Bandīś-s in Khayāl of Indian classical music: A study of selected song-texts with special reference to the Bandīś-s of Sadāraṇg in Hindustani music

(1) * Bilambita Banisudha Mail (Vasanta College for women Rajghat, Varanasi, India)
*corresponding author

Abstract


Melody is the soul of Indian classical music. A musician presents different captivating melodic motions of a certain set of notes, showing their diverse permutations and combinations as well as their hidden beauty. This melodic exposition decorates the mind with several melodic expressions and embellishments and is hence referred to as Rāg – which brings aesthetic pleasure. A composition like a mirror reflects a complete picture of an Rāg. It reveals and also retains its characteristics such as its ascending and descending notes, its dominating notes, other sub-dominant notes, its intricacies, and its special combination of notes, i.e., svara-sañgati, etc. The different Bandīś-s in an Rāg highlight the different aspects and shades in which it can be rendered. compositions in Indian music are a combination of traits that includes the aspects of the musical structure, vocal style, and techniques, instrumentation, rhythmic style, and poetry. Bandīś in Khyāl of Hindustani music refers to the text of the composition. The text is marked by the elegant use of the words. The musical structure of Bandīś-s is comprised of certain essential laya (Tempo), tāl (beat), Rāg (melody), and dhātu-s (the melodic component). The khyāl Bandīś-s eschewed the conventional four sections and took two or three sections sometimes. The verbal content of khyāl was dominated by a simple regional language with few words and themes showing human sentiments, especially sŗngāra and describing numerous celebrations and festivals. In the wide framework of the Khyāl genre, during colonial times, several such different forms evolved, mostly via the patronage of the feudal lords. These gharānā-s are either named after the principles in which they are grown or the home city or village of the creator. In khyāl singing, the most important goals are the presentation and style of a particular rāg, as well as the improvisation of its melodic structure. Audio recordings, treatises, and live concerts will all be used to retrieve and examine specific compositions throughout this research paper.


Keywords


Khyāl, Sadāraṇga, Hindustani music, Bandiś, alāp, Rāg, Sāmagāna, svara, tāl, and Pada

   

DOI

https://doi.org/10.31763/viperarts.v4i1.633
      

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Journal of the Indian Musicological Society (English Annual), Ambegaokar Building, Jambu Bet, Vadodara 390001, India.

Sangeet Natak (English Quarterly), Sangeet Natak Akademi, Rabindra Bhavan, New Delhi, 110001, India.

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