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00:00Today is the 8th day of the week.
00:02On the 8th day, Ashwini B.J. Deshpande will be presenting vocals.
00:09Ashwini ji, first of all, welcome to ETB Bharat.
00:13Thank you very much.
00:15Now, in classical music, there is a trend of vocals.
00:20So, what has been the tradition of vocals in Indian classical music?
00:23Yes, the tradition of vocals has been there since ancient times.
00:30Earlier, it was said that the music that touches you the most is Kanta music.
00:39Then comes instrumental music, where you get the beauty of tonal variation.
00:45And then comes percussion.
00:47But today, it has happened that all three are on the same level.
00:51Ashwini ji, which gharana do you belong to?
00:55And what will you perform today?
00:57My gharana is called Jaipuratravali.
01:02And I would say that gharana is a style of singing.
01:08The students who have learnt from different gurus follow their gurus.
01:15Sometimes, someone does the work of a sura.
01:17Sometimes, someone does the work of a laya.
01:20Sometimes, someone does both.
01:23So, when you listen to a student, you will know who his gurus were.
01:28So, that gharana became one.
01:30So, basically, it is a style.
01:32So, that is why gharana…
01:34And this is very common in kanta music.
01:37Similarly, gharana is also there in tabla.
01:41We have all heard that there is Punjab gharana, Delhi gharana, tabla gharana.
01:46There are different gharanas.
01:48Similarly, in kanta music, apart from Jaipuratravali,
01:51there is Kirana, Gwalior, Agra gharana, Rampur Sahasran.
01:56There are many gharanas.
01:58Stylistic differences, basically.
02:00In vocal music, which words do you sing?
02:06This is a traditional thing, bandish.
02:10Here, we believe that the poetry…
02:14In kanta music, we have words.
02:18In instrumental music, there are no words.
02:20There is no poetry.
02:22So, our poetry will be very small.
02:26One line's length and one or one and a half line's breadth.
02:30But, in that small poem, the germ, the emotion,
02:36we will move it forward through raag.
02:41So, once we have taken the poem and entered the realm of raag,
02:47we leave the strong emotion behind and go into the abstract.
02:55And, purely by giving importance to the raag,
03:03we go into the abstract.
03:09So, the importance of words is there, but we have to leave it.
03:16How important is the importance of vocal music in today's film music?
03:26This music has been around for a long time and will continue to be.
03:31Good music is good music.
03:34Bollywood music, khyal sangeet, dhrupad, thumri,
03:41all these are labels given by us.
03:45Music is music.
03:47Music can be good or bad.
03:49So, in good music, the importance of sura and laya is there.
03:56And, in bad music, there is a lack of both.
04:02So, it does not touch the mind.
04:04The music that touches the mind is good.
04:07For our understanding, we call it folk, film, or classical.
04:13These are labels that we have made for us to understand.
04:17Music is music.
04:19What are you going to sing today, on the last performance of the 8th day?
04:24I have thought of a raag for Jai Jai Banti,
04:27and then a raag for Sampoorn Malkaus.
04:30What is special about this time for prahar?
04:34We are going towards midnight.
04:39So, I have decided to suit that time.
04:43What else is special about that time?
04:47There are 8 prahars, 24 hours.
04:50They have been divided into 8 prahars.
04:54For each prahar, there are different raags.
04:57There are many raags of our raag music.
05:01200, 250, 300, I don't know how many.
05:03So, the raag that is suitable for the prahar,
05:09that is sung at that time.
05:12It should be sung, in my opinion.
05:15I believe in this.
05:17That is why, I am thinking of singing for midnight prahar.
05:23So, we will stay tuned for midnight prahar.
05:25Ashwini ji will conclude her 8th day with her raag.
05:31With cameraman Mukesh Jodia, Parish Dev, ETV Bharat, Ahmedabad.

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