JKMUSIC INITIATIVE HIGHER EDUCATION,J&K A PEER - REVIEWED JOURNAL OF MUSIC

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1 VOL. 01 NO. 01 APRIL 2018 JKMUSIC INITIATIVE A PEER - REVIEWED JOURNAL OF MUSIC PUBLISHED,PRINTED & OWNED BY HIGHER EDUCATION DEPARTMENT, J&K CIVIL SECRETARIAT, JAMMU/SRINAGAR,J&K CONTACT NO.S: , EDITOR DR. ASGAR HASSAN SAMOON (IAS) PRINCIPAL SECRETARY HIGHER EDUCATION GOVT. OF JAMMU & KASHMIR NOT FOR SALE COVER DESIGN: NAUSHAD H GAYOOR HIGHER EDUCATION,J&K

2 JK MUSIC INITIATIVE A PEER - REVIEWED JOURNAL OF MUSIC INSTRUCTION TO CONTRIBUTORS A soft copy of the manuscript should be submitted to the Editor of the journal in Microsoft Word le format. All the manuscripts will be blindly reviewed and published after referee's comments and nally after Editor's acceptance. To avoid delay in publication process, the papers will not be sent back to the corresponding author for proof reading. It is therefore the responsibility of the authors to send good quality papers in strict compliance with the journal guidelines. JK Music Initiative is a quarterly publication of Higher Education Department, Govt. of Jammu and Kashmir (JKHED). All manuscripts published herein represent the opinion of the authors and do not re ect the of cial policy of JKHED or institution with which the authors are af liated unless this is clearly speci ed. Individual authors are responsible for the originality and genuineness of the work stated in the papers and thatwork is not partially or fully published elsewhere. The research papers published in JK Music Initiative are protected by copyright. No material in this journal may be reproduced photographically or stored in a retrieval system or transmitted inany form by any means electronic, mechanical, etc. without the prior written permission of the publisher. The contents of this publication are not to be quoted in the press without permission of the editor. Editorial correspondence: shabir1085@gmail.com Length Research papers should be between words long including notes, bibliography and captions to illustrations. Manuscripts must be typed in double space throughout including abstract, text, references, tables, and gures. Format Documents should be produced in MS Word, using a single font for text and headings, left hand justi cation only and no embedded formatting of capitals, spacing etc. Notes Use Endnotes not footnotes. References Authors should use the system laid out in the Chicago Manual of Style h p:// style.org/tools_citationguide.html. Papers in Journals and other Periodicals Smith, J Article Title: The Subtitle. Journal Title in Full 10 (1): doi:xxxxxxxxxxx. Papers in Edited Books, Symposia Proceedings, etc. Book Single Author: Smith, J. J Book Title. Abingdon: Routledge. Reprinted Work: Maitland, F. W. (1898) Roman Canon Law in the Church of England. Reprint, Union, NJ: Lawbook Exchange. Edition: University of Chicago Press The Chicago Manual of Style. 16th ed. Chicago: University of Chicago Press. Translated: Smith, John Collected Style Manuals. Translated and edited by Jane Jones. Abingdon: Routledge. Thesis: Smith, John Title of Thesis. PhD diss., University of Chicago. NOT FOR SALE PRINTED AND PUBLISHED BY Dr. Asgar Hassan Samoon (IAS), Principal Secretary to Government, Higher Education Department, J&K On behalf of Higher Education Department, Govt. of Jammu and Kashmir. Official website MANUSCRIPT GUIDELINES Authors preparing submissions are asked to read and follow these guidelines strictly: Photographs and Images Photographs or other illustrations either in color or black and white should be submitted in digital form in high resolution JPEG format. PRINTED AT Ranbir Government Press, Ambphalla, Jammu J&K Official Website

3 JK MUSIC INITIATIVE JK Music Initiative is a peer Reviewed Academic and Professional Journal dedicated to the promotion of research in all the aspects of World Music with special focus on the Music of Jammu & Kashmir. EDITORIAL BOARD Editor Dr. Asgar Hassan Samoon (IAS) Principal Secretary, Higher Education, Govt. of Jammu & Kashmir asgarsamoon@gmail.com Associate Editors Shabir Ahmad Mir, PhD. Assistant Professor (Vocal) Department of Higher Education, J&K shabir1085@gmail.com Kuldeep Raina, PhD. Assistant Professor (Vocal) Department of Higher Education, J&K Drkuldeepsudeshi@gmail.com Editorial board Abhay Rustum Sopori, Santoor Maestro & Music Composer abhaysopori@gmail.com; Mob: Amit Verma, Assistant Professor, Tabla, Visva-Bharati University, Shantiniketan, W.B.India; Editor@sangeetgalaxy.co.in; Mob: , Jasmeet Kaur, Assistant Professor, Vocal, Govt. Women s College Parade, Jammu jasmeetkaurshant@gmail.com; Mob: Muzafar Ahmad Bhat, Associate Professor, Tabla, Govt. Women s College MA Road Srinagar muzafarmusic@gmail.com; Mob: Vol.1, No.1 April 2018-JK Music Initiative

4 2 Naveen Sharma, Assistant Professor, Vocal, Govt. Women s College Udhampur Navrimit111@gmail.com; Mob: Naveen Sharma, Assistant Professor, Sitar, Govt. Women s College parade, Jammu n.aryan10violin@gmail.com; Mob: Ranjeet Singh Katoch, Assistant Professor, Vocal, Govt. Women s College, Parade Jammu Ranjeetsingh742@gmail.com; Mob: Samosh Kumar, Assistant Professor, Sitar, Govt. Degree College, Udhampur kumarsamosh@gmail.com; Mob: Sukhwant kaur, Assistant Professor, Vocal, Govt. Women s College, MA Road Srinagar sukhwant1211@gamil.com; Mob: ADVISORY BOARD Pt. Bhajan Sopori (Chief Advisor) Santoor Maestro & Music Composer Agni Shekhar, Culture & History Writer, Jammu. Anupam Mahajan, Professor of Music, Faculty of Music & Fine Arts, University of Delhi. B. N Mishra, Dean Faculty of Music, BHU Mallika BanerjeeAssistant Professor, School of Performing & Visual Arts, IGNOU, New Delhi. Meena Banerjee, Eminent Musicologist, Critic & Writer Kolkata. Madhu Shukla, Musicologist, Allahabad. Pankaj Mala Sharma, Professor (Sitar), Punjab University Chandigarh. Mysore Manjunath, Violin Maestro & Professor of Music, Mysore University, Karnataka. Raj Kumari Magzine, Former Professor of Music, Jammu. Rafiq Raaz, Eminent Writer and broadcaster, Kashmir. Rakesh Kaul, Eminent Writer, USA Rajpal Singh, Assistant Professor (Vocal), University of Delhi.

5 Ravi Sharma, Former Dean, Faculty of Performing & Visual Arts, M.D University, Rohtak. Ravindra Mishra, Eminent Musicologist & Critic, Delhi Sanjay Bandopadhyay, Sitar Maestro & Professor of Music Sikkim University. Sadananda Sahoo, Assistant Professor, School of Interdisciplinary and Trandisciplinary Studies, IGNOU. Sudarshana Baruah, Assistant Professor (Vocal) Centre for Performing Arts, Dibrugarh University, Assam. Saroj Ghosh, Professor (Sitar), Punjab University,Chandigarh. Sunaina Kaul, Former Instructor (Vocal), IMFA Jammu. Suneera Kasliwal, Professor & Dean Music Faculty, University of Delhi Tapasi Ghosh, Assistant Professor(Vocal)University of Calcutta T.K. Ganjoo, Eminent Educationist Jammu Usha Bhagati, Former Professor Music, Jammu. Varsha Agarwal, Associate Professor (Santoor), Govt. Girls PG college Ujjain. Vasudha Saxeena, Associate Professor (Tabla), Rajasthan Sangeet Sansthan, Jaipur. Vijay Shanker Mishra, Eminent Indian Rhythm Expert, Educationist, Musicologist & Writer, Delhi. Editorial Coordination Please address all editorial correspondence to: Associate Editor JK Music Initiative T: (+91) Art & Design: Naushad Gayoor, University of Kashmir Vol.1, No.1 April 2018-JK Music Initiative

6 4 JK MUSIC INITIATIVE Research Journal of JK Higher Education Department Vol.1. Issue 1, April 2018.

7 Contents 07. Foreword Abhay Rustum Sopori, Santoor Maestro & Music Composer 09. Editorial Dr. Asgar Hassan Samoon, Editor RESEARCH PAPERS 12. Modern Approach to Music Education: A Comprehensive Study Gaveesh Rai 19. Mixing of western music concept in to Indian music Sudha Sharma 26. Music Education in Kashmir: Present State and the Way Forward Shabir Ahmad Mir 39. Santoor: origin, evolution & development Abhay Rustum Sopori 46. Diversity in Music of Jammu and Kashmir Kuldeep Raina 55. Evidence of Musical Instruments Depicted In Ragamala Painting K. Tamashwor Sharma 69. Role of four main Chordophones of North Indian Classical music and their current state Waseem Bhat 81. Gurubani Sangeet and Society Vol.1, No.1 April 2018-JK Music Initiative

8 6 Jasmeet Kaur 90. Different types of folk songs prevalent in the Dugger area and their classification Mukesh Kumar.

9 Foreword It s my pleasure to welcome you to the inaugural issue of JK Music Initiative, a quarterly English Peer-Reviewed Music Research Journal. This is a welcoming step by the Department of Higher Education, Govt. of J&K, which has taken special initiative to publish this research journal. To encourage research work amongst the college and university faculty and students, the Department of Higher Education, Govt. of Jammu & Kashmir has introduced a number of journals covering various areas and subjects. JK Music Initiative, which is in fact the first ever music journal (covering all performing arts styles) being published by the J&K Government, is another jewel in its crown and one of its flagship Journals. While the journal aims to provide an intellectual platform to the researchers, academicians and scholars of music and performing arts to present and disseminate new research findings and ideas in music& performing arts, it will also take the cultural ethos of J&K State to international level with articles and research papers from scholars and authors within the State as well as outside J&K. It will also be helpful and encouraging to young students to come forward and contribute to the journal. The Journal offers an opportunity to publish well-researched and academically rich papers on all the aspects of world music and performing arts in general and traditional music of J&K in particular. The Editorial Board of the Journal shall follow a pure peer-review process to maintain the quality of the journal. Vol.1, No.1 April 2018-JK Music Initiative

10 8 I thank Ms. Mehbooba Mufti, Hon ble Chief Minister of Jammu & Kashmir, Shri Syed Mohammad Altaf Bukhari, Hon ble Minister for Education, Govt. of J&K and Smt. Priya Sethi, Hon ble Minster of State for Education & Culture, Govt. of J&K for their support in this direction. I congratulate the Editor Dr. Asgar Hassan Samoon, IAS, Principal Secretary to the Government, Department of Higher Education, Govt. of J&K and the entire team of the journal along with all the authors whose papers have been selected for the inaugural edition of the journal. There are thousands of journals that are printed across the world. I hope JK Music Initiative will soon be amongst the top sought after journals of the world. Abhay Rustum Sopori Santoor Maestro & Music Composer, Member, Editorial Board

11 EDITORIAL Department of Higher Education is tirelessly working for promotion of learning in the State of Jammu & Kashmir. In recent past, the Department has taken many pathbreaking initiatives to take the education system to newer heights. In a historically significant decision, the Department has begun promoting quality research in colleges with publication of a galaxy of research journals in sciences, social sciences, humanities, and languages started recently. The Department is constantly striving to create new avenues to benefit students and society at large. Apart from conventional subjects, the Department is keen to promote music education in all educational institutions of the State. To streamline music education, music initiative has been included as part of the Knowledge Initiative Platform.The Department has taken a pledge to revive music education from elementary level to higher education level in the State for which Chief Minister of J&K, her Advisor and Education Minister have extended full support. Some recent revolutionary steps taken by the Department for Music promotion include the introduction of Music in thirty-five new colleges and creation of twenty- Five Posts of Assistant professor Music. To modernize music education in the State, the Department has also initiated establishment and up gradation of music studios in the colleges. We are keen to promote the traditional folk and Sufiana Music of the State. A film and Television Institute is also being set up to promote employability of our graduates. JK Music Initiative, one of the leading journals of the State Higher Education Department is a quarterly Research Journal of Music with international dimensions. It is our endeavor to provide an intellectual platform to the teachers, scholars and students Vol.1, No.1 April 2018-JK Music Initiative

12 10 of music to explore the Universe of music through intensive research, discussions and debate. As scanty scholarly reference/research work is available on music of Jammu & Kashmir; therefore, to fulfill this gap, our Department has taken this taken initiative to publish a quarterly research journal on music to provide opportunity to our professors and scholars who are inclined towards research, to project their research work on an international platform. School Education Department shall soon introduce Music and Performing Arts as a subject at primary/middle/ high/higher Secondary school levels across the State; for this purpose, music teachers shall be provided to start with six state of art music studios (3 in Kashmir, 2 in Jammu and 1 in Ladakh) to be set up soon by the School Education Department. We need to fast track setting up of a J&K Institute of Music and Faculty of Music to offer full time professional courses in Music and Performing Arts, Graduate courses like B.A music, PG (Integrated), M.A music and PhD through capable professors who can also offer diplomas and professional courses in sound engineering with skilled technicians to maintain our music studios. With introduction of classical Music as a subject in 11th and 12th standards, interested students can graduate in music can have basic study as prescribed by the board and minimum qualification for graduate courses in music as per UGC norms. We need to recognize the fact that music cannot be just a substitute or the last option to be offered to students and it should be offered to those who wish to take Music as a degree course. We may soon introduce BA music as full-time graduate course with full respect and honour like any other course" in Santoor, Vocal, Sitar, Tabla, Violin and the concerned officers should lay emphasis on initiating Music courses in institutions with established Music Faculty like Govt college for women Maulana Azad Road, Navakadal College, Anantnag college, Baramulla, etc in Kashmir and likewise in Jammu in institutes like Parade College, MAM College, Gandhi Nagar Women's college. We need to strengthen Music and Fine Arts Institutes of University of Kashmir and University of Jammu. Professional Music courses such as BA Music, integrated PG, and PG music shall be introduced in Cluster / Central Universities of Kashmir and Jammu. "Sufiana Mausiqui" is being introduced in our colleges as optional subject along with classical Music. We need to create Tabla assistant posts in colleges where music is

13 taught. Our endeavor is to promote local regional and folk music and instrumental music as add on courses in Cluster Universities. We need to enhance quality of education in music, quality of instruments, modernization of music studios and class rooms and use ICT in years to come for better quality music. We shall be inviting visiting faculty from outside to our colleges and organize visits of students of State colleges to outside Universities very soon. I am privileged to present you first Issue of JK Music Initiative started with main objective of critically engaging with issues related to world music in general and traditional music of J&K in particular. Inaugural issue of the journal carries a broad spectrum of papers on music of Jammu, Kashmir, and Ladakh. It also carries papers on some critical issues related to music education. I wish this Journal to be amongst the topmost scholarly Journals of the world Editor Dr. Asgar Hassan Samoon (IAS) 22 April 2018 Vol.1, No.1 April 2018-JK Music Initiative

14 12 Modern Approach to Music Education: A Comprehensive Study Gaveesh Rai

15 Modern Approach to Music Education: A Comprehensive Study Gaveesh Rai Assistant Professor Music, Guru Nanak Dev University, Punjab. ABSTRACT No doubt Institutional formal Music education system is providing music education all over India but still there are some areas in which this system is lagging behind. Due to changed situations and new challenges this system also need modifications so that it can equip students with musical and general knowledge so as to make them face challenges of life. This article focuses on some areas and issues in our education system which needs modifications. This article provides some remedies how our education can be modified so as to make students earn their livelihood. Keywords Music Education, Approach to Music, Practical & Vocational Education Introduction From ancient times the teaching of Indian classical music is based on the Guru Shishya Prampara system. Teacher, the Guru, transmit the musical knowledge to the student [1]. In this system, dedicated students used to go to guru s place (Gurukul) and by full dedication, hard work and persistence they learn from guru. Gurukul system of learning music helped a lot in preservation of proper style and purity of Classical music. This system went well till end of 19th century. [2]. Next to guru shishya prampara, is Gharana prampara. It is interesting to trace the history of the tradition of the Gharana, which came to be of such importance from the sixteenth century onwards. This was not purely an event of the mediaeval period. Right from the earliest times, there have always different schools of music in our country [3]. In the ancient times, the word used for Gharana was "Samuday". During the times old dhrupad, the word "bani" came into vogue and after the advent of Khayal, the concept of Gharana came into light. In this way the presence of different classes originated in Hindustani Music. [4] In Gharana system teaching was although similar to Gurukul prampara, but with passage of time lot of complications and shortcomings aroused in Gharana system like, jealousy, favoritism, narrow-mindedness and inaccessibility of music education to masses. Dr. Subhadra Chaudhary writes that limited Vol.1, No.1 April 2018-JK Music Initiative

16 14 scope, various social and political reasons paved the way to Institutional music education system in India. [5] So in this way for making music education accessible for all, Institutional education system was developed. In this system fixed curriculum, time limit and proper theory and practical examinations were there. Although this system removed some of shortcomings of Gharana prampara but this system has its own shortcomings. Students taught in institutional system are generally seen underdeveloped. They are usually found unable to develop as good artist as well as good teacher. Hence there is a great need to do in-depth research regarding this topic and to find out a new approach which can lead to a new, overhauled system of music education which helps music students to flourish as eminent artists and musicologists. Anything that is stagnant and not updated with the changing time is likely to be degenerated and parish. For survival and growth with the present time, music education has to be developed in such a fashion that it must cover all the requirements and needs of present day music society. Therefore the time has arrived to review the objectives of music education and techniques of present day music education. In words of Edwin Gordan The overall objective of music education is to provide for the idiographic and normative differences among the students as evidenced from their musical aptitudes. [6] These days an artist has to do lots of duties. He has no patronage from Government or some other organization so he has to look after his family, earn his bread and perform all daily routine work by his own. At the same time he must be aware of different issues regarding music like Computes, Microphones, Mixers, Stage settings, Studio techniques, various instruments, and various genres of music worldwide. Now when we critically analyze our education system it is not at all covers these requirements. It provides only formal education regarding music, but no practical knowledge regarding important aspects like computers, sound techniques, Studio set up, various software s and other things used in daily life activities. Also we see there is no coordination between vocal, instrumental and other departments like dance and theatre. Vocal students have no training regarding instruments like guitars, synthesizers, drums and other instruments. Instrument students have no training regarding repairing of instruments. After completion of the course, we generally see students are not able to fit in any kind of job. They are given no practical knowledge so as to cope with the challenges of real world. One of the main objectives of Music education is to prepare student to get some kind of job in music field, but present music education fail in this objective. [7]

17 There is need to educate the students regarding the diversity of music. Now we have electronic media and internet which is providing tremendous opportunities to students to access non-indian musical forms and when these forms have become very common and popular among the Indian music listeners, it seems strange that there is no composite approach to study and know more about Jazz, Rock and other non-indian musical forms. These days we are coming across all kind of music from all over the world. There is need to broaden the syllabus of music education. Irrespective of teaching only Hindustani or Carnatic style other musical genres like Rock, Pop, Jazz, Reggae and other Genres of music. Use of technology in music is increasing day by day, this knowledge must be included into syllabus. There are various equipments which are frequently used in music like electric Tanpura, electric Tabla, electric Guitars, synthesizers, PA systems, mixers, amplifiers, Sound Cards, Laptops, workstations, various types of microphones, various Softwares and Mobile Applications. Information and knowledge of these equipments and various other related things must be included into the syllabus so as to make students up to date. Hence this is the immediate need to inculcate various aspects regarding music so as to train the music students for their real life musical journey. Our education system and the curriculum must be overhauled so as to inculcate all the modern techniques like stage management, mic settings, studio recording knowledge, instrument repairing, making of new instruments. Students must be provided with practical knowledge so as to sustain the pressures of daily life. A music student must be trained according to the aptitude he is having, for example: If we talk about Graduation Level Course i.e. Three year course, curriculum for first year should be same for everyone which must contain basic knowledge and compulsory concepts so as to understand music. But from second year the curriculum must be divided into various sub courses, for example if some student is having aptitude for studio recording then he must be provided with that kind of knowledge, if some students is having interest in classical stage performances he must be trained for that purpose, if some student is good in instrument making or repairing, he must be taught and trained in instrument making and repairing techniques. One more basic thing which is lacking in our music education system is the Training in real life situations under some experienced musician or any other expert. It is seen that all of the education and training of a music student take place in classrooms under controlled situations. As compared to other subjects music field is lagging behind. For example in medical field student has to go through a Vol.1, No.1 April 2018-JK Music Initiative

18 16 compulsory training session under some well established medical college or under some experienced doctor. They work under real life situations and go through real life challenges. According to Dr. Prem Lata Sharma, an artist should be sent to some artist for professional training during his educational period similar to education pattern of doctors and engineers. [8] For example if student is interested more in Musical instrument repair work he should be sent to some professional training from some instrument repair shop. Of some student want to excel in the field of Studio recording, he should be sent to some studio for professional training. Similarly somebody interested in Hindustani, Carnatic or any music genre should be sent to some expert musician of that particular genre. This practice must be included in Music education. Examination pattern in music also need some modifications. Now a day s practical exam is taken very casually which is very wrong. Teachers must confirm that students take it practical exam very carefully and without any bias. Practical exam should be in the form of stage performance so that student can take it seriously. Theory exam also need modifications. Generally it is seen that in music field question are of one type only. But for checking full knowledge of the student question paper should be balanced between various kind of questions like long answer questions, short answer questions, fill in the blanks question, true false question, and objective questions. Only in this manner one can judge the true knowledge of the artist. Listening can improve musical skills of students a lot. Mind subconsciously learns while listening to any kind of music. Hence experts are of the opinion that music student must keep on listening to various kind of good music to expand their musical knowledge and creativity. There should be special arrangements in educational institutions for giving students proper listening sessions. Listening sessions must contain various kind of music ranging from Classical, Folk,, Instrumental, Folk, Tribal and other genres. Music students must be shown documentaries and films regarding music and musical artists. Educational films should also be included into the syllabus. Author himself made proper arrangements for listening sessions of music students at music department, Guru Nanak Dev University Amritsar (Punjab) for making his students aware of world music. Writer has observed positive changes in the student s mental level after several listening sessions. There is significant positive change in the understanding, creativity and awareness among the students.

19 One of the most important thing for a student to flourish as artist is to perform as much he can. This should be the prime duty of the institution to make such arrangements that music students can perform in public frequently during their education. Infect this should be made part of the curriculum that every student must perform something in solo or group in public frequently so that they can get rid of their stage fear and learn all the basics of stage performance. This should be made high priority of the institution to provide stage his students and giving them chances to perform in public. Conclusion Music subject should be integrated with other subjects like physics, electronics, engineering and medical field so as to make more useful for the society. Significance of music can be increased when it is combined with other subjects in appropriate way. Music can be used in various manners for society like music can be used to heal some diseases like Hypertension, anxiety, Blood pressure and sleeplessness. Students must be taught about such uses of music. These things also are included into education system. Hence writer is with the opinion that our music education system should be integrated with different aspects so as train students for all kind of challenges of life and it should be accordance with the aptitude of students so as to make them earn their livelihood and train them to become great artist and eminent teacher so that one can be beneficial for music world and the society. Vol.1, No.1 April 2018-JK Music Initiative

20 18 REFERENCES [1]. Accessed on 15-march [2]. Kaur, D. (2013). Sansthagat Sangeet Sikhia (Punjabi), Patiala: Publication Bureau Punjabi University., p-vii [3]. Gautam, M.R. (2001). The Musical Heritage of India. New Delhi: Munshiram Manoharlal Publishers Pvt. Ltd., p-127 [4]. Kaur, D. (2007). Samajak Vigyan Pattar: Sangeet Gharana Vishesh Ank (Punjabi) Volume 55. Patiala: Publication Bureau, Punjabi University., p-2 [5]. Chaudhary, S. (1989) Sangeet Sanchayan (Hindi), p-26 [6]. Gordon, E. (1971), The Psychology of Music Teaching, p-62 [7.] Kaur, D. (2013). Sansthagat Sangeet Sikhia (Punjabi), Patiala: Publication Bureau Punjabi University. P-69 [8]. Sharma, P. (1978) Sangeet Shikshan Pramparagat Evam Sansthagat. P-60

21 Mixing of Western Music Concept into Indian Music Sudha Sharma Vol.1, No.1 April 2018-JK Music Initiative

22 20 Mixing of Western Music Concept into Indian Music Sudha Sharma Assistant Professor Music S.R. Govt College, Amritsar (Punjab) ABSTRACT Indian music has a very rich tradition. Going in two independent systems i.e. Hindustani and Carnatic, Indian music enjoyed a high place among world music. But with the changing time western music had profound effect on Indian Music. This paper goes through influence of western music on Indian music. It discusses the efforts of various artists in doing fusion of western and Indian music. This paper gives relevant information about the various musical works done by eminent artists in this direction from time to time. This paper breaks the myth that fusion is bad for Indian music in any manner. This encourages the artists to do fusions freely and work for the betterment of music. Keywords Music, Fusion, Western Influence, Mixing Music, Cartanic Music, Hindustani Music Introduction Indian classical music consists of South Indian Carnatic and North Indian Hindustani music systems. Both systems, Hindustani and Carnatic are built upon complex and detailed melodic structures called Raag, and both have system of rhythm and meter which comes under the rubric of Taal. These features make them share a common ancient musical heritage. The strong root of Hindustani classical music lies in its prosperous and continuous tradition. The practice of Guru- Sishya Parampara has passed down this tradition to further generations. In the early years, music was considered sacred and divine, which made many Gurus to teach this form of art of Hindustani music to only sensible and deserving students. The responsibility and role of being a student and a disciple was understood by many musicians who studied under a Guru through this traditional system [1].

23 Influence of western music on Indian music With the bands like Beatles or popular pop stars like Michael Jackson whose fame had no boundaries, influences of western music on Indian music ran fast and on large scale. Classical musician bears a challenge and responsibility of making classical music not being influenced by such music invasions. Indian musician needs to make the classical music equally popular and acceptable by audience so that western music does not endanger it. Influence of western music could be seen presently, since concert halls and large outdoor spaces have replaced small chambers. It signifies the changing, rapidly developing, acquisitive and money-oriented profession of making money [2]. Indian Vs western music There exist huge difference in Hindustani and western music, Hindustani music being linear or simple in motion always have monophonic melody while Western classical music, put large importance on harmony, chord progression and modulations [3]. Hindustani music consists of basic twelve tones of the scale with an extra ten Shrutis (microtones) which are not found in the harmonies and chord progressions of the Western classical musical system. The ten extra shrutis of Hindustani music are the unique features of many Raags. Some of the Raags are predicted through the careful use of Shrutis during the performance. The characteristic of twenty-two Shrutis of Hindustani scale presents impossible challenge for them to become compatible with twelve semitones of the Western musical chord system. If paired against microtonal variations, these chords may not sound very pleasing, since harmony generally sounds best when there is a natural harmonic relationship between notes and Western equal temperament tuning system. The fusion composition Life Breath is an example of the changes in the characteristics of the Raag [4]. This fusion composition contains three different Raags, namely, Bhairavi, Malkauns and Nandkauns. Each Raag has characteristic different feature which can be highlighted only by performing the notes of the Raags on the set rules and techniques. Life Breath in Western Classical scale was set in the key of G Minor. An analysis of this piece of music revealed no strict adherence of melody line to any one particular Raag. In order to form a melody line of Life Breath, scales of these three Raags were used interchangeably to which was governed by the rules of harmony. Vol.1, No.1 April 2018-JK Music Initiative

24 22 Fusion of Indian and western music It has become hard and almost impracticable for classical musicians to practice and make only classical Hindustani music because of the emergence of industrialisation and mainstream popular styles of music. Classical Hindustani music is no longer the ideal or preferred choice among youths since this place has been taken over by pop music, hip hop and rap. The catchy and memorable rhythms and lyrics of mainstream popular music have created a competitive challenge against the classical musicians. Classical Hindustani music has complexity and it expects deep understanding of the Raag and Taal which make it less appealing to the younger generation. Consequently, a gap is generated between the older people who love classical music and the younger generation. To overcome this problem and restore and sustain this musical heritage, classical musicians in this country are now opting to mix different elements and instruments of classical Hindustani form with elements and forms of western or other musical systems [5]. There are protesters of fusion music who argue that there is a loss of traditions and authenticity of the classical music when it is fused with others forms. Many purists have rejected the idea of fusion by claiming that original characteristics of the music are lost and this fusion turns the genre of music to impure. Wade [6] suggested that there is always a fear among purists of the Raags being losing their original characteristics when they are used for fusing two different forms of music. Nevertheless, supporter of fusion music says that evolution in music is not necessarily a bad thing. However, respect and knowledge of traditional styles and forms must be kept (adhered to), because one cannot progress without a history (New Straits Times 16 October 2005). Dass [7] in his study emphasized that the aim of fusion is to attract the listener with beautiful melodic lines and not to follow the rules of a classical performance which may bore audiences who have come to enjoy a fusion performance and not a classical Sitar performance. According to him, in almost all compositions, the Raag is utilized as an outline of the composition subsequently there are limited options for the artist to explore all the different Swara combinations of the Raag. The Beatles have experimented with various sound and instruments which generated the concept of fusion music in India constituted of pop music and Indian classical music. Under the influence of Indian music composer Shankar s music many Jazz musicians among them Miles

25 Davis and John Coltrane initiated sharp changes in their style. Jazz guitarist John McLaughlin and Jerry Garcia of the Grateful Dead were pull towards to the sound of Indian sitar. Indian music has always left persistent and longstanding influence on jazz. Indian music has unique melody owing to its beautiful and graceful features which has inspired musicians from decades. It has exhilarating rhythmic language which gives new resources and opportunities to percussionists, instrumentalists, and vocalists upon which they can work. The influence of Indian music which is so strong could be seen immediately apparently in every level of music of many jazz musicians [8]. South Indian musicians have played a big role in creating a connection between jazz improvisation and India s classical music traditions. The new genre known as fusion was born from the awareness which intern started an edge between Eastern and Western regions of world which continuously generated excitement in a younger generation of music listeners. Many singers, composers, jazz pianist have tried their hands in fusing western and Indian music. An Australian singer Susheela Raman attempted to fuse carnatic kritis of Indian music with an electric, hard driving Chicago blues style (As in her album Salt Rain). An American jazz pianist Vijay Iyer, born in South India has worked to integrate jazz and Carnatic music rhythm in collaboration with saxophonist Rudresh Mahanthappa with the aim of creating a unique style that can challenge the definition. Similarly Agam is a Bangalore-based Band contemporary Carnatic progressive rock band which is combining Carnatic music and Rock music. Ustad Rashid Khan and Pandit Ajay Pohankar are experimenting with Hindustani Khayal Genre and producing various fusions like Payliya Jhankar in Puriya Dhanashree by Pandit Ajay Pohankar and Chhene Re More Chain by Ustad Rashid Khan. Leading percussionist Fazal Qureshi feels fusion is much misunderstood in India as people think that just mixing western music with Indian classical music is fusion. Talking about the new found craze for fusion music, Qureshi says, "Understanding music is fundamental while one talks of making fusion music. When I first started performing with the Swedish band Mynta, for a long time we just tried understanding each other's music. It's like building a relationship from the beginning. One needs to have patience while making music," he says [9]. Yet on examining the fusions closely one can notice the identical nature of these in regard to human expression, paths for spiritual advancement, and in the realm of pure music itself. It can be estimated from this situation that up to what extent Indian music has influenced jazz, and will Vol.1, No.1 April 2018-JK Music Initiative

26 24 continue to do so further in future [10]. Satik Veena player Salil Bhatt hogged limelight when he created music with Canadian Blues legend Doug Cox and Cassius Khan, the dynamic Tabla maestro. This music created sensation because it included genres of music such as Indian classical, Indian folk, Blues Funk, Jazz, Reggae, Roots, American Country folk, contemporary world music and neo classical Indian music with vocals. An artist should not be orthodox and he should be open to embrace new genres of music," says Salil. [11] Conclusion Presently, Hindustani classical music is experimenting with many different musical ideas to create blend of music popularly known as fusions, although it still remains the forte of many classically trained musicians. New trend of fusion music has proved more acceptable and liked by younger generation due to its lively and catchy rhythms.

27 REFERENCES 1. Mukherjee, M. (2012). The Architecture of Songs and Music: Soundmarks of Bollywood, a Popular Form and its Emergent Texts. Screen Sound Journal, 3, Farrell, G. (1988). Reflecting surfaces: the use of elements from Indian music in popular music and jazz. Popular music, 7(02), Manoharan, P. (2008). Towards Fusion: New Trends in Hindustani Sitar Music in Malaysia. Wacana Seni (Journal of Arts Discourse), 7, Danielou, A The Raga s of Northern Indian Music. London: Barrie Rockliff, The Cresset Press. 5. Terada, Y. (2004). Fusion music in South India: Globalization and the predicament of classical music. Paper presented at the 9th Conference of the Asian Pacific Society for Ethnomusicology, Cambodia. 6. Wade, B.C. (1979). Music of India: The Classical Traditions. New Jersey: Prentice Hall. 7. Dass, S. J. (renowned classical and fusion sitarist). Brickfields, Kuala Lumpur, 12 December 2005, 26 October 2006 and 12 July Vishwanath, R. (2015). Commercialization and Corporatization of Indian Classical Music. Sangeet Galaxy, 4, Vol.1, No.1 April 2018-JK Music Initiative

28 26 State of Music Education in Kashmir and the Way forward Shabir Ahmad Mir

29 Music Education in Kashmir: Present state and the Way Forward Shabir Ahmad Mir Assistant Professor Music Govt. Degree College Sumbal ABSTRACT It has been scientifically established that the students who are involved in the learning of music score considerably higher in mathematics, languages, and sciences than non-music students. It is on the basis of various benefits associated with the learning of music, that music forms an integral component of the curriculum in almost all the educational institutions of the world as well as India. However, in Kashmir music education is in crisis due to the absence of music subject in almost all the educational institutions of the region except a few government schools and colleges. In fact, music doesn t figure in the curriculum of Primary and secondary schools. Moreover, music education is mostly confined to women colleges and girls higher secondary schools, therefore, depriving the male students an access to music education. Although, the Department of Higher Education, Government of Jammu & Kashmir, has recently taken many initiatives, to promote and propagate music education of the State; however these initiatives are yet in the initial stage and will take some time for implementation. This paper evaluates and highlights the current state of music education in Kashmir and suggests research governed policy measures needed for the promotion and propagation of music education in the Kashmir. Keywords: Music education, Music curriculum, Jammu & Kashmir colleges, JK Music Initiative, JK Higher Education. Introduction Music is a universal human need; the impulse to create and enjoy it exists among [human beings] everywhere and has existed always (Shute, Frost & Laffey (1933). Various research studies have revealed that music profoundly affects our body and Psyche. According to Carolyn Phillips, the author of the Twelve Benefits of Music Education, the early exposure to early music education helps in the development of the areas of the brain involved in language and Vol.1, No.1 April 2018-JK Music Initiative

30 28 reasoning. Philips further says that Music education enhances teamwork skills and discipline and provides children with a means of self-expression. Research undertaken by a team of researchers in the 1990s showed that the exposure to music from early childhood onwards helps children to speak more clearly, develop a larger vocabulary, and strengthen social and emotional skills (Steinhoff: 2016). Various research studies have revealed strong correlations between music and academic achievement. Regardless of socioeconomic background, according to a 10- year study that tracked more than 25,000 middle and high school students, music-making students get higher marks on standardized tests than those who have little or no music involvement (Judson). It is evident from different research studies that music education is beneficial for the development of mathematical, reasoning and Language skills of the children. As noted by Grace (2012), music strongly impacts children's brain development, cognitive development, and self-esteem in early childhood. It is again stated by (Hodges & O'Connell, 2018) that, Students who participate in music education frequently do better than their peers on many measures of academic achievement such as grade-point averages and standardized tests like the SAT or ACT. Oladipo (2014) notes, "Music education is a vital aspect of education, which develops the personality, creates a sense of belonging, promotes unity among children, and enables them to achieve a set goal". Besides academic benefits, music education helps the children in certain other ways. For instance, many studies have found that involvement in music leads to positive personal, social and motivational effects (Hodges & O Connell, 2018). I have personally observed in the classroom that music students are more disciplined, cooperative and self-confident than the non-music students. Because of the various benefits associated with music; many nations including India offer music as a compulsory subject in the educational institutions right from the Primary to the University Level. However in Kashmir, which has a rich musical tradition with diverse genres ranging from classical, folk and modern light music; music doesn't from the part of the curriculum in the educational institutions except for a few government colleges and a couple of private schools. Music as a subject is not taught at the primary as well as the secondary level at all. In fact, music holds the lowest position among all the conventional subjects. Thus it can be concluded that music is the most marginalized subject in the educational institutions of Kashmir; in other words, music education is in crisis. Notwithstanding the fact that the Kashmiris are

31 music and culture loving people; there is a total lack of awareness about music and its various educational benefits among the masses. One of the negative impacts of the absence of music education in the educational institutions is that people are unable to appreciate their own regional classical music tradition, Sufiana Mausiqi, which is currently facing the threat of extinction due to lack of music knowing audience. Against this backdrop, I undertook this study to evaluate the current state of Music education in educational institutions of Kashmir focussing on colleges and to find a possible way forward to enrich and revitalize the music education system of the region Methodology The research is essentially the outcome my personal experiences and observations as a student and teacher of music at Delhi, Punjab and Kashmir. Being myself a student, teacher, and scholar of music, I was able to observe and understand the music education system of the country closely. To examine the present state of music education in Kashmir and to find possible solutions, ethnography, a qualitative research methodology was employed and data was collected through personal experiences and observations (participant observation), informal interviewing and secondary data analysis. The term participant-observation is an amalgamation of participation and observation. During participation, the researcher is present in and interacts with the people when an activity or event is occurring. Observation refers to what is noted through the eyes of the ethnographer (Kruger: 2008). In order to gain a deeper understanding of the issue, I had an informal conservation with music legend, Pandit Bhajan Sopori at his residence at Delhi. The conversation yielded a lot of information about the current scenario of music education in Kashmir and the way forward. The legendary musician suggested some important remedial measures for the promotion and propagation of music education in Kashmir. Moreover an interview with Santoor maestro & music composer, Abhay Rustum Sopori provided a wealth of information about the study. Further, the regular Interaction with some college and school teachers as well as students and scholars of music provided crucial inputs and insights about the music education system of Kashmir. Vol.1, No.1 April 2018-JK Music Initiative

32 30 Research Findings Non-Availability of Music Subject in the Educational Institutions. There are a total of government schools in Kashmir division as per the data available on the website of the Directorate of School education Kashmir. Among these schools, there are 6104 Primary schools, 4313 middle schools, 897 High Schools and 315 higher secondary schools. Apart from govt. schools there are also 2610 Private schools. Thus the total number of schools is Among these schools, music subject is taught only in four girls' higher secondary schools such as Govt. Girls Higher Secondary School Amira Kadal, Govt. Girls Higher Secondary School Kothibagh, Govt. girls Higher Secondary School Nawakadal and Govt. Girls Higher Secondary School Baramulla. Among Private schools, music is a part of the curriculum in Doon International School Srinagar, Delhi Public School Srinagar, Tyndale Biscoe School Srinagar, GD Goenka School Srinagar, Presentation Convent School Srinagar, St. Joseph School Baramulla and Police Public School Srinagar. Among the total number of 46 govt. colleges operating in Kashmir Division, music is offered presently in five colleges only. Among these colleges, four colleges (GWC MA Road Srinagar, GWC Nawakadal, GWC Anantnag, and GWC Baramulla) are women colleges and GDC Sumbal, which is the only co-educational college where music subject is taught. So far as the Universities are concerned, music is only offered in the University of Kashmir at the graduate level. The Negative Attitude towards Music. Being a Muslim dominated region, there is a general as well as religious prejudice towards all the creative arts including music in Kashmir. As a result, the parents are reluctant to allow their children learn music. The attitude of teachers teaching conventional subjects towards music is also discouraging. They are not ready to accept the fact

33 that music has any value in the education; rather music according to them is just entertainment and worthless. The main reason for this bias is the lack of awareness about the subject. Since in Kashmir, music is looked down, thus generally those students who don't get admission in conventional subjects like science, arts, and commerce are forced to choose music as a subject. Only a few students in each college choose music by choice. The students lack of interest in the subject is due to the absence of music subject in the primary and secondary education, and also due to lack of exposure to music in early age. The students opting music by force and with no foundation in the subject find it tough to understand and grasp the subject. Gradually many students lack interest in the subject and once they lose interest, the competent teacher gets frustrated in trying to motivate the students. It important to mention that, in the colleges, the students are admitted in the music course, without any audition or assessment test. This leads to the entry of some thick-headed students into the classroom and ultimately these students become a burden on the teacher as well as bright students. Music only offered as an optional subject. The research reveals that in the colleges, music is not taught as a core subject but as an optional subject with BA program. Not a single college offers professional degree such as BMUS or BA Honors in music. Moreover, there is no masters program available in the subject in any of the colleges or Universities of the Valley. Among Universities, Kashmir University is the only University that offers music as a professional subject at Undergraduate level. Otherwise, there is no music stream in any of the colleges or Universities of the Valley. Moreover, there is no PG program available for the students in any college or University of the region. No Backing. It was observed that music is regarded as a minor subject and an occasional activity in the schools and colleges and there is no backing or encouragement from the Principals to Vol.1, No.1 April 2018-JK Music Initiative

34 32 elevate the status of music and treat it at par with the other subjects like science, commerce, and arts. In colleges, Music teachers are just expected to train the students for cultural activities. Whenever there is any cultural or any other program in the colleges, the teachers are asked in advance to keep the students ready for presenting an item in the said program. Inadequate Availability of Competent Teachers. There are two classes of teachers presently working in the colleges; Professional teachers who have done professional music degrees like BMUS, or BA (Hons.) Music from professional institutes like Faculty of Music and Fine Arts, University of Delhi, Institute of Music and Fine Arts, University of Kashmir, Institute of Music and Fine Arts, University of Jammu, Faculty of Music and Fine Arts, BHU etc. and Nonprofessional music teachers who have done general BA degree with Music as optional subject from different colleges of Jammu & Kashmir and then completed their masters and research degrees from some outside state universities. A teacher of music must have sound Practical knowledge as well as a deep understanding of the theoretical aspects of the subject. The way music teachers handle the subject goes a long way to determine students interest in the subject (Olatunji: 1990). Most of the Non-professional music teachers from colleges are not competent enough in the teaching of Music. The number of music teaching posts sanctioned in each college is not enough. For example in GDC Sumbal and GDC Anantnag, there is only one sanctioned music post in each college. Besides, there are no separate posts for vocal and instrumental music in these colleges. There are also no sanctioned posts for music accompanists like tabla, Harmonium, etc. In most of the colleges, the teachers teach without Tabla accompaniment which is not good for the students. Without Tabla, the students are not able to develop the sense of rhythm in their music. It is also pertinent to mention that the number of permanent faculty members in the colleges is very low.

35 For instance, there is only one permanent music teacher each in GDC Sumbal, GWC Baramulla, and GWC Nawakadal. In GWC Anantnag there is no permanent music teacher at all. The music departments heavily rely on contractual teachers which are appointed on yearly basis without any interview or assessment test. This practice of appointing contractual music teachers on mere past experience, paves the way for the entry of bungling and incompetent teachers into the music departments. Lack of Technology and Infrastructure. This study reveals that there is lack of technologybased music education in the schools and colleges of Kashmir. There are no audio-visual libraries, listening rooms, music studios and smart classrooms in the colleges which offer music. These technological resources are crucial for enhancing the quality of music programs. Moreover, due to lack of sufficient funds, the college teachers are not able to buy quality musical instruments. Some schools colleges even don t have sufficient space available in the department for taking classes and keeping the musical instruments. Music not accessible to Male Students. It is disheartening to state that the past education policymakers have erroneously introduced music only in women colleges and girls higher secondary schools, therefore depriving the prospective male students of learning music. It is very recently in the year 2014 that music was introduced in one co-educational college, namely Govt. Degree College Sumbal, Bandipora. The male students have shown an overwhelming response to this subject. It is pertinent to mention that 95 percent students opting music in GDC Sumbal are male. Lack of Opportunities for Higher Studies. As mentioned earlier, music is only offered up to graduation and there are no masters or Ph.D. programs available in the subject in the colleges and Universities of Kashmir region. As a result, the students of Kashmir region are deprived Vol.1, No.1 April 2018-JK Music Initiative

36 34 higher studies in music. Despite interest and capability most of the students are forced to give up music after graduation. Several constraints stop them to move outside the Valley to pursue higher education in the subject. Lack of Job Opportunities. Due to the nonexistence of music stream in the colleges, and also due to the fact, that many few students opt music out of choice, the colleges are not able to produce accomplished musicians and employable music graduates. Initiatives Taken by the Department of Higher Education Department of Higher Education is tirelessly working for the promotion of learning in the state of Jammu and Kashmir. Under the dynamic leadership of current Principal Secretary, Dr. Asgar Hassan Samoon (IAS), the department has recently taken many new initiatives which include the establishment two cluster universities, creation of 17 new colleges, establishment of first architecture school in the State, IIT and IIMC in Jammu, J&K Institute of Mathematical Sciences (JKIMS), publication of research journals in varied subjects, and promotion of languages. Moreover, the department has recently introduced many new courses and streams in the colleges. The department is constantly striving for creating new avenues for the benefit of students and society at large. Apart from the conventional subjects, the department is also keen to promote the education of music and performing arts in the colleges. To promote music education, the department has recently started music initiative, a music revival and promotion process in the state. The first step in this direction was to create twentyfive music Assistant professor Posts. In addition to this, the department created history in July 2017 when music was introduced in thirty-five more colleges making the number of colleges offering music to forty-four. The Higher Education department conducted a meeting of all the permanent music faculty members of the State on 27 th February at Civil Secretariat Jammu where it was decided to publish a quarterly Peer-Reviewed Research Journal in Music by the name JK Music Initiative, to promote music research in the colleges and Universities of the State. This is again a revolutionary step, a first of its kind taken in Jammu and Kashmir.

37 To modernize the music education system in the State, the department has also decided to establish music studios in colleges of the State. Besides this, the department is keen to promote the folk music of the state along with classical music. Some Recommendations Keeping in the view of the present miserable situation of music education in Kashmir, it is obligatory and mandatory to give more importance to this subject and make it more professional and in tune with the modern requirements. In this connection, there is a dire need to take few urgent initiatives to widen the dimension of this subject and introduce it in more colleges and offer it as a core subject instead of an additional subject. Following research governed recommendations, if implemented in Toto, will ensure the revitalization and dissemination of music education in Kashmir. Introduction of Music in Schools & Colleges. Music should be made an integral component of all the Govt. Primary schools of the Kashmir region. Moreover it should be introduced as one of the subject at high school and higher secondary school level.the Department of Higher Education has already authorized the Principals of thirty-five colleges to start music in their respective colleges but till date not a single college has introduced music subject. Despite the direction from Higher Education Department, the principals are averse to introduce the subject due to reasons best known to them. It is suggested that formal sanction orders for the introduction of music should be issued and the Principals be directed to introduce the subject immediately without any further delay. Introduction of Music as a Core Subject. As earlier said, at present no integrated or masters program is available for the students in Kashmir as a result of which the students are deprived of quality music education. Despite interest and talent, most of the students are forced to give up music after graduation. Several constraints stop them to move outside the Valley to pursue higher education in the subject. The first and foremost responsibility of the Department of Higher Education should be to introduce music as a core subject in maximum colleges. This could be done by introducing BA Honors music and Integrated PG music programs in at least five to six colleges. Vol.1, No.1 April 2018-JK Music Initiative

38 36 Establishment of Faculty of Music. To facilitate music graduates to pursue quality higher studies in music, it is necessary that faculty of Music, on the pattern of Faculty of Music, Delhi University, be established in the Cluster University Srinagar and Central University of Kashmir. These faculties of music should offer music at PG level and also offer research degree programs such as integrated M.Phil-Ph.D. The introduction of music at PG level and PhD level will highly benefit those students who can't afford to travel to distant places outside the state due to financial constraints and other reasons. Increase in the number of Sanctioned posts. The number of sanctioned posts should be increased in the all the colleges. There should be at least two vocal, one sitar and one Tabla accompanist post in those colleges where music is taught as an optional subject. In the colleges where BA Honors or PG program would be introduced, the number of Vocal, Sitar, Tabla, and Harmonium accompanist posts should be three, two, two, and one respectively. The next step would be to offer music as Five years integrated graduate/postgraduate course in the colleges as well as Universities of the State. The aim of introducing music as a five-year integrated course is to provide a professional degree in music to the students at both undergraduate and master's level. The introduction of music at PG level will highly benefit those students who can't afford to travel to distant places outside the state due to financial constraints and other reasons. Promotion of Sufiana Mausiqi. Sufiana Mausiqi, the classical ensemble music of Kashmir is currently facing the threat of extinction due to various socio-economic and political factors. There are a very few competent practitioners left and they are struggling to pass on the tradition to future generations (Shabir: 2016). It is therefore vital to promote this dying art form before it is too late.to promote Sufiana Mausiqi, the department of Higher Education as well as the Universities should introduce Sufiana Mausiqi as a compulsory paper with BA Honors Program as well as PG music program. To teach the subject, Sufiana musicians should be engaged as guest faculty.

39 Establishment of a Music School. A professional school of music could be established at Srinagar on the pattern of School of Architecture. This school should have all the modern facilities like Music Studio, Listening Room, Auditorium, Museum, Audio-video library, Research library and hostel for the students and teachers. In this school, professional music education should be provided and a limited number of students should be admitted after a rigorous assessment test. Apart from Indian classical vocal and instrumental music, there should be some other job oriented courses like, sound recording and reproduction, musical instrument making, event management and music composition and direction. One year diploma courses in harmonium, Tabla, Sarangi, Santoor, Rabab, Saaz-e-Kashmir, Sufiana Sehtar, Keyboard, Guitar and drums, could also be offered. Conclusion This exploratory study reveals that the music education system of Kashmir region in presently in crisis due to lack of music subject in almost all the schools, colleges and Universities except a few Government colleges and a couple of Higher secondary schools. The study also indicates that currently music is only offered as an optional subject in the five colleges of Kashmir region and is yet to be introduced as a core subject in the colleges. The study further points out that, music subject is least popular in the colleges due to the negative attitude of some Principals, and teachers (teaching conventional subjects). There is no professional music course available in any of the colleges or Universities. There are various reasons for the marginalization of music education in Kashmir which includes the lack of awareness about music among the masses, religious bias towards music and musicians, lack of funds, inadequate availability of competent music teachers, lack of Job opportunities etc. The study suggests that, to reap the various benefits associated with music learning, music should be made an integral part of the curriculum right from the primary level to the University Level. Besides professional programs such as BA (Honors) Music, PG integrated Music, PG Music and integrated MPHIL-PhD Music should in introduced in the colleges and Universities of Kashmir. The recent initiatives initiated by the Department of Higher Education such as introduction of music in 35 new colleges, establishment of music studios in the colleges, publication of a Music Research Journal, creation of twenty-five posts of Assistant Professors, should be implemented in toto. Vol.1, No.1 April 2018-JK Music Initiative

40 38 REFERENCES Grace, Qi. "The Significance of Music in Early Childhood Education." Educating Young Children. Accessed April 04, Hodges, Donald & S. O'Connell, Debra. The Impact of Music Education on Academic Achievement Carolyn, Philips. "Twelve Benefits of Music Education." Children's Music Workshop. Accessed April 21, Mir, S.A. Mystical music: Safeguarding Sufiana Mausiqi - A vanishing art form of Kashmir. no. 11 (2016) : Oladipo, O.T. Problems militating against the teaching of music in Nigerian secondary schools: way forward, Journal of Teaching and Education (2014): Carolyn, Philips. "Twelve Benefits of Music Education." Children's Music Workshop. Accessed April 21, Olatunji, A. F. The Teaching of Music and Singing in Schools. Lagos: Murtab Enterprises, Shute, Florence L., Wallace Frost, and Mollie E. Laffey. "Aims and Objectives of Music Education." Music Supervisors' Journal 20, no. 2 (1933): Steinhoff, Annie. "The Importance of Music in Early Childhood Development." Novak Djokovic Foundation. May 08, Accessed April 21,

41 Santoor: origin, evolution & development Abhay Rustum Sopori Vol.1, No.1 April 2018-JK Music Initiative

42 40 Santoor origin, evolution & development Abhay Rustum Sopori Santoor Maestro & Music Composer ABSTRACT Santoor belongs to the family of earliest stringed instruments of India called Veena. As is generally believed, that one of the three forms of the Veena was either plucked or struck, with a short wooden striker called Kasht, which was in vogue during the Vedic periods, popularly known as Vaana. It can be conjectured that in its early stage the Indian Shatatantri Veena and Katyayani Veena travelled westwards and became Psanteer in Persia and Psaltray in Babylon. This instrument was also used in every Vedic ritual. In some of the Vedas and Samhitas, Shatatantri is also called Vaana. This article explores the origin, evolution and development of Santoor. Keywords Santoor, Shatatantri Veena, Plucked Instruments, Vaana, Kasht. In the history of world music we find musical concept, terms and instruments of one country being adopted by another. In the Vedic literature, we find a similar reference to Tantri. The Tantri, which had 100 strings, was called Shatatantri, which implies that these were the creation of Indian thought and culture and the instrument changed its dimensions from time to time. The Shatatantri Veena survived in Kashmir and was used at every Vedic ritual. It remained associated with the temple music from the earlier times till date. As it was already associated with the Shaivites, it was naturally adopted in the Sufi music of Kashmir. Simultaneously all the Veenas including the Santoor (Shatatantri) were associated with temple music and did not become a part of the folk music. It retained its status and dignity in the musical culture that was termed as classical music, including the music of Sufi s, known as Sufiana Qulam in Kashmir. However, it is a fact that Santoor resembling instruments, with different names are popular in folk music in Eastern Europe, Hungary, Poland, North Africa, Central Asia, Iran and china etc. Yet all these instruments resembling Santoor have a major difference in tone, playing techniques,

43 number of strings, designing of the instrument and shape and size of the strikers. The Indian Santoor though divided in three parts over the shaft like Santoori of Greece, Santoor of Iran, European Symbalam, Hammer- Dulcimer of America, etc. is still completely different in the tone, structure, design of strikers, number of strings, designing of bridge, playing posture and technique. In this instrument (Kashmiri Santoor) only the middle portion is used for playing purpose. It is tuned as per the requirement of ragas in Hindustani classical music or Muqam in Sufiana music. A key tuner, called a hammer (Dokur in Kashmir), made of iron is used to tune the keys, which are also made of the same material. The Santoor is played in a sitting posture (Asana) like all the other Indian classical instruments. The traditional Sufiana Santoor in India is a trapezium shaped box particularly made of seasoned mulberry wood with an acute angle of 75 degrees each from the left and the right. In this Santoor the parallel sides facing the performer are inches long, approximately in the ratio of 1:2 (the ratio 1:2 has also a traditional and historic background which is also associated with the Shaivite thought) where as the other 2 sides are again inches. The thickness of the box is round about 4 to 4 1 /2 inches. The inside, which is hollow, serves as a resonator. Initially the strings would have been made of flax and gut and at present Steel and Brass / Copper is used. These strings are laid over the shaft passing from left to right controlled by the keys on the right side of the instrument. Under a group of four strings one small bridge (Gota in Kashmiri Language) is inserted. The height of the bridge is kept slightly more than the height of the side planks placed on the shaft that is usually 1 inch approximately. In this process, hundred strings are laid over 25 bridges and each group of four strings are tuned to one note and the instrument is tuned accordingly. The sound of the note is produced with the striker called Kalam (Kasht as referred to in Sanskrit), which is 6 inches long. The bridges are placed 13 from one side 12 from the other side dividing 100 strings to a group of 4 strings to each bridge. In the Sufiana system the traditional Santoor has one and a half octaves. Indian Santoor can mostly be heard in the classical concerts or Sufi mehfils (gatherings / baithaks). It is also being used in film music and other classical categories. However, it may be categorically mentioned that Santoor is not a folk instrument and it has never been used in any folk style either in past or at present. The Santoor has been in the Sopori family for over 10 generations spanning around 300 years and has been innovated from time to time by the master players of this Gharana. Pandit Vol.1, No.1 April 2018-JK Music Initiative

44 42 Shankar Pandit, the Great Sufi Saint musician, (great grandfather of Pandit Bhajan Sopori) introduced Indian classical music technicalities in his Sufiana presentation and by giving it a new dimension he set a new style of presentation called the Sufi Baaj. This is where the Hindustani Classical music stepped into the Sufiana Gharana and Sopori family. This style was inherited by his son Pandit Samsar Chand Sopori, who being a Wasul exponent too, further enriched this style with his innovations and introduction of technicalities like Laykari, etc. in his recitals. Following the footsteps of his predecessors, Pandit Shamboo Nath Sopori, the veteran musician and musicologist hailed as the Father of Music in the State of Jammu and Kashmir, while teaching Santoor to his disciples, in the early 1940 s, added a couple of bridges creating the Mandra Saptak (lower octave) in the Santoor and set the base for the systematic presentation of a raga. This legacy of Santoor and improvisations was carried forward by his youngest son Pandit Bhajan Sopori, the legendary Santoor maestro and music composer, who expanded the scope of Santoor as a complete solo Hindustani classical instrument and also innovated the Sufi Baaj establishing a new style of playing the classical Santoor in the realm of Indian Classical Music called the Sopori Baaj. The Santoor of Sopori Baaj has three sides of 25 inches and the neck side is in the ratio of 1:2 i.e. 12 ½ inches (the opposite side facing the performer). The 100 strings are divided and laid over 43 bridges giving the instrument a dimension of more than 5 ½ octaves. It also has the Tarab (sympathetic or resonance strings) like Sitar or Sarod to help achieve tonal accuracy in resonance. The Sopori Baaj combines both the Gayaki (vocal) and the Tantrakari (instrumental) Ang (style) presenting the raga on Santoor in its authentic and traditional system in accordance with the raga shastra (grammar). Pandit Bhajan Sopori replaced the Sehpai (small stand for the traditional Santoor) and added a Tumba (Gaud) underneath the Santoor in early 1960 s for the clarity of the higher and the lower octaves. The Tumba is placed on the left foot and the rest of the body of the instrument lies in the lap of the performer. This asana (posture) is called the Ardhaspandan Asana. He also introduced various techniques on the Santoor to extend the scope of the instrument as per the requirement and essential elements of the Hindustani Classical Music. His introduction and invention of various techniques like Meend and Gamak (pressure techniques), Glides and Cross Glides, Krintan, continuation of note, etc. were a major breakthrough in the history of Santoor. These essential elements of the Indian classical style together with other techniques like balancing the Kalam for enhanced Bol (playing strokes) variations,

45 with different pressure movements involving the fingers, wrist, arm and shoulder, made the Kashmiri Santoor a full fledged Hindustani classical instrument on which all the intricacies of Raga system could be displayed maintaining the purity of the raga. With the help of Meend, he added another 2 ½ octave range in his instrument finally giving Santoor a dimension of more than 5 ½ octaves. This was followed by adding the Tarab (sympathetic strings) to give tonal accuracy in resonance. He also added Chickari in the Santoor. The musical tradition of the Sopori family has been multidimensional. The family members adopted music both as a profession and means of worship and specialized in both the instrumental and vocal styles. The Santoor, Wasul (traditional Kashmiri rhythmic instrument) and Kashmiri Sitar being their legacy, was played by them presenting the Sufiana Muqam Gayaki and later Raga Sangeet. Sufiana Gharana is a unique musical heritage of both Hindustani classical and Sufiana music centered in Kashmir (J&K), which owes its roots to the Shave Gayan and later Sufiana Musique. It gets its name from Sufi parampara of Kashmir and is the only musical Gharana from the Jammu and Kashmir region, which has established classical Santoor in the world of music at the national and international level. A Living Legend and a Musical Genius Pandit Bhajan Sopori is more than an individual. He is a performer and composer par excellence, musicologist, teacher, writer, poet, and an extraordinary human being he is a complete institution in himself. Regarded as the cultural bridge of the State of Jammu & Kashmir and the rest of the country, Pandit Bhajan Sopori is hailed as the Saint of the Santoor and the King of Strings. Having establishing the Santoor at global platforms as a complete solo instrument, Pt. Bhajan Sopori, the quiet and unassuming maestro and composer of more than 5000 songs, has come a long way since he created history in the year 1953 when the first ever broadcast of Classical Santoor from All India Radio becoming the first person to play Indian Classical music on the Santoor in concerts. In his six decades of dedicated work he has explored various dimensions of the Santoor, carrying out many pathbreaking innovations. The mystic master has used his Santoor and his compositions to highlight the concept of oneness and foster unity enshrining the idea of national integration, humanism and peace amongst the common man and the youth in particular. Pandit Bhajan Sopori s constant experimentation resulted in the further extension of the bridges, developing the Mandra and Tar Saptak as full octaves. He had seen his grandfather singing and playing the Tilana Na Dir Dim De Re Na and as such had sufficient reasons to Vol.1, No.1 April 2018-JK Music Initiative

46 44 believe that the Bols (playing strokes) like Da Ra Dir could be introduced systematically in the instrument and all the complicated Bols could also be played with the technical perfection. Pandit Bhajan Sopori introduced the Dhrupad Ang on the Santoor to the accompaniment of the Pakhawaj, which is another unique element of the Sopori Baaj. It combines both the Gayaki (vocal) and the Tantrakari (instrumental) Ang (style) presenting the raga on Santoor in its authentic and traditional system in accordance with the raga shastra (grammar). In this Baaj stress is laid on the Alaap, Jod-Alaap and variety of taan patterns, exclusive Gat patterns (instrumental compositions) and Bandishes (vocal compositions) in various Taals (rhythmic structures). Highly intricate and varied rhythmic pattern of Layakari and Chandhkari (complex rhythmic patterns) is another remarkable feature of the Sopori Baaj. Some other renderings apart from Dhrupad and Khayal Ang played on Santoor, for which this style is famous, include Tarana, Tappa, Tap-Khayal, Thumri, etc. The Santoor is always played from the left side for the Shudh Thath (Major Scale) and from the right side for the Komal Swaras (Minor Notes). In Sufiana Gharana and Sopori Baaj Santoor is essentially played on the left side and additional notes whenever required are added from the right side. However, as it is interpreted that the heart happens to be on the left side, the emphasis has to be on the left side. But the subtle truth is much more. The writer has added a new dimension to the instrument with innovations like Open String Concept, Enhanced Sustain Technique, etc. further developing the Been Ang with predominance of the Gayaki Ang riving the traditional family style of playing Santoor, which is singing the composition along with its instrumental rendering.

47 Pandit Bhajan Sopori says, The raga should aesthetically justify its texture as per the shastras (grammar) of the Indian classical system. The Taal patterns are not merely taken as a source of counting but to be co-relating to the effect generated by a Gat or composition. In this style, Raga is a source of meditation, the Taals co-relate to the counting of mantra and the laykari and the chandkari is the stage of ecstasy or zikhar in Sufi terminology. The two Kalams are to be properly balanced to generate the required depth of the notes. The pair of Kalam is like the two wings of the bird which once stretched out equally enables the bird to soar high in the sky. Figure 1 Santoor of Sopori Baaj, Source: Author Vol.1, No.1 April 2018-JK Music Initiative