ShodhKosh: Journal of Visual and Performing ArtsISSN (Online): 2582-7472
A Study of Struggle in Versatility in Tabla performance 1 Assistant
Professor (Tabla), Department of Music, SSSIHL (Deemed to be University)
Prasanthinilayam, Puttaparthi (A.P) - 515134, India
1. INTRODUCTION 1.1. TABLA: THE STRUGGLE IN
VERSATILITY There are
different fables about the origin of Tabla. The evolution of the instrument
into its shape and structure today has led to its versatility. Hence Tabla is
adaptable to different playing styles of various schools (gharanas) of Tabla.
It is the chief accompanying percussion instrument of North Indian Music.
Because of its multifarious sounds, Tabla goes well and complements any genre
of music. The efforts put
in by Tabla maestros like Ustad Ahmed Jaan Thirakwa, Ustad Habibuddin Khan,
Ustad Natthu Khan, Ustad Ameer Hussain Khan, and Pt. Samta Prasad, to name a
few, in nurturing the art of Tabla with their exhaustive compositions is
commendable. The contribution of Pandit Kishan Maharaj of Benaras gharana in
the recent times is also immense. The intricate rhythm concept pioneered by
Ustad Allah Rakha of Punjab gharana has added a new dimension to Tabla,
especially for solo recitals. Today, the phenomenal Tabla of his son, Ustad
Zakir Hussain has attracted the musicians around the world and paved way to several
international drum projects. Even a layman in music is able to appreciate his
Tabla to some extent. Also, Tabla started to stand out gradually in the area of
accompaniment. “Then,
some people began to notice that the musicians—be he Ravi Shankar or
Jasraj—were also interacting with the tabla. That’s how the tabla got the
opportunity to break out into a solo mass act”- Prasad
and Krishnan (2013) The primary
function of Tabla is to accompany the main artist. Most of the good Tabla
players are only accompanying artists today. The solo repertoire learnt for
years by students / artists / teachers of Tabla does not go beyond walls of
practice rooms. Only a handful of artists are privileged for solo performances
today. There is a need to acknowledge the efforts put in by Tabla artists in
the practice and preservation of the repertoire of Tabla. On the other hand, it
is important to mention that the music of Tabla should appeal to the greater
mass, which would pave way for standing a good chance for Tabla solo programs.
There is a need for Tabla players to delve deeper into the aesthetics of music.
Artists should be able to think beyond their mere technical display. This journey
should begin from learning of the Theka itself. The innate beauty of various
components of Taal must be understood in their aesthetic sense. The beauty of
Matra (beat), Taali (clap), Khali (waving of hand), Vibhag (division) and Sum
(first beat of taal), which are basic to rhythm are imbued with a sense of
poetry. Poetry is a part and parcel of
compositions of Tabla. The aesthetic sense of the artist should ever
guide him into enriching his music. Mere learning of an art does not assure that the artist has mastered the aesthetics. This is developed over time and experience. The learners of Tabla should be exposed to audience in different platforms as per their progressive levels of learning. The accompanying performances of Tabla should often be interspersed with solo presentations. This kind of experience would infuse an aesthetic sense in the Tabla artist for expressing and blossoming the art as a solo entity. The complete potential of Tabla requires various platforms of different levels to express the art. 2. ART OF ACCOMPANIMENT AND THE
STRUGGLE The main
artists of classical music, be it vocalists or instrumentalists (excluding
tabla) have the opportunity to express themselves on stage and pour out their
knowledge that they have learnt through the years. Every such North-Indian
classical/semi-classical/light performance is supported by rhythm, invariably
the Tabla. Though Tabla keeps itself
busy by accompanying vocal and instrumental music, it falls short of its
independent expression at large. In the past, tabla artists used to sit behind
the main artist. As said earlier, it was the collective effort of the masters
of yesteryears and the recent past that Tabla has come to fore today. The art of accompaniment is far more
aesthetic, crafty and intelligent than solo playing. Solo playing is entirely based on fixed
rhythm cycle. The path is shown by the Lehra player (fixed time cycle of
beats), while the pace is controlled by the Tabla player. The Tabla player is
at free will to exhibit his compositions, though in a stipulated order. Hence,
he is his own master. Its altogether a different story with accompaniment,
which is mostly Theka-based playing (cycle of beats). Tabla accompaniment is
based on the nature and temperament of the raag chosen by the main artist.
Vocal music is accompanied mostly by playing the Theka on Tabla with only a few
digressions shown by the Tabla player that have to be meticulously thought
over. There is more liberty, though, while accompanying to instrumental music.
The Tabla player uses his craftsmanship in condensing his befitting
compositions in a beautiful way and strikes a delightful balance in between him
and the main artist. The aim of the Tabla player is to accompany the main
artist in such a way so as to create the best music possible by complementing
the music. Tabla should blend with the lead vocals / instruments in order to be
perceived as music emanating from one source. “One who does not merely keep,
but properly sets the pace of music, and provides a recurring checkpoint for
the rightness of singing or playing, cannot be fairly regarded as a mere
accompanist. The truth is that the Tabla or Pakhawaj player is an active
participant in the evocation of musical beauty, and the participation, it is
obvious, is no mere accompaniment”- Saxena
(1995) Accompaniment is
a beautiful art, and every tabla player should learn it. Tabla players who have
learnt at least the basics of classical vocal music are at a greater benefit as
far as accompaniment is concerned. If the temperament and movement of raags are
understood, it is easier for the Tabla player to converse with the song or
instrument. Then the Tabla playing would ever complement the main performance.
All Tabla players are not adept in vocal music. Basic vocal training should be
mandatory for Tabla learners. However, music schools and institutions do have
vocals as ancillary / minor / elective subjects while Tabla is the major
subject. Similarly, there are various combinations of major and elective
subjects. The rhythm learning must go hand in hand with vocal learning and
vice-versa. Hence there is
much on the plate for the Tabla to offer to music. The contribution of Tabla to
North Indian Classical music as an accompanying instrument is immense. The
theoretical aspects of the art of accompaniment can be read and understood
through texts and music syllabi. Accompaniment in the practical sense, is
learnt through experience. A Tabla performer spends most of his lifetime
performing something that is not available as ‘compositions’ in text form. In
fact, his performing skills of accompanying are developed by having an exposure
to various artists, which is his experience. Seldom does he get chances of
showcasing his Tabla repository, which he has been learning for over the years.
Major portions of Tabla syllabi are populated with compositions of Tabla. The
students of Tabla often feel elated by learning and practicing compositions
during the learning years, ignorant of the fact that they may or may not take
their learning further on to the platforms where they can exhibit the
compositions in the form of solo presentations. Given to the service that Tabla
offers to music in the form of a principal supporting instrument, the
instrument and the artists do deserve to widen their scope of individual
identity. The scope for Tabla solo performances is yet to improve, and this
would put to rest ‘its struggle in versatility’ 3. TABLA SOLO AND AESTHETICS Tabla is
internationally acclaimed today. It takes a lead role in fusion music by
collaborating with other genres of music, and yet represents the purity of
Indian rhythm. “The styles of playing may differ, but they
share common traits like putting in thousands of hours of practice, speed in
the fingers, improvisations, equal mastery in flowing improvisations, the compositions,
and their collaborations with artists around the world. They are not just drummers
but can be called cultural ambassadors of the greatest drumming traditions in
the world.” Krishnamurthy (2014). When the drum
stands as a very important and inevitable entity, the stature of the instrument
should be elevated in order to be identified as a full-fledged solo instrument
along with the tag of an accompanying instrument. However, it’s up to individual
skills and intelligence combined with hard work that a Tabla player can make
his art worthy to be at that mark of identity. Unless the artist pays close
attention to the aesthetics of music combined with techniques that he has
learnt, he cannot claim himself to be an impactful soloist or an accompanist.
The creative & aesthetical thinking on the part of the artist is a
pre-requisite for the miracle to happen. “It’s about
the music, it’s not about just showing people what you can do with a piece of
wood with strings on it.”- Frusciante
(2021). The meaning
conveyed in the aforesaid quote applies to Indian music also. We hear musicians
of different natures of music. The music of some artists may be absolutely
flawless, but yet mechanical. Every time, the music sounds as a mere pouring
out of his entire learning. The improvisations, the thinking beyond mere words
(where music happens) is missing or rather to put it simply ‘the soul seems
missing’. At the same time, the music of some other artists hits the listener
in a way that leaves him in awe. The music of both, the former and the latter
is fine and acceptable. But the latter
is thinking out of the box or to put in the musical sense, beyond the technique
or skill. The years of practice has led him to be a master of the discipline of
music, which ever remains under his control. His constant endeavour is to
transform his skilful playing into an impeccable musical outburst from his
soul, and this is the aesthetics of music. There is total involvement, like
becoming one with music. The instrument at this point is an extension of the
self, merely a medium to express the music within oneself. “Musical
understanding is based in a form of imaginative perception, in which metaphors
of space, weight, effort, and movement play an organising role. Musical meaning
does not arise through representation, but through expression and form, both of
which must be explained through a theory of musical understanding”- Scruton
(1999). Coming to Tabla
again, the fingers speak out the beauty imagined by the artist, the beauty from
his very compositions, which are now pious tools to deliver the music that he
feels within. This music is of the Spirit. “Music
expresses that which cannot be put into words and that which cannot remain
silent”. - Hugo (2016) “Where words fail, music speaks”. Anderson
(2021). That which is beyond human capacity and comprehension
belongs to the spirit. The immeasurable and incomprehensible aspects of the
Universe, and also the Human psyche, that bestow subtle, serene, and beautiful
feelings to a human being, that profound experience which can be least
expressed in words, often evoked by an object possessing a fabulous potential
to let the experience happen in oneself or in the other, may be termed as a
Spiritual Experience. This subtle experience in music is nothing but
aesthetics. 4. FINDINGS AND DISCUSSION The music
of Tabla must go beyond technical and skilful learning. The tabla players may
then find a more prominent place to prove themselves on the centre stage for
solo presentations of Tabla. The innate musical sense pervades in all forms of
music. This innate sense fused with the display of compositions of Tabla with
scientific precision would transport the listeners in awe and wonder. The
aesthetic sense should be tapped by the teacher/guru in students over a period
of time of learning. This may also be a God-given gift, which is seen in child
prodigies today, and also in the past. The Tabla players must learn to imbibe
the aesthetics gradually from the basic level of learning. This goes to say
that a reasonable amount of exposure should be provided to Tabla players to
exhibit their art through various platforms of music. This would augment their
confidence in unimaginable ways. And this should start happening after the
student of Tabla has mastered the basics of the art. If one waits for long for
this to happen, this may not happen at all. Music is a performing art.
Providing platforms for performance for a student from a young age paves the
way for the artful skill to blossom and flourish. Above all, an artist deserves
applause and appreciation. The gurus and teachers of music must ensure that
their students’ learning is showcased from time to time. The day arrives
unawares when the tabla player is performing a solo or accompanying in an
august musical gathering. The music
fraternity (especially classical) must encourage solo performances of Tabla
from time to time, by categorizing them into age groups. The foundations for
such promotions were laid out already, but still have to be sustainable. Though
competitions for Tabla performances are held for certain age groups, yet this
endeavour should move beyond competition. The goal for such efforts should be
to produce better artists and not comparison. However healthy competitions are
always welcome and important, especially for young and budding tabla players.
Platforms should be provided for tabla players at town / city / state /
national levels. This can be initiated by the elite music fraternity and the
organizers of music. However, screening the students may be done at different
levels. It is good to provide small platforms to basic learners of Tabla in
order to encourage them. Tabla solo performances, lecture-cum-demonstrations as
well as Tabla accompaniment, all these should go hand in hand. Each aspect
allows the other to grow. There would be a balance between learning and
exhibiting the art. This fills the gap between learning and practical exposition
and would alleviate the struggle and frustration that a Tabla player may feel
in order to vent out his learning. It gives expression to the skill of the artist
and to the versatility of the instrument.
Music entertains
the common man, gives joy to music lovers, and provides solace and contentment
to the artists. We hear some form of music almost every day. The music may be
devotional, classical, light or in the form of a background music in a drama.
Music is a source of joy and a happy respite for many. Yet, music is not an
integral part of curriculum in schools and colleges in spite of the fact that
Indian music is the cultural heritage of India. There are music colleges and
universities in the country. But there are not many. The best way to protect
the ancient and pious culture of classical music is to inculcate music course
in schools as an optional subject, if not compulsory, to begin with. This elementary
education should start from at least grade II / III at school. The plan of the
course syllabus should be in such a way that it spreads across all the grades /
classes of school. When the student passes out from the school, he should be
having a reasonable knowledge of the music subject that he has learnt in
school. Parents in the past and even today have an apprehension about their
children choosing music as a career. The scope for having a livelihood in
the music field is limited due to the lack of music education in a wider
scale. Implementing music education from
the elementary level in school curriculum would help in preserving the cultural
heritage and sustain the rich legacy of music.
More and more artists would find avenues as teachers and performers of
music. The inclusion of music courses in schools would facilitate more and more
music colleges and universities to come up in the country, and in turn augment
music learning, teaching, and performing community. REFERENCES Anderson, Christian, H. (2021). 24 inspirational quotes about classical music. Frusciante, j. (2021). It’s about the music, it’s not about just showing people what you can do with a piece of wood with strings on it. Hugo, V. (2016). Music Expresses That Which Cannot Be Put Into Words. Krishnamurthy, R. (2014). Tabla : An Introduction. Prasad, S. & Krishnan, D. (2013). The Rhythms of Zakir Hussain. Saxena, S. K. (1995). The art of tabla-rhythm : past and present. Sangeet Natak Academy. Scruton, R. (1999). The Aesthetics of Music. Oxford Scholarship Online. https://dx.doi.org/10.1093/019816727X.001.0001
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