Khyal
Khyal , also Khayal, Kheyal , Hindi ख़्याल , Urdu خیال, is the most popular classical style of singing and instrumental in North Indian music . The word khyal ( DMG ḫayāl ) comes from Arabic and means “idea” or “imagination”, also “fantasy”. This term was transported to India in the course of the adoption of Persian as the court and chancellery language of the Mughal rulers. In contrast to the older, stricter dhrupad style, the khyal, popularized in the 18th century, allows the musician greater freedom, it appears more flowing and elegant.
history
There are ancient forms of folk song and a folk drama in Rajasthan called khyal . The origin of the style is unclear, Muslim immigrants from Persia or Central Asia may have taken older Indian forms and mixed them with the Qawwali religious singing style . Amir Chosrau (1253–1325) is named as a possible author . Two styles of these Muslim chants developed: in the 14th century the religious qaval-gharana of Amir Chosrau and the more secular kalavanta-gharana of Baiju Bavra and Brj Chand, who were students of Swami Haridasa and Suradasa (Surdas) in the 16th century . Another influence could have been the pachda , love songs sung by women in Hindustani . Some authors reject the Persian influence entirely; the Sanskrit scholar Jaideva Singh (1893-1986) traced the ornamental style of singing back to sadharana giti ("general style of singing"), a term in Bharata Muni's Natyashastra, which was written around the turn of the century . The khyal received its classic form from Niyamat Khan (called Sadarang) and his nephew Firoz Khan (called Adarang), musicians at the court of the Mughal ruler Muhammad Shah (r. 1719–1748). Probably not before the 18th century was the division of music into styles represented by different gharanas (musical traditions).
shape
The text genre Khyal is about love, the love of God ( Bhakti ) in connection with the adventures of Krishna or the worship of holy Muslims. In classical Indian music, the musical style belongs to nibaddha sangita ( nibaddha, Sanskrit “fixed, wedged”, sangita , “music”), a closed form in which a poetic text ( pada ), a sequence of notes ( raga ) and a rhythm pattern ( tala ) is connected in a certain way. The freely improvised foreplay at the beginning of Khyal or Dhrupad is called anibaddha . The nibbaddha sangitas of north Indian music include the khyal of the dhrupad, which received its current form in the 15th or 16th century, the light lyrical style Thumri and Tappa , a classical style developed at the end of the 18th century.
A khyal begins with an alap, in which the raga is introduced and meaningless tone syllables ( tanas ) are sung to decorate the melody. This is followed by the two fixed parts of Khyal sthayi ("stable", also asthayi ) and antara . In the first part, the melody forms move in the lower and middle registers and end in the same phrase. The singer performs the following antara in a higher pitch.
There are two types of khyal: the large, slow bada khyal , also vilambit khyal or dhima khyal ( dhima , "slow"), which is related to the dhrupad, and the small khyal, chhota khyal or drut khyal ( drut , "fast") ), which is usually played after the slow khyal.
The singer is often supported melodically by the string sarangi or a harmonium , while the kettle drum pair tabla provides the rhythm . Some singers also play the box zither swarmandal . Instrumental khyals are mostly played on the long-necked sitar .
literature
- Alain Daniélou : Introduction to Indian Music. Heinrichshofen's Verlag, Wilhelmshaven 1982, p. 86f
- Bigamudre Chaitanya Deva: An Introduction to Indian Music. Publications Division, Ministry of Information and Broadcasting, Government of India, New Delhi 1981, pp. 38-42
- Keyword: Khayāl. In: Late Pandit Nikhil Ghosh (Ed.): The Oxford Encyclopaedia of the Music of India. Saṅgīt Mahābhāratī. Vol. (U-O) Oxford University Press, New Delhi 2011, pp. 551-553
- Wim Van Der Meer: Hindustani Music in the 20th Century. Martinus Nijhoff Publishers, The Hague 1980
- Solveig M. McIntosh: Gamaka and Alamkara: Concepts of Vocal Ornamentation with Reference to Bara Khayal. (Dissertation) City University London, 1993
- Emmie te Nijenhuis: Indian Music. History and Structure. ( Handbook of Oriental Studies . Second section: India. Sixth volume) EJ Brill, Leiden / Cologne 1974
- Bonnie C. Wade: Khyāl: Creativity within North India's Classical Music Tradition. Cambridge University Press, Cambridge 1985
Web links
- Khayal, North Indian Classical Music . Indian Net Zone
- Gharanas of Khayal . Indian Net Zone