How rare music styles connect past and present

Indian music has a treasure of styles that have developed and developed for centuries. These forms have seen socio-historical influences that increase their development and diversity.

During an Hindustani classical music concert, forms like Tarana, Tappa, Trivat and Chaturang are often provided with a delay (slow), middle-man (medium tempo) or drot Is done. The presentation of styles like Tappa and Tarana is extremely popular with both the connoisseur people as well as the general audience.

The International Foundation for Fine Arts (IFFA) recently organized a seminar with NCPA (National Center for the Performing Arts) and Music Forum. With this, it revived the tradition of such seminars, which took a break due to the epidemic.

Earlier, India’s Music Society, Pt. Under the chairmanship of. Arvind Parikh, and in collaboration with ITC-SRA and NCPA, organized seminars on music related subjects. From India, from the world of classical music and worldwide luminaries and stallwarts participated in about 25 seminars to discuss various topics.

This year’s seminar was prevalent in Hindustani music in Tappa, Tarana and concerned forms, and was held in experimental theater, NCPA, Mumbai.

During the seminar, in addition to educational deliberations by experts of the origin, history and aesthetics of these forms, audio-visual clips and live performances depicted the actual practice of these styles.

The panelists consisted of PT. Arvind Parikh, 98 and Shano Khurana, 97, senior most exposure to Tappa and a famous composers of Rampur Sahashaswan Gharana. Professor Naman P Ahuja from JNU Delhi, who is also a general editor, routeThe main speech about the history of Tappa and the contribution of folk music of Greater Punjab and Sindh gave in the list of widespread performances of Indian classical music.

Opening his discussions with icography of ‘Raga-Mala’ paintings, Naman reflects the example of Raga Viba with Tivara Dhawat, which is depicted with ‘Dhanush-Wahi’ in the hands like Cupid, with ‘Dhanush-Wahi’ That is a part of Veer Ras, Saringara Rasa. He also talked about short pictures Geeta Govinda By Sanskrit poet Jaydev, sung as a specific style by musicians of Gwalior Gharna.

Pro Neemon Ahuja | Photo Credit: Special Arrangement

Talking about the ‘Tal-Mala’ paintings, Naman commented on how the use of aesthetics rhythm made by the vowels of a raga could change the bhava. He also demonstrated this lyrical analogy depicted in architecture through Buddhist, Gupta (Hindus), and Persian (Muslim) traditions in just one panel of architecture in Mehrouli. He spoke to Bhatkhande or Paluskar with ‘Lagu’, ‘Guru’ and separate ‘VAT’ (set of Matrosatta) at least two centuries before two centuries, talk about the old Society system before two centuries, such as In the three.

Talking about Tappa, he explained how camel drivers from Persia to India used to sing it in Punjabi dialects such as Multani and Sarayaki, such as poetry. Heer Varis Shah’s. He also talked about Tappa’s music nuances such as Khatka, Murki, Zamzama and Danidar Tans and ‘Vesara’ style, which is a combination of Margi and Desi. He sung by Siddheshwari Devi, and Rasulan Bai with Shori Mian’s Tappa, who spoke to reach the points.

Later, Shano Khurana spoke with him about the diversity of academics and Tarana and Tappa.

Bengali Tappa of Ramnidhi Gupta (Nidhu Babu) from Kolkata, who met Shori Mian in Bihar and learned Tappa from him, and tried to present it on various subjects in the bungalow. LEC DEM. Nabdeep performed a Punjabi Tappa and Nidhu Babu’s Tappa in the Patiala style.

Exposing the socio-cultural significance of these forms in Indian traditional music, Vidyadhar Vyasa, Vidyadhar Vyas, of the development of styles like Tarana, Khayal-Numa Tarana, Tapa, Tapa-Khayal, Trivat, Trivat, Chaturang, Ashtapadi, Taluset, Talked about Sargamegate, Raga-Sagar and Talasagar. Meat Pandit and Vidyadhar Vyas performed these rare styles prevalent in Gwalior Gharna.

Meeta presented a nal-khil, one Tappa and two Ashtapadis of Jaydev at Raga Bhupali. ‘Nath Hare Jayanath Hare’ was set for delayed Jhumra Taal and ‘Jaya Jaya Dev Hare’ in Kishore Tal to demonstrate the rendering of Ashtapadi in the Gwalior tradition.

Traveling back in time through rare styles of music was to heat the heart.