Shubha Mudgal. File photo.
Tuesday April 21, 2020
In this session we will listen to and discuss the musical genres of khyāl and ṭhumrī (ख्याल और ठुमरी).
Listen:
- Kishori Amonkar: Rāg Ahir Bhairav
- Shubha Mudgal: Na Jā Balam Pardesavā
- Shubha Mudgal: Jāvo Qadar Nahīṁ
- Shubha Mudgal: Mada Ke Bhare Tore Naina
Read:
Begin by reading the four compositions performed by Shubha Mudgal and Kishori Amonkar:
Na Jā Balam Pardesavā
न जा बलम परदेसवा न जा
मान ले कहनवा
लाख कही मोरी एकहूँ न मानी
Jāvo Qadar Nahīṁ
जावो कदर नाहीं बोलो हम से
हम से बहुतेरे तुम्हरे दम दम से
झूठी लगावत नाहीं मोहे भावत
हारी जात तुम्हरे जम जम से
Mada Ke Bhare Naina
मद के भरे तोरे नैना मतवारे कारे मन हर लिऐ ना
दास श्याम के अनोखे नैना बिन देखे नाहीं चैना
Nainavā Barase
नैनवा बरसे
As you can see, these last two lyrics are extremely brief! This should leave you plenty of time to read about the relationship between lyric and music in khyāl and ṭhumrī:
- Manuel, Peter Lamarche. Ṭhumrī in Historical and Stylistic Perspectives. Delhi: Motilal Banarasidass, 1989. Chapter 1: The Literary Aspect of Ṭhumrī Compositions.
- Wade, Bonnie C. Khyāl: Creativity within North India’s Classical Music Tradition. Cambridge: Cambridge University Press, 1984. Chapter 2: Khyāl: Definition of a Genre.
- “आप गले की कितनी भी हरकतें कर लीजिए अगर भाव नहीं होगा तो ठुमरी गाना व्यर्थ.” दैनिक भास्कर. Nov 25, 2019.
Supplemental reading:
- Du Perron, Lalita. “‘Ṭhumri’: A Discussion of the Female Voice of Hindustani Music.” Modern Asian Studies 36, no. 1 (2002): 173–93.