukla, Musicologist, Allahabad.

Pankaj Mala Sharma, Professor (Sitar), Punjab University Chandigarh.

Mysore Manjunath, Violin Maestro & Professor of Music, Mysore University,

Karnataka.

Raj Kumari Magzine, Former Professor of Music, Jammu.

Rafiq Raaz, Eminent Writer and broadcaster, Kashmir.

Rakesh Kaul, Eminent Writer, USA

Rajpal Singh, Assistant Professor (Vocal), University of Delhi.

mailto:[email protected]:[email protected]:[email protected]:[email protected]:[email protected]


Ravi Sharma, Former Dean, Faculty of Performing & Visual Arts, M.D

University, Rohtak.

Ravindra Mishra, Eminent Musicologist & Critic, Delhi

Sanjay Bandopadhyay, Sitar Maestro & Professor of Music Sikkim University.

Sadananda Sahoo, Assistant Professor, School of Interdisciplinary and Tran-

disciplinary Studies, IGNOU.

Sudarshana Baruah, Assistant Professor (Vocal) Centre for Performing Arts,

Dibrugarh University, Assam.

Saroj Ghosh, Professor (Sitar), Punjab University,Chandigarh.

Sunaina Kaul, Former Instructor (Vocal), IMFA Jammu.

Suneera Kasliwal, Professor & Dean Music Faculty, University of Delhi

Tapasi Ghosh, Assistant Professor(Vocal)University of Calcutta

T.K. Ganjoo, Eminent Educationist – Jammu

Usha Bhagati, Former Professor Music, Jammu.

Varsha Agarwal, Associate Professor (Santoor), Govt. Girls PG college Ujjain.

Vasudha Saxeena, Associate Professor (Tabla), Rajasthan Sangeet Sansthan,

Jaipur.

Vijay Shanker Mishra, Eminent Indian Rhythm Expert, Educationist,

Musicologist & Writer, Delhi.

Editorial Coordination

Please address all editorial correspondence to:

Associate Editor

JK Music Initiative

E:[email protected]

T: (+91) 7051-891-719

Art & Design: Naushad Gayoor, University of Kashmir

4

JK MUSIC INITIATIVE

Research Journal of JK Higher Education Department

Vol.1. Issue 1, April 2018.


Contents

07. Foreword

Abhay Rustum Sopori, Santoor Maestro & Music Composer

09. Editorial

Dr. Asgar Hassan Samoon, Editor

RESEARCH PAPERS

12. Modern Approach to Music Education: A Comprehensive Study

Gaveesh Rai

19. Mixing of western music concept in to Indian music

Sudha Sharma

26. Music Education in Kashmir: Present State and the Way Forward

Shabir Ahmad Mir

39. Santoor: origin, evolution & development

Abhay Rustum Sopori

46. Diversity in Music of Jammu and Kashmir

Kuldeep Raina

55. Evidence of Musical Instruments Depicted In Ragamala Painting

K. Tamashwor Sharma

69. Role of four main Chordophones of North Indian Classical music and their

current state

Waseem Bhat

81. Gurubani Sangeet and Society

6

Jasmeet Kaur

90. Different types of folk songs prevalent in the Dugger area and their

classification

Mukesh Kumar

.


Foreword

It’s my pleasure to welcome you to the inaugural issue of JK Music Initiative, a

quarterly English Peer-Reviewed Music Research Journal. This is a welcoming step by

the Department of Higher Education, Govt. of J&K, which has taken special initiative to

publish this research journal.

To encourage research work amongst the college and university faculty and

students, the Department of Higher Education, Govt. of Jammu & Kashmir has

introduced a number of journals covering various areas and subjects. JK Music

Initiative, which is in fact the first ever music journal (covering all performing arts

styles) being published by the J&K Government, is another jewel in its crown and one of

its flagship Journals.

While the journal aims to provide an intellectual platform to the researchers,

academicians and scholars of music and performing arts to present and disseminate

new research findings and ideas in music& performing arts, it will also take the cultural

ethos of J&K State to international level with articles and research papers from scholars

and authors within the State as well as outside J&K. It will also be helpful and

encouraging to young students to come forward and contribute to the journal. The

Journal offers an opportunity to publish well-researched and academically rich papers

on all the aspects of world music and performing arts in general and traditional music

of J&K in particular. The Editorial Board of the Journal shall follow a pure peer-review

process to maintain the quality of the journal.

8

I thank Ms. Mehbooba Mufti, Hon’ble Chief Minister of Jammu & Kashmir, Shri

Syed Mohammad Altaf Bukhari, Hon’ble Minister for Education, Govt. of J&K and Smt.

Priya Sethi, Hon’ble Minster of State for Education & Culture, Govt. of J&K for their

support in this direction. I congratulate the Editor Dr. Asgar Hassan Samoon, IAS,

Principal Secretary to the Government, Department of Higher Education, Govt. of J&K

and the entire team of the journal along with all the authors whose papers have been

selected for the inaugural edition of the journal.

There are thousands of journals that are printed across the world. I hope JK Music

Initiative will soon be amongst the top sought after journals of the world.

Abhay Rustum Sopori

Santoor Maestro & Music Composer,

Member, Editorial Board


EDITORIAL

Department of Higher Education is tirelessly working for promotion of learning in the

State of Jammu & Kashmir. In recent past, the Department has taken many path-

breaking initiatives to take the education system to newer heights. In a historically

significant decision, the Department has begun promoting quality research in colleges

with publication of a galaxy of research journals in sciences, social sciences, humanities,

and languages started recently. The Department is constantly striving to create new

avenues to benefit students and society at large. Apart from conventional subjects, the

Department is keen to promote music education in all educational institutions of the

State. To streamline music education, music initiative has been included as part of the

Knowledge Initiative Platform .The Department has taken a pledge to revive music

education from elementary level to higher education level in the State for which Chief

Minister of J&K, her Advisor and Education Minister have extended full support.

Some recent revolutionary steps taken by the Department for Music promotion

include the introduction of Music in thirty-five new colleges and creation of twenty-

Five Posts of Assistant professor Music. To modernize music education in the State, the

Department has also initiated establishment and up gradation of music studios in the

colleges. We are keen to promote the traditional folk and Sufiana Music of the State. A

film and Television Institute is also being set up to promote employability of our

graduates.

JK Music Initiative, one of the leading journals of the State Higher Education

Department is a quarterly Research Journal of Music with international dimensions. It is

our endeavor to provide an intellectual platform to the teachers, scholars and students

10

of music to explore the Universe of music through intensive research, discussions and

debate. As scanty scholarly reference/research work is available on music of Jammu &

Kashmir; therefore, to fulfill this gap, our Department has taken this taken initiative to

publish a quarterly research journal on music to provide opportunity to our professors

and scholars who are inclined towards research, to project their research work on an

international platform.

School Education Department shall soon introduce Music and Performing Arts as a

subject at primary/middle/ high/higher Secondary school levels across the State; for this

purpose, music teachers shall be provided to start with six state of art music studios (3

in Kashmir, 2 in Jammu and 1 in Ladakh) to be set up soon by the School Education

Department.

We need to fast track setting up of a J&K Institute of Music and Faculty of Music to

offer full time professional courses in Music and Performing Arts, Graduate courses like

B.A music, PG (Integrated), M.A music and PhD through capable professors who can

also offer diplomas and professional courses in sound engineering with skilled

technicians to maintain our music studios.

With introduction of classical Music as a subject in 11th and 12th standards,

interested students can graduate in music can have basic study as prescribed by the

board and minimum qualification for graduate courses in music as per UGC norms. We

need to recognize the fact that music cannot be just a substitute or the last option to be

offered to students and it should be offered to those who wish to take Music as a degree

course.

We may soon introduce BA music as full-time graduate course with full respect and

honour like any other course" in Santoor, Vocal, Sitar, Tabla, Violin and the concerned

officers should lay emphasis on initiating Music courses in institutions with established

Music Faculty like Govt college for women – Maulana Azad Road, Navakadal College,

Anantnag college, Baramulla, etc in Kashmir and likewise in Jammu in institutes like

Parade College, MAM College, Gandhi Nagar Women's college.

We need to strengthen Music and Fine Arts Institutes of University of Kashmir and

University of Jammu. Professional Music courses such as BA Music, integrated PG, and

PG music shall be introduced in Cluster / Central Universities of Kashmir and Jammu.

"Sufiana Mausiqui" is being introduced in our colleges as optional subject along with

classical Music. We need to create “Tabla assistant” posts in colleges where music is


taught. Our endeavor is to promote local regional and folk music and instrumental

music as add on courses in Cluster Universities.

We need to enhance quality of education in music, quality of instruments,

modernization of music studios and class rooms and use ICT in years to come for better

quality music. We shall be inviting visiting faculty from outside to our colleges and

organize visits of students of State colleges to outside Universities very soon.

I am privileged to present you first Issue of JK Music Initiative started with main

objective of critically engaging with issues related to world music in general and

traditional music of J&K in particular. Inaugural issue of the journal carries a broad

spectrum of papers on music of Jammu, Kashmir, and Ladakh. It also carries papers on

some critical issues related to music education. I wish this Journal to be amongst the

topmost scholarly Journals of the world

Editor

Dr. Asgar Hassan Samoon (IAS)

22 April 2018

12

Modern Approach to Music Education: A Comprehensive Study

Gaveesh Rai


Modern Approach to Music Education: A Comprehensive Study

Gaveesh Rai

Assistant Professor Music,

Guru Nanak Dev University, Punjab.

ABSTRACT

No doubt Institutional formal Music education system is providing music education all over

India but still there are some areas in which this system is lagging behind. Due to changed

situations and new challenges this system also need modifications so that it can equip students

with musical and general knowledge so as to make them face challenges of life. This article

focuses on some areas and issues in our education system which needs modifications. This

article provides some remedies how our education can be modified so as to make students earn

their livelihood.

Keywords

Music Education, Approach to Music, Practical & Vocational Education

Introduction

From ancient times the teaching of Indian classical music is based on the Guru Shishya

Prampara system. Teacher, the Guru, transmit the musical knowledge to the student [1]. In this

system, dedicated students used to go to guru‘s place (Gurukul) and by full dedication, hard work

and persistence they learn from guru. Gurukul system of learning music helped a lot in

preservation of proper style and purity of Classical music. This system went well till end of 19th

century. [2]. Next to guru shishya prampara, is Gharana prampara. It is interesting to trace the

history of the tradition of the Gharana, which came to be of such importance from the sixteenth

century onwards. This was not purely an event of the mediaeval period. Right from the earliest

times, there have always different schools of music in our country [3]. In the ancient times, the

word used for Gharana was "Samuday". During the times old dhrupad, the word "bani" came

into vogue and after the advent of Khayal, the concept of Gharana came into light. In this way

the presence of different classes originated in Hindustani Music. [4] In Gharana system teaching

was although similar to Gurukul prampara, but with passage of time lot of complications and

shortcomings aroused in Gharana system like, jealousy, favoritism, narrow-mindedness and

inaccessibility of music education to masses. Dr. Subhadra Chaudhary writes that limited

https://en.wikipedia.org/wiki/Indian_classical_musichttps://en.wikipedia.org/wiki/Guru_Shishya_paramparahttps://en.wikipedia.org/wiki/Guru_Shishya_paramparahttps://en.wikipedia.org/wiki/Teacherhttps://en.wikipedia.org/wiki/Guru

14

scope, various social and political reasons paved the way to Institutional music education system

in India. [5] So in this way for making music education accessible for all, Institutional education

system was developed. In this system fixed curriculum, time limit and proper theory and

practical examinations were there. Although this system removed some of shortcomings of

Gharana prampara but this system has its own shortcomings. Students taught in institutional

system are generally seen underdeveloped. They are usually found unable to develop as good

artist as well as good teacher. Hence there is a great need to do in-depth research regarding this

topic and to find out a new approach which can lead to a new, overhauled system of music

education which helps music students to flourish as eminent artists and musicologists.

Anything that is stagnant and not updated with the changing time is likely to be degenerated

and parish. For survival and growth with the present time, music education has to be developed

in such a fashion that it must cover all the requirements and needs of present day music society.

Therefore the time has arrived to review the objectives of music education and techniques of

present day music education. In words of Edwin Gordan ―The overall objective of music

education is to provide for the idiographic and normative differences among the students as

evidenced from their musical aptitudes.‖ [6]

These days an artist has to do lots of duties. He has no patronage from Government or some

other organization so he has to look after his family, earn his bread and perform all daily routine

work by his own. At the same time he must be aware of different issues regarding music like

Computes, Microphones, Mixers, Stage settings, Studio techniques, various instruments, and

various genres of music worldwide. Now when we critically analyze our education system it is

not at all covers these requirements. It provides only formal education regarding music, but no

practical knowledge regarding important aspects like computers, sound techniques, Studio set up,

various software‘s and other things used in daily life activities. Also we see there is no co-

ordination between vocal, instrumental and other departments like dance and theatre. Vocal

students have no training regarding instruments like guitars, synthesizers, drums and other

instruments. Instrument students have no training regarding repairing of instruments. After

completion of the course, we generally see students are not able to fit in any kind of job. They

are given no practical knowledge so as to cope with the challenges of real world. One of the

main objectives of Music education is to prepare student to get some kind of job in music field,

but present music education fail in this objective. [7]


There is need to educate the students regarding the diversity of music. Now we have

electronic media and internet which is providing tremendous opportunities to students to access

non-Indian musical forms and when these forms have become very common and popular among

the Indian music listeners, it seems strange that there is no composite approach to study and

know more about Jazz, Rock and other non-Indian musical forms. These days we are coming

across all kind of music from all over the world. There is need to broaden the syllabus of music

education. Irrespective of teaching only Hindustani or Carnatic style other musical genres like

Rock, Pop, Jazz, Reggae and other Genres of music. Use of technology in music is increasing

day by day, this knowledge must be included into syllabus. There are various equipments

which are frequently used in music like electric Tanpura, electric Tabla, electric Guitars,

synthesizers, PA systems, mixers, amplifiers, Sound Cards, Laptops, workstations, various types

of microphones, various Softwares and Mobile Applications. Information and knowledge of

these equipments and various other related things must be included into the syllabus so as to

make students up to date.

Hence this is the immediate need to inculcate various aspects regarding music so as to train

the music students for their real life musical journey. Our education system and the curriculum

must be overhauled so as to inculcate all the modern techniques like stage management, mic

settings, studio recording knowledge, instrument repairing, making of new instruments. Students

must be provided with practical knowledge so as to sustain the pressures of daily life. A music

student must be trained according to the aptitude he is having, for example: If we talk about

Graduation Level Course i.e. Three year course, curriculum for first year should be same for

everyone which must contain basic knowledge and compulsory concepts so as to understand

music. But from second year the curriculum must be divided into various sub courses, for

example if some student is having aptitude for studio recording then he must be provided with

that kind of knowledge, if some students is having interest in classical stage performances he

must be trained for that purpose, if some student is good in instrument making or repairing, he

must be taught and trained in instrument making and repairing techniques. One more basic thing

which is lacking in our music education system is the Training in real life situations under some

experienced musician or any other expert. It is seen that all of the education and training of a

music student take place in classrooms under controlled situations. As compared to other

subjects music field is lagging behind. For example in medical field student has to go through a

16

compulsory training session under some well established medical college or under some

experienced doctor. They work under real life situations and go through real life challenges.

According to Dr. Prem Lata Sharma, an artist should be sent to some artist for professional

training during his educational period similar to education pattern of doctors and engineers. [8]

For example if student is interested more in Musical instrument repair work he should be sent

to some professional training from some instrument repair shop. Of some student want to excel

in the field of Studio recording, he should be sent to some studio for professional training.

Similarly somebody interested in Hindustani, Carnatic or any music genre should be sent to

some expert musician of that particular genre. This practice must be included in Music

education.

Examination pattern in music also need some modifications. Now a day‘s practical exam is

taken very casually which is very wrong. Teachers must confirm that students take it practical

exam very carefully and without any bias. Practical exam should be in the form of stage

performance so that student can take it seriously. Theory exam also need modifications.

Generally it is seen that in music field question are of one type only. But for checking full

knowledge of the student question paper should be balanced between various kind of questions

like long answer questions, short answer questions, fill in the blanks question, true false

question, and objective questions. Only in this manner one can judge the true knowledge of the

artist.

Listening can improve musical skills of students a lot. Mind subconsciously learns while

listening to any kind of music. Hence experts are of the opinion that music student must keep on

listening to various kind of good music to expand their musical knowledge and creativity. There

should be special arrangements in educational institutions for giving students proper listening

sessions. Listening sessions must contain various kind of music ranging from Classical, Folk, ,

Instrumental, Folk, Tribal and other genres. Music students must be shown documentaries and

films regarding music and musical artists. Educational films should also be included into the

syllabus. Author himself made proper arrangements for listening sessions of music students at

music department, Guru Nanak Dev University Amritsar (Punjab) for making his students aware

of world music. Writer has observed positive changes in the student‘s mental level after several

listening sessions. There is significant positive change in the understanding, creativity and

awareness among the students.


One of the most important thing for a student to flourish as artist is to perform as much he

can. This should be the prime duty of the institution to make such arrangements that music

students can perform in public frequently during their education. Infect this should be made part

of the curriculum that every student must perform something in solo or group in public

frequently so that they can get rid of their stage fear and learn all the basics of stage

performance. This should be made high priority of the institution to provide stage his students

and giving them chances to perform in public.

Conclusion

Music subject should be integrated with other subjects like physics, electronics, engineering

and medical field so as to make more useful for the society. Significance of music can be

increased when it is combined with other subjects in appropriate way. Music can be used in

various manners for society like music can be used to heal some diseases like Hypertension,

anxiety, Blood pressure and sleeplessness. Students must be taught about such uses of music.

These things also are included into education system.

Hence writer is with the opinion that our music education system should be integrated with

different aspects so as train students for all kind of challenges of life and it should be accordance

with the aptitude of students so as to make them earn their livelihood and train them to become

great artist and eminent teacher so that one can be beneficial for music world and the society.

18

REFERENCES

[1]. https://en.wikipedia.org/wiki/Music_education, Accessed on 15-march-

2018

[2]. Kaur, D. (2013). Sansthagat Sangeet Sikhia (Punjabi), Patiala: Publication Bureau

Punjabi University., p-vii

[3]. Gautam, M.R. (2001). The Musical Heritage of India. New Delhi:

Munshiram Manoharlal Publishers Pvt. Ltd., p-127

[4]. Kaur, D. (2007). Samajak Vigyan Pattar: Sangeet Gharana Vishesh Ank

(Punjabi) Volume 55. Patiala: Publication Bureau, Punjabi University., p-2

[5]. Chaudhary, S. (1989) Sangeet Sanchayan (Hindi), p-26

[6]. Gordon, E. (1971), The Psychology of Music Teaching, p-62

[7.] Kaur, D. (2013). Sansthagat Sangeet Sikhia (Punjabi), Patiala: Publication

Bureau Punjabi University. P-69

[8]. Sharma, P. (1978) Sangeet Shikshan Pramparagat Evam Sansthagat. P-60


Mixing of Western Music Concept into Indian Music

Sudha Sharma

20

Mixing of Western Music Concept into Indian Music

Sudha Sharma

Assistant Professor Music

S.R. Govt College, Amritsar (Punjab)

ABSTRACT

Indian music has a very rich tradition. Going in two independent systems i.e. Hindustani and

Carnatic, Indian music enjoyed a high place among world music. But with the changing time

western music had profound effect on Indian Music. This paper goes through influence of

western music on Indian music. It discusses the efforts of various artists in doing fusion of

western and Indian music. This paper gives relevant information about the various musical works

done by eminent artists in this direction from time to time. This paper breaks the myth that fusion

is bad for Indian music in any manner. This encourages the artists to do fusions freely and work

for the betterment of music.

Keywords

Music, Fusion, Western Influence, Mixing Music, Cartanic Music, Hindustani Music

Introduction

Indian classical music consists of South Indian Carnatic and North Indian Hindustani music

systems. Both systems, Hindustani and Carnatic are built upon complex and detailed melodic

structures called Raag, and both have system of rhythm and meter which comes under the rubric

of Taal. These features make them share a common ancient musical heritage. The strong root of

Hindustani classical music lies in its prosperous and continuous tradition. The practice of Guru-

Sishya Parampara has passed down this tradition to further generations. In the early years, music

was considered sacred and divine, which made many Gurus to teach this form of art of

Hindustani music to only sensible and deserving students. The responsibility and role of being a

student and a disciple was understood by many musicians who studied under a Guru through this

traditional system [1].


Influence of western music on Indian music

With the bands like Beatles or popular pop stars like Michael Jackson whose fame had no

boundaries, influences of western music on Indian music ran fast and on large scale. Classical

musician bears a challenge and responsibility of making classical music not being influenced by

such music invasions. Indian musician needs to make the classical music equally popular and

acceptable by audience so that western music does not endanger it. Influence of western music

could be seen presently, since concert halls and large outdoor spaces have replaced small

chambers. It signifies the changing, rapidly developing, acquisitive and money-oriented

profession of making money [2].

Indian Vs western music

There exist huge difference in Hindustani and western music, Hindustani music being

linear or simple in motion always have monophonic melody while Western classical music, put

large importance on harmony, chord progression and modulations [3]. Hindustani music

consists of basic twelve tones of the scale with an extra ten Shrutis (microtones) which are not

found in the harmonies and chord progressions of the Western classical musical system. The ten

extra shrutis of Hindustani music are the unique features of many Raags. Some of the Raags are

predicted through the careful use of Shrutis during the performance. The characteristic of

twenty-two Shrutis of Hindustani scale presents impossible challenge for them to become

compatible with twelve semitones of the Western musical chord system. If paired against

microtonal variations, these chords may not sound very pleasing, since harmony generally

sounds best when there is a natural harmonic relationship between notes and Western equal

temperament tuning system. The fusion composition Life Breath is an example of the changes

in the characteristics of the Raag [4].

This fusion composition contains three different Raags, namely, Bhairavi, Malkauns and

Nandkauns. Each Raag has characteristic different feature which can be highlighted only by

performing the notes of the Raags on the set rules and techniques. Life Breath in Western

Classical scale was set in the key of G Minor. An analysis of this piece of music revealed no

strict adherence of melody line to any one particular Raag. In order to form a melody line of

Life Breath, scales of these three Raags were used interchangeably to which was governed by

the rules of harmony.

22

Fusion of Indian and western music

It has become hard and almost impracticable for classical musicians to practice and make

only classical Hindustani music because of the emergence of industrialisation and mainstream

popular styles of music. Classical Hindustani music is no longer the ideal or preferred choice

among youths since this place has been taken over by pop music, hip hop and rap. The catchy

and memorable rhythms and lyrics of mainstream popular music have created a competitive

challenge against the classical musicians. Classical Hindustani music has complexity and it

expects deep understanding of the Raag and Taal which make it less appealing to the younger

generation. Consequently, a gap is generated between the older people who love classical music

and the younger generation. To overcome this problem and restore and sustain this musical

heritage, classical musicians in this country are now opting to mix different elements and

instruments of classical Hindustani form with elements and forms of western or other musical

systems [5].

There are protesters of fusion music who argue that there is a loss of traditions and

authenticity of the classical music when it is fused with others forms. Many purists have rejected

the idea of fusion by claiming that original characteristics of the music are lost and this fusion

turns the genre of music to impure. Wade [6] suggested that there is always a fear among purists

of the ‗Raags being losing their original characteristics when they are used for fusing two

different forms of music. Nevertheless, supporter of fusion music says that ‗evolution in music is

not necessarily a bad thing. However, respect and knowledge of traditional styles and forms must

be kept (adhered to), because one cannot progress without a history‘ (New Straits Times 16

October 2005).

Dass [7] in his study emphasized that ‗the aim of fusion is to attract the listener with

beautiful melodic lines and not to follow the rules of a classical performance which may bore

audiences who have come to enjoy a fusion performance and not a classical Sitar performance‘.

According to him, in almost all compositions, the Raag is utilized as an outline of the

composition subsequently there are limited options for the artist to explore all the different Swara

combinations of the Raag.

The Beatles have experimented with various sound and instruments which generated the

concept of fusion music in India constituted of pop music and Indian classical music. Under the

influence of Indian music composer Shankar‘s music many Jazz musicians among them Miles


Davis and John Coltrane initiated sharp changes in their style. Jazz guitarist John McLaughlin

and Jerry Garcia of the Grateful Dead were pull towards to the sound of Indian sitar. Indian

music has always left persistent and longstanding influence on jazz. Indian music has unique

melody owing to its beautiful and graceful features which has inspired musicians from decades.

It has exhilarating rhythmic language which gives new resources and opportunities to

percussionists, instrumentalists, and vocalists upon which they can work. The influence of Indian

music which is so strong could be seen immediately apparently in every level of music of many

jazz musicians [8]. South Indian musicians have played a big role in creating a connection

between jazz improvisation and India‘s classical music traditions. The new genre known as

―fusion‖ was born from the awareness which intern started an edge between Eastern and Western

regions of world which continuously generated excitement in a younger generation of music

listeners. Many singers, composers, jazz pianist have tried their hands in fusing western and

Indian music. An Australian singer Susheela Raman attempted to fuse carnatic kritis of Indian

music with an electric, hard driving Chicago blues style (As in her album Salt Rain). An

American jazz pianist Vijay Iyer, born in South India has worked to integrate jazz and Carnatic

music rhythm in collaboration with saxophonist Rudresh Mahanthappa with the aim of creating a

unique style that can challenge the definition. Similarly Agam is a Bangalore-based Band

contemporary Carnatic progressive rock band which is combining Carnatic music and Rock

music.

Ustad Rashid Khan and Pandit Ajay Pohankar are experimenting with Hindustani Khayal

Genre and producing various fusions like Payliya Jhankar in Puriya Dhanashree by Pandit Ajay

Pohankar and Chhene Re More Chain by Ustad Rashid Khan. Leading percussionist Fazal

Qureshi feels fusion is much misunderstood in India as people think that just mixing

western music with Indian classical music is fusion. Talking about the new found craze for

fusion music, Qureshi says, "Understanding music is fundamental while one talks of

making fusion music. When I first started performing with the Swedish band Mynta, for a

long time we just tried understanding each other's music. It's like building a relationsh ip

from the beginning. One needs to have patience while making music," he says [9]. Yet on

examining the fusions closely one can notice the identical nature of these in regard to human

expression, paths for spiritual advancement, and in the realm of pure music itself. It can be

estimated from this situation that up to what extent Indian music has influenced jazz, and will

https://en.wikipedia.org/wiki/Bangalorehttps://en.wikipedia.org/wiki/Carnatic_musichttps://en.wikipedia.org/wiki/Progressive_rockhttps://timesofindia.indiatimes.com/topic/Fazal-Qureshihttps://timesofindia.indiatimes.com/topic/Fazal-Qureshihttps://timesofindia.indiatimes.com/topic/Indian-classical-music

24

continue to do so further in future [10]. Satik Veena player Salil Bhatt hogged limelight when

he created music with Canadian Blues legend Doug Cox and Cassius Khan, the dynamic

Tabla maestro. This music created sensation because it included genres of music such as

Indian classical, Indian folk, Blues Funk, Jazz, Reggae, Roots, American Country folk,

contemporary world music and neo classical Indian music with vocals. An artist should

not be orthodox and he should be open to embrace new genres of music," says Salil. [11]

Conclusion

Presently, Hindustani classical music is experimenting with many different musical ideas to

create blend of music popularly known as fusions, although it still remains the forte of many

classically trained musicians. New trend of fusion music has proved more acceptable and liked

by younger generation due to its lively and catchy rhythms.

https://timesofindia.indiatimes.com/topic/Salil-Bhatthttps://timesofindia.indiatimes.com/topic/Blueshttps://timesofindia.indiatimes.com/topic/Coxhttps://timesofindia.indiatimes.com/topic/Jazzhttps://timesofindia.indiatimes.com/topic/Orthodox-(musician)https://timesofindia.indiatimes.com/topic/Embrace-(musician)


REFERENCES

1. Mukherjee, M. (2012). The Architecture of Songs and Music: Soundmarks of Bollywood,

a Popular Form and its Emergent Texts. Screen Sound Journal, 3, 9-34.

2. Farrell, G. (1988). Reflecting surfaces: the use of elements from Indian music in popular

music and jazz. Popular music, 7(02), 189-205.

3. Manoharan, P. (2008). Towards Fusion: New Trends in Hindustani Sitar Music in

Malaysia. Wacana Seni (Journal of Arts Discourse), 7, 23-44.

4. Danielou, A. 1968. The Raga’s of Northern Indian Music. London: Barrie Rockliff, The

Cresset Press.

5. Terada, Y. (2004). Fusion music in South India: Globalization and the predicament of

classical music. Paper presented at the 9th Conference of the Asian Pacific Society for

Ethnomusicology, Cambodia.

6. Wade, B.C. (1979). Music of India: The Classical Traditions. New Jersey: Prentice Hall.

7. Dass, S. J. (renowned classical and fusion sitarist). Brickfields, Kuala Lumpur, 12

December 2005, 26 October 2006 and 12 July 2006.

8. www.sessionville.com

9. https://timesofindia.indiatimes.com/entertainment/hindi/music/news/Very-few-in-India-

understand-fusion-music-Salil-Bhatt/articleshow/18149215.cms

10. Vishwanath, R. (2015). Commercialization and Corporatization of Indian Classical

Music. Sangeet Galaxy, 4, 3-12.

11. https://timesofindia.indiatimes.com/entertainment/hindi/music/news/Very-few-in-India-

understand-fusion-music-Salil-Bhatt/articleshow/18149215.cms

http://www.sessionville.com/https://timesofindia.indiatimes.com/entertainment/hindi/music/news/Very-few-in-India-understand-fusion-music-Salil-Bhatt/articleshow/18149215.cmshttps://timesofindia.indiatimes.com/entertainment/hindi/music/news/Very-few-in-India-understand-fusion-music-Salil-Bhatt/articleshow/18149215.cmshttps://timesofindia.indiatimes.com/entertainment/hindi/music/news/Very-few-in-India-understand-fusion-music-Salil-Bhatt/articleshow/18149215.cmshttps://timesofindia.indiatimes.com/entertainment/hindi/music/news/Very-few-in-India-understand-fusion-music-Salil-Bhatt/articleshow/18149215.cms

26

State of Music Education in Kashmir and the Way forward

Shabir Ahmad Mir


Music Education in Kashmir: Present state and the Way Forward

Shabir Ahmad Mir

Assistant Professor Music

Govt. Degree College Sumbal

ABSTRACT

It has been scientifically established that the students who are involved in the learning of music

score considerably higher in mathematics, languages, and sciences than non-music students. It is

on the basis of various benefits associated with the learning of music, that music forms an

integral component of the curriculum in almost all the educational institutions of the world as

well as India. However, in Kashmir music education is in crisis due to the absence of music

subject in almost all the educational institutions of the region except a few government schools

and colleges. In fact, music doesn‘t figure in the curriculum of Primary and secondary schools.

Moreover, music education is mostly confined to women colleges and girls higher secondary

schools, therefore, depriving the male students an access to music education. Although, the

Department of Higher Education, Government of Jammu & Kashmir, has recently taken many

initiatives, to promote and propagate music education of the State; however these initiatives are

yet in the initial stage and will take some time for implementation. This paper evaluates and

highlights the current state of music education in Kashmir and suggests research governed policy

measures needed for the promotion and propagation of music education in the Kashmir.

Keywords: Music education, Music curriculum, Jammu & Kashmir colleges, JK Music

Initiative, JK Higher Education.

Introduction

Music is a universal human need; the impulse to create and enjoy it exists among [human

beings] everywhere and has existed always (Shute, Frost & Laffey (1933). Various research

studies have revealed that music profoundly affects our body and Psyche. According to Carolyn

Phillips, the author of the ―Twelve Benefits of Music Education‖, “the early exposure to early

music education helps in the development of the areas of the brain involved in language and

28

reasoning”. Philips further says that Music education enhances teamwork skills and discipline

and provides children with a means of self-expression. ―Research undertaken by a team of

researchers in the 1990s showed that the exposure to music from early childhood onwards helps

children to speak more clearly, develop a larger vocabulary, and strengthen social and emotional

skills (Steinhoff: 2016)‖. Various research studies have revealed strong correlations between

music and academic achievement. ―Regardless of socioeconomic background, according to a 10-

year study that tracked more than 25,000 middle and high school students, music-making

students get higher marks on standardized tests than those who have little or no music

involvement (Judson)‖. It is evident from different research studies that music education is

beneficial for the development of mathematical, reasoning and Language skills of the children.

As noted by Grace (2012), ―music strongly impacts children's brain development, cognitive

development, and self-esteem in early childhood. It is again stated by (Hodges & O'Connell,

2018) that, ―Students who participate in music education frequently do better than their peers

on many measures of academic achievement such as grade-point averages and standardized tests

like the SAT or ACT‖. Oladipo (2014) notes, "Music education is a vital aspect of education,

which develops the personality, creates a sense of belonging, promotes unity among children,

and enables them to achieve a set goal".

Besides academic benefits, music education helps the children in certain other ways. For

instance, ―many studies have found that involvement in music leads to positive personal, social

and motivational effects (Hodges & O‘Connell, 2018). I have personally observed in the

classroom that music students are more disciplined, cooperative and self-confident than the

non-music students.

Because of the various benefits associated with music; many nations including India offer

music as a compulsory subject in the educational institutions right from the Primary to the

University Level. However in Kashmir, which has a rich musical tradition with diverse genres

ranging from classical, folk and modern light music; music doesn't from the part of the

curriculum in the educational institutions except for a few government colleges and a couple of

private schools. Music as a subject is not taught at the primary as well as the secondary level at

all. In fact, music holds the lowest position among all the conventional subjects. Thus it can be

concluded that music is the most marginalized subject in the educational institutions of Kashmir;

in other words, music education is in crisis. Notwithstanding the fact that the Kashmiris are


music and culture loving people; there is a total lack of awareness about music and its various

educational benefits among the masses. One of the negative impacts of the absence of music

education in the educational institutions is that people are unable to appreciate their own regional

classical music tradition, Sufiana Mausiqi, which is currently facing the threat of extinction due

to lack of music knowing audience.

Against this backdrop, I undertook this study to evaluate the current state of Music education

in educational institutions of Kashmir focussing on colleges and to find a possible way forward

to enrich and revitalize the music education system of the region

Methodology

The research is essentially the outcome my personal experiences and observations as a

student and teacher of music at Delhi, Punjab and Kashmir. Being myself a student, teacher, and

scholar of music, I was able to observe and understand the music education system of the

country closely.

To examine the present state of music education in Kashmir and to find possible solutions,

ethnography, a qualitative research methodology was employed and data was collected through

personal experiences and observations (participant observation), informal interviewing and

secondary data analysis. ―The term participant-observation is an amalgamation of participation

and observation. During participation, the researcher is present in and interacts with the people

when an activity or event is occurring. Observation refers to what is noted through the eyes of

the ethnographer (Kruger: 2008).

In order to gain a deeper understanding of the issue, I had an informal conservation with

music legend, Pandit Bhajan Sopori at his residence at Delhi. The conversation yielded a lot of

information about the current scenario of music education in Kashmir and the way forward. The

legendary musician suggested some important remedial measures for the promotion and

propagation of music education in Kashmir. Moreover an interview with Santoor maestro &

music composer, Abhay Rustum Sopori provided a wealth of information about the study.

Further, the regular Interaction with some college and school teachers as well as students and

scholars of music provided crucial inputs and insights about the music education system of

Kashmir.

30

Research Findings

Non-Availability of Music Subject in the Educational Institutions. There are a total of 11766

government schools in Kashmir division as per the data available on the website of the

Directorate of School education Kashmir. Among these schools, there are 6104 Primary schools,

4313 middle schools, 897 High Schools and 315 higher secondary schools. Apart from govt.

schools there are also 2610 Private schools. Thus the total number of schools is 14376. Among

these schools, music subject is taught only in four girls' higher secondary schools such as Govt.

Girls Higher Secondary School Amira Kadal, Govt. Girls Higher Secondary School Kothibagh,

Govt. girls Higher Secondary School Nawakadal and Govt. Girls Higher Secondary School

Baramulla. Among Private schools, music is a part of the curriculum in Doon International

School Srinagar, Delhi Public School Srinagar, Tyndale Biscoe School Srinagar, GD Goenka

School Srinagar, Presentation Convent School Srinagar, St. Joseph School Baramulla and Police

Public School Srinagar.

Among the total number of 46 govt. colleges operating in Kashmir Division, music is

offered presently in five colleges only. Among these colleges, four colleges (GWC MA Road

Srinagar, GWC Nawakadal, GWC Anantnag, and GWC Baramulla) are women colleges and

GDC Sumbal, which is the only co-educational college where music subject is taught. So far as

the Universities are concerned, music is only offered in the University of Kashmir at the

graduate level.

The Negative Attitude towards Music. Being a Muslim dominated region, there is a general as

well as religious prejudice towards all the creative arts including music in Kashmir. As a result,

the parents are reluctant to allow their children learn music. The attitude of teachers teaching

conventional subjects towards music is also discouraging. They are not ready to accept the fact


that music has any value in the education; rather music according to them is just entertainment

and worthless. The main reason for this bias is the lack of awareness about the subject. Since in

Kashmir, music is looked down, thus generally those students who don't get admission in

conventional subjects like science, arts, and commerce are forced to choose music as a subject.

Only a few students in each college choose music by choice. The students‘ lack of interest in the

subject is due to the absence of music subject in the primary and secondary education, and also

due to lack of exposure to music in early age. The students opting music by force and with no

foundation in the subject find it tough to understand and grasp the subject. Gradually many

students lack interest in the subject and once they lose interest, the competent teacher gets

frustrated in trying to motivate the students. It important to mention that, in the colleges, the

students are admitted in the music course, without any audition or assessment test. This leads to

the entry of some thick-headed students into the classroom and ultimately these students become

a burden on the teacher as well as bright students.

Music only offered as an optional subject. The research reveals that in the colleges, music is

not taught as a core subject but as an optional subject with BA program. Not a single college

offers professional degree such as BMUS or BA Honors in music. Moreover, there is no masters

program available in the subject in any of the colleges or Universities of the Valley. Among

Universities, Kashmir University is the only University that offers music as a professional

subject at Undergraduate level. Otherwise, there is no music stream in any of the colleges or

Universities of the Valley. Moreover, there is no PG program available for the students in any

college or University of the region.

No Backing. It was observed that music is regarded as a minor subject and an occasional activity

in the schools and colleges and there is no backing or encouragement from the Principals to

32

elevate the status of music and treat it at par with the other subjects like science, commerce, and

arts. In colleges, Music teachers are just expected to train the students for cultural activities.

Whenever there is any cultural or any other program in the colleges, the teachers are asked in

advance to keep the students ready for presenting an item in the said program.

Inadequate Availability of Competent Teachers. There are two classes of teachers presently

working in the colleges; Professional teachers who have done professional music degrees like

BMUS, or BA (Hons.) Music from professional institutes like Faculty of Music and Fine Arts,

University of Delhi, Institute of Music and Fine Arts, University of Kashmir, Institute of Music

and Fine Arts, University of Jammu, Faculty of Music and Fine Arts, BHU etc. and Non-

professional music teachers who have done general BA degree with Music as optional subject

from different colleges of Jammu & Kashmir and then completed their masters and research

degrees from some outside state universities.

A teacher of music must have sound Practical knowledge as well as a deep understanding of

the theoretical aspects of the subject. The way music teachers handle the subject goes a long way

to determine students‘ interest in the subject (Olatunji: 1990). Most of the Non-professional

music teachers from colleges are not competent enough in the teaching of Music.

The number of music teaching posts sanctioned in each college is not enough. For example

in GDC Sumbal and GDC Anantnag, there is only one sanctioned music post in each college.

Besides, there are no separate posts for vocal and instrumental music in these colleges. There

are also no sanctioned posts for music accompanists like tabla, Harmonium, etc. In most of the

colleges, the teachers teach without Tabla accompaniment which is not good for the students.

Without Tabla, the students are not able to develop the sense of rhythm in their music. It is also

pertinent to mention that the number of permanent faculty members in the colleges is very low.


For instance, there is only one permanent music teacher each in GDC Sumbal, GWC Baramulla,

and GWC Nawakadal. In GWC Anantnag there is no permanent music teacher at all. The music

departments heavily rely on contractual teachers which are appointed on yearly basis without any

interview or assessment test. This practice of appointing contractual music teachers on mere past

experience, paves the way for the entry of bungling and incompetent teachers into the music

departments.

Lack of Technology and Infrastructure. This study reveals that there is lack of technology-

based music education in the schools and colleges of Kashmir. There are no audio-visual

libraries, listening rooms, music studios and smart classrooms in the colleges which offer music.

These technological resources are crucial for enhancing the quality of music programs.

Moreover, due to lack of sufficient funds, the college teachers are not able to buy quality musical

instruments. Some schools colleges even don‘t have sufficient space available in the department

for taking classes and keeping the musical instruments.

Music not accessible to Male Students. It is disheartening to state that the past education

policymakers have erroneously introduced music only in women colleges and girls higher

secondary schools, therefore depriving the prospective male students of learning music. It is very

recently in the year 2014 that music was introduced in one co-educational college, namely Govt.

Degree College Sumbal, Bandipora. The male students have shown an overwhelming response

to this subject. It is pertinent to mention that 95 percent students opting music in GDC Sumbal

are male.

Lack of Opportunities for Higher Studies. As mentioned earlier, music is only offered up to

graduation and there are no masters or Ph.D. programs available in the subject in the colleges

and Universities of Kashmir region. As a result, the students of Kashmir region are deprived

34

higher studies in music. Despite interest and capability most of the students are forced to give up

music after graduation. Several constraints stop them to move outside the Valley to pursue

higher education in the subject.

Lack of Job Opportunities. Due to the nonexistence of music stream in the colleges, and also

due to the fact, that many few students opt music out of choice, the colleges are not able to

produce accomplished musicians and employable music graduates.

Initiatives Taken by the Department of Higher Education

Department of Higher Education is tirelessly working for the promotion of learning in the

state of Jammu and Kashmir. Under the dynamic leadership of current Principal Secretary, Dr.

Asgar Hassan Samoon (IAS), the department has recently taken many new initiatives which

include the establishment two cluster universities, creation of 17 new colleges, establishment of

first architecture school in the State, IIT and IIMC in Jammu, J&K Institute of Mathematical

Sciences (JKIMS), publication of research journals in varied subjects, and promotion of

languages. Moreover, the department has recently introduced many new courses and streams in

the colleges. The department is constantly striving for creating new avenues for the benefit of

students and society at large. Apart from the conventional subjects, the department is also keen to

promote the education of music and performing arts in the colleges.

To promote music education, the department has recently started music initiative, a music

revival and promotion process in the state. The first step in this direction was to create twenty-

five music Assistant professor Posts. In addition to this, the department created history in July

2017 when music was introduced in thirty-five more colleges making the number of colleges

offering music to forty-four.

The Higher Education department conducted a meeting of all the permanent music faculty

members of the State on 27th

February at Civil Secretariat Jammu where it was decided to

publish a quarterly Peer-Reviewed Research Journal in Music by the name ―JK Music Initiative‖,

to promote music research in the colleges and Universities of the State. This is again a

revolutionary step, a first of its kind taken in Jammu and Kashmir.


To modernize the music education system in the State, the department has also decided to

establish music studios in colleges of the State. Besides this, the department is keen to promote

the folk music of the state along with classical music.

Some Recommendations

Keeping in the view of the present miserable situation of music education in Kashmir, it is

obligatory and mandatory to give more importance to this subject and make it more professional

and in tune with the modern requirements. In this connection, there is a dire need to take few

urgent initiatives to widen the dimension of this subject and introduce it in more colleges and

offer it as a core subject instead of an additional subject. Following research governed

recommendations, if implemented in Toto, will ensure the revitalization and dissemination of

music education in Kashmir.

Introduction of Music in Schools & Colleges. Music should be made an integral component of

all the Govt. Primary schools of the Kashmir region. Moreover it should be introduced as one of

the subject at high school and higher secondary school level.The Department of Higher

Education has already authorized the Principals of thirty-five colleges to start music in their

respective colleges but till date not a single college has introduced music subject. Despite the

direction from Higher Education Department, the principals are averse to introduce the subject

due to reasons best known to them. It is suggested that formal sanction orders for the

introduction of music should be issued and the Principals be directed to introduce the subject

immediately without any further delay.

Introduction of Music as a Core Subject. As earlier said, at present no integrated or masters

program is available for the students in Kashmir as a result of which the students are deprived of

quality music education. Despite interest and talent, most of the students are forced to give up

music after graduation. Several constraints stop them to move outside the Valley to pursue higher

education in the subject. The first and foremost responsibility of the Department of Higher

Education should be to introduce music as a core subject in maximum colleges. This could be

done by introducing BA Honors music and Integrated PG music programs in at least five to six

colleges.

36

Establishment of Faculty of Music. To facilitate music graduates to pursue quality higher

studies in music, it is necessary that faculty of Music, on the pattern of Faculty of Music, Delhi

University, be established in the Cluster University Srinagar and Central University of Kashmir.

These faculties of music should offer music at PG level and also offer research degree programs

such as integrated M.Phil-Ph.D. The introduction of music at PG level and PhD level will highly

benefit those students who can't afford to travel to distant places outside the state due to financial

constraints and other reasons.

Increase in the number of Sanctioned posts. The number of sanctioned posts should be

increased in the all the colleges. There should be at least two vocal, one sitar and one Tabla

accompanist post in those colleges where music is taught as an optional subject. In the colleges

where BA Honors or PG program would be introduced, the number of Vocal, Sitar, Tabla, and

Harmonium accompanist posts should be three, two, two, and one respectively.

The next step would be to offer music as Five years integrated graduate/Postgraduate course

in the colleges as well as Universities of the State. The aim of introducing music as a five-year

integrated course is to provide a professional degree in music to the students at both

undergraduate and master's level. The introduction of music at PG level will highly benefit those

students who can't afford to travel to distant places outside the state due to financial constraints

and other reasons.

Promotion of Sufiana Mausiqi. Sufiana Mausiqi, the classical ensemble music of Kashmir is

currently facing the threat of extinction due to various socio-economic and political factors.

There are a very few competent practitioners left and they are struggling to pass on the tradition

to future generations (Shabir: 2016). It is therefore vital to promote this dying art form before it

is too late.To promote Sufiana Mausiqi, the department of Higher Education as well as the

Universities should introduce Sufiana Mausiqi as a compulsory paper with BA Honors Program

as well as PG music program. To teach the subject, Sufiana musicians should be engaged as

guest faculty.


Establishment of a Music School. A professional school of music could be established at

Srinagar on the pattern of School of Architecture. This school should have all the modern

facilities like Music Studio, Listening Room, Auditorium, Museum, Audio-video library,

Research library and hostel for the students and teachers. In this school, professional music

education should be provided and a limited number of students should be admitted after a

rigorous assessment test. Apart from Indian classical vocal and instrumental music, there should

be some other job oriented courses like, sound recording and reproduction, musical instrument

making, event management and music composition and direction. One year diploma courses in

harmonium, Tabla, Sarangi, Santoor, Rabab, Saaz-e-Kashmir, Sufiana Sehtar, Keyboard, Guitar

and drums, could also be offered.

Conclusion

This exploratory study reveals that the music education system of Kashmir region in presently in

crisis due to lack of music subject in almost all the schools, colleges and Universities except a

few Government colleges and a couple of Higher secondary schools. The study also indicates

that currently music is only offered as an optional subject in the five colleges of Kashmir region

and is yet to be introduced as a core subject in the colleges. The study further points out that,

music subject is least popular in the colleges due to the negative attitude of some Principals, and

teachers (teaching conventional subjects). There is no professional music course available in any

of the colleges or Universities. There are various reasons for the marginalization of music

education in Kashmir which includes the lack of awareness about music among the masses,

religious bias towards music and musicians, lack of funds, inadequate availability of competent

music teachers, lack of Job opportunities etc. The study suggests that, to reap the various

benefits associated with music learning, music should be made an integral part of the curriculum

right from the primary level to the University Level. Besides professional programs such as BA

(Honors) Music, PG integrated Music, PG Music and integrated MPHIL-PhD Music should in

introduced in the colleges and Universities of Kashmir. The recent initiatives initiated by the

Department of Higher Education such as introduction of music in 35 new colleges, establishment

of music studios in the colleges, publication of a Music Research Journal, creation of twenty-five

posts of Assistant Professors, should be implemented in toto.

38

REFERENCES

Grace, Qi. "The Significance of Music in Early Childhood Education." Educating Young

Children. Accessed April 04, 2018. http://hdl.handle.net/10072/51141.

Hodges, Donald & S. O'Connell, Debra. The Impact of Music Education on Academic

Achievement. 2018.

Carolyn, Philips. "Twelve Benefits of Music Education." Children's Music Workshop.

Accessed April 21, 2018. http://www.childrensmusicworkshop.com/twelve-

benefits-of-music-education/

Mir, S.A. Mystical music: Safeguarding Sufiana Mausiqi - A vanishing art form of

Kashmir. no. 11 (2016) : 92-101.

Oladipo, O.T. Problems militating against the teaching of music in Nigerian secondary schools:

way forward, Journal of Teaching and Education (2014): 75-80.

Carolyn, Philips. "Twelve Benefits of Music Education." Children's Music Workshop. Accessed

April 21, 2018. http://www.childrensmusicworkshop.com/twelve-benefits-of-music-

education/.

Olatunji, A. F. The Teaching of Music and Singing in Schools. Lagos: Murtab Enterprises, 1990.

Shute, Florence L., Wallace Frost, and Mollie E. Laffey. "Aims and Objectives of Music

Education." Music Supervisors' Journal 20, no. 2 (1933): 16-24.

http://www.jstor.org/stable/3384500.

Steinhoff, Annie. "The Importance of Music in Early Childhood Development." Novak Djokovic

Foundation. May 08, 2016. Accessed April 21, 2018.

https://novakdjokovicfoundation.org/importance-music-early-childhood-development/.

http://hdl.handle.net/10072/51141http://www.childrensmusicworkshop.com/twelve-http://www.childrensmusicworkshop.com/twelve-benefits-of-music-education/http://www.childrensmusicworkshop.com/twelve-benefits-of-music-education/https://novakdjokovicfoundation.org/importance-music-early-childhood-development/


Santoor: origin, evolution & development

Abhay Rustum Sopori

40

Santoor – origin, evolution & development

Abhay Rustum Sopori

Santoor Maestro & Music Composer

ABSTRACT

Santoor belongs to the family of earliest stringed instruments of India called Veena. As is

generally believed, that one of the three forms of the Veena was either plucked or struck, with a

short wooden striker called Kasht, which was in vogue during the Vedic periods, popularly

known as Vaana. It can be conjectured that in its early stage the Indian Shatatantri Veena and

Katyayani Veena travelled westwards and became Psanteer in Persia and Psaltray in Babylon.

This instrument was also used in every Vedic ritual. In some of the Vedas and Samhitas,

Shatatantri is also called Vaana. This article explores the origin, evolution and development of

Santoor.

Keywords

Santoor, Shatatantri Veena, Plucked Instruments, Vaana, Kasht.

In the history of world music we find musical concept, terms and instruments of one country

being adopted by another. In the Vedic literature, we find a similar reference to Tantri. The

Tantri, which had 100 strings, was called Shatatantri, which implies that these were the creation

of Indian thought and culture and the instrument changed its dimensions from time to time.

The Shatatantri Veena survived in Kashmir and was used at every Vedic ritual. It remained

associated with the temple music from the earlier times till date. As it was already associated

with the Shaivites, it was naturally adopted in the Sufi music of Kashmir. Simultaneously all the

Veenas including the Santoor (Shatatantri) were associated with temple music and did not

become a part of the folk music. It retained its status and dignity in the musical culture that was

termed as classical music, including the music of Sufi’s, known as Sufiana Qulam in Kashmir.

However, it is a fact that Santoor resembling instruments, with different names are popular in

folk music in Eastern Europe, Hungary, Poland, North Africa, Central Asia, Iran and china etc.

Yet all these instruments resembling Santoor have a major difference in tone, playing techniques,


number of strings, designing of the instrument and shape and size of the strikers. The Indian

Santoor though divided in three parts over the shaft like Santoori of Greece, Santoor of Iran,

European Symbalam, Hammer- Dulcimer of America, etc. is still completely different in the tone,

structure, design of strikers, number of strings, designing of bridge, playing posture and

technique. In this instrument (Kashmiri Santoor) only the middle portion is used for playing

purpose. It is tuned as per the requirement of ragas in Hindustani classical music or Muqam in

Sufiana music. A key tuner, called a hammer (Dokur in Kashmir), made of iron is used to tune

the keys, which are also made of the same material. The Santoor is played in a sitting posture

(Asana) like all the other Indian classical instruments.

The traditional Sufiana Santoor in India is a trapezium shaped box particularly made of

seasoned mulberry wood with an acute angle of 75 degrees each from the left and the right. In

this Santoor the parallel sides facing the performer are 20-21 inches long, approximately in the

ratio of 1:2 (the ratio 1:2 has also a traditional and historic background which is also associated

with the Shaivite thought) where as the other 2 sides are again 20-21 inches. The thickness of the

box is round about 4 to 4 1 /2 inches. The inside, which is hollow, serves as a resonator.

Initially the strings would have been made of flax and gut and at present Steel and Brass /

Copper is used. These strings are laid over the shaft passing from left to right controlled by the

keys on the right side of the instrument. Under a group of four strings one small bridge (Gota in

Kashmiri Language) is inserted. The height of the bridge is kept slightly more than the height of

the side planks placed on the shaft that is usually 1 inch approximately. In this process, hundred

strings are laid over 25 bridges and each group of four strings are tuned to one note and the

instrument is tuned accordingly. The sound of the note is produced with the striker called Kalam

(Kasht as referred to in Sanskrit), which is 6 inches long. The bridges are placed 13 from one

side 12 from the other side dividing 100 strings to a group of 4 strings to each bridge. In the

Sufiana system the traditional Santoor has one and a half octaves.

Indian Santoor can mostly be heard in the classical concerts or Sufi mehfils (gatherings /

baithaks). It is also being used in film music and other classical categories. However, it may be

categorically mentioned that Santoor is not a folk instrument and it has never been used in any

folk style either in past or at present.

The Santoor has been in the Sopori family for over 10 generations spanning around 300

years and has been innovated from time to time by the master players of this Gharana. Pandit

42

Shankar Pandit, the Great Sufi Saint musician, (great grandfather of Pandit Bhajan Sopori)

introduced Indian classical music technicalities in his Sufiana presentation and by giving it a new

dimension he set a new style of presentation called the Sufi Baaj. This is where the Hindustani

Classical music stepped into the Sufiana Gharana and Sopori family. This style was inherited by

his son Pandit Samsar Chand Sopori, who being a Wasul exponent too, further enriched this style

with his innovations and introduction of technicalities like Laykari, etc. in his recitals. Following

the footsteps of his predecessors, Pandit Shamboo Nath Sopori, the veteran musician and

musicologist hailed as the ‗Father of Music‘ in the State of Jammu and Kashmir, while teaching

Santoor to his disciples, in the early 1940‘s, added a couple of bridges creating the Mandra

Saptak (lower octave) in the Santoor and set the base for the systematic presentation of a raga.

This legacy of Santoor and improvisations was carried forward by his youngest son Pandit

Bhajan Sopori, the legendary Santoor maestro and music composer, who expanded the scope of

Santoor as a complete solo Hindustani classical instrument and also innovated the Sufi Baaj

establishing a new style of playing the classical Santoor in the realm of Indian Classical Music

called the Sopori Baaj.

The Santoor of Sopori Baaj has three sides of 25 inches and the neck side is in the ratio of

1:2 i.e. 12 ½ inches (the opposite side facing the performer). The 100 strings are divided and laid

over 43 bridges giving the instrument a dimension of more than 5 ½ octaves. It also has the

Tarab (sympathetic or resonance strings) like Sitar or Sarod to help achieve tonal accuracy in

resonance. The Sopori Baaj combines both the Gayaki (vocal) and the Tantrakari (instrumental)

Ang (style) presenting the raga on Santoor in its authentic and traditional system in accordance

with the raga –shastra (grammar). Pandit Bhajan Sopori replaced the Sehpai (small stand for the

traditional Santoor) and added a Tumba (Gaud) underneath the Santoor in early 1960‘s for the

clarity of the higher and the lower octaves. The Tumba is placed on the left foot and the rest of

the body of the instrument lies in the lap of the performer. This asana (posture) is called the

Ardhaspandan Asana. He also introduced various techniques on the Santoor to extend the scope

of the instrument as per the requirement and essential elements of the Hindustani Classical

Music. His introduction and invention of various techniques like Meend and Gamak (pressure

techniques), Glides and Cross Glides, Krintan, continuation of note, etc. were a major break-

through in the history of Santoor. These essential elements of the Indian classical style together

with other techniques like balancing the Kalam for enhanced Bol (playing strokes) variations,


with different pressure movements involving the fingers, wrist, arm and shoulder, made the

Kashmiri Santoor a full fledged Hindustani classical instrument on which all the intricacies of

Raga system could be displayed maintaining the purity of the raga. With the help of Meend, he

added another 2 ½ octave range in his instrument finally giving Santoor a dimension of more

than 5 ½ octaves. This was followed by adding the Tarab (sympathetic strings) to give tonal

accuracy in resonance. He also added Chickari in the Santoor.

The musical tradition of the Sopori family has been multidimensional. The family members

adopted music both as a profession and means of worship and specialized in both the

instrumental and vocal styles. The Santoor, Wasul (traditional Kashmiri rhythmic instrument)

and Kashmiri Sitar being their legacy, was played by them presenting the Sufiana Muqam

Gayaki and later Raga Sangeet. Sufiana Gharana is a unique musical heritage of both

Hindustani classical and Sufiana music centered in Kashmir (J&K), which owes its roots to the

Shave Gayan and later Sufiana Musique. It gets its name from Sufi parampara of Kashmir and is

the only musical Gharana from the Jammu and Kashmir region, which has established classical

Santoor in the world of music at the national and international level.

A Living Legend and a Musical Genius Pandit Bhajan Sopori is more than an individual. He

is a performer and composer par excellence, musicologist, teacher, writer, poet, and an

extraordinary human being – he is a complete institution in himself. Regarded as the cultural

bridge of the State of Jammu & Kashmir and the rest of the country, Pandit Bhajan Sopori is

hailed as the ―Saint of the Santoor‖ and the ―King of Strings‖. Having establishing the Santoor at

global platforms as a complete solo instrument, Pt. Bhajan Sopori, the quiet and unassuming

maestro and composer of more than 5000 songs, has come a long way since he created history in

the year 1953 when the first ever broadcast of Classical Santoor from All India Radio becoming

the first person to play Indian Classical music on the Santoor in concerts. In his six decades of

dedicated work he has explored various dimensions of the Santoor, carrying out many path-

breaking innovations. The mystic master has used his Santoor and his compositions to highlight

the concept of oneness and foster unity enshrining the idea of national integration, humanism and

peace amongst the common man and the youth in particular.

Pandit Bhajan Sopori‘s constant experimentation resulted in the further extension of the

bridges, developing the Mandra and Tar Saptak as full octaves. He had seen hi