GELENEKSEL KUZEY HİNDİSTAN MÜZİĞİ’NDEN BİR REFERANS MODELİ OLARAK GHARĀNĀ’LAR

Year 2019, Volume: 3 Issue: 1, 17 - 32, 30.06.2019

Mevhibe Fidan / Prof. Dr. H. Alper Doğan / Maral

Abstract

Özet: 

Gharānā kavramı Hint müzik geleneklerinin başat öğreti ve pratik
aktarım yoluna işaret eder. Bu önemli müesseseyi tek bir kelimeyle karşılamak
mümkün değildir. Sadece bir okul/ekol değil, bir tür müzik silsilesi, ötesinde
mensubiyetine girilen bir aile gibi, son derece manevî boyutları ve
aidiyet-temsiliyet işlevleri de olan bir üst-kavramdır. Felsefî, ahlâkî,
toplumsal, … yüklemleriyle bir yandan “müzik-dışı” sayılıp bir yandan da müziği
kuşatan, tamamlayan, “kılan” kurucu öğeleriyle referans alınan, irdelenen, ve
hattâ başka müzik kültürlerince öykünülen, saygın bir “müessese”dir. İçinde
bulunduğumuz coğrafya dahil, birçok müzik geleneğinde de benzer oluşumların varlığı,
Gharānā’yı, kimi öğelerinin
benimsenebileceği ve mensup olunan geleneklere eklemlendirilebileceği bir model
olarak irdelenmeye, tanınmaya değer kılar. Bu çalışmada kavramın ana hatları ve
temel kolları tanımlanmaya çalışılacak, önce etimolojik ve tarihsel arka planı
verilip, süreç içindeki dönüşümleri, günümüzdeki geçerliliği ve model olma
potansiyeli tartışılmaktadır.

Abstract:

 
Gharānā is a concept pointing to the main paths and
institutions of Indian music traditions bridging generations and identities not
only through transferring musical information and tasks, but also the supporting/embracing
moral, wisdom and ethics, as well. An untranslatable term, for sure, due to its
capacity reflecting much more than an école,
plain school of music, but also some kinship, identity, and a chain of
cultural, even pseudo-religious, belonging. While “extra-musical” idioms such
as philosophic, ethic, social, … qualities do surround, establish and form the
music, reflected intensely by the meta-concept Gharānā, thus is studied painstakingly and taken as a valuable,
reputable institution—a reference, and even a model to be considered—also by
other musical traditions. This short study tries to sum up the main qualities,
specifications and characteristics of the given concept while giving first a
brief historical and etymological

frame, then reflecting the processes of
respective change and, consequently question the capacity of serving as a model
for other musical cultures.

Kaynakça:

 

Bhatnagar N., The
Evolution of Indian Classical Music (1200 — 1600 AD), Jaipur, India, 1997

 

Desai, C., The
Origin and Development of Khayal,
in JMA XL, 1969

Deshpande V.H., Seashore C., Banis and Gharanas, in NR Vol II, Part II, 1963

Deshpande H. Indian Musical Traditions, An Aesthetic Study of the Gharanas in Indian
music, Popular Prakashan, Mumbai, 2001

Gupta S., History
of Indian Music, Pvt. Ltd, Calcutta, 1962

Khosla,
G.D., The Last Moghul, Delhi Philosophy in a New Key, 3rd ed., Cambridge,
1957

Krishna L.R., Musical Heritage of India, Shubhi Publications, New Delhi, 2003

Lāṭha
M., A Study of Dattilam: A Treatise on
the Sacred Music of Ancient India, Dattila, 1978

Lunia, B.N., Evolution
of Indian Culture, 5th ed., Agra, 1970

Majumdar, R.C., The History and Culture of the Indian People; Vol. X, British
Paramountcy and Indian Renaissance, Bombay,1965

Manoharlal M. Prajnananda S., A Historical Study of Indian music,
Publishers Pvt. Ltd, New Delhi,1981

Popley H. A., The Music of India,  Y.M.C.A. Publishing House, Calcutta, 1950

Prajfianananda, S., A
Historical Study of Indian Music, Calcutta, 1965

Ranade, G.H., Hindusthani
Music, Its Physics and Aesthetics, 2d ed., Bombay,1951  

Ranade, A., Guru-Shishya
Parampara: In Wider Perspective. In Teaching
of Indian Music, Sangeet Research Academy,
Bombay, 1998

Sarma D.S., Hint
Dini Tarihine Giriş, Ataç Yayınları, İstanbul, 2005

Keywords

Gharānā, Hindistan, müzik geleneği, emprovizasyon, eğitim, India, traditional music, improvisation, education

GHARĀNĀS AS A REFERENCE MODEL FROM TRADITIONAL IN NORTHERN INDIAN MUSIC

Abstract

Gharānā is a concept pointing
to the main paths and institutions of Indian music traditions bridging
generations and identities not only through transferring musical information
and tasks, but also the supporting/embracing moral, wisdom and ethics, as well.
An untranslatable term, for sure, due to its capacity reflecting much more than
an école, plain school of music, but
also some kinship, identity, and a chain of cultural, even pseudo-religious,
belonging. While “extra-musical” idioms such as philosophic, ethic, social, …
qualities do surround, establish and form the music, reflected intensely by the
meta-concept Gharānā, thus is studied
painstakingly and taken as a valuable, reputable institution—a reference, and
even a model to be considered—also by other musical traditions. This short
study tries to sum up the main qualities, specifications and characteristics of
the given concept while giving first a brief historical and etymological frame,
then reflecting the processes of respective change and, consequently question
the capacity of serving as a model for other musical cultures.

Keywords

Gharānā, India, Traditional Music, Improvisation, Education

References

• Bhatnagar N., The Evolution of Indian Classical Music (1200 — 1600 AD), Jaipur, India, 1997
• Desai, C., The Origin and Development of Khayal, in JMA XL, 1969
• Deshpande V.H., Seashore C., Banis and Gharanas, in NR Vol II, Part II, 1963
• Deshpande H. Indian Musical Traditions, An Aesthetic Study of the Gharanas in Indian music, Popular Prakashan, Mumbai, 2001
• Gupta S., History of Indian Music, Pvt. Ltd, Calcutta, 1962
• Khosla, G.D., The Last Moghul, Delhi Philosophy in a New Key, 3rd ed., Cambridge, 1957
• Krishna L.R., Musical Heritage of India, Shubhi Publications, New Delhi, 2003
• Lāṭha M., A Study of Dattilam: A Treatise on the Sacred Music of Ancient India, Dattila, 1978
• Lunia, B.N., Evolution of Indian Culture, 5th ed., Agra, 1970
• Majumdar, R.C., The History and Culture of the Indian People; Vol. X, British Paramountcy and Indian Renaissance, Bombay,1965
• Manoharlal M. Prajnananda S., A Historical Study of Indian music, Publishers Pvt. Ltd, New Delhi,1981
• Popley H. A., The Music of India, Y.M.C.A. Publishing House, Calcutta, 1950
• Prajfianananda, S., A Historical Study of Indian Music, Calcutta, 1965
• Ranade, G.H., Hindusthani Music, Its Physics and Aesthetics, 2d ed., Bombay,1951
• Ranade, A., Guru-Shishya Parampara: In Wider Perspective. In Teaching of Indian Music, Sangeet Research Academy, Bombay, 1998
• Sarma D.S., Hint Dini Tarihine Giriş, Ataç Yayınları, İstanbul, 2005