Electronic Media and Hindustani Classical Instrumental Music: An Analysis of Opportunities and Challenges
Subhadip Das, UGC NET Senior Research Fellow, Department of Hindustani Classical Music – [Sitar], Sangit Bhavana, Visva-Bharati, Santiniketan, E-mail: sitarsubhadip@gmail.com, Contact Number: 9088234120
Abstract
This research article examines the effect of electronic media on Hindustani classical instrumental music, one of the most important musical genres in India. This article examines different facets of the usage of electronic media in this genre, such as its emergence, applications, problems, and prospects. The article then discusses the impact of electronic media on traditional techniques for teaching and marketing Hindustani classical instrumental music. It offers an in-depth investigation of the different electronic media applications in this genre, such as online music schools, YouTube channels, music streaming services, and social media platforms. The essay also examines the advantages and disadvantages of employing electronic media as well as the best practices for doing so effectively and efficiently.
In addition, both the benefits and drawbacks of adopting electronic media in Hindustani classical instrumental music are investigated, as are the most effective methods for applying electronic media in this style of music. The article finishes by discussing the future of Hindustani classical instrumental music and its relationship to electronic media. This article gives a comprehensive overview of the potential and problems presented by electronic media in the realm of Hindustani classical instrumental music.
Introduction
Electronic media refers to the use of electronic equipment and communication channels for information transmission, reception, and processing. Electronic media has transformed the production, distribution, consumption, and promotion of music. The influence of electronic media can be heard in nearly all musical genres, including Hindustani classical instrumental music.
Hindustani classical music is an integral part of Indian culture, and its instrumental form has a unique place in the world of music. Hindustani classical instrumental music has a long and illustrious history, dating back to antiquity. It has been an essential part of Indian culture for thousands of years and is still a popular form of music today. Hindustani classical music has its roots in the Vedic period (1500–500 BCE), when it was played in temples and other holy places. With the introduction of new instruments and the development of new techniques, the music evolved over time and became more complicated.
Vadya is the common term for musical instruments in India. There are primarily five varieties: non-membranous percussion (ghan), membranous percussion (avanaddh), wind-blown (sushir), plucked string (tat), and bowed string (vitat). Ghan or the non-membranous percussion instruments, like Jal Tarang, Manjira, Ghatam, Murchang, Ghungharu, Kartal, etc., have solid resonators and may be either melodic instruments or instruments to keep the rhythmic cycle going. Avanaddh means a membrane-stricken instrument. Basically, these consist of drums like tabla, pakhawaj, mridangam, dholki (nal), and khol (mridang). Sushir, just like the word sounds to us, are wind-blown instruments that are distinguished by the use of air to activate the different resonators. This category includes instruments such as the bansuri, shehnai, and harmonium. Tat Vadya means stringed instruments that are plucked. These types of instruments have been the backbone of this tradition for centuries. In antiquity, practically all Tat Vadya were referred to as Veena. This group includes instruments such as the sitar, sarod, surbahar, rudra veena, vichitra veena, tanpura, santoor, surmandal, and senia rabab, among others. Bitat means a class of stringed instruments that are bowed. Even though they look old, these instruments didn’t start being used in classical music until the last few hundred years. The entire class of instruments carries a stigma. Today, only the Western violin is stigma-free. This genre includes sarangi, sarinda, violin, esraj, and dilruba.
In a sense, instrumental music is a subject with no language but a universal one. When stroke patterns are used in instrumental music, the right-hand parts show how the stroke patterns work, and the left-hand parts accompany that with notes or filler bols.
As a result, it is much simpler for westerners to appreciate instrumental music because they do not need to understand the poetic verses of the song’s vocal music.
Application of Electronic Media in Hindustani Classical Instrumental Music
Electronic media, through several dimensions, has helped in reaching out to a broader audience, leading to greater exposure and appreciation of Indian classical music around the world. First, we should mention radio and television and their applications as electronic media. Before radio services started in India, listening to Hindustani classical instrumental music was almost impossible for an ordinary listener. Alongside television, radio has also played a vital role in promoting and maintaining Hindustani classical music. All India Radio (AIR) has been broadcasting concerts and recitals of classical music since 1927, organizing sammelans, or mega-events, and giving new and experienced musicians a chance to show off their skills. After independence, instrumental music grew increasingly popular due to the amazing performers. After independence, many individuals played instruments like the flute and sarangi like never before. The radio stations played classical instrumental music more frequently than vocal music. There were orchestral recitals and programmes like ‘String Music’, ‘Rag Aur Vadya’, ‘Tabla Duet’, ‘Saaz Aur Sangeet’, and “Melody on Strings” that were broadcast from the Bombay, Dacca, Lucknow, and Trichy stations, respectively. Also, instrumental recitals were played during the programmes for women in rural and tribal areas. These were some of those that drew inspiration from musical recordings.
Doordarshan [DD] and other TV stations in India and abroad have shown many concerts and other events with classical music, which has helped make Hindustani classical instrumental music more popular. At the same time, one must acknowledge that classical music has never attracted a large audience by definition (the word “classical’ comes from ‘class’). AIR and DD are aware of how difficult it is to create a balance that will satisfy both the class and the general public.
Music that has already been recorded is common and can be found on audio cassettes, compact discs, long-playing records, and spools. After that, improved movies, TV, video recorders, and other gadgets practically allowed an artist to be in everyone’s living room at once. Due to this sea-change-like expansion of music, musicians, and instruments have also changed. The microphone, amplification, recording, transmission, and receiving devices all have limits before music may reach the listener. Hence, no technology can accurately communicate Indian classical music. A great master sounds better, broader, and more gratifying without artificial instruments than through a microphone, even in his worst mood.
When music wasn’t recorded and each performance was one-of-a-kind, the beautiful flow of notes and nuances added vibrancy and color and gave both the performer and the audience pleasure at that moment. Still, it was lost because there was no way to record it. In the second half of the 20th century, great masters started to look at how the limits of electronics affected the sound quality of music transmission scientifically. The nature of electronic media could cause people to lose the richness and depth of music in their basic training and understanding of it. This psychological reliance on the medium is incapacitating before an intimate audience of masters.
However, since electronic media came along, how people learn about, make, and share music has changed significantly. With the rise of online platforms, music streaming services, and social media, more ways exist to share and learn about music outside of a specific location. Online music schools are a prominent application of electronic media. These schools have enabled students to learn from Hindustani classical music experts, regardless of their geographical location, via video conferencing. These portals provide live online sessions taught by skilled instrument players on traditional instrument-playing techniques.
YouTube and SoundCloud have allowed artists to share their music with a global audience. This has resulted in a resurgence of interest in Hindustani classical instrumental music among India’s youth and those living abroad. YouTube channels are another application of modern media in Hindustani classical music. Several musicians and record labels have started YouTube channels to share their music with a larger audience. They provide an extensive library of classical music recordings that are freely available to listeners worldwide. This makes it simpler for performers to obtain notoriety and for fans to find and value Hindustani classical music.
For instance, the YouTube channel of sitarist Ustad Shahid Parvez Khan has over 60,000 subscribers and includes performances, interviews, and tutorials. Music fans can learn a lot from these channels because they show concerts, seminars, and interviews with musicians. For instance, the Darbar Festival YouTube channel broadcasts live performances by some of the most recognized performers in the industry, exposing a global audience to the splendor of Hindustani classical music. In addition, several other music fans, such as Raju Ashokan and others, give rare studio or live recordings of old and new generations of performers.
Hindustani classical instrumental music has also been popular on music streaming services like Spotify, Gaana, Amazon Music, and Saavn. People who use these services worldwide can listen to a wide range of music, including classical instrumental music. Moreover, social media sites such as Facebook, Instagram, and Twitter play an essential role in promoting Hindustani classical music. These platforms let musicians and groups share their music and talk to their fans, creating a worldwide community of music lovers. Many relatively unknown but exceptionally talented artists can showcase their musical expertise on these social media platforms and gain attention and fame.
For the promotion of Hindustani classical instrumental music, social media channels such as Facebook, Instagram, WhatsApp, Telegram, and Twitter have become indispensable. Several musicians and music companies post information about their performances, new releases, and collaborations on these channels. In conclusion, electronic media has afforded Hindustani classical instrumental music new options. Via online music schools, YouTube channels, music streaming services, and social media platforms, electronic media has enabled performers to reach a global audience and made Hindustani classical music accessible to music lovers worldwide.
Nonetheless, the advent of electronic media has been challenging. Conventional methods of teaching and promoting Hindustani classical instrumental music are in danger of being eclipsed by the increasing popularity of electronic media. The traditional Gurukul method, in which a guru teaches students, would only be able to compete with online learning platforms if they were more convenient and easier to get to. The COVID-19 pandemic has also greatly affected many musicians’ income and way of life because of the lack of live performance changes.
So, it is vital to find a balance between traditional ways of teaching, promoting Hindustani classical instrumental music, and using the power of electronic media. Hindustani classical instrumental music must be taught like the Gurukul system to keep its depth and originality. However, electronic media has expanded its reach and made it more accessible.
Pros and Cons of Electronic Media for Hindustani Classical Instrumental Music:
Pros:
Increased accessibility: Electronic media have made Hindustani classical instrumental music more accessible to individuals worldwide. With the development of the internet and digital platforms, music enthusiasts may now access recordings, live performances, and instructional videos from anywhere in the world. This has contributed to the music’s increased popularity and expanded the audience for Hindustani classical instrumental music.
Preservation of traditional music: Electronic media’s importance in preserving and archiving traditional Hindustani classical instrumental music has been essential. With digital technology, old recordings can be recovered, digitized, and distributed to the public. This has contributed to preserving the rich cultural history of Indian classical music so that it can be handed down to future generations.
Cooperation, collaboration, and experimentation: Electronic media have opened new paths for collaboration and experimentation in Hindustani classical instrumental music. Artists can now work with musicians worldwide to integrate fresh ideas and approaches into their music. This has contributed to the development of inventive musical styles that fuse traditional Indian classical music with contemporary influences.
Learning opportunities: New learning options have been made available to aspiring artists through electronic media. Internet tutorials, video classes, and digital courses have facilitated students’ ability to learn from seasoned musicians and gurus. This has contributed to the emergence of a new generation of gifted musicians committed to conserving and furthering the traditions of Hindustani classical instrumental music.
Cons:
Loss of authenticity: Authenticity loss is one of the most prominent complaints about electronic media in Hindustani classical instrumental music. Many musicians now rely on studio recordings rather than live performances due to the growth of digital recording technologies. This may result in the loss of spontaneity and improvisation, which are vital components of Indian classical music.
Oversaturation of the market: The expansion of electronic media has also contributed to the saturation of the market for Hindustani classical instrumental music. Due to the abundance of internet recordings and performances, it might be difficult for spectators to distinguish between high-quality and substandard versions. This might result in the devaluation of music and make it more difficult for exceptional musicians to receive the recognition they deserve.
Dependence on technology: Another critique of electronic media is that it might lead to technological reliance. Many musicians now improve their performances with digital effects, sound processing tools, and special software. While these technologies might be valuable, they can also become a crutch, resulting in a reliance on technology rather than the musician’s own talent and originality. Nonetheless, some electronic performers struggle. They feel disoriented without a microphone. This difficulty may affect fundamental training and understanding since electronic media diminishes music’s richness and depth. This psychological dependence on the media is eliminated by an intimate audience of masters.
Cultural appropriation: Electronic media have also contributed to cultural appropriation concerns. There is a danger that non-Indian musicians and fans could co-opt Indian classical music in a mixed-breed way, resulting in a loss of cultural identity and legacy as the music becomes increasingly popular worldwide.
Electronic media have had both beneficial and harmful influences on Hindustani classical instrumental music. It is the responsibility of musicians and audiences to weigh the advantages and disadvantages of electronic media and preserve the rich cultural heritage of Indian classical music for future generations.
Best Practices for Using Electronic Media in Hindustani Classical Instrumental Music:
Many best practices can help ensure the effectiveness of online promotion, learning, and distribution of Hindustani classical instrumental music when it comes to the use of electronic media. When employing electronic media, it is essential to maintain the originality and integrity of the traditional musical piece. Any additions or adaptations to the original music should be performed with the right authorization and with respect for the tradition. For instance, it is crucial to use the correct ragas and talas in the song and to use authentic and suitable instruments for the style of music being performed.
It is crucial to utilize social media sites such as Facebook, Instagram, and Twitter to reach a larger audience and promote Hindustani classical instrumental music-related activities. For instance, live-streaming concerts on social media can efficiently reach individuals who cannot attend events in person. High-quality audio and video recordings must be used there to help the music sound and look its best and attract a larger audience.
Online music schools provide students access to pre-recorded lessons and independent practice time. Lastly, engaging with other musicians, music schools, and event organizers is necessary to promote and broaden the reach of Hindustani classical instrumental music via electronic media. This can aid in creating a more remarkable impression and reaching a larger audience.
So, we may conclude that using electronic media to promote Hindustani classical instrumental music requires maintaining authenticity, utilizing high-quality audio and video, utilizing social media platforms efficiently, utilizing online music schools, and collaborating with other industry professionals.
Challenges of Electronic Media in Hindustani Classical Instrumental Music:
In addition to the advantages, the use of electronic media creates substantial obstacles to the promotion and preservation of Hindustani classical instrumental music. Lack of authenticity and quality control in internet material is one of the most significant obstacles. Due to the availability of internet content, it is difficult to distinguish between authentic and trustworthy sources and false or deceptive ones. This creates uncertainty among students and fans, who may unwittingly employ the wrong or inferior compositional techniques.
Another big obstacle is the fluctuating preferences and tastes of the audience. Electronic media has improved the dissemination of Hindustani classical music worldwide. Still, it has also contributed to a shift in the audience’s inclinations toward fusion and current music. Thus, traditional Hindustani classical music, mainly instrumental music, may, in the future, lose its popularity and importance.
Another difficulty is the eventual demise of established music education and promotion methods. Online learning platforms and tutorials have made education easier to access and more convenient, but they can’t replace the personalized instruction and feedback of a proper mentor. When more and more students enroll in online music schools, the traditional Guru-shishya Parampara (teacher-student tradition) runs the risk of extinction. This might significantly affect the originality and quality of Hindustani classical instrumental music.
Concerns exist around the commercialization and monetization of Hindustani classical instrumental music. While electronic media have simplified the promotion and distribution of music, they have also contributed to its commercialization. The commercialization of music could emphasize generating music for financial gain rather than artistic expression and creativity. Suppose a musician starts to do gimmicks and other gigs more and more in his every concert, using electronic gadgets to get more response from the general audience; then a wrong message will go to the audience, and no sooner will the audience wrongly interpret those gimmicks as a traditional way of playing that particular instrument.
It is vital to deal with these problems and come up with solutions if we want electronic media to be a long-term and effective way to promote and preserve Hindustani classical instrumental music.
Conclusion:
Hindustani classical instrumental music’s future is directly tied to the development of electronic media. As technology evolves, it will present the music industry with new opportunities and difficulties. In the next few years, electronic media is anticipated to play an increasingly crucial role in promoting and preserving Hindustani classical instrumental music.
Even with these problems, the future of Hindustani classical instrumental music and electronic media looks good. As technology progresses, musicians will have additional options to reach a larger audience and collaborate with musicians across the globe. If the obstacles are carefully considered, electronic media can significantly preserve and promote Hindustani classical instrumental music for future generations.
In conclusion, electronic media significantly impacts Hindustani classical instrumental music. There are limitations involved with this technology, but there is also tremendous potential for musicians to reach new audiences and work with musicians from around the globe. Electronic media can significantly preserve and promote Hindustani classical instrumental music for future generations. It can help ensure the continuous progress and expansion of Hindustani classical instrumental music in the years to come by carefully considering the obstacles and best practices.
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