Hindustani music

      one of the two principal types of South Asian classical music, found mainly in the northern three-fourths of the subcontinent, where Indo-Aryan languages are spoken. (The other principal type, Carnatic music, is found in the Dravidian (Dravidian languages)-speaking region of southern India.) The two systems diverged gradually, beginning in the 13th century, when the Islamic conquest of northern parts of the subcontinent introduced highly influential Arabic and Persian musical practices that then merged with Hindu traditions. (The influences from Muslim cultures played virtually no role in the development of Carnatic music.)

      Northern India shares with the south the use of ragas (raga) (melodic frameworks for improvisation and composition), the rhythmic principles of tala (cyclic metric patterns sometimes of great complexity), and the practice of nonmetric, rhythmically “free” improvisation. Although vocal music plays an important role, instrumental music is more important in Hindustani music than it is in Carnatic; there are some purely instrumental forms, such as the theme with variations known as gat.

      The most prominent instruments of Hindustani music are the sitar (a long-necked fretted lute with about 30 melodic, drone, and sympathetic strings), sarod (a short-necked unfretted lute with sympathetic and drone strings), sarangi (a bowed fiddle), shehnai (an oboelike wind instrument), tabla (a set of two drums played by one musician, the right-hand drum carefully tuned), and tamboura (a large, long-necked lute with four strings, used only to play the supporting drone, a single repeated chord).

      A typical Hindustani performance, which may last well over an hour, begins with a long, nonmetric improvisation ( alapa, or alap) by the singer or melodic soloist, followed by jor, or improvisation without metric cycle but with a perceptible pulse, and eventually by the similar but faster jhala. Then follows the composed piece, which is performed with improvised variations—most typically kayal (a poetic form) in vocal music and gat, a short, rhythmically distinctive theme, in instrumental music. Here, the soloist is accompanied by the percussionist on tabla, and the improvisations often involve various kinds of virtuosic rhythmic competition and cooperation.

      The centres of Hindustani music in the 21st century are the cities of Delhi, Kolkata (Calcutta), Varanasi, and Mumbai (Bombay), but, until the early part of the 20th century, smaller cities with princely courts, such as Jaipur, Agra, and Gwalior, played a major role. In the early 21st century, the practitioners of Hindustani music best-known outside the subcontinent included Ravi Shankar (Shankar, Ravi), Ali Akbar Khan (Khan, Ali Akbar), and Bismillah Khan.

Bruno Nettl

Additional Reading

Daniel Neuman, The Life of Music in North India (1980, reprinted 1990); Nazir Ali Jairazbhoy, The Rāgs of North Indian Music (1971); Ravi Shankar, edited and introduced by George Harrison, Raga Mala: The Autobiography of Ravi Shankar (1999); Suvarnalata Rao, Wim van der Meer, and Jane Harvey and Joep Bor (ed.), The Raga Guide (1999); George Ruckert, Music in North India (2004).

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