Vocal form in the Modern Period: The evolution process
Dhrupad, Khayal, Tarana are the classical forms in the modern period. In this chapter, it is shown how these vocal forms evolved from the ancient vocal forms.
1. Dhrupad: The Dhruva Prabandha in the Rantnakar Period consisted of Udgrah, Dhruv, Antara and Abhoga. 'Rasa' was the important aspect of this prabandha. In this post Ratnakar period, Hindustani music started shifting towards the melody and 'Raga' became the important aspect.
As the first line established the raga, it was called "Sthayee" and it became important. Hence the Udgrah and Dhruva were transformed into Sthayi. Melapak was now used to show the whole character of the raga and hence it was now called as Sanchari. Thus, the Dhruv-Prabandha which now consisted of Sthayi, Antara, Sanchari and Abhoga and which gave importance to the 'raag gayan' was now called as 'Dhrupad'. It was being sung according to Bhanjani principle of Roopak prabandha.
It was being sung according to the Bhanjani principle of Roopak prabandha. The Nom-Tom part was later attached to the Dhrupad in 18th century. The raga is eaborated in the 'Nom-Tom'. The 'Tanta Anga' i.e. style of string instruments like Veena was usedin the elaboration. This idea of imitating the sounds of musical instruments is originated from the 'Saptageet' of the Natyashastra period. Different talas used for Dhrupad in the last few centuries are similar to the tala used for the Dhruv Prabandha.
2) Khayal: Meaning of the word Khayal is to imagine. This is a persia word. The vocal form 'Khayal' existed in India from the thirteenth century but it was not popular as compared to Dhrupada.
Various experiments were carried out many musicians to develop an attractive style for this vocal form, and this form acquired status in the eighteenth century. Sadaranga and Adaranga took special efforts to establish this form. In the Khayal, melody was given the prime importance. Consequently, Pad and Taal became secondary. The 'Pratigrahnika' priniciple of the Roopak prabandha was used to elaborate the raga. After the vistar, 'bol alap' are sing in khayal, which originate from the Bhanjani principle. Taan is a special feature of khayal. In the Ratnakar, several types of Taan and Gamak are discussed. These are still being used.
At the end, Chhota khayal is sung in the fast tempo to reach the climax. This idea originates from the 'Saptageeta' in the Natyashastra period.
3) Tarana/Trivat/Chaturanga etc: These are called 'Shushka' or dry vocal forms as they are literally meaningless. The tradition of making use of meaningless but rhythmic or musically attractive syllables exist from Vedic period. In Samgayan 'Stobh' was used.
In the purankal, Nergeet was made up of meaningless syllables. In the Natyashastra period, Saptageetas made use of sounds of musical instruments. In Ratnakar period, sargam, pat were used in Prabandhas like Tribhangi, Kaiwad, Chaturmukh etc. They are being sung in the modern period almost in the same way with the names Tarana, Trivat and Chaturanga.
Tarana consists of syllables like Tom Tan Nan, Dir Dir which resemble the sounds of sitar. Trivat consists of these syllables along with the sargam and sounds on the Mridanga. Chaturanga has a lyric in addition to sargam, pat and tantakshara.
Semi Classical Forms
a) Thumri: Thumri was known as 'Jhumari' in the fifteenth century. It was a dance form at that time. In the modern period, it is recognized as a semiclassical vocal form. Thumri is erotic. It is associated with the Holi festival. Thumri is set to Deepchandi taal of 14 beats or Adha Tritaal of 16 beats. These taalas are derived from the chachar taal in the folk music, by taking two different measures of the laghu. Thus, Thumri has originated from Chachari prabandha. Because of the influence of Khayal, the Thumri accepted the 'Pratigrahanika' principle. But the 'Vistar' in the Thumri gave importance to the expression of emotions than the expression of the raga.
b) Tappa: The folk songs which are sung at the time of marriages in Punjab are known as Tappas. Speedy, abrupt and surprising patterns is the speciality of Tappa. This style matches with the description of 'Vesara Geeti' in the Ratnakar period. Vesara or Vegaswara was a folk style of singing. It can be said that the Tappa gayaki is the modern name of the Vesara geeti in the Ratnakar period.