Imagination in Indian Classical Music

Khayal literally means imagination, thought or fancy.Only in the twentieth century has any other group
Khayal is that vocal genre of all North Indian vocalattained significant involvement in khayal.
styles which gives its performers the greatestThe rendition of a khayal recital is typically divided
opportunity and also the greatest challenge to displayinto two parts: Bara (great) khayal and Chhota (small)
the depth and breadth of their musical knowledgekhayal. During bara khayal, the artist is expected to
and skills. Khayal has dominated the performing artcover a range of subjects, ideally giving importance
for past 150 years. Khayal is the genre ofto all musical elements such as melody, rhythm and
improvisational music, and hence it is the study oftechnique, with a slow and contemplative beginning to
artist's creative individuality and ability to render ainvoke the very mood of the raga. The lyrical as well
unique khayal at each performance. Despite theas melodic content of bara khayal compositions are
presumed freedom in khayal singing, it is structureddevotional or romantic, and they are set in vilambit
upon three main characteristics: (i) the raga (melodiclaya (slow tempo). Bara khayal is followed by a
mode), the taal (meter) and the cheez (composition),madhya or drut laya (fast tempo) in chhota khayal.
(ii) the types of improvisation which are acceptableHere the artist carries the mood created during the
for khayal such as alap, taan, boltaan, sargam andearlier part of the recital to its crescendo. The
nom-tom, and (iii) the placement of these material foracceleration is maintained during the performance
creation of aesthetically and technically balancedwith increasing complexity of taans and interplay with
performance. Khayal is not only a distinguished, richlyrhythm. The compositions written for chhota khayal
evolved improvisational music genre, but also a studyhave syllabic text settings appropriate for the faster
of cultural history of India since thirteenth centurytempo. The performing ensemble for khayal consists
onwards.of a lead soloist, an accompanist on a melody
Legend, scattered commentary, and speculationsproducing instrument such as harmonium or sarangi
suggest that khayal originated with Amir Khusrau(bowed lute), a tabla (drum) player and one or two
(1251-1326). Born in North India, Amir Khusrau was atanpura players to provide continuous drone. A
poet as well as a composer and a great musician ofpossible addition to the basic ensemble would be a
his time. He enjoyed importance at the courts of thesupporting singer. The role of the accompanists is to
Khilji rulers in Delhi. Khayal's origin may have beencomplement the lead vocals by repeating ends of
attributed to Khusrau because of the rapid fusion ofphrases during short breaks.
Perso-Arabic and Indic musical systems during hisThe other forms of Indian classical vocal music include
lifetime. After Khusrau, the next prominent figures indhrupad, dhamar, tappa, tarana, thumri, hori and
the history of khayal are the sultans of Jaunpur -bhajan. Of all, dhrupad is considered to be the oldest
Muhammad Sharqui (1401-40) and Hussain Sharquiclassical vocal form. It is generally accompanied by
(ruled 1458-99), who were contemporaries of Babur,tanpura and pakhawaj. Dhrupad compositions are set
the first Mughal ruler in India. The precise role of thein a 12 beat rhythmic cycle. Dhamar compositions are
Sharqui sultans with respect to khayal is unclear;akin to dhrupad and enjoy an identical status. They
some scholars suggest a patronage role for them.are set in a 14 beat rhythmic cycle. Because of their
Most historians are of the opinion that neither Amirstructured style of singing, both dhrupad and dhamar
Khusrau nor any of the Sharqui sultans was thedo not allow as many elaborate and extempore
innovator of khayal, but that khayal was an outcomeimprovisations as khayal. Tarana is a style consisting
of the gradual process of evolution that was at workof particular syllables woven into rhythmic patterns as
during an era of Indo-Persian amalgamation.a song and it is usually sung in the faster tempo. The
For khayal, the first musical evidence of courtcreation of this style of singing is believed to have
support is noted at the Delhi darbar (court) of theoriginated to bring out the tantrakari, or the
eighteenth century Mughal emperor Muhammad Shahdiscreteness of instrumental music, in vocal music.
Rangile (ruled 1720-48), where the musicians NyamatTappa has its origin in Punjab. Its beauty lies in quick
Khan (Sadarang) and Firoz Khan (Adarang) composedand intricate display of permutations of notes. Thumri
songs that have been transmitted to the presentis believed to have originated in Uttar Pradesh. It is
time. It is believed that Sadarang and Adarang alsothe lighter form of Indian classical music. Its most
formalized the structure of modern day khayal. Asdistinct feature is the amorous subject matter that
khayal continued to evolve in the courts throughoutpicturesquely portrays the play of Lord Krishna with
North India, distinct performing styles emerged intoRadha. It can be viewed as an unconstrained form of
different gharanas. Three major khayal gharanaskhayal singing. Hori compositions are mainly sung in
carrying the names of the princely states in whichthe style of thumri and are associated with the
they were originally fostered, are Gwalior, Rampurfestival of hori (the festival of colors). The mood is
(Sahaswan) and Patiala. Later Agra, Kirana and Jaipurjoyous and playful, illustrating the divine leela of Lord
gharanas also became prominent centers of khayalKrishna. Bhajan literally means pray (bhaj) the lord
singing. Today this style of classical vocal music is(narayan). Bhajans are devotional songs based on
even adopted by some of the instrumental gharanaslight classical music. It is a popular form of singing
such as Ithawa. Throughout most of its existencetoday.
khayal has always been the music of elite patrons.