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"My PhD on Hindustani vocal music. Not available in print anymore, though I have promised to publish a new edition with some additions and corrections. The book contains a lucid description of the workings of Hindustani music and the changes that took place over the century before its fabrication. The book owes much, nay everything, to my teacher, Pandit Dilip Chandra Vedi - himself disciple of stalwards like Uttam Singh, Bhaskar Rao Bakhle, Faiyaz Khan and Alladiya Khan. Yet, I hope I have critically linked his views to literature and other sources, although inevitably sometimes my stance is biased. Not ashamed!"
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Khayal is a type of musical composition which was created following the characteristics of the ancient ‘Prabandhas’. This Khayal was created by Ameer Khasru with the help of the ‘Kabal’ or Muslim Singers in the beginning of 14th century, which again was transformed to ‘Kawali Khayal’ or ‘Sudh Khayal’ by the influence of Sultan Hussen Sharki of Jounpur at the end of 15th century.
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. View all notes. Bhagats,10 Bhagat Kabir, Bhagat Namdev, Bhagat Ravidas, Bhagat Beni, Bhagat Jai Dev, Bhagat Ramanand, Bhagat Parmanand, Bhagat Sur Das, Bhagat Dhanna. View all notes. Sufi masters,11 Sheikh Farid, Sheikh Bhikhan Shah, Sain Nayee. .
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From ancient times till date, the language of the song in India has undergone many changes. The song texts in the ancient period were primarily Sanskrit and Prakrit. In the medieval period, due to the development of regional languages, the importance of Sanskrit as a language of the song started diminishing. Sanskrit is still in vogue as song language in Carnatic music. But it is not the case in Hindustani Art music. Except for Ashtapadi, the song-texts of major song-forms such as Dhrupad, Khayal, Tappa, Thumri are chiefly in regional dialects such as Brij, Awadhi, Mewadi, Saraiki-Panjabi, etc. In the modern period, few composers have composed Dhrupad, Khayal, and also line-components for Tarana or Chaturang in Sanskrit. One also finds the influence of Sanskrit in some Dhrupad and Khayal compositions. This paper firstly takes a brief review of Sanskrit compositions of Hindustani Art music through the ages, and secondly discusses some questions such as why Sanskrit lost the pivotal place in song-texts in Hindustani Art music and still why modern composers, though few, have tried composing Sanskrit Bandish-s. The paper also ponders upon some issues such as potentialities and limitations of any language for being a song-language, and how vocalists handle the song-texts in actual rendition.
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