The World of the Play: Hindustani Music

From the Encyclopedia Britannica article written by Bruno Nettl:

“Hindustani music, one of the two principal types of South Asian classical music, found mainly in the northern three-fourths of the subcontinent, where Indo-Aryan languages are spoken. (The other principal type, Karnatak music, is found in the Dravidian-speaking region of southern India.) The two systems diverged gradually, beginning in the 13th century, when the Islamic conquest of northern parts of the subcontinent introduced highly influential Arab and Persian musical practices that then merged with Hindu traditions.

Modern masters: Ravi Shankar, playing sitar in London, 1974 at the "Music Festival from India" organized by George Harrison.

Northern India shares with the south the use of ragas (melodic frameworks for improvisation and composition), the rhythmic principles of tala (cyclic metric patterns sometimes of great complexity), and the practice of nonmetric, rhythmically “free” improvisation. Although vocal music plays an important role, instrumental music is more important in Hindustani music than it is in Karnatak; there are some purely instrumental forms, such as the theme with variations known as gat.

Modern masters: Bismillah Khan, playing shehnai at undated concert at party.

The most prominent instruments of Hindustani music are the sitar (a long-necked fretted lute with about 30 melodic, drone, and sympathetic strings), sarod (a short-necked unfretted lute with sympathetic and drone strings), sarangi (a bowed fiddle), shehnai (an oboelike wind instrument), tabla (a set of two drums played by one musician, the right-hand drum carefully tuned), and tambura (a large long-necked lute with four strings, used only to play the supporting drone, a single repeated chord).

Modern masters: Ali Akbar Khan, playing sarod in 1981 at the Ali Akbar College of Music in San Rafael.

A typical Hindustani performance, which may last well over an hour, begins with a long, nonmetric improvisation (alapa, or alap) by the singer or melodic soloist, followed by jor, or improvisation without metric cycle but with a perceptible pulse, and eventually by the similar but faster jhala. Then follows the composed piece, which is performed with improvised variations—most typically khayal (a poetic form) in vocal music and gat, a short, rhythmically distinctive theme, in instrumental music. The soloist is accompanied by the percussionist on tabla, and the improvisations often involve various kinds of virtuosic rhythmic competition and cooperation.

The centres of Hindustani music in the 21st century are the cities of Delhi, Kolkata (Calcutta), Varanasi, and Mumbai (Bombay), but, until the early part of the 20th century, smaller cities with princely courts, such as Jaipur, Agra, and Gwalior, played a major role.”