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UNIVERSITI PUTRA MALAYSIA

HARMONIC PROGRESSIONS OF HINDI FILM SONGS BASED ON NORTH INDIAN RAGAS

WAJJAKKARA KANKANAMALAGE RUWIN RANGEETH DIAS

FEM 2015 40

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HARMONIC PROGRESSIONS OF HINDI FILM SONGS BASED ON

NORTH INDIAN RAGAS

By


Thesis Submitted to the School of Graduate Studies, Universiti Putra Malaysia,

in Fulfilment of the Requirements for the Degree of Doctor of Philosophy

December 2015

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All material contained within the thesis, including without limitation text,

logos, icons, photographs and all other artwork, is copyright material of

Universiti Putra Malaysia unless otherwise stated. Use may be made of any

material contained within the thesis for non-commercial purposes from the

copyright holder. Commercial use of material may only be made with the

express, prior, written permission of Universiti Putra Malaysia.

Copyright © Universiti Putra Malaysia

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Abstract of thesis presented of the Senate of Universiti Putra Malaysia in

fulfilment of the requirements for the degree of Doctor of Philosophy

HARMONIC PROGRESSIONS OF HINDI FILM SONGS BASED ON

NORTH INDIAN RAGAS

By


December 2015

Chair: Gisa Jähnichen, PhD

Faculty: Human Ecology

Hindi film music directors have been composing raga based Hindi film songs

applying harmonic progressions as experienced through various contacts with

western music. This beginning of hybridization reached different levels in the

past nine decades in which Hindi films were produced. Early Hindi film music

used mostly musical genres of urban theatre traditions due to the fact that

many musicians and music directors came to the early film music industry

from urban theatre companies. Their music education included to a great part

western music transmitted through colonial formal education. Moreover,

Hindi film music directors use unique methods apart from average western

harmonization while blending North Indian ragas with harmonic progressions.

The pre-electronic music production period is in this regard the most

interesting since in this time period many compositions were successively

elaborated by learning film music composers. Special attention is, therefore,

given to the time between the 1960s and 1970s. There is a sufficient amount of

samples to choose from composed by Hindi film music directors, who

composed raga based Hindi film songs that they were hybridizing with

harmonic progressions. However, this ‘learning’ period paved the way for

further applications of harmonic progressions in Hindi film music generally

and deserves therefore a close look in order to understand current

developments.

Three composers and composer duos selected show remarkable differences in

their approaches and seem to represent the diversity of raga based film songs

with harmonic progressions. The selected Hindi film music directors are the

composer duo Shankar and Jaikishan, the composer Rahul Dev Burman, and

the composer duo Laxmikant and Pyarelal.

Musical analysis is conducted using spectral analysis, simplified analysis of

harmonic progressions, and a thorough raga analysis. Personal

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communications with music directors and related literature are elaborated to

support the analysis. This study is to answer the question: how and why

North Indian ragas are hybridized with Western harmonic progressions in

Hindi film songs. This question is followed by sub questions: Did Hindi film

music directors apply harmonic progressions on a raga based Hindi film song

purposely or by chance? If they applied harmonic progressions purposely, is it

to increase the attractiveness of the song, or did they just make use of their

educational advantages? How other music composers’ creations influenced

Hindi film music directors and how are music directors perceived by the

audience? How diverse and how complex are harmonic progressions used in

Hindi film songs? How are different ragas linked in Hindi film songs using

harmonic progressions? Are there any possibilities to shift tonics in ragas

through harmonic progressions, which may definitely modify the perception of

ragas? These questions are discussed in this study.

This study is to stimulate discussion on the understanding of hybridization

methods used in the pre electronic era of Hindi film songs and to lead to a

higher awareness of current developments in Hindi film music, including the

phenomenon of its high popularity in cultural exchange with cultures outside

India. Methodically, this study allows analyzing Hindi film songs in a broader

sense to scrutinize North Indian ragas and harmonic progressions in their

immediate cultural environment. It is important to the community of present

musicians that are interested in hybridizing music of diverse cultural origin.

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Abstrak tesis yang dikemukakan kepada Senat Universiti Putra Malaysia

sebagai memenuhi keperluan untuk ijazah Doktor Falsafah

PROGRESI HARMONIK LAGU FILEM HINDI BERDASARKAN

RAGA-RAGA INDIA UTARA

Oleh


Disember 2015

Pengerusi: Gisa Jähnichen, PhD

Fakulti: Ekologi Manusia

Pengarah muzik filem Hindi telah mengarang raga berasaskan lagu-lagu filem

Hindi dengan menguna pakai progresi harmonik yang dialami melalui

pelbagai hubungan dengan muzik barat. Ini merupakan permulaan

penghibridan yang telah mencapai perbezaan tahap dalam tempoh sembilan

dekad yang lalu di mana filem-filem Hindi dihasilkan. Pada awalnya, muzik

yang digunakan di dalam filem Hindi kebanyakannya dari genre muzik tradisi

teater bandar disebabkan oleh hakikat bahawa ramai pemuzik dan pengarah

muzik datang kepada industri muzik filem awal adalah mereka yang berasal

dari syarikat teater bandar. Sebahagian besar pendidikan muzik mereka adalah

muzik barat yang dipengaruhi melalui pendidikan formal dizaman

penjajah.Sehubungan dengan itu, pengarah muzik filem Hindi turut

menggunakan kaedah unik selain daripada pengharmonian barat yang lazim

ia digabung jalin bersama raga progresi harmonik dari India utara. Dizaman

produksi muzik pra-elektronik dalam hal ini merupakan zaman yang paling

menarik kerana dalam tempoh ini banyak komposisi telah berturut-turut

dihuraikan dengan mempelajari melalui komposer muzik filem. Perhatian

khusus kepada masa diantara sekitar tahun 1960-an dan 1970-an. Terdapat

jumlah yang mencukupi daripada sampel untuk dipilih dimana penghibridan

raga dengan progresi harmonik berasaskan lagu filem Hindi dihasilkan oleh

pengarah muzik filem Hindi. Walau bagaimanapun, tempoh 'pembelajaran' ini

membuka jalan kepada penggunaan lanjut progresi harmonik dalam muzik

filem Hindi amnya dan ianya wajar dilihat dengan lebih dekat demi

memahami perkembangan semasa.

Ketiga-tiga lagu dan komposer bersama dipilih untuk menunjukkan perbezaan

yang luar biasa dalam pendekatan mereka dan seolah-olah mewakili

kepelbagaian raga berdasarkan lagu-lagu filem dengan pengunaan progresi

harmonik. Pengarah muzik filem Hindi serta komposer yang dipilih adalah

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komposer bersama Shankar dan Jaikishan, komposer Rahul Dev Burman, serta

komposer bersama Laxmikant dan Pyarelal.

Analisis muzik dijalankan adalah melalui analisis spektrum yang menganalisa

progresi harmonik, dan analisis raga secara menyeluruh. Komunikasi peribadi

bersama pengarah muzik dan sastera berkaitan, dihuraikan untuk menyokong

analisis ini. Kajian ini bertujuan untuk menjawab soalan: mengapa dan

bagaimana penghibridan raga India utara India raga dengan progresi

harmonik Barat dalam lagu-lagu filem Hindi. Soalan ini diikuti oleh sub

soalan: Adakah pengarah muzik filem Hindi mengunakan progresi harmonik

pada raga yang berdasarkan lagu Hindi filem secara sengaja atau kebetulan?

Jika mereka mengunakan progresi harmonik dengan sengaja, adakah hal ini

bertujuan untuk meningkatkan daya tarikan lagu itu atau mereka yang hanya

menggunakan kelebihan ilmu mereka? Bagaimana pula dengan ciptaan

komposer muzik lain mempengaruhi pengarah muzik filem Hindi dan

bagaimana pengarah muzik ini dilihat dari kaca mata penonton? Bagaimana

kepelbagaian serta rumitnya progresi harmonik yang digunakan dalam lagu-

lagu filem Hindi? Apa perbezaanya raga-raga yang menggunakan progresi

harmonik dan kaitannya dalam lagu-lagu filem Hindi? Adakah terdapat

sebarang kemungkinan untuk beralih tonik atau nota pertama didalam

sesebuah tangga nada pada raga-raga menerusi progresi harmonik, yang boleh

mengubah persepsi raga? Soalan-soalan ini akan dibincangkan dalam kajian

ini.

Kajian ini adalah untuk merangsang perbincangan mengenai pemahaman

kaedah penghibridan yang digunakan dalam lagu filem Hindi pada era pra

elektronik yang membawa kepada kesedaran yang lebih tinggi perihal

perkembangan terkini muzik filem Hindi. Ini termasuk fenomena

popularitinya yang tinggi dalam pertukaran budaya didalam dan di luar India.

Methodologinya, kajian ini membolehkan penganalisaan yang lebih luas

keatas lagu filem Hindi bagi meneliti progresi harmonik raga-raga India utara

dalam persekitaran budaya mereka dengan lebih. Ia adalah penting kepada

masyarakat pemuzik semasa yang berminat untuk menguna pakai muzik

penghibridan dari budaya yang pelbagai.

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I certify that a Thesis Examination Committee has met on 9 December 2015

to conduct the final examination of Wajjakkara Kankanamalage Ruwin

Rangeeth Dias on his thesis entitled "Harmonic Progressions of Hindi Film

Songs based on North Indian Ragas" in accordance with the Universities and

University Colleges Act 1971 and the Constitution of the Universiti Putra

Malaysia [P.U. (A) 106] 15 March 1998. The Committee recommends that the

student be awarded the Doctor of Philosophy.

Members of the Thesis Examination Committee were as follows:

Zaid bin Ahmad, PhD

Professor

Faculty of Human Ecology

Univeristi Putra Malaysia

(Chairperson)

Ahmad Tarmizi bin Talib, PhD

Associate Professor


Universiti Putra Malaysia

(Internal Examiner)

Tina K. Ramnarine, PhD

Professor

University of London

United Kingdom

(External Examiner)

Manfred Bartmann, PhD

Professor

University of Salzburg

Austria

(External Examiner)

____________________________

ZULKARNAIN ZAINAL, PhD

Professor and Deputy Dean

School of Graduate Studies


Date: 16 February 2016

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This thesis was submitted to the Senate of Universiti Putra Malaysia and has

been accepted as fulfilment of the requirement for the degree of Doctor of

Philosophy. The members of the Supervisory Committee were as follows:

Gisa Jähnichen, PhD

Professor



(Chairperson)

Made Mantle Hood, PhD

Associate Professor



(Member)

Sarjit Singh A/L Darshan Singh, PhD

Associate Professor



(Member)

______________________________

BUJANG BIN KIM HUAT, PhD

Professor and Dean

School of Graduate Studies


Date:

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Declaration by Graduate Student

I hereby confirm that:

this thesis is my original work;

quotations, illustrations and citations have been duly referenced;

this thesis has not been submitted previously or concurrently for any other

degree at any other institutions;

intellectual property from the thesis and copyright of thesis are fully-

owned by Universiti Putra Malaysia, as according to the Universiti Putra

Malaysia (Research) Rules 2012;

written permission must be obtained from supervisor and the office of

Deputy Vice-Chancellor (Research and Innovation) before thesis is

published (in the form of written, printed or in electronic form) including

books, journals, modules, proceedings, popular writings, seminar papers,

manuscripts, posters, reports, lecture notes, learning modules or any other

materials as stated in the Universiti Putra Malaysia (Research) Rules 2012;

there is no plagiarism or data falsification/fabrication in the thesis, and

scholarly integrity is upheld as according to the Universiti Putra Malaysia

(Graduate Studies) Rules 2003 (Revision 2012-2013) and the Universiti

Putra Malaysia (Research) Rules 2012. The thesis has undergone

plagiarism detection software.

Signature: Date:

Name and Matric No.: Wajjakkara Kankanamalage Ruwin Rangeeth Dias (GS33517)

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Declaration by Members of Supervisory Committee

This is to confirm that:

the research conducted and the writing of this thesis was under our

supervision;

supervision responsibilities as stated in the Universiti Putra Malaysia

(Graduate Studies) Rules 2003 (Revision 2012-2013) are adhered to.

Signature:

Name of Chairperson of

Supervisory Committee:

Signature:

Name of Member of


Signature:

Name of Member of


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TABLE OF CONTENTS

Page

ABSTRACT i

ABSTRAK iii

APPROVAL v

DECLARATION vii

LIST OF TABLES xii

LIST OF FIGURES xiv

LIST OF EXAMPLES xviii

CHAPTER

1 INTRODUCTION 1

1.1 Background of Study 1

1.2 Statement of the Problem and Research Questions 1

1.3 Objectives of the Study 2

1.4 Significance of the Study 3

1.5 Limitation of the Study 3

1.6 Methodology and Organisation of Thesis 4

1.7 Definitions and Terminology 11

1.7.1 Terms Used in North Indian Music 11

1.7.2 Different Melodic Shapes Used in North Indian

Music 13

1.7.3 Terms Used in Hindi Film Music 14

2 LITERATURE REVIEW ON HISTORICAL, SOCIOLOGICAL,

AND MUSICOLOGICAL ASPECTS OF HINDI FILM MUSIC 15

2.1 Historical Aspects of Hindi Film Songs 15

2.2 Sociological Aspects of Hindi Film Songs 18

2.3 Musicological Aspects of Hindi Film Songs 25

3 SHANKAR SINGH RAGHUVANSHI AND JAIKISHAN

DAYABHAI PANCHAL 30

3.1 Formative Music Education and Personal Reflections on

of Shankar Singh Raghuvanshi, and Jaikishan Dayabhai

Panchal 30

3.2 Professional Experiences 31

3.3 Analysis of Baharon Phool Barsavo Hindi Film Song 32

3.3.1 Melodic Lines and Harmonic Progressions 33

3.3.2 Raga Analysis 36

3.3.2.1 Raga Shivranjani 37

3.4 Analysis of Badan Pe Sitare Hindi Film Song 41


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3.4.2.1 Raga Dhani 45

3.4.2.2 Raga Dhani and Raga Madmad

Saranga 46

4 RAHUL DEV BURMAN 49


Rahul Dev Burman 49


4.3 Analysis of Hindi Film Song Churaliya Hai Thumne 53



4.3.2.1 Raga Mishra Pilu 58

4.3.2.2 Raga Kafi 58

4.4 Analysis of Hindi Film Song Mere Naina Sawan Bhandon 64



4.4.2.1 Raga Shivranjani 69

4.4.2.2 Raga Kalavati 70

5 LAXMIKANT SHANTARAM KUDALKAR AND PYARELAL

RAMPRASAD SHARMA 75


Laxmikant Shantaram Kudalkar, and Pyarelal

Ramprasad Sharma 75


5.3 Analysis of Hindi Film Song Sawan Ka Mahina 82



5.3.2.1 Raga Pahadi 85

5.4 Analysis of Hindi Film Song Satyam Shivam Sundaram 87


5.4.1.1 Raga Darbari Kanada 88

5.4.1.2 Raga Mishra Pilu 90


6 DISCUSSION 97

6.1 Hybridization in Hindi Film Songs 97

6.1.1 Harmonic Progressions used in Hindi Film

Songs 97

6.1.2 Linkage of Ragas within Hindi Film Songs

Hybridized with Harmonic Progressions 106

6.1.3 Shifting Tonics through Harmonic Progressions 110

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and Changing Perception of Ragas

6.2 Music Directors in Cultural Discourse 111

6.2.1 Viewpoint of the Audience 111

6.2.2 Viewpoint of the Musicians 113

6.3 Genuineness in Hindi Film Songs 116

6.3.1 Contributions of Arrangers and Musicians to

Hindi Film Songs 116

6.3.2 Anthony Gonsalves’ Impact on Laxmikant &

Pyarelal’s Music as an Example of Genuineness 119

6.3.3 Ethical Issues and Modernity 121

7 SUMMARY AND CONCLUSION 124

7.1 Diversity of Harmonic Progressions in Hindi Film Songs 124

7.2 Processes of Hybridizing Raga with Harmonic

Progressions 125

7.3 Purpose or Chance 126

7.4 The Perception of Music Directors 127

7.5 Genuineness in Hindi Film Songs 128

7.6 Some Thoughts on the Audience 130

BIBLIOGRAPHY 132

APPENDICES

A Transcriptions of Hindi Film Songs 140

A.1 Hindi Film Song Bahaaron Phool Barsavo 143

A.2 Hindi Film Song Badan Pe Sitare 146

A.3 Hindi Film Song Churaliya Hai Thumne 147

A.4 Hindi Film Song Mere Naina Sawan Bhandon 172

A.5 Hindi Film Song Sawan Ka Mahina 175

A.6 Hindi Film Song Satyam Shivam Sundaram 178

B List of Music Arrangers and Orchestra Musicians 183

B.1 Music Arrangers and Orchestra Musicians of

Shankar and Jaikishan 183

B.2 Music Arrangers and Orchestra Musicians of

Rahul Dev Burman 185

C Filmography 187

C.1 Shankar and Jaikishan Filmography 187

C.2 Rahul Dev Burman Filmography 195

C.3 Laxmikant and Pyarelal Filmography 198

BIODATA OF STUDENT 204

LIST OF PUBLICATIONS 205

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LIST OF TABLES

Table Page

1 Interviews done during fieldwork, and other personal

communication. 5

2 Overview on data collection. 6

3 Murchana. 12

4 Intervals between tones. 12

5 Similar ragas and modes. 12

6 Different harmonic progression patterns in the song. 33

7 Overview of harmonic progression Pattern II and II*. 33

8 Overview of harmonic progression Pattern II and II* in the second,

third and fourth stanzas. 34

9 Overview of harmonic progression Pattern III and III*. 34

10 Overview of harmonic progression Pattern III and III* appears in

first, second and third interludes. 35

11 Overview of harmonic progression Pattern I. 38



14 Overview of harmonic progression Pattern II. 42

15 Overview of harmonic progression Pattern III. 43

16 Overview of harmonic progression Pattern IV. 43

17 Overview of harmonic progression Pattern V. 44

18 Different harmonic progression patterns in the interludes. 44


20 Overview of harmonic progression Pattern III2, III2*and III3 that are

obviously quite different but applied on the same melody. 57

21 Different bass rhythms of the song. 57



24 Harmonic progression Pattern III in the song. 66

25 Overview of harmonic progression Pattern III. 73

26 Filmfare nominations and awards for best film music during 1965–

1994 received by Laxmikant and Pyarelal. The grey shaded boxes

show the years in which they were neither nominated nor

awarded. 79

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27 Number of films for which Laxmikant and Pyarelal composed

music each year during 1970–1980. 81



30 Overview of harmonic progression Pattern III and III*. 84

31 Overview of harmonic progression Pattern IV, V, VI and VII. 84

32 Scheme of harmonic progressions in the first stanza of Satyam

Shivam Sundaram song. 94

33 Similar Harmonic progressions with few modifications. 95

34 Different harmonic progression patterns in the song Baharon Phool

Barsavo. Key is transposed to C-minor from A-minor [Example 1]. 97

35 Different harmonic progression patterns in the song Baharon Phool

Barsavo. 98

36 Different harmonic progression patterns in the song Mere Naina

Sawan Bhandon [Example 4]. 98

37 Different harmonic progression patterns in the song Mere Naina

Sawan Bhandon. 99

38 Different harmonic progression patterns in the song Badan Pe Sitare

[Example 2]. 101

39 Different harmonic progression patterns in the song Badan Pe Sitare. 101

40 Different harmonic progression patterns in the song Churaliya Hai

Thumne [Example 3] 103

41 Different harmonic progression patterns in the song Churaliya Hai

Thumne. 103

42 Different harmonic progression patterns in the song Satyam Shivam

Sundaram [Example 6]. 104

43 Different harmonic progression patterns in the song Sawan Ka

Mahina [Example 5]. 105

44 Basic comparison between two songs. 122

45 Details of some selected well-known songs that are inspired or

plagiarized from songs of other composers. 122

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LIST OF FIGURES

Figure Page

1 Possible melodic shapes in khatka 13

2 Melodic movements of harmonic progression Pattern I 33

3 Melodic movements of harmonic progression Pattern II and II* 34

4 Melodic movements of the first and third interludes. 35

5 Melodic movements of second interlude. 36

6 Different chords appearing in the song Baharon Phool Barsavo. 36

7 Ascending and descending of raga Shivranjanai 37

8 Melodic line of the harmonic progression Pattern I 38

9 Three different interconnected melodic lines in harmonic

progression Pattern I. 38

10 Ragas in Melodic Sequence I. 39

11 Melodic line of the harmonic progression Pattern I. 39

12 Ragas in Melodic Sequence II and II*(transposed to C minor). 39

13 Strange phrases to rag Shivranjani in the first and third interludes. 40

14 Raga Saraswathi in the first and third interludes. 40

15 Phrases of raga Maru Bihag in the second interlude. 40

16 Melodic patterns represented in harmonic progression Pattern I. 42

17 Melodic patterns represented in harmonic progression Pattern II. 42

18 Melodic patterns represented in harmonic progression Pattern III. 43

19 Melodic patterns represented in harmonic progression Pattern IV. 44

20 Melodic patterns represented in harmonic progression Pattern V. 44

21 Different chords appear in the song Badan Pe Sitare. 45

22 Ascending and descending phrases in raga Dhani. 45

23 Transposing Melodic Sequence I. 46


25 Ragas in Melodic Sequence II. 47

26 Ragas in Melodic Sequence III. 47

27 Ragas in Melodic Sequence IV. 47

28 Melodic sequence in Introduction IV. 47


30 Similar sections in Pattern I. Notation and scheme by Ruwin

Rangeeth Dias/ Gisa Jähnichen. 55

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31 Bass guitar melody descending from second inversion of A-minor to

root position of G-major using the chromatic beginning in the

second half of Bar 17, 24, 48 and 78. 55

32 Similar sections in Pattern I2. 55

33 Similar sections in Pattern II. 56

34 Differences in bass melody which represent Pattern II2. 56

35 Differences in bass melody which represent varies patterns of III. 56

36 Different chords progressions for the similar melodic lines. 57

37 Ascending and descending of raga Mishra Pilu. 58

38 Main phrase of raga Mishra Pilu. 58

39 Approximate ascending and descending structure of raga Kafi. 59

40 Main phrases of raga Kafi. 59

41 Melodic sequence represented in harmonic progression Pattern I. 60


43 Melodic sequences in harmonic progression Pattern I2. 60

44 Ragas in Melodic Sequence I2. 61

45 Melodic patterns represented in harmonic progression Pattern II, II2

and II2* 61

46 Ragas in melodic Pattern II. 61

47 Ragas in Melodic Sequence III. 62

48 Ragas in Bar 57–60 of second interlude. 62

49 Similar melodic lines in second interlude. 63

50 Ragas in Bar 56, 64 and 65 of the second interlude. 63

51 Gliding movements in Bar 13–14 (00:00:37–00:00:42). 63

52 Vibrato on tone G# in Bar 15–16 (00:00:43–00:00:48). 64


54 Similar sections in Pattern II. 65

55 Different chords appearing in stanzas and interludes in the song

Mere Naina Sawan Bhandon. 67

56 Chords appearing in the stanzas. 67

57 Chords appearing in the interludes. 68

58 First interlude. 68

59 Second interlude. 68

60 Ascending and descending of raga Shivranjani. 69

61 Ascending and descending of raga Kalavati. 70

62 Melodic line represents the harmonic progression Pattern I. 70

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63 Three different interconnected melodic lines in harmonic

progression Pattern I. 71


65 Gliding movements and vibrato in Bar 1–2 (00:00:41–00:00:45). 71

66 Gliding movements and vibrato in Bar 3–7 (00:00:45–00:00:54). 72

67 Melodic line represents the harmonic progression Pattern II and II*. 72

68 Melodic line of the harmonic progression Pattern III. 73

69 Ragas in melodic Pattern III. 73

70 Ascending of raga Shivranjani and raga Bhoopali. 73

71 Harmonic progression Pattern I in first stanza. 83

72 Harmonic progression Pattern I* in last stanza. 83

73 Different chords progressions for similar melodic lines. 83

74 Harmonic progression Pattern III and III* in first and last interlude. 84

75 Different chords in the song. 85

76 Abstract ascending and descending of raga Pahadi. 86

77 Pa Ga Pa Dha Sa sangati (G –E–G–A–C). 86

78 Ri Ma Ga Ri Sa Ni Dha sangati (D –F–E–D–C–B–A). 86

79 Nib Dha Pa sangati (Bb–A–G). 86

80 Dha Pa Ma Ga Pa Dha Sa sangati (A–G–F–E–G–A–C). 86

81 Ga Gab Ga Pa Ga Ri Sa sangati (E–Eb–E–G–E–D–C). 86

82 Ri Sa Ni Dha Pa Ma Ga sangati (D–C–B –A–G–F–E). 86

83 Ga Pa Dha Sa Ri Gab Ri sangati (E–G–A–C–D–Eb–D). 86

84 Raga Pahadi in harmonic progression Pattern I. 86

85 Raga Pahadi in harmonic progression Pattern II. 86

86 Raga Pahadi in harmonic progression Pattern III and III*. 87

87 Raga Pahadi in harmonic progression Pattern IV and V. 87

88 Harmonic progression Pattern VI and VII. 87

89 Notation and the spectral picture showing the basic movements of

the Darbari Kanada raga. 88

90 Nib Pa sangati (Bb –G). 89

91 Gab Ma Ri Sa sangati (Eb –F–D–C). 89

92 Nib Ma Pa sangati (Bb–F–G). 89

93 Dhab Nib Śa sangati (Ab–Bb–C). 89

94 Nib Pa Gab sangati (Bb–G–Eb). 89

95 Śa Dhab Nib Pa sangati (C–Ab–Bb–G). 89

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96 Ascending and descending phrases in raga Mishra Pilu. 90

97 Essential melodic shape I of raga Darbari Kanada (Nib Pa sangati) in

Bar 24. 90

98 Essential melodic shape in Figure 91 (Gab Ma Ri Sa sangati) in Bar

18. 90

99 Melodic shape shown in Figure 91 (Gab Ma Ri Śa sangati) of raga

Darbari Kanada in Bar 18. 91

100 Essential melodic shape shown in Figure 93 of raga Darbari Kanada

(Dhab Nib Śa sangati). 91

101 The Dhab Nib Śa sangati between the 1st and 12th bars of the song. 92

102 1st interlude of the song Satyam Shivam Sundaram which is parting

from the root raga Darbari Kanada on which the song is based. 92

103 Different meends between Bar 111 and 117 of the song. 93

104 The oscillation of a minor 3rd tone in Bar 98. 93

105 The murkhi in film song Satyam Shivam Sundaram, Bar 15–16

(0:03:05-0:03:08). 94

106 Melodic lines and their contour in the 4th, 7th and 8th lines. 94

107 Different ragas in the beginning of second stanza. 95

108 Common features of ragas Mishra Kafi and Mishra Pilu in the end

of the second stanza/melodic line of Bar 73–80. 95

109 Traces of raga Malkouns, Mishra Pilu and Darbari Kanada in Bar

81–88. 96

110 Different chords appearing in stanzas and interludes in the song

Mere Naina Sawan Bhandon. 99

111 Chords appearing in the stanzas of Hindi film song Mere Naina

Sawan Bhandon. 100

112 Chords appearing in the interludes of Hindi film song Mere Naina

Sawan Bhandon. 101

113 Different chords appearing in stanzas and interludes in the Hindi

film song Badan Pe Sitare. 102

114 Phrases of raga Maru Bihag in the second interlude of Baharon Phool

Barsavo. 111

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LIST OF EXAMPLES

Example Page

1 The song Bahaaron Phool Barsavo composed by Shankar and

Jaikishan for the Hindi film Suraj in 1966

Singer: Mohammed Rafi 143

2 The Song Badan Pe Sitare composed by Shankar and Jaikishan for

the Hindi film Prince in 1969

Singer: Mohammed Rafi 146

3 The Song Churaliya Hai Thumne composed by Rahul Dev Burman

for the Hindi film Yaadon Ki Bharat in 1973

Singers: Asha Bhosle and Mohammed Rafi 147

4 The Song Mere Naina Sawan Bhandon composed by Rahul Dev

Burman for the Hindi film Mehbooba in 1976

Singer: Kishore Kumar 172

5 The Song Sawan Ka Mahina composed by Laxmikant and Pyarelal

for the Hindi film Milan in 1967

Singers: Lata Mangeshkar and Mukesh 175

6 The Song Satyam Shivam Sundaram composed by Laxmikant and

Pyarelal for the Hindi film ‘Satyam Shivam Sundaram’ in 1978

Singer: Lata Mangeshkar 178

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CHAPTER 1

INTRODUCTION

1.1 Background of the Study

Hindi film music composers have been composing raga based Hindi film songs

applying harmonic progressions as they became experienced through various

contacts with western music. This beginning of hybridization reached different

levels in the past nine decades in which Hindi films were produced. Early

Hindi film music used mostly musical genres of urban theatre traditions due to

the fact that many musicians and music composers came to the early film

music industry from urban theatre companies. Their music education included

to a great part western music transmitted through colonial formal education.

Moreover, Hindi film music composers use unique methods apart from

average western harmonization while blending North Indian ragas with

harmonic progressions. The pre-electronic music production period is in this

regard the most interesting since in this time period many compositions were

successively elaborated by learning film music composers. Special attention is,

therefore, given to the time between the 1960s and 1970s. There is a sufficient

amount of samples to choose from composed by Hindi film music composers,

who compose raga based Hindi film songs hybridizing with harmonic

progressions. In later times, harmonic progressions were used mainly as self-

generating outcomes from synthesizers or digital devices, so, it can hardly be

compared with the achievements done in the period mentioned. However, this

‘learning’ period paved the way for further applications of harmonic

progressions in Hindi film music generally and deserves therefore a close look

in order to understand current developments.

1.2 Statement of Problem and Research Questions

As a result of globalization, harmonic progressions are distributed in many

types of music productions, among them in film music, especially in songs,

that carry an important meaning for the identity of the film, the idealisation of

its heros and the world wide distributed story plot. Nevertheless, there are so

far no reliable studies on hybridization methods used in Hindi film songs

before globally distributed studio software and electronic music instruments

connected to it emerged in Bollywood. The most interesting part is, therefore,

how these harmonic progressions applied came into being through individual

efforts and beginnings of self-imposed Western dominance in music

production that was once strongly related to a well studied and highly

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regarded local music practice such as raga-based music used in dramatic

context.

The following problems have to be solved in the context of this study using

mainly musical analysis in its broad sense:

How and why North Indian ragas are hybridized with Western harmonic

progressions in Hindi film songs.

How diverse and how complex are harmonic progressions used in Hindi

film songs?

How are different ragas linked in Hindi film songs using harmonic

progressions?

How do shifted tonics caused through harmonic progressions in Hindi

film songs modify the perception of ragas?

Did Hindi film music composers apply harmonic progressions on a raga

based Hindi film song purposely or by chance? If they applied harmonic

progressions purposely, is it to increase the attractiveness of the song, or

did they just make use of their educational advantages in their creations?

How are music directors perceived by the audience?

What is genuineness in Hindi film songs?

How other music composers’ creations influenced Hindi film music

composers?

1.3 Objectives of the Study

The main objective of this study is to identify how North Indian ragas were

hybridized with harmonic progressions in selected Hindi film songs. The

selection is based on the pre-electronic music production period of the 1960s

and 1970s and considers Hindi film music composers that represent this period

in a typical yet diverse and individual way. First, the real extent of ragas

applied in selected Hindi film songs has to be determined followed by the

identification of diversity in harmonic progressions used in these Hindi film

songs. In detail, there is to scrutinize whether the Hindi film music composers

apply harmonic progressions on a raga based Hindi film song purposely or by

chance. It is to look at how Hindi film music composers adopted and made use

of compositions of others. Another important question is to be answered

through analysing how different ragas are linked in Hindi film songs using

harmonic progressions. An analysis of the complexity in harmonic

progressions applied on raga-based Hindi film songs can help to understand

the development of certain aesthetic standard in applying harmonic

progressions. The possibility of shifting tonics in ragas through harmonic

progressions modifies the perception of the ragas that appear in result of it as

well as the typology of harmonic progressions within raga-based Hindi film

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songs. Finally, this study contributes to a better understanding of musical

methods and composition techniques applied by Hindi film music composers

in a time preceding electronic applications of harmonic programming.

1.4 Significance of the Study

Though globalization and a growing interest in hybridization, regarding music

practices such as jazz or fusion music can be observed, there are so far no

publications available which focus on these hybridization methods in Hindi

film songs. There were several researchers working on different areas of Hindi

film songs like, utility of North Indian music in Hindi film songs, and others

related to visual contexts, political issues, and commercialization of Hindi film

music done. This study may serve as a pioneering contribution to

hybridization methods of raga based Hindi film songs that apply harmonic

progressions.

Furthermore, this study will stimulate discussion on the understanding of

hybridization methods used in the pre electronic era of the Hindi film songs

and lead to a higher awareness of current developments in Hindi film music,

including the phenomenon of its high popularity in cultural exchange with

cultures outside India. Methodically, this study allows analyzing Hindi film

songs in a broader sense to scrutinize North Indian ragas and harmonic

progressions respectively. This musicological research outcome will enhance

the quantity of researches on Hindi film music, especially on its musical

aspects, and provide research outcomes that can be applied in related topics. It

is important to the community of present musicians that are interested in

Hybridizing music of diverse cultural origin. Therefore, this study can serve as

a contribution pioneering in identifying unique hybridization methods used in

raga based Hindi film songs that apply harmonic progressions, and also to

identify the notch of cosmopolitan exchange between India and Europe.

1.5 Limitation of the Study

The discussion of selected phenomena among Hindi film songs does not cover

the aspects of musical practices related to computerized music, which

incorporates digital technology. This study is not supposed to analyze Hindi

film songs created by all music composers in the chosen time period from

1960s to 1970s. Lyrics and meanings of songs will only be addressed in the

discussion as far as important for the choice of musical elements in the

respective compositions, as these musical practices would deserve a different

kind of attention and other detailed research. Musical analysis applies only on

methods and techniques used in the selected composition of selected music

composers and cannot be seen as a comprehensive investigation into Hindi

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Film music in general or in the composition style of one of the composers over

his/their eintire life time.

1.6 Methodology and Organization of the Thesis

This study applies predominantly qualitative research methods. It is mainly a

musicological research which is dominated by musical analysis modified

according to the actual necessities. Further, descriptive historical methods and

narrative analysis are applied in this study.

The data for this study are collected from diverse sources. Primary data in this

research are materials collected through interviews. Semi structured interviews

were to gather data from Hindi film music directors and other orchestra

musicians who provided useful information related to social situation, cultural

environment and details of the creative process. Mumbai is the capital of Hindi

films. Hindi film music directors, all the orchestra musicians, singers and all

production studios are situated in this city. Therefore, Mumbai is selected as

the main place for the field work. Since the beginning of sound films produced

in India many music directors and musicians hired staff from India, Sri Lanka

and Malaysia. Therefore, apart from Indian film musicians, Sri Lankan and

Malaysian musicians are interviewed to gather data for this research being

conducted from March 2012 to January 2015. The interviews and other

personal communications took place during this period in India, Sri Lanka and

Malaysia. The overview of interviews and personal communications during

this period is shown in Table 1.

Audio recordings of interviews have been done with a ‘Kingston K-PEX 100 -

Portable Media Recorder’.

Musical sources were obtained through downloads of streamed music and

through extracting audio from DVDs. The quality of these audio files is not

always of high standard but sufficient for the purpose of this study. Music

Time Deluxe and Adobe Audition software are used to transcribe music and to

get spectral view pictures.

Other important sources of information are both written and audiovisual

materials. Written materials include monographies, research papers, theses,

news paper articles and magazines.

Audiovisual materials contain further Hindi film DVD’s, audio compact discs

of Hindi film documentaries, and interviews conducted by television and radio

stations with the selected music composers. These audiovisuals were collected

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in archives and libraries, or were bought on the market. The overview of data

collection is included in the Table 2.

Table 1: Interviews done during fieldwork, and other personal communication.

Name Identity Venue Date of Interview or

Personal Communication

Pyarelal Sharma Music director- Hindi

film music industry Mumbai 8 January 2014

Sanjeev Kohil Music director- Hindi


Homi Mullan ‘Sitting musician’ Mumbai 22 January 2015

Kersi Lord Music arranger- Hindi


V.S.Narasimhan Violinist/composer/

arranger in Hindi and

Tamil film music

industry

Ram Nagar

Fort,

Varanasi

Group discussion (2002)

Krishna Murali Violinist in Hindi and

Tamil film music

industry

V.R.Sekar Cellist in Hindi and

Tamil film music

industry

B.J.Chandran Violist in Hindi and

Tamil film music

industry

Sunila Sharma Wife of the Hindi film

music director Pyarelal

Sharma

Mumbai 14 January 2014

Manek Premchand Hindi film music critic

and author of Mumbai 8 January 2014

Dhammika

Dissanayake

Lecturer in film

studies/ Filmmaker Colombo 28 August 2012

Hemapala Perera Sri Lankan

musician/North Indian

classical instrumental

soloist (flute, guitar,

and mandolin)/ music

composer/music

arranger (including

harmonic

progressions)

Nugegoda 28 August 2012

Buddhika Perera Sri Lankan musician Colombo 19 January 2015

Ishani Ranganath Lecturer in dance/

Sri Lankan dancer and

music director

Kelaniya 18 January 2015

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Name Identity Venue Date of Interview or

Personal Communication

Ahmad Fauzi Muzib Lecturer and

researcher in sound

studies/sound

engineer/Jazz musician

(violin, guitar)

Serdang 15 January 2015

Asith Atapattu Lecturer and

researcher of in

musicology/North

Indian classical

vocalist/have personal

attachments with

Indian audience (Hindi

films)

Calcutta 22 January 2015

Rusiru Chitrasena Lecturer in English/

have personal

attachments with

Indian and Sri Lankan

audience (Hindi films)

Kelaniya 18 January 2015

Chinthaka Prageeth

Meddegoda

Lecturer and

researcher in

musicology/ North

Indian classical

vocalist/ personally

attached to Indian

audience (Hindi films)

Serdang 15 January 2015

Sownak Roy Hindi film audience Manchester 22 January 2015

Sukanya Bhattacharya Self-employed Indian

musician Calcutta 22 January 2015

Vineesh Vedson Hindi film audience Bangalore 21 January 2015

Table 2: Overview on data collection.

Types of Research

Data

Collected

from

Subject

Oriented Collected data

Date and

Place

Literature:

Dissertations,

Books, Journals,

Magazines, written

notes, Websites, and

Photo copies of

Main research

subject oriented

Academic litrature (7)

Interdisciplinary Academic litrature1 (30)

Methodology Academic litrature (4)

Biographical

articals

Magazines/Newspapers

(3)

1 Interdisciplinary writings inclusive historical aspects, sociological aspects, and

musicological aspects.

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Types of Research

Data

Collected

from

Subject

Oriented Collected data

Date and

Place

Various Literatures Libraries

(including

online

sources)

Film Music ASWARA Library –

General literature

regarding film music

(Scanned copies of pages

from books)

21 May, 2012,

ASWARA,

Kuala

Lumpur

Book

sellers

Arnold Allison’s thesis 28 July, 2013

Pavitra Sundar’s thesis 16 October,

2013

Ashok Da Ranade- Hindi

Film Songs

Interviews/Personal

Communications

List of interviews and personal communications with music directors

and musicians are listed in Table 1.

Audio-visual

Recordings

Market Hindi films (6)

Hindi film song audio

CD (6)

16 October,

2013, Kuala

Lumpur

Websites Documentaries- music

directors (3)

Interdisciplinary

recordings (15)

Transcriptions Scores Hindi film song

transcriptions (6)

Recorded

interviews

Transcribed interviews

of Hemapala Perera

and Dammika

Dissanayake(2)

Transcribed

documentaries(3)

The music directors to be investigated for this study are selected according to

chosen Hindi film songs that are part of different Hindi film musics. The choice

went to three different music directors and music director duos purposefully

selected from the pre-electronic music production period of the 1960s and

1970s and considered being Hindi film music composers that represent this

period in a typical yet diverse and individual way. From each music director or

music director duo two Hindi film songs were selected for analysis.

The literature review follows main keywords and objectives of the thesis. From

the findings in literature, a typology was derived that put studied literature

into topical categories though none of them was directly related to the study.

Another important aspect is the serious knowledge of audiovisual materials in

order to identify the domain of Hindi film music composers who hybridize

North Indian ragas with harmonic progressions in their Hindi film songs.

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Personal interviews and interviews with the respective music composers

available in public media is analyzed and translated so far. All recordings are

archived at ARCPA Universiti Putra Malaysia, Music Department of the

Faculty of Human Ecology.

Transcriptions of music are done in a modified Western notation since this is a

comprehensive format most easily to read by many musicologists in and

outside India. Its weak points are some incorrect pitch depictions which, in this

study, do not play an outstanding role for the understanding of the matter.

Additional explanations are given, where exact pitch measurements are

necessary. Another weakness of Western notation is the framing of metric units

in bars which do not always correspond to phrasings. Therefore, here are

special phrase divisions according to musical meanings applied that may also

divide bars in different musical lines. This approach is helpful in detecting

structural consistencies and in explaining variabilities and derivations.

All six selected songs are transcribed according to hearing since scores do not

exist.

These transcriptions help to follow the musical development easily in text and

signs that enables later to scrutinize and recognize harmonic progressions in a

conservative way though the music composers investigated may not have used

this type of visualisation or any visualisation at all.

Biographical information and professional achievements of all the three music

directors and music director duos are elaborated before approaching the

musical analysis. This information is helpful in understanding the cultural and

educational background of Hindi film music directors who are portrayed in

Chapter 4.

Before analyzing each song, the contextual meaning must be explained to give

a clear picture on the Hindi film and the environment of the song appearing

within the film.

The core part of the thesis is the detailed musical analysis which had to be done

in a broader sense analysing harmonic progressions and North Indian ragas. A

number of typological processes lead to an overview of raga-based elements

and the different ways of applying harmonic progressions.

For analysis purposes, as North Indian classical musicians always consider ‘Sa’

(C) as main reference tone, to ease the analysis of the melodic line that carries a

harmonic progression pattern is transposed to C. Another analytical tool is the

use of spectral views and schemes.

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The discussion is mainly dived into three subchapters: hybridization in Hindi

film songs; music directors in cultural discourse; genuineness in Hindi film

songs. In the first subchapter ‘hybridization in Hindi film songs’, different

harmonic progression patterns appear in each song transposed into ‘C’ and

summarized to a scheme identifying the core harmonic progressions and

modified harmonic progressions of each song. In this section selected Hindi

film songs based on similar ragas are discussed first. To ease the discussion, all

the song names are abbreviated with three characters (ex: Baharon Phool

Barsavo’ is abbreviated as BPB) and harmonic progression patterns named

together with the song abbreviations (ex: BPB1). Here, the diversity of

harmonic progression patterns appearing in stanzas, interludes, and

introductions is discussed. Possible reasons for the identified diversities are

discussed in the last sub chapter ‘Genuineness in Hindi Film Songs’. Moreover,

the reasons for applying harmonic progression in Hindi film songs are

discussed here supported by literature. Also linkage of ragas within hybridized

Hindi film songs, shifting tonics through harmonic progressions and changing

perception of ragas are examined supporting by the analytical outcomes of the

Chapter 3. Some aspects of the historical background of Hindi film music

industry as well as the cultural and educational background of music directors

and musicians are further elaborated and supported by literature. It is further

discussed how Hindi film songs are accidentally showing some elements of

ragas.

In the second subchapter ‘Music Directors in Cultural Discourse’, the various

perceptions of a ‘music director’ and his responsibilities are discussed here

supported by interviews with music composers, musicians and singers in the

Hindi film music industry in and outside India. In this mainly narrative

analysis of interview parts, views of outsiders expressed by musicians and

music directors in Sri Lanka and Malaysia are important to see how the

meanings and responsibilities of a ‘music directors’ are perceived and

interpreted.

The last subchapter, ‘Genuineness in Hindi Film Songs’ is categorized into

three sections. First, the contributions of music arrangers and other orchestra

musicians in Hindi film songs are discussed supported by literature and field

notes. Also, this section is looking into how music arrangers and other

orchestra musicians outside India deal with discussed issues in their countries.

Further, Anthony Gonsalves’ impact on the music director duo Laxmikant &

Pyarelal’s music is discussed as an example of genuineness. Finally, in the sub

chapter ‘Ethical Issues and Modernity’, plagiarism in Hindi film music is

discussed through an example within the selected songs for this study.

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Conclusions from the discussion draw mainly on observation and outcomes

that have to be set into relation to each other.

Supporting literature for methodology are parellel studies on comparable

phenomena. Morcom (2003) and Booth (2008) studies provide an amount of

interviews and discourses that help the discussion in this study. Atkinson,

Okada, & Talmy (2011) deliver interesting approaches to discourses as well

that were used. Reed says that information accumulated utilizing narrative

methodology requires not only analysis, but also interpretation in order

for analysis to be meaningful (Reed, 2008: 102). In terms of applying typology

that is crucial in determining musical structures and ideas, some other

literature is helpful, especially Johnson & Christensen (2010) and Patton (1980).

Some researchers use term ‘phenomenology’ to describe the researcher's

experience (Lofland and Lofland, 1995: 14). However, since any type of field

work involves personal experiences, this study is in general based on a mixture

of all the named qualitative methods.

However, several studies are written in other areas of Hindi film music that are

indirectly connected with this study.

Dudrah (2006) has employed qualitative research methods in his study

‘Bollywood: Sociology Goes to the Movies’. Qualitative interviews including

participatory observations used in his work are to elaborate socio-cultural and

aesthetic analysis in some aspects of Bollywood cinema. He discusses how

qualitative approaches of research are appropriate with researches on aesthetic

subject matters.

Cooley and Barz express their opinion that ethnographic fieldwork requires

meaningful face-to-face interaction with other individuals. This is, how they

say, ‘both the promise and challenge of our endeavors’ (Cooley and Barz 2008:

3).

Hansen’s study (2006) explores layers of musical meanings. It is also described

how hermeneutical analysis can be applied in a harmonic progression analysis.

This approach was partly followed in the musical analysis of this study.

Jähnichen (2011) provides a compilation of methodologically important

approaches to musical analysis using mostly examples from Asia. In a recent

study, she drafts methodological approaches to classification of music in social

communication.

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1.7 Definitions and Terminology

1.7.1 Terms used in North Indian Music

Raga: The core of Indian classical music is the raga. Raga is consists of five to

seven tones in peculiar ascending (arohana) and descending (avarohana)

movement. There should be at-least five tones in each ascent and in descent to

be a raga. The reference tone is always the first tone ‘S’ and it cannot be

omitted in any raga. Even five tones can be constructing a raga fourth and fifth

tones cannot be omitted at the same time in a raga. The intervals of ragas are

diverse from each other and it is different from the diatonic understanding.

There are prominent tones which should be frequently used in every raga.

There are also essential North Indian music shapes to incorporate in some

ragas. North Indian classical musicians learn this diversity by practicing with

their gurus for years.

Vadi: both in North Indian classical music (Hindustani music) and in South

Indian classical music (Carnatic music), the main tone (Swara) of a raga denote

as a ‘Vadi Swara’. ‘Vadi’ is the most significant tone or sonant tone of a

particular Raga (Bhatkhande, 1921: 20; Ranade, 2006: 277). It is regularly the

tone which is repeated the maximum number of times, and often it is the tone

on which the singer can pause for a significant time.

Samvadi: the Samavadi is the second-most prominent tone of a raga in Indian

classical music (Ranade, 2006: 277). In most cases the Vadi and Samvadi are in

fourth or fifth at a distance (Widdess, 1995: 250). Samvadi swara is not located

in the same half of the octave to which Vadi Swara belongs (Ranade, 2006: 276).

An Indian classical performer naturally tries to accentuate the Samvadi along

with the Vadi when improvising on a certain raga. The Vadi and Samvadi

could be essential in characterizing the raga, and in a few cases two ragas with

the same ascending and descending might be recognized just by the

prominence of the sonant and consonant tones.

Anuvadi: Assonant tone. The tones used in a raga that are

either Vadi or Samvadi are called its Anuvadi notes (Narayan, 2004: 116). They

are often addressed as attendant or companion tones.

Vivadi: Vivadi tones are often addressed as enemy tone or dissonant tone

(Ganguly, 1979: 45). It is a tone which should not be used in a raga. However in

order to enhance the beauty of the Raga, Vivadi tone is used by master

musicians in an indirect form.

Murchana: Murchana is to produce a number of other scales by simply shifting

the tonic of a scale. While using the same set of tones only the tonic is changed.

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However, the sequence of intervals between tones is changing because of the

shifted tonic. “The western concept of key-modulation may come nearest to

murchana” (Ranade, 2006: 230).

Table 3: Murchana.

Table 4: Intervals between tones.

Table 5: Similar ragas and modes.

North Indian Raga Similar South Indian Raga

‘Translated’ into

similar intervals of

ecclesiastical modi2

Bilawal Dhirashankarabaranam Ionian

Kafi Kharaharapriya Dorian

Bhairavi Hanumantodi Phrygian

Kalyan Mechakalyani Lydian

Khamaj Harikamboji Mixolydian

Asavari Natabhairavi Aeolian

2 This option is purely hypothetical as the intervals alone do not imply certain ragas.

However, it may help to identify ragas by those who are familiar with ecclesiastical

modi.

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1.7.2 Different Melodic Shapes Used in North Indian Music

Other terms relate to different terms and melodic shapes that are frequently

used in North Indian classical music namely Kan, Meend, Ghaseet, Soont,

Andolan, Gamak, Khatka, Murkhi and Zamzama. Since each of these elements

demand a detailed explanation, here are only given some very simple

definitions in a comparative way that may help the readers who are not

familiar with North Indian classical music. The definitions are not

comprehensive or entirely balanced.

Kan: Kan or ‘kan swara’ is similar to an acciaccatura or grace note in western

art music. They are usually applied to link different tones while performing.

Meend: Meend is one of the most important musical shapes used in North

Indian classical music. It is similar to the glissando (Mutatkar, 1987: 21) of

western art music. This is a glide from one note to another. A meend has some

sub-classifications as listed below.

Ghaseet: when the meend is performed on a string instrument in such a way

that the tone glides just after plucking, it is called ghaseet.

Soont: It is a fast paced meend performed by vocalists.

Andolan: Andolan is an oscillation (M. Sharma, 2006: 14) or swing that starts

from a fixed tone and touches the margin of a different tone. It touches the

various microtones that are present between the tones during these oscillations.

Gamak: Gamak is a fast pace oscillation between two tones repeated twice or

more at a moderately faster tempo. Gamak is different from the andolan

considering its faster speed, and its clearly audible starting and ending points.

Despite the oscillations in andolan are just thought as ‘vibratos’, the oscillations

of a gamak have to keep to the exact tones of a raga.

Khatka: A cluster of tones played or sung very fast to decorate another note, it

is called khatka or gitkari, for an example, Ri Sa Ni Sa, Ri where the cluster, Ri

Sa Ni Sa embellishes Ri.

Figure 1: Possible melodic shapes in khatka.

Khatka is “a melodic embellishment in which a cluster of notes is quickly and

forcefully produced prior to the note projected as the important note in the

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particular cluster of notes. According to some, two synonymous terms are

gittakadi and murki. A minority holds that khatka is gamak, which has only

two component notes” (Ranade: 2006:222).

Murki: “Murki is a short sharp figure of two or three notes so uttered that it

occurs within a short span of time wrapping around the central tone” (M.

Sharma, 2006: 18). Murki is group of tones that sounds like a short, delicate

taan (see below). It can also consist of a progression of short clusters. Murki is

less forceful compared to khatka

Taan: Taan(s) or tan(s) are fast tonal patterns used in ragas. “The term taan,

derived from Sanskrit root ‘tan’, means stretch or expand” (M. Sharma, 2006:

16).

1.7.3 Terms Used in Hindi Film Music

Music Director: In Hindi films ‘music director’ denotes the ‘music composer’.

Generally Hindi film music directors’ responsibility is to compose the melodic

line of the songs according to the demands of the film director. Composing

Introductions, interludes and accompaniments are the responsibility of music

assistants or music arrangers. In rare cases, music directors do all the things

despite leaving things to a separate arranger. There are few possible reasons

why music directors employing music assistants or music arrangers. One

reason is that music directors sometimes have to compose for more than one

film in a given time frame and just to fulfill all the requirements in time, they

employ music assistants or music arrangers. Secondly, some Hindi film music

directors do not know much about arranging and orchestrating music.

Therefore they cannot sustain without employing a music assistant or music

arranger. “Service of a music arranger to help music director in composing

background music and other things became a permanent feature in Hindi film

music industry” (Ranade, 2006: 125).

Music Assistant/Music Arranger: The main responsibility of a music assistant

or music arranger is to compose introductions, interludes, and

accompaniments. Separating melodic lines for music instruments, selecting

musicians for the recordings, writing notations, orchestrating and finally

directing the orchestra is the responsibility of the music assistant or music

arranger.

All transcriptions and schemes used in this thesis are by the author if not noted

otherwise. Titles of film songs are put in italic letters, while terms explained

here and titles of Hindi films are written as usual.

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