Society I: Soloists and Accompanists
The social context of Indian classical music is complex and constantly changing. But some important aspects of that complexity are illustrated by the performers in the Vidyadhar Vyas listening example. These include (a) the relationship of soloists and accompanists as social categories; (b) the importance of oral transmission and heredity; (c) changes in the social status of music and musicians in the modern era.
Indian classical music is essentially a solo performance by a melodic soloist (vocal or instrumental), accompanied by other musicians who play a subordinate role in the performance. In the Vidyadhar Vyas listening example, it is the vocalist, Pandit Vidyadhar Vyas, who is the soloist. He decides all the essential aspects of the performance: he chooses the rāga, the tāla, the composition, the tempo, the pitch of the tonic, and the length of the performance. He is free to improvise as much as he wishes; he begins and ends the performance. The tablā player marks the course of time by playing the theka, but has limited scope for improvisation, unless he gives a solo performance. The tambūrā player has an even more limited role, that of maintaining the background drone, and he or she is often not even identified by name in recordings or concert programmes.
Composer: Vidyadhar Vyas
-
"Khyal in Raga Miyan ki Malhar"
Solo performers were traditionally regarded as artists, free to express their individuality, while accompanists are regarded more as craftsmen: however highly skilled and respected they may be, their contribution is not considered a creative one. The financial remuneration of performers reflects their status.
This hierarchy of musical responsibilities is a microcosm of South Asian society, which is traditionally divided into castes and other social groupings of unequal status and power. Since the 20th century, however, the status of accompanists has improved somewhat, and in instrumental music they may assume a more creative, soloistic role. Tablā players even give solo performances, accompanied by other instruments, in which case the tablā player is seen as the star of the show. However, vocal khyāl performance is still accompanied largely in the traditional manner.
A consequence of the solo-accompanist division is that soloists and accompanists have separate musical lineages. Vidyadhar Vyas represents the Gwalior gharānā of vocal khyāl; all members of this lineage have been vocalists. Sandip Bhattacharya represents the Benāras gharānā of tablā players.
