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Resea ch A icle
Challenges in Con empo a y Hindus ani Classical Music
Pe o mances
D . Tawsee Ahmad Wani
Assis an Ins uc o (Con ac ual), Sh i P an Kishan Koul Ins i u e o Music and Fine A s, Uni e si y o Kashmi , India
Co esponding Au ho : *D . Tawsee Ahmad Wani DOI: h ps://doi.o g/10.5281/zenodo.17323064
Abs ac
Manusc ip In o ma ion
The adi ion o Hindus ani Classical Music is e y old. O e ime, di e en o ms o his
music de eloped om Indian Classical Music. The main pa o Indian Classical Music is he
Raga, which is also an impo an pa o ou cul u al adi ion.
Many o ms o Hindus ani Classical Music, such as Dh upad, Dhama , Khyal, Tappa, Thum i,
Ta ana, e c., we e pe o med by cou musicians and amous maes os om di e en Gha anas
(musical lineages) since he medie al pe iod in No h India.
The Gha ana sys em is a special ea u e o Hindus ani Classical Music. I helps in main aining
bo h quali y and a ie y in music. Fo a long ime, musicians ollowed hei Gha ana adi ions
e y s ic ly, especially up o he wen ie h cen u y.
Bu in ecen imes, he quali y and ichness o Hindus ani Classical Music seem o be
declining. This is happening e en hough many music ins i u ions ha e been se up by he
Depa men o Highe Educa ion, and s uden s a e lea ning bo h in ins i u ions and p i a ely.
This pape aims o s udy he easons behind his p oblem and also sugges possible solu ions.
▪ ISSN No: 2583-7397
▪ Recei ed: 02-08-2025
▪ Accep ed: 29-09-2025
▪ Published: 11-10-2025
▪ IJCRM:4(5); 2025: 298-302
▪ ©2025, All Righ s Rese ed
▪ Plagia ism Checked: Yes
▪ Pee Re iew P ocess: Yes
How o Ci e his A icle
Wani TA. Challenges in
con empo a y Hindus ani classical
music pe o mances. In J Con emp
Res Mul idiscip. 2025;4(5):298-302.
Access his A icle Online
www.mul ia iclesjou nal.com
KEYWORDS: Cul u al adi ion, E olu ion o Indian Classical Music, Gha ana, Hindus ani Classical Music, Raga, Quali y and
Va ie y.
1. INTRODUCTION
Indian Classical Music implies an o ganized as well as sup eme
s a e o music. The e m Raga is e y signi ican in Indian
Classical Music. Because i exp esses p ope mood wi h he
help o exac endi ion o s uc u ed swa as (Musical no es),
a icula ion o sound, oice modula ion, and necessa y
embellishmen s. I is undoub edly a unique disco e y ha ook
se e al yea s o explo e, dedica ion, expe imen a ion, and
pe ec ion as well. The his o y o Indian music is as and
in ica e, oo. De ailed in o ma ion abou he e olu ion o his
music is ound in he age o he Vedas. The o igin o he Swa as
and hei g adual de elopmen , i espec i e o Vedic (Ma ga o
Classical) and Laukik (Deshi o egional) Swa as, occu ed
du ing his ime. The p ac ice o Vedic music became obsole e
in he Classical pe iod, which begins a abou 600—500 B.C.
(P ajnanananda 44). Ex ensi e esea ch on he de elopmen o
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Indian music, as well as Ragas and hei classi ica ions, was
ini ia ed om his ime
The Gandha as, he c ea o s o he Gaandha a Sangee o
Ma ga Sangee , a e
ega ded as se ing he idea o se e al musicological aspec s.
The Gandha as like Na ad Muni, Bha a Muni, Ma anga Muni,
and many mo e om di e en ancien imes eme ged wi h
exempla y con ibu ions owa ds Indian Classical Music, which
ha e de ini ely es ablished he pe pe ual ounda ion o he
same. Musicological in icacies such as Ja i- aga, G am- aga,
e c., which we e a ied classi ica ion sys ems o ancien Ragas,
ha e con inued he jou ney wi h a ious o he sys ems h ough
e olu ion. The his o y o Indian music, hus, has come ac oss
he Raga- agini sys em, Mela- aga sys em, e c., du ing he
medie al pe iod and he Thaa - aga sys em, Raganga- aga
sys em, e c., du ing he mode n pe iod. Be o e he beginning o
he Ch is ian e a, Indian music was di ided in o Ma ga and
Deshi (P ajnanananda 44). Ma ga o Gaandha a Sangee was
bound wi h ce ain ules o Raga (melody), Taal (bea s),
Chhanda ( hy hm), Dha u ( une), Ma u (ly ic), and Gee i
a icula ion. This music emained unchanged i espec i e o
egions. On he con a y, Deshi be o e he beginning o he
Ch is ian e a, Deshi Sangee exp essed i s egional ai s and
was de oid o he excessi eness o musical elemen s like
Gaandha a Sangee . Deshi Sangee , ha ing been modi ied
wi h some musical elemen s o Gaandha a Sangee , la e
appea ed in a new o m called Abhijaa Deshi Sangee , which
was known as P aki na in Sansk i and Pakinnak in he local
language. These songs we e u he modi ied in o a new ype
called Bip aki na. Bo h P aki na and Bip aki na emained
popula un il he beginning o he Ch is ian e a. A e ha ,
Gaandha a Sangee slowly disappea ed. The Bip aki na songs
wen h ough mo e changes, and o e ime, a new s yle called
P abandha Sangee de eloped.
P abandha Sangee had h ee main ypes: Suda, Alik ama, and
Bip aki na. Wi h changing imes, many new classical s yles o
music g ew ou o P abandhas, bo h in No h India and Sou h
India (Goswami P e ace: 10).
In No h India, Indian Classical Music g adually e ol ed in o
wha we now call Hindus ani Classical Music. This
de elopmen ook place be ween he 14 h and 18 h cen u ies
A.D., when he olde P abandha o ms we e ei he changed o
s opped being used (Ghosh 26, 41). F om he 16 h cen u y
onwa ds, se e al new o ms like Dh upad, Dhama , Khyal,
Tappa, Thum i, and Ta ana became popula . O he o ms like
Dha u, Sad a, Vishnupada, Ragmala, T iba , Cha u ang,
Pancha ang, Hap a ang, Quaul, and Gulnaksh also exis ed bu
la e aded away. Among hese, he mos impo an and s ill-
p ac iced o ms a e Dh upad, Khyal, Tappa, and Thum i.
Dh upad and Khyal a e conside ed he main Classical s yles, as
hey can exp ess a Raga ully and in dep hTappa and Thum i
a e seen as semi-classical s yles. They we e la e adop ed by
cou musicians and gha anas (musical lineages) and o en
pe o med unde oyal pa onage, ea ning he name Da ba i
Sangee (Cou Music). One o he mos impo an
de elopmen s was he ise o Dh upad. I is belie ed ha
Dh upad was c ea ed by modi ying an olde s yle called
Dh u apad (o Dhu pad). This was done unde he guidance o
Raja Man Singh Toma o Gwalio (1486–1516 A.D.), along
wi h his eam o musicians (Roy 79). Raja Man Singh no only
helped c ea e his new s yle bu also es ablished a music
ins i u ion o p omo e i . Wi h his suppo , Dh upad lou ished
and became a majo o m o Hindus ani Classical Music.
G ow h o Dh upad and Khayal
Raja Man Singh Toma o Gwalio c ea ed a suppo i e and
a is ic en i onmen o music o g ow. E en he g ea musician
Tansen p aised him and acknowledged him as his pa on. In his
cul u ed a mosphe e, Dh u apad (la e known as Dh upad)
lou ished (De a 100).
Dh u apad came om Dh u a P abandha, which was a b anch
o Salag-Suda P abandha. The P abandhas we e ea ly classical
composi ions ha did no include Alaap o Vis a (imp o ised
elabo a ion o no es).
The e we e h ee ypes o P abandhas
1. Gee -P abandha ( ocal music),
2. Vadya-P abandha (ins umen al music), and
3. Na an-P abandha (dance).
These we e pe o med all o e India be o e he idea o o mal
“musical o ms” de eloped. Gee -P abandha, which used
egional Ragas and Taals, was de o ional and o en sung in
emples. The compose was called a Vaggeyakaa (one who
w o e bo h ly ics and music). This music sounded like an ea ly
o m o Dh upad, bu wi hou Alaap, Bol-Baan , o
o namen a ions. In he medie al pe iod, i was also known as
Ha eli Gee in no he n India (Ghosh 22–25).
Khayal became popula as Cou music, especially du ing he
eign o he Mughal empe o Shahjahan (Mi a P e ace: 12).
Like Dh upad, he mode n o m o Khayal also sp ead widely
om Gwalio . Musicians like Shakka Khan, Makkhan Khan,
disciples o Us ad Ghulam Rasool, and hei descendan s a e
c edi ed o sp eading his s yle, which was called Qawwal
Bacchon ki Gayaki (Mukhopadhyay 78).
O e ime, he concep o Gha ana eme ged in bo h Dh upad
and Khayal adi ions among cou musicians.
The Gha ana Sys em
One o he special ea u es o Hindus ani Classical Music is he
Gha ana sys em, which does no exis in Ca na ic (Sou h
Indian) music o o he no he n b anches.
The wo d Gha ana comes om he Pe sian wo d “Gha ”,
meaning “house” o “ amily.” I e e s o a school o lineage o
musicians who ollow a pa icula s yle o singing, playing
ins umen s, o dancing. Each Gha ana is known o : i s unique
p esen a ion s yle, c ea i e imp o isa ion, and main aining i s
own sequence o me hods called Silsila (Ghosh 99-100 The
Gha ana sys em in Hindus ani Classical Music is no abou
simply copying o imi a ing. I su i es h ough Taleem
( igo ous aining), skill, and c ea i e imp o isa ion. A Gha ana
is uly ecognized only when a leas h ee gene a ions o
musicians con inue he same adi ion wi h dedica ion and
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consis ency. The g ea pe o me s (exponen s) o a Gha ana
may b ing in new ideas, and i hese inno a ions a e accep ed
by o he membe s, hey become pa o ha Gha ana’s unique
iden i y. O e ime, hese quali ies o m a special s yle called
Gaayaki (exclusi e way o singing).
A Gha ana is usually named a e a place, pe son, o amily. Fo
example:
Gwalio , Ag a, Ki ana, and Pa iala Gha anas – named a e
places.
Alladiya Gha ana – named a e Us ad Alladiya Khan.
Seni (o Senia) Gha ana – named a e he amily o Miyan
Tansen.
Qawwal Bacche Gha ana – named a e he amily o Qawwals.
Cul u al T adi ion
The Gu u–Shishya adi ion ( eache –disciple sys em) is e y
old in India. Gu us, o en sain ly igu es, li ed simple li es wi h
noble hough s. Thei wisdom deeply en iched Indian music
and cul u e. In ancien imes, educa ion was gi en in Ash amas
(he mi ages), whe e disciples li ed wi h hei Gu u. Lea ning
was comple ely esiden ial. The wo main me hods o s udy
we e
● Sh u i – lis ening,
● Sm i i – memo izing.
While he basic p inciples o music emain he same ac oss all
Gha anas, di e ences a ise in how each one applies and
de elops i s s yle. O e ime, he Gha ana adi ion sp ead
widely and shaped he iden i y o Hindus ani Classical Music.
● Gu u–Shishya Pa ampa a and Cul u al T adi ions
Acco ding o Bha a Muni’s Na yashas a, an ideal
Acha ya (Gu u) should ha e six special quali ies:
1. Jnan – deep heo e ical knowledge,
2. Vijnan – p ac ical and specialized knowledge,
3. Ka an – egula skill h ough p ac ice,
4. Vachan – abili y o ecall and quo e om memo y,
5. P ayog-Siddhi – skill in applying music and d ama o eal-
li e p ac ice,
6. Nishpadan – abili y o ain and p oduce capable disciples.
These quali ies made he Gu u no jus a eache bu also a
spi i ual and cul u al guide o he s uden .
In he Gu ukul sys em, lea ning was esiden ial – he s uden
(Shishya) li ed wi h he Gu u and lea ned di ec ly h ough
obse a ion, p ac ice, and memo iza ion. This Gu u–Shishya
Pa ampa a ( eache –disciple adi ion) con inued o cen u ies.
Wi h oyal suppo , Gu us we e able o each eely wi hou
wo ying abou money. They conside ed eaching a mo al du y,
no a p o ession. They w o e down hei ideas and inno a ions
in manusc ip s. Temples became cen e s o bo h pe o mance
and esea ch in music, whe e p ac ical demons a ions and
logical discussions we e ca ied ou . Decisions made by g oups
o Acha yas, o en in he p esence o kings, became accep ed as
heo ies o music. Mos o hese heo ies ma ched wi h each
o he , showing li le disag eemen (Ghosh 94).
Gayak–Vadak–Na ak Pa ampa a
Alongside he Acha ya–Shishya Pa ampa a, he e was also he
Gayak–Vadak–Na ak Pa ampa a – pe o me s o singing
(Gayak), ins umen s (Vadak), and dance (Na ak). These we e
p o essional en e aine s who lea ned by imi a ing he music
augh in emples. They pe o med bo h in oyal cou s and o
he public.
Un il he 15 h cen u y A.D., Indian music could be di ided
in o h ee main ca ego ies:
1. Temple Music – led by Acha yas, de o ional and spi i ual,
2. Deshi Music – enjoyed by kings and oyal amilies,
3. Folk Music – o he common people.
Du ing he Sul ana e pe iod (1192–1526 A.D.) and he Mughal
pe iod (1526–1757 A.D.), Cou Music g ew in No h India,
while he Gu u–Shishya Pa ampa a slowly declined.
In he ime o Alauddin Khilji (1296–1316 A.D.), Khayal
singe s we e called Qawwals.
In he ime o Akba (1556–1606 A.D.), Dh upad singe s we e
called Kala an s.
Bo h Qawwals and Kala an s enjoyed high social espec , as
desc ibed by Muhammad Ka am Imam in his book Muadan-ul-
Musiki.
When he Gu u–Shishya Pa ampa a s a ed ading in he No h,
some Acha yas mig a ed o Sou h India, whe e hey con inued
o e o m and upli music.
Gu u–Shishya Pa ampa a (Teache –Disciple T adi ion)
In he Gu ukul sys em, s uden s li ed wi h he Gu u, obse ed,
p ac iced, and memo ized.
● Gu us augh as a du y, no o money, and we e suppo ed
by kings.
● Temples became cen e s o lea ning and pe o mance.
● G oups o Gu us discussed and c ea ed music heo ies,
which we e widely accep ed.
● Gayak–Vadak–Na ak Pa ampa a (Singe s,
Ins umen alis s, Dance s)
Apa om Gu us, he e we e p o essional pe o me s:
● Gayak – singe s
● Vadak – ins umen alis s
● Na ak – dance s
They lea ned by imi a ing emple music and pe o med in
cou s and public places.
Th ee Main Types o Music ( ill 15 h cen u y A.D.)
Changes in Medie al Times
● Du ing he Sul ana e pe iod (1192–1526) and Mughal
pe iod (1526–1757):
● Cou music became popula in No h India.
● Gu u–Shishya adi ion declined slowly.
Unde Alauddin Khilji (1296–1316), Khayal singe s we e
called Qawwals.
Unde Akba (1556–1606), Dh upad singe s we e called
Kala an s.
Bo h Qawwals and Kala an s we e highly espec ed.
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When adi ion weakened in he No h, some Gu us mo ed o
Sou h India and con inued hei pe o mances.
In he pas , Deshi music ga e ise o he adi ion o Gayak
(singe s), Vadak (ins umen alis s), and Na ak (dance s), who
la e became espec ed cou musicians. The e m “Gha ana”
s a ed being used in he la e 18 h cen u y, al hough i s oo s
we e p esen much ea lie (Ghosh 94–99).
A Gha ana e lec s he g ow h o social and cul u al a i udes
among p o essional musicians. O e ime, p o essionalism
became mo e impo an han he old adi ional alues o he
Gu u–Shishya sys em. In he olde sys em, heo y and p ac ice
we e equally impo an , bu du ing he medie al pe iod,
heo e ical and analy ical s udy declined, while p ac ical
pe o mance gained mo e impo ance wi h he ise o he
Gha ana adi ion.
● By he la e 19 h cen u y, some schola s and educa ionis s
s a ed paying a en ion o music again, which b ough
changes in socie y and cul u e. In he ea ly 20 h cen u y,
ins i u ional aining in music began. Two g ea igu es,
Pandi Vishnu Na ayan Bha khande and Pandi Vishnu
Digamba Paluska , a e emembe ed o hei majo
con ibu ions. They wo ked o sp ead he basics o
Hindus ani classical music among common people. They
o ganized semina s and conce s wi h amous maes os and
se up music ins i u ions, which s ill in luence music
educa ion oday.
Many o he con ibu o s also helped in he g ow h o
Hindus ani classical music in di e en ways, encou aging bo h
analy ical hinking and p ac ical lea ning. Today, he basics o
Hindus ani classical music a e augh as pa o he cu iculum
in many No h Indian ins i u ions, and esea ch con inues in his
ield.
C i ical Analysis
India has a e y ich cul u al he i age. Raga, an impo an
cul u al adi ion, en iches bo h Hindus ani and Ca na ic music
s yles. Hindus ani classical music especially uses wo e ms:
Nayaki – s yle o p esen a ion
Gayaki – a s yle o singing
A disciple lea ns many lessons om his Gu u du ing aining.
A e gaining enough knowledge, he disciple de elops he
abili y o go beyond he s yle o his own Gha ana. He can hen
mix his aining wi h pe sonal expe ience, and his unique
exp ession is called Gayaki. The same Raga may sound
di e en in di e en Gha anas, because o changes in he
numbe o no es, he choice o Thaa s (scale s uc u es), o
o he a ia ions. So, Gha ana aining is impo an , bu blending
ideas om di e en Maes os makes a Raga pe o mance iche
and mo e dynamic. Impo an elemen s like Meend (gliding
be ween no es), Sh u i (mic o ones), and Gamak ( as
oscilla ion o no es) a e necessa y o b ing ou he ue cha ac e
o a Raga. In he medie al pe iod, old Gee is (s yles o
composi ion) like Shuddha and Bhinna, connec ed wi h
adi ions like Gau haa and Daaga , we e used in Dh upad.
Ragda i e e s o he un olding o a Raga. I can be shown
ei he by he g adual de elopmen o no es in Dh upad o
h ough he p ope use o musical ph ases (special combina ions
o no es belonging o ha Raga).
Fou ypes o Va nas—Shayee, A ohi (ascending), A ohi
(descending), and Sancha i (mixed)—along wi h en essen ials
o Dhwani (sound) explained by Bha a Muni, a e impo an in
c ea ing a comple e Raga:
1. G aha – s a ing no e
2. Angsha – main/impo an no e
3. Taa – uppe no e
4. Mand a – lowe no e
5. Nyas – es ing/p olonged no e
6. Apanyas – empo a y es ing no e
7. Alpa a – a ely used no e
8. Bahu a – equen ly used no e
9. Shada – use o six no es
10. Auda – use o i e no es
A pe o me mus unde s and hese and o he musical e ms o
p esen a Raga wi h i s ue iden i y.
Today, many youngs e s a e lea ning Hindus ani classical
music, which is a posi i e sign. Bu he deep unde s anding and
con empla ion o Raga and Ragda i a e slowly dec easing.
Because o his, he ue passion o music is o en missing.
W ong singing s yles, lack o p ope o namen a ions, and oo
much meaningless juggling o no es make pe o mances
mechanical and emo ionless. These issues educe he beau y
and excellence o Hindus ani classical music.
CONCLUSION
The e is no keen di e ence be ween a Song and a Raga. The
pu pose o bo h he
Music is an exp ession o p ope eeling. In he case o a song,
p ope eeling is exp essed wi h he pe ec endi ion o Ly ic,
Tune, and Rhy hm. In he p esen a ion o a Raga, he ly ical
po ion is eplaced wi h Pakad o Ph ases (a combina ion o
ce ain no es), and p ope eeling may be ob ained wi h he
pe ec blending o he melodic s uc u e, de ini e a icula ion,
and hy hm. Alaap co e s a i al po ion o expose a Raga
which may igh ly be execu ed ei he in he o m o Dh upad o
ha o Khyal. The enowned pe o me s o all imes migh ha e
excelled wi h ce ain limbs o he Classical Fo ms, bu a
Lea ne o Hindus ani Classical Music, i espec i e o
Ins i u ions as well as T adi ions, should be awa e o all he
Angas (componen s) such as Behlawa, Badha , Bol-ba , Bol-
aan, e c., and should also be capable o pe o ming he same
ins ead. A wise lea ne mus know bo h he Theo e ical and
P ac ical po ions. They a e supposed o be he p ese e s o he
Cul u al He i age, keeping up all he Fo ms and S yles in ac
ins ead. A wise lea ne mus know bo h he Theo e ical and
P ac ical po ions. They a e
supposed o be he p ese e s o he Cul u al He i age, keeping
up all he Fo ms and S yles in ac . Pe o me s, Musicologis s,
Resea che s, C i ics, and App ecia o s will come up ou o he
gene a ion who will de ini ely che ish and sa e ou Cul u e.
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Abou he Co esponding Au ho
D . Tawsee Ahmad Wani is a esea che and schola
specializing in Hindus ani classical music. His academic
wo k ocuses on con empo a y challenges in
pe o mance p ac ices, cul u al p ese a ion, and
e ol ing musical adi ions. Th ough his esea ch, he
aims o con ibu e o sa egua ding classical he i age
while add essing mode n a is ic and pedagogical
conce ns.
