Changing Trends in Instrumental Music Over Last 60 Years

INTRODUCTION

Instrumental music has undergone quite a radical change in the last 60 years . The se changes are reflected both in terms of physical and stylistic changes. In fact, these two dimensions i.e., physical and stylistic have influenced each other and the resultant product moulded through several evolutionary process is both refined and mature. In this article we shall endeavour to deal with these two aspects of changes individually, analyse the present situation and consider what possible developments could occur in foreseeable future.

PHYSICAL

Indian music is basically subjective i.e., essentially performed for personal – inner peace – motive and the objective of pleasing the listener was not the primary aim and hence relatively less important.  Indian music has been described to be meditative – contemplative and introspective in nature. Our instruments were therefore designed to conform to this inward looking attitude of the musician.  They were hence soft and mellow in sound, far from being standardised or uniform and were made to suit individual requirements.

In keeping with the manner or style of playing different instruments we notice the following in categories of instruments (1) Plucking (2) Bowing (3) Blowing (4) Percussion.  It was necessary to evolve instruments in a shape, size which would enable the musician to project different individual techniques.

Apart from the changes that were made over a period in the shape and size, important changes took place in the quality of raw materials used, such as wood, metal or skin used in the manufacturing of instruments. Better quality of strings, type of metal used for frets, special glue used for joining different parts of the instruments , etc., were all introduced over a period with easier availabi1ity of required raw materials and increased “know how” of the artisans.  In fact, presently one witnesses a specialization of instrument manufacturers each related to a specific style. For e.g., sitar makers of Vilayat Khan style and Ravi Shankar style are quite distinct. Similarly Tanpuras of Miraj as compared to those made in Delhi or Calcutta are quite different in their sound quality and often in the final finish.

Apart from the gradual standardization and specialization in the making of instruments, increasing attention is now paid to the sound quality of instruments. “Jawari” is now a perfected art and players of different styles are quite fastidious to get the “Jawari” done to suit their temperament and style.  In a slightly modified form, the same theory would apply to instruments like the flute where the size – the length of the flute, etc. – are developed to suit the style and kind of music the flute is expected to perform . The use of “tarabs” in instruments like Sarangi, Sitar, Sarod, etc., has also been researched extensively to produce the finest nuances from sympathetic strings which are further supported and enhanced by the use of amplification systems.  The Veena or the Been could  have been hardly heard in a large auditorium without the use of sensitive microphones.

It is therefore realised that the meditative and introspective quality of music has given place to a more objective approach – the performer having become a stage performer playing before an increasingly larger audience – even the chamber or Mehfil type of concerts catering to a larger number of listeners as compared to olden times, when performances were either restricted to temples or the “durbars” of the Kings or aristocracy comprising of relatively few listeners.

MODIFICATIONS DUE TO STYLISTIC REQUIREMENTS

So far we analysed physical changes that occurred over the last 60 years or so, as a result of changing demands of the performer from the instruments. We could now dwell in greater details with regard to the changes that have occurred due to specialization of styles.  The Sarod as an instrument played by prominent “Gharanas” has been modified in terms of the number and placement of sympathetic strings or “tarabs” according to the inventive capabilities of different masters of each gharana.  The number and the type of strings and the tuning systems of the sitar are arranged differently by the two prominent gharanas or styles. The tonal quality, the pitch at which sitars are tuned, etc., are all quite distinct and individualistic from gharana to gharana. The size of the “dagga” or “Baya” of the Tabla differs from style to style – Benares style using smaller and sometimes one made of clay while Delhi style uses comparatively larger and metal “Baya”.  The size of the Sarangi and its bow are also related to individual Ustad’s style or requirements. Ustad Bundukhan was known to use a small sized Sarangi and a shorter bow.  Even the “Jawari” (referred to earlier) is adjusted differently according to the styles of each gharana.

60 years ago, the 1nstrumental techniques were based more on rhythmic patterns rather than melodic refrains. Gradually, the left hand adopted a distinct vocalization with improved control and new techniques – Raag exposition thus has become more structured and we witness a detailed elaborate and involved treatment of every stage of the raag development. These remarks apply to practically all categories of instruments be it Sitar or Sarod or Sarangi or flute.

The matter of music or “what” you play and the  “manner” of music or “how” you play have now found vehicles of full and satisfying expression, in the researched and modified instruments.

But evolutionary processes never stop.

Musicians are now required to travel quite a lot and to carry “support” instruments like Tanpura, etc., is quite a hassle.  It is increasingly difficult to get good table accompanists for “Riyaz” and that too at the convenience of the musician and at a price he can afford. These phenomenens have given rise to the inventions of “electronic support” instruments such as electronic “Tanpura”, “Tala mala”, “Shruti-box”, etc. The convenience and adaptability to modern life have dictated an increasing use of such instruments even though the “sound quality” has to be somewhat compromised. It is significant that even traditional and conservative musicians have increasingly adopted the use of such “support” instruments due to the apparent ease of carriage and “any time” availability. Such instruments cannot (hopefully) replace the main performing musicians though some attempts in this direction have been made by some “computer buffs”.  Only the future will tell! The pace of modern life, changing tastes and expectations of the listeners, ability of musicians to adapt to required changes, kind of research work to improve the quality of instruments, etc., etc., will all have their effects on the ultimate product or “new instruments”.