Society II: Oral Transmission and Heredity
Vidyadhar Vyas is the third generation of his family to be a professional singer. His grandfather, Paṇḍit Ganesh Vyas, was a temple singer, not a professional classical musician, though he was also an amateur sitar player. His father, Narayanrao Vyas, trained as a classical vocalist under Vishnu Digambar Paluskar, who came from a similar background and became a leading disciple of the Gwalior gharānā of khyāl. Vidyadhar Vyas was trained in khyāl by his father. Thus music is passed on from generation to generation, sometimes within the ranks of a particular family, sometimes within a network of musicians from different families. In either case, the music is learned and memorized largely without the aid of writing, and thus depends for its transmission on close personal relationships between teachers and disciples.
A gharānā, literally "household", is a lineage of musicians sharing a particular style and repertoire, often associated (in the past) with a particular court. Often the founding of a gharānā is attributed to a particular musician, whose unique musical compositions and/or style are preserved by successive generations of disciples. Usually the latter comprise, in the first instance, his sons, grandsons, nephews etc. As the gharānā grows in prestige, it attracts disciples from outside the family, who may in their turn transmit the knowledge they have learned to their own family members and disciples.
The Gwalior gharānā is associated with the city of Gwalior, a powerful Hindu kingdom close to the centres of Mughal power. Gwalior was associated with music as early as the 15th century, when the dhrupad genre of vocal music was developed at the court of Man Singh Tomar; it was also the birthplace of India's greatest musician, Miyan Tansen. But the Gwalior gharānā is a lineage of khyāl singers founded by the brothers Haddu and Hassu Khan, court musicians of the mid-19th century, who were not descendants of Tansen. Their style of singing khyāl was recognized as being unique and definitive, and was transmitted to several generations of their own family as well as to many Hindu disciples. It is the latter who have preserved the Gwalior style of khyāl to the present day; there are no performing members of the original family of hereditary court musicians today.
This method of preserving, transmitting and re-creating musical knowledge and skill is similar to the manner in which many kinds of craft and many kinds of knowledge, especially religious knowledge, are traditionally transmitted in South Asia.
The Benaras gharānā is a network of Hindu families based in Benaras (also known as Varanasi), specialising not only in tablā but also pakhāvaj, sārangī, and dance. Sandip Bhattacharya, whose family is from Bengal, was not born into the Benaras gharānā, but learned from its members as a non-family disciple. Members of this gharānā learn a repertoire that is in part different from that of other tablā gharānās, since each gharānā has special items composed by gharānā members; such items are closely guarded treasures that would not normally be revealed to non-members. Other distinguishing characteristics of this gharānā include the method of executing particular playing-techniques and the method of positioning the instruments, leading to a characteristic quality of sound. Thus an expert might be able to identify the gharānā of a musician just by listening to him play or sing.
See Sandip Bhattacharya's website, Sandip Bhattacharya, for more information about himself, his teachers, the genealogy of the gharānā, pictures, etc.
Ustad Shahid parvez & Pt. Sandip bhattacharya - Utrecht Nederland [ 00:00-00:00 ]
An Indian dancer serves as an instrument, accompanying music by producing rhythms through footwork, ankle bells, and other body movements.