The Songs of Khayal with Notations

Contents Volume-I Foreword by Richard Widdess xiii Acknowledgements xxiii Orthographical note xxv 1 Background 1 Introduction to the project and its origins 1 Artists 3 Rags 8 Other criteria for inclusion 9 Introducing khayal 11 The history of khayal 13 Modern khayal 16 Agra 17 Jaipur 19 Patiala 20 Rampur-Sahaswan 22 Bhendi Bazaar 22 Benares 23 Kirana 24 Delhi 26 Gwalior 26 Khayal on records 30 2 Notating Khayal 47 Notation systems 49 Kshetra Mohan Goswami 51 Raja Sourindro Mohun Tagore 52 Balkrishnabuwa Ichalkaranjikar 53 Vishnu Digambar Paluskar 54 Vinayakrao Patwardhan 56 Maula Bakhsh 56 Abdul Karim Khan 58 Vishnu Narayan Bhatkhande 62 Yashvant Mirashibuwa 63 Krishnarao Shankar Pandit 63 Master Krishnarao Phulambrikar 64 Offshoots of Bhatkhande's system 65 Omkarnath Thakur 66 Ramchandra and Gokhale 67 Conclusion of the survey 68 Sargam notation as used in this collection 70 Ambiguities and techniques of simplification 79 The methodology of transcription 82 Notation in practice 85 Why sargam notation? 91 Comparative summary of notation systems 94 3 The Subject Matter of Khayal 99 An introduction to the main romantic themes of khayal 108 Nayika-Bheda 109 Separation and longing 112 Satisfaction in love and the joy of union 113 Krishna 114 Complaints to or about the lover 115 Amorous hassling 116 The rival 117 Separation and longing 118 Implorations to the lover 123 Come 123 Don't go 124 The joys of love 125 Satisfaction in love and joy in union 126 Devotion to the lover 127 Happiness that the lover has or will come 129 Physical intimacy 131 Complaints to and about the lover 133 Amorous hassling 137 The rival 139 The rainy season and springtime 142 The rainy season 143 Springtime 145 Birds 146 Messages 153 Romantic advice 155 Religion, mythology and philosophy 157 Muslim religious texts 157 Hindu religious texts 160 General religious texts 162 Ram and Krishna 163 Religious advice 166 Philosophical advice 167 Music and musical advice 169 Music as a spiritual practice 169 Musical advice and the teacher 170 Divine assistance and divine musicians 171 Music to celebrate 173 The flute 174 Weddings 176 Holi 178 Anklets, in-laws and neighbours 180 Ankle bells and toerings 180 In-laws and neighbours 182 Adornment, jewellery and female beauty 183 Eyes 186 Night, sleep and dreams 188 Night 188 Sleep 190 Dreams 191 Flowers and nature 192 Intoxicants 193 The patron 195 Boats 197 The jogi 198 Conclusion 199 4 The Language of Khayal 201 Introduction 201 Verbs 204 Present imperfective (jata) 204 Imperfective participles with auxiliary (jata hu) 204 Non-finite imperfective participle constructions (jate hue) 204 Subjunctive-present (jau) 205 Subjunctive-present with subjunctive force 205 Perfective (gaya) 206 Perfective participles of intransitive verbs 206 Perfective participles with transitive verbs 207 Non-finite perfective participle constructions 208 Present perfective tense (gaya hu) 208 Intensifiers / verb stems ending in-o 208 Future (jauga) 209 Present continuous (ja raha hu) 209 Composite verbal expressions of continuity 209 Noun and verb combinations 210 Passive 210 Conjunctive participles (jakara, jake) 210 Imperatives (jao) 211 Verbal nouns and infinitives 211 Compound verbs 212 Pronouns 213 Personal pronouns 213 Possessive pronouns 213 Object pronouns 214 Oblique pronouns 214 Interrogative pronouns 215 Indefinite pronouns 216 Reflexive pronouns 216 Adjectives 217 Nouns 218 Postpositions 219 se, te, sana, so 219 sanga, satha 219 pasa 220 samipa 220 bina, bina 220 ko 221 bica, bica 222 me, ma 222 para, pe, pai 223 ke karana 223 Other postpositions 223 Adverbs 224 Prohibitives 224 Adverbial phrases 224 ata/ ati 224 Empathic hi 225 Emphatic hu, hu 225 Relative-correlative constructions 226 Adding 'u' to nouns 227 Lexicon 227 Tatsama 227 Apabhramsa 228 Perso-Arabic 229 Eastern Hindi 230 Other Indian languages 230 Diminutives 231 Vocabulary 232 Reduplication 233 Shift of mode of address 234 Conundrums of translation 236 Poetic formatting 243 Rhyme 244 Conclusion 250 5 The Tals, Tempos and Song Structures of Khayal 251 The mukhra 252 Tempo in khayal 253 Acceleration and deceleration 254 The tals of khayal 255 Jhumra 256 Vilambit ektal 258 Tilvara 260 Vilambit tintal 262 Jhaptal 265 Rupak 269 Adacautal 271 Madhya lay tintal 273 Drut tintal 275 Addha tal 279 Drut ektal 280 Unusual tals 284 Words on the sam 285 Conclusion 287 6 Melodic Nuances and Devices of Khayal 291 Introduction 291 Mind 292 Kan 297 Initial kans 297 After-kans 300 Internal touches 302 Khatka 305 Tans 312 Tans in the mukhra 313 Tans at the end of a song section 316 Internal tans 322 Runs 324 Gamak on repeated notes 328 Sut 330 Gamak on single notes: convulsive tonemes 331 Andolan 333 Vibrato 336 Varjit svar 338 Tuplet rhythm 346 Three notes in two matras 348 Four notes in three matras 349 Eight notes in three matras 351 Fives, sevens, tens and elevens 351 Conclusion 353 7 The Life of a Song 355 Concerning authorship 355 Pen-names found in our collection 356 Introducing the song: provenance, tempo and form 357 The rag: melodic material in theory 360 Rag: the mukhra 364 Rag: bandis and barhat 365 The text 371 Additional linguistic details 375 Words and music 378 Words in the tal structure 383 Conclusion 387 Glossary of Khayal Vocabulary 391 Glossary of Musical Terms 409 Bibliography 413 Index 423