https://en.bharatpedia.org/w/index.php?action=history&feed=atom&title=KhyalKhyal - Revision history2026-09-24T23:33:45ZRevision history for this page on the wikiMediaWiki 1.43.6https://en.bharatpedia.org/w/index.php?title=Khyal&diff=330977&oldid=prevUpdateBot: robot: Update article (please report if you notice any mistake or error in this edit)2022-04-08T00:55:07Z<p>robot: Update article (please <a href="/wiki/User_talk:UpdateBot" title="User talk:UpdateBot">report</a> if you notice any mistake or error in this edit)</p>
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<td colspan="2" style="background-color: #fff; color: #202122; text-align: center;">← Older revision</td>
<td colspan="2" style="background-color: #fff; color: #202122; text-align: center;">Revision as of 06:25, 8 April 2022</td>
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<tr><td colspan="2" class="diff-side-deleted"></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;">{{Short description|Modern genre of classical singing in the Indian subcontinent}}</ins></div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>{{Hindustani Classical Music infobox}}</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>{{Hindustani Classical Music infobox}}</div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>'''Khyal''' or '''Khayal''' (ख़याल) is a major form of [[Hindustani classical music]] in the [[Indian subcontinent]]. Its name comes from a [[Persian language|Persian]]/[[Arabic language|Arabic]] word meaning "imagination".<ref>{{Cite book|last=Caudhuri|first=Vimalakanta Roya|url=https://archive.org/details/dictionaryofhindustaniclassicalmusicbimalkantarayachaudhuri_933_i/mode/2up|title=Dictionary Of Hindustani Classical Music|publisher=Motilal Banarsidass Publishers|year=2000|isbn=8120817087|location=|pages=54}}</ref> Khyal is associated with romantic poetry, and allows the performer greater freedom of expression than [[dhrupad]]. In khyal, [[Raga|ragas]] are extensively ornamented, and the style calls for more technical virtuosity than intellectual rigour.<ref>{{Cite book|last=Fletcher|first=Peter|url=https://books.google.com/books?id=4vBEfViLyp8C|title=World Musics in Context: A Comprehensive Survey of the World's Major Musical Cultures|publisher=Oxford University Press|year=2001|isbn=0198166362|location=|pages=258–259}}</ref></div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>'''Khyal''' or '''Khayal''' (ख़याल) is a major form of [[Hindustani classical music]] in the [[Indian subcontinent]]. Its name comes from a [[Persian language|Persian]]/[[Arabic language|Arabic]] word meaning "imagination".<ref>{{Cite book|last=Caudhuri|first=Vimalakanta Roya|url=https://archive.org/details/dictionaryofhindustaniclassicalmusicbimalkantarayachaudhuri_933_i/mode/2up|title=Dictionary Of Hindustani Classical Music|publisher=Motilal Banarsidass Publishers|year=2000|isbn=8120817087|location=|pages=54}}</ref> Khyal is associated with romantic poetry, and allows the performer greater freedom of expression than [[dhrupad]]. In khyal, [[Raga|ragas]] are extensively ornamented, and the style calls for more technical virtuosity than intellectual rigour.<ref>{{Cite book|last=Fletcher|first=Peter|url=https://books.google.com/books?id=4vBEfViLyp8C|title=World Musics in Context: A Comprehensive Survey of the World's Major Musical Cultures|publisher=Oxford University Press|year=2001|isbn=0198166362|location=|pages=258–259}}</ref></div></td></tr>
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<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>The main portion of the khyal performance is often preceded by some kind of melodic improvisation which widely varies due to artistic preference. Some artists begin their performance by singing to a small number of vocables, such as 'de', 'ne', or 'na', or to vowels (usually 'a'), or to the words of the bandish text. For some, this section acts as a kind of vocal warm-up, taking up only a few seconds. Others use it in order to set the mood, singing for a minute or two, with the effect of beginning a ragalap, or singing a kind of 'mini-ragalap', or possibly foreshadowing the bandish that comes next. Meanwhile, some singers make it a major structural portion of their bada khyal and surround it ragalap before and rupakalapti after.<ref>{{Cite book|last=Wade|first=Bonnie C.|url=https://books.google.com/books?id=wiIJAQAAMAAJ|title=Khyal: Creativity Within North India's Classical Music Tradition|publisher=Cambridge University Press|year=1984|isbn=9780521256599|location=|pages=31}}</ref> </div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>The main portion of the khyal performance is often preceded by some kind of melodic improvisation which widely varies due to artistic preference. Some artists begin their performance by singing to a small number of vocables, such as 'de', 'ne', or 'na', or to vowels (usually 'a'), or to the words of the bandish text. For some, this section acts as a kind of vocal warm-up, taking up only a few seconds. Others use it in order to set the mood, singing for a minute or two, with the effect of beginning a ragalap, or singing a kind of 'mini-ragalap', or possibly foreshadowing the bandish that comes next. Meanwhile, some singers make it a major structural portion of their bada khyal and surround it ragalap before and rupakalapti after.<ref>{{Cite book|last=Wade|first=Bonnie C.|url=https://books.google.com/books?id=wiIJAQAAMAAJ|title=Khyal: Creativity Within North India's Classical Music Tradition|publisher=Cambridge University Press|year=1984|isbn=9780521256599|location=|pages=31}}</ref> </div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td></tr>
<tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>The first phrase ({{IAST|mukhda}}) of the sthayi is the most important component of the bandish because it provides material for most <del style="font-weight: bold; text-decoration: none;">candences </del>in the performance. Some artists present the antara gradually by creating a <del style="font-weight: bold; text-decoration: none;">candence </del>or two in the process while the first phrase of the antara (antara mukhda) provides material for the <del style="font-weight: bold; text-decoration: none;">candence</del>. The mukhda can be performed as an element of rhythm, or it can be blended into the alap-oriented structure of the slow bada khyal. The melody of the mukhda generally undergoes a great deal of change during improvisation. The bandish is usually sung with its sections (sthayi and antara) separated in some way. In the bada khyal, especially at a slow speed, artists usually sing the sthayi only at the beginning, after which the sthayi text (or the vocables or the vowels) are augmented with new melody. Most artists begin singing the antara some point when the high pitch register is reached. Meanwhile, other artists prefer to skip the antara section, thereby reducing the textual density of the bada khyal, and instead sing the sthayi text in an antara-like melody. Some artists sing both the sthayi and the antara are the beginning of the bada khyal, this is particularly common in medium speed bada khyal performances. They often use some kind of improvisation to separate the sthayi from the antara, or they might use a different arrangement.<ref>{{Cite book|last=Wade|first=Bonnie C.|url=https://books.google.com/books?id=wiIJAQAAMAAJ|title=Khyal: Creativity Within North India's Classical Music Tradition|publisher=Cambridge University Press|year=1984|isbn=9780521256599|location=|pages=32}}</ref></div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>The first phrase ({{IAST|mukhda}}) of the sthayi is the most important component of the bandish because it provides material for most <ins style="font-weight: bold; text-decoration: none;">cadences </ins>in the performance. Some artists present the antara gradually by creating a <ins style="font-weight: bold; text-decoration: none;">cadence </ins>or two in the process while the first phrase of the antara (antara mukhda) provides material for the <ins style="font-weight: bold; text-decoration: none;">cadence</ins>. The mukhda can be performed as an element of rhythm, or it can be blended into the alap-oriented structure of the slow bada khyal. The melody of the mukhda generally undergoes a great deal of change during improvisation. The bandish is usually sung with its sections (sthayi and antara) separated in some way. In the bada khyal, especially at a slow speed, artists usually sing the sthayi only at the beginning, after which the sthayi text (or the vocables or the vowels) are augmented with new melody. Most artists begin singing the antara some point when the high pitch register is reached. Meanwhile, other artists prefer to skip the antara section, thereby reducing the textual density of the bada khyal, and instead sing the sthayi text in an antara-like melody. Some artists sing both the sthayi and the antara are the beginning of the bada khyal, this is particularly common in medium speed bada khyal performances. They often use some kind of improvisation to separate the sthayi from the antara, or they might use a different arrangement.<ref>{{Cite book|last=Wade|first=Bonnie C.|url=https://books.google.com/books?id=wiIJAQAAMAAJ|title=Khyal: Creativity Within North India's Classical Music Tradition|publisher=Cambridge University Press|year=1984|isbn=9780521256599|location=|pages=32}}</ref></div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>== Ensemble ==</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>== Ensemble ==</div></td></tr>
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<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>=== Colonial period ===</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>=== Colonial period ===</div></td></tr>
<tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>The decline of the Mughal empire and the [[Colonial India|British colonisation]] of the Indian subcontinent had a detrimental effect on the quality and quantity of khyal music as it did not get any special patronage from the [[British Raj|British colonial government]] in India.<ref>{{Cite book|last=Bhatkhande|first=Vishnu Narayan|title=A Short Historical Survey of the Music of Upper India|publisher=M. N. Kulkarni Printing Press|year=1934|isbn=|location=Mumbai|pages=35}}</ref> As a result, its patronage was more or less confined to the courts of certain maharajas, rajas and nawabs who provided employment for numerous artists. Meanwhile, others preferred (or could only afford) to <del style="font-weight: bold; text-decoration: none;">maintian </del>a few artists or to invite artists to visit on a temporary basis. Some patrons, such as the [[Gaekwad dynasty|Gaekwads]] of [[Vadodara|Baroda]], employed khyal players from more than one gharana; as a result, Baroda is associated with many different styles of performance. Others, such as the rulers of [[Gwalior State|Gwalior]] and [[Rampur State|Rampur]], preferred to patronize consistently and primarily musicians of one gharana, so that those courts are associated with a single style of performance. In the nineteenth century, a large number of wealthy urban citizens became patrons of Indian classical music. By the early twentieth century, some khyal players were leading efforts to introduce classical music to the general public, which helped in broadening the patronage base.<ref name=":1">{{Cite book|last=Wade|first=Bonnie C.|url=https://books.google.com/books?id=wiIJAQAAMAAJ|title=Khyal: Creativity Within North India's Classical Music Tradition|publisher=Cambridge University Press|year=1984|isbn=9780521256599|location=|pages=9}}</ref></div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>The decline of the Mughal empire and the [[Colonial India|British colonisation]] of the Indian subcontinent had a detrimental effect on the quality and quantity of khyal music as it did not get any special patronage from the [[British Raj|British colonial government]] in India.<ref>{{Cite book|last=Bhatkhande|first=Vishnu Narayan|title=A Short Historical Survey of the Music of Upper India|publisher=M. N. Kulkarni Printing Press|year=1934|isbn=|location=Mumbai|pages=35}}</ref> As a result, its patronage was more or less confined to the courts of certain maharajas, rajas and nawabs who provided employment for numerous artists. Meanwhile, others preferred (or could only afford) to <ins style="font-weight: bold; text-decoration: none;">maintain </ins>a few artists or to invite artists to visit on a temporary basis. Some patrons, such as the [[Gaekwad dynasty|Gaekwads]] of [[Vadodara|Baroda]], employed khyal players from more than one gharana; as a result, Baroda is associated with many different styles of performance. Others, such as the rulers of [[Gwalior State|Gwalior]] and [[Rampur State|Rampur]], preferred to patronize consistently and primarily musicians of one gharana, so that those courts are associated with a single style of performance. In the nineteenth century, a large number of wealthy urban citizens became patrons of Indian classical music. By the early twentieth century, some khyal players were leading efforts to introduce classical music to the general public, which helped in broadening the patronage base.<ref name=":1">{{Cite book|last=Wade|first=Bonnie C.|url=https://books.google.com/books?id=wiIJAQAAMAAJ|title=Khyal: Creativity Within North India's Classical Music Tradition|publisher=Cambridge University Press|year=1984|isbn=9780521256599|location=|pages=9}}</ref></div></td></tr>
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<tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>During this period, particularly the early twentieth, two major ideas emerged about the study and transmission of Indian classical music. The first had to do with the growing demand for [[Music school|institutional teaching]], which led to a rising number of music schools being established though patronage by native princes and urban elites. The other was concerned with systematisation and generalisation of the Indian classical music. The Indian musicologist [[Vishnu Narayan Bhatkhande]] played a major part in systematising the tradition while also opening it up for the general audience. He wrote the first modern treatise on Hindustani classical music, introduced the [[Thaat]] system for classifying ragas, published a series of textbooks, and initiated a number of conferences to provide a common platform for discussion between Hindustani and [[Carnatic music|Carnatic]] classical musicians.<ref>{{Cite book|last=Wade|first=Bonnie C.|url=https://books.google.com/books?id=wiIJAQAAMAAJ|title=Khyal: Creativity Within North India's Classical Music Tradition|publisher=Cambridge University Press|year=1984|isbn=9780521256599|location=|pages=9–10}}</ref><ref>{{Cite web|last=Venkatakrishnan|first=Sriram|date=2019-03-29|title=V.N. Bhatkhande: A seeker who helped in bridging Hindustani and Carnatic music|url=https://www.thehindu.com/entertainment/music/bhatkande-an-extraordinary-seeker/article26673597.ece|url-status=live|archive-url=|archive-date=|access-date=|website=The Hindu}}</ref><ref>{{Cite book|last=Nayar|first=Sobhana|url=https://books.google.com/books?id=5Uk8AAAAMAAJ|title=Bhatkhande's Contribution to Music: A Historical Perspective|publisher=Popular Prakashan|year=1989|isbn=9780861322381|location=|pages=105, 273}}</ref> <del style="font-weight: bold; text-decoration: none;"> </del></div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>During this period, particularly the early twentieth, two major ideas emerged about the study and transmission of Indian classical music. The first had to do with the growing demand for [[Music school|institutional teaching]], which led to a rising number of music schools being established though patronage by native princes and urban elites. The other was concerned with systematisation and generalisation of the Indian classical music. The Indian musicologist [[Vishnu Narayan Bhatkhande]] played a major part in systematising the tradition while also opening it up for the general audience. He wrote the first modern treatise on Hindustani classical music, introduced the [[Thaat]] system for classifying ragas, published a series of textbooks, and initiated a number of conferences to provide a common platform for discussion between Hindustani and [[Carnatic music|Carnatic]] classical musicians.<ref>{{Cite book|last=Wade|first=Bonnie C.|url=https://books.google.com/books?id=wiIJAQAAMAAJ|title=Khyal: Creativity Within North India's Classical Music Tradition|publisher=Cambridge University Press|year=1984|isbn=9780521256599|location=|pages=9–10}}</ref><ref>{{Cite web|last=Venkatakrishnan|first=Sriram|date=2019-03-29|title=V.N. Bhatkhande: A seeker who helped in bridging Hindustani and Carnatic music|url=https://www.thehindu.com/entertainment/music/bhatkande-an-extraordinary-seeker/article26673597.ece|url-status=live|archive-url=|archive-date=|access-date=|website=The Hindu}}</ref><ref>{{Cite book|last=Nayar|first=Sobhana|url=https://books.google.com/books?id=5Uk8AAAAMAAJ|title=Bhatkhande's Contribution to Music: A Historical Perspective|publisher=Popular Prakashan|year=1989|isbn=9780861322381|location=|pages=105, 273}}</ref></div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>=== Post-Independence period ===</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>=== Post-Independence period ===</div></td></tr>
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</table>UpdateBothttps://en.bharatpedia.org/w/index.php?title=Khyal&diff=139702&oldid=previmported>Giraffedata: comprised of2021-08-18T01:15:09Z<p><a href="/w/index.php?title=User:Giraffedata/comprised_of&action=edit&redlink=1" class="new" title="User:Giraffedata/comprised of (page does not exist)">comprised of</a></p>
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<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>==== Sargam ====</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>==== Sargam ====</div></td></tr>
<tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>{{IAST|Sargam}} passages are those enunciating the syllables for the pitches (Sa <del style="font-weight: bold; text-decoration: none;">Ri </del>Ga Ma Pa Dha <del style="font-weight: bold; text-decoration: none;">Nhi</del>) as they are sung. Most artists use them for speed, in the manner of tans, but with manifestation of mathematically proportioned rhythmic densities relative to the speed of the tala counts (double speed, quadruple speed, etc) than a 'flowing' tan is likely to give. Another option is to use sargam in bolbant-like improvisation, and a few khyal singers bring the text syllables into play.<ref name=":6">{{Cite book|last=Wade|first=Bonnie C.|url=https://books.google.com/books?id=wiIJAQAAMAAJ|title=Khyal: Creativity Within North India's Classical Music Tradition|publisher=Cambridge University Press|year=1984|isbn=9780521256599|location=|pages=27, 29}}</ref></div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>{{IAST|Sargam}} passages are those enunciating the syllables for the pitches (Sa <ins style="font-weight: bold; text-decoration: none;">Re </ins>Ga Ma Pa Dha <ins style="font-weight: bold; text-decoration: none;">Ni</ins>) as they are sung. Most artists use them for speed, in the manner of tans, but with manifestation of mathematically proportioned rhythmic densities relative to the speed of the tala counts (double speed, quadruple speed, etc) than a 'flowing' tan is likely to give. Another option is to use sargam in bolbant-like improvisation, and a few khyal singers bring the text syllables into play.<ref name=":6">{{Cite book|last=Wade|first=Bonnie C.|url=https://books.google.com/books?id=wiIJAQAAMAAJ|title=Khyal: Creativity Within North India's Classical Music Tradition|publisher=Cambridge University Press|year=1984|isbn=9780521256599|location=|pages=27, 29}}</ref></div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>==== Nom-tom ====</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>==== Nom-tom ====</div></td></tr>
<tr><td colspan="2" class="diff-lineno" id="mw-diff-left-l45">Line 45:</td>
<td colspan="2" class="diff-lineno">Line 45:</td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>=== Placement of various materials ===</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>=== Placement of various materials ===</div></td></tr>
<tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>A typical khyal performance uses two bandish compositions &mdash; the {{IAST|baḍā khyāl}} (great khyal) <del style="font-weight: bold; text-decoration: none;">comprises </del>most of the performance, while the {{IAST|choṭā khyāl}} (small khyal) is used as a finale and is usually in the same raga but a different [[Tala (music)|tala]].<ref name="Bagchee">{{Cite book|author=Bagchee, Sandeep|title=Nād: Understanding Rāga Music|publisher=BPI (India) PVT Ltd|year=1998|isbn=81-86982-07-8|pages=121–125}}</ref> The bada khyal covers a wide range of possibilities, ideally giving attention to all musical elements - melody, rhythm and speed. In the chota khyal, melody is accomplished through the bandish while rhythm and speed is emphasised through improvisation. Another difference is one of speed, the bada khyal begins at a slow speed (vilambit laya) or medium speed (madhya laya), while the chota khyal begins at a fast speed (drut laya). In each of these two songs, the rate of the tala counts gradually increases during the course of their performance.<ref>{{Cite book|last=Wade|first=Bonnie C.|url=https://books.google.com/books?id=wiIJAQAAMAAJ|title=Khyal: Creativity Within North India's Classical Music Tradition|publisher=Cambridge University Press|year=1984|isbn=9780521256599|location=|pages=30}}</ref> </div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>A typical khyal performance uses two bandish compositions &mdash; the {{IAST|baḍā khyāl}} (great khyal) <ins style="font-weight: bold; text-decoration: none;">constitutes </ins>most of the performance, while the {{IAST|choṭā khyāl}} (small khyal) is used as a finale and is usually in the same raga but a different [[Tala (music)|tala]].<ref name="Bagchee">{{Cite book|author=Bagchee, Sandeep|title=Nād: Understanding Rāga Music|publisher=BPI (India) PVT Ltd|year=1998|isbn=81-86982-07-8|pages=121–125}}</ref> The bada khyal covers a wide range of possibilities, ideally giving attention to all musical elements - melody, rhythm and speed. In the chota khyal, melody is accomplished through the bandish while rhythm and speed is emphasised through improvisation. Another difference is one of speed, the bada khyal begins at a slow speed (vilambit laya) or medium speed (madhya laya), while the chota khyal begins at a fast speed (drut laya). In each of these two songs, the rate of the tala counts gradually increases during the course of their performance.<ref>{{Cite book|last=Wade|first=Bonnie C.|url=https://books.google.com/books?id=wiIJAQAAMAAJ|title=Khyal: Creativity Within North India's Classical Music Tradition|publisher=Cambridge University Press|year=1984|isbn=9780521256599|location=|pages=30}}</ref> </div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>The main portion of the khyal performance is often preceded by some kind of melodic improvisation which widely varies due to artistic preference. Some artists begin their performance by singing to a small number of vocables, such as 'de', 'ne', or 'na', or to vowels (usually 'a'), or to the words of the bandish text. For some, this section acts as a kind of vocal warm-up, taking up only a few seconds. Others use it in order to set the mood, singing for a minute or two, with the effect of beginning a ragalap, or singing a kind of 'mini-ragalap', or possibly foreshadowing the bandish that comes next. Meanwhile, some singers make it a major structural portion of their bada khyal and surround it ragalap before and rupakalapti after.<ref>{{Cite book|last=Wade|first=Bonnie C.|url=https://books.google.com/books?id=wiIJAQAAMAAJ|title=Khyal: Creativity Within North India's Classical Music Tradition|publisher=Cambridge University Press|year=1984|isbn=9780521256599|location=|pages=31}}</ref> </div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>The main portion of the khyal performance is often preceded by some kind of melodic improvisation which widely varies due to artistic preference. Some artists begin their performance by singing to a small number of vocables, such as 'de', 'ne', or 'na', or to vowels (usually 'a'), or to the words of the bandish text. For some, this section acts as a kind of vocal warm-up, taking up only a few seconds. Others use it in order to set the mood, singing for a minute or two, with the effect of beginning a ragalap, or singing a kind of 'mini-ragalap', or possibly foreshadowing the bandish that comes next. Meanwhile, some singers make it a major structural portion of their bada khyal and surround it ragalap before and rupakalapti after.<ref>{{Cite book|last=Wade|first=Bonnie C.|url=https://books.google.com/books?id=wiIJAQAAMAAJ|title=Khyal: Creativity Within North India's Classical Music Tradition|publisher=Cambridge University Press|year=1984|isbn=9780521256599|location=|pages=31}}</ref> </div></td></tr>
<tr><td colspan="2" class="diff-lineno" id="mw-diff-left-l63">Line 63:</td>
<td colspan="2" class="diff-lineno">Line 63:</td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>=== Development of Khyal ===</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>=== Development of Khyal ===</div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>[[File:Amir Khusro.jpg|thumb|240x240px|A miniature painting showing [[Amir Khusrau]] with his disciples]]</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>[[File:Amir Khusro.jpg|thumb|240x240px|A miniature painting showing [[Amir Khusrau]] with his disciples]]</div></td></tr>
<tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>Music in the Indian subcontinent was traditionally divided into two categories, {{IAST|gāndharva}} and {{IAST|prabhanda}}. Gandharva was an ancient form of music which was traditionally handed down from master to pupil while Prabhanda, also known as {{IAST|gāna}} or {{IAST|deśī gāna}}, <del style="font-weight: bold; text-decoration: none;">comprised </del>of regional songs or tunes. Prabhanda was a systematic and organised form of music that consisted of four sections, {{IAST|udgrāhaka}} (later known as [[sthayi|{{IAST|sthāyī}}]]), {{IAST|melāpaka}}, {{IAST|dhruva}} and [[antara (music)|{{IAST|antarā}}]], and numerous musical elements such as [[svara|{{IAST|svara}}]], [[tala (music)|{{IAST|tāla}}]], [[pada (foot)|{{IAST|pada}}]], {{IAST|viruda}}, {{IAST|tenaka}} and {{IAST|pāta}}.<ref>{{Cite book|last=Prajnanananda|first=Swami|title=A historical study of Indian music|publisher=Anandadhara Prakashan|year=1965|isbn=|location=Kolkata|pages=165–167}}</ref> There were several musical compositions such as {{IAST|sādhāraṇī}}, {{IAST|rūpakālapti}}, {{IAST|śuddhā}}, {{IAST|bhinnā}}, {{IAST|gauḍī}} and {{IAST|vesara}}. Sadharani was an eclectic style of composition that incorporated elements of other styles, particularly bhinna, and incorporated sweet idioms and delicate nuances of emotion. Rupakalapti was a creative and imaginative style of composition which consisted of [[alap|{{IAST|ālap}}]] (musical improvisation), raga and tala, incorporated inside of a prabhanda.<ref>{{Cite book|last=Prajnanananda|first=Swami|title=A Historical Study of Indian Music|publisher=Anandadhara Prakashan|year=1965|isbn=|location=Kolkata|pages=208–210}}</ref> </div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>Music in the Indian subcontinent was traditionally divided into two categories, {{IAST|gāndharva}} and {{IAST|prabhanda}}. Gandharva was an ancient form of music which was traditionally handed down from master to pupil while Prabhanda, also known as {{IAST|gāna}} or {{IAST|deśī gāna}}, <ins style="font-weight: bold; text-decoration: none;">consisted </ins>of regional songs or tunes. Prabhanda was a systematic and organised form of music that consisted of four sections, {{IAST|udgrāhaka}} (later known as [[sthayi|{{IAST|sthāyī}}]]), {{IAST|melāpaka}}, {{IAST|dhruva}} and [[antara (music)|{{IAST|antarā}}]], and numerous musical elements such as [[svara|{{IAST|svara}}]], [[tala (music)|{{IAST|tāla}}]], [[pada (foot)|{{IAST|pada}}]], {{IAST|viruda}}, {{IAST|tenaka}} and {{IAST|pāta}}.<ref>{{Cite book|last=Prajnanananda|first=Swami|title=A historical study of Indian music|publisher=Anandadhara Prakashan|year=1965|isbn=|location=Kolkata|pages=165–167}}</ref> There were several musical compositions such as {{IAST|sādhāraṇī}}, {{IAST|rūpakālapti}}, {{IAST|śuddhā}}, {{IAST|bhinnā}}, {{IAST|gauḍī}} and {{IAST|vesara}}. Sadharani was an eclectic style of composition that incorporated elements of other styles, particularly bhinna, and incorporated sweet idioms and delicate nuances of emotion. Rupakalapti was a creative and imaginative style of composition which consisted of [[alap|{{IAST|ālap}}]] (musical improvisation), raga and tala, incorporated inside of a prabhanda.<ref>{{Cite book|last=Prajnanananda|first=Swami|title=A Historical Study of Indian Music|publisher=Anandadhara Prakashan|year=1965|isbn=|location=Kolkata|pages=208–210}}</ref> </div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>The [[Ghaznavids|Ghaznavid]] conquest of northern India resulted in the introduction of the [[Persian language]] and [[Culture of Iran|culture]] into the Indian subcontinent. The Ghaznavids were [[Turkic peoples|Turks]] based in [[Ghazni]] (in present day Afghanistan) and they were the political heirs of the Persian [[Samanid Empire|Samanid dynasty]] based in [[Bukhara]] (in present day Uzbekistan).<ref>{{Cite book|last=Sharma|first=Sunil|url=https://books.google.com/books?id=ofdjAAAAMAAJ|title=Amir Khusraw: The Poet of Sultans and Sufis|publisher=Oneworld Publications|year=2005|isbn=1851683623|location=|pages=7}}</ref> When [[Delhi]] became the capitol of the [[Mamluk dynasty (Delhi)|new rulers]], it inherited many of the cultural institutions and literary practices of the Ghaznavids, causing a new literary florescence. The Mongol invasions caused many poets to seek refuge and find patronage at the royal court of Delhi. The first generation of Persian poets, such as [[Abu-al-Faraj Runi|Abu al-Faraj Runi]] and [[Masud Sa'd Salman|Mas‘ud Sa‘d Salman]], continued the literary traditions of the Samanids. [[Amir Khusrau]] (1253 - 1325) was a poet and composer who lived during this period. He was born in North India but raised in a [[Turko-Iranian|Turco-Iranian]] environment. He served in the courts of various sultans and princes belonging to the [[Mamluk dynasty (Delhi)|Mamluk]], [[Khalji dynasty|Khalji]] and [[Tughlaq dynasty|Tughlaq]] dynasties, and remained attached to the [[Chishti Order|Chisti]] suffis of Delhi.<ref>{{Cite book|last=Sharma|first=Sunil|url=https://books.google.com/books?id=ofdjAAAAMAAJ|title=Amir Khusraw: The Poet of Sultans and Sufis|publisher=Oneworld Publications|year=2005|isbn=1851683623|location=|pages=37–38}}</ref> It has often been speculated that khyal was created by Amir Khusrau, but the evidence for this is insufficient. Most scholars agree that khyal was the outcome of a gradual process of evolution that occurred in the Delhi Sultanate. It developed upon the ancient structure of sadharani composition and its creative and imaginative style was based on the rupakalapti form of composition.<ref>{{Cite book|last=Wade|first=Bonnie C.|url=https://books.google.com/books?id=wiIJAQAAMAAJ|title=Khyal: Creativity Within North India's Classical Music Tradition|publisher=Cambridge University Press|year=1984|isbn=9780521256599|location=|pages=1}}</ref><ref>{{Cite book|last=Sharma|first=Sunil|url=https://books.google.com/books?id=ofdjAAAAMAAJ|title=Amir Khusraw: The Poet of Sultans and Sufis|publisher=Oneworld Publications|year=2005|isbn=1851683623|location=|pages=19, 24, 34}}</ref> The [[Jaunpur Sultanate|Sharqui rulers]] of [[Jaunpur, Uttar Pradesh|Jaunpur]] were great patrons of fine art such as architecture, painting and music. They patronised khyal to a great extent in the 14th and 15th centuries.<ref name=":0">{{Cite book|last=Prajnanananda|first=Swami|title=A Historical Study of Indian Music|publisher=Anandadhara Prakashan|year=1965|isbn=|location=Kolkata|pages=213–214}}</ref></div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>The [[Ghaznavids|Ghaznavid]] conquest of northern India resulted in the introduction of the [[Persian language]] and [[Culture of Iran|culture]] into the Indian subcontinent. The Ghaznavids were [[Turkic peoples|Turks]] based in [[Ghazni]] (in present day Afghanistan) and they were the political heirs of the Persian [[Samanid Empire|Samanid dynasty]] based in [[Bukhara]] (in present day Uzbekistan).<ref>{{Cite book|last=Sharma|first=Sunil|url=https://books.google.com/books?id=ofdjAAAAMAAJ|title=Amir Khusraw: The Poet of Sultans and Sufis|publisher=Oneworld Publications|year=2005|isbn=1851683623|location=|pages=7}}</ref> When [[Delhi]] became the capitol of the [[Mamluk dynasty (Delhi)|new rulers]], it inherited many of the cultural institutions and literary practices of the Ghaznavids, causing a new literary florescence. The Mongol invasions caused many poets to seek refuge and find patronage at the royal court of Delhi. The first generation of Persian poets, such as [[Abu-al-Faraj Runi|Abu al-Faraj Runi]] and [[Masud Sa'd Salman|Mas‘ud Sa‘d Salman]], continued the literary traditions of the Samanids. [[Amir Khusrau]] (1253 - 1325) was a poet and composer who lived during this period. He was born in North India but raised in a [[Turko-Iranian|Turco-Iranian]] environment. He served in the courts of various sultans and princes belonging to the [[Mamluk dynasty (Delhi)|Mamluk]], [[Khalji dynasty|Khalji]] and [[Tughlaq dynasty|Tughlaq]] dynasties, and remained attached to the [[Chishti Order|Chisti]] suffis of Delhi.<ref>{{Cite book|last=Sharma|first=Sunil|url=https://books.google.com/books?id=ofdjAAAAMAAJ|title=Amir Khusraw: The Poet of Sultans and Sufis|publisher=Oneworld Publications|year=2005|isbn=1851683623|location=|pages=37–38}}</ref> It has often been speculated that khyal was created by Amir Khusrau, but the evidence for this is insufficient. Most scholars agree that khyal was the outcome of a gradual process of evolution that occurred in the Delhi Sultanate. It developed upon the ancient structure of sadharani composition and its creative and imaginative style was based on the rupakalapti form of composition.<ref>{{Cite book|last=Wade|first=Bonnie C.|url=https://books.google.com/books?id=wiIJAQAAMAAJ|title=Khyal: Creativity Within North India's Classical Music Tradition|publisher=Cambridge University Press|year=1984|isbn=9780521256599|location=|pages=1}}</ref><ref>{{Cite book|last=Sharma|first=Sunil|url=https://books.google.com/books?id=ofdjAAAAMAAJ|title=Amir Khusraw: The Poet of Sultans and Sufis|publisher=Oneworld Publications|year=2005|isbn=1851683623|location=|pages=19, 24, 34}}</ref> The [[Jaunpur Sultanate|Sharqui rulers]] of [[Jaunpur, Uttar Pradesh|Jaunpur]] were great patrons of fine art such as architecture, painting and music. They patronised khyal to a great extent in the 14th and 15th centuries.<ref name=":0">{{Cite book|last=Prajnanananda|first=Swami|title=A Historical Study of Indian Music|publisher=Anandadhara Prakashan|year=1965|isbn=|location=Kolkata|pages=213–214}}</ref></div></td></tr>
</table>imported>Giraffedatahttps://en.bharatpedia.org/w/index.php?title=Khyal&diff=130986&oldid=prev>Conspiracyofjoy: /* Etymology */ added the devanagari2021-06-03T00:10:51Z<p><span class="autocomment">Etymology: </span> added the devanagari</p>
<a href="//en.bharatpedia.org/w/index.php?title=Khyal&diff=130986">Show changes</a>>Conspiracyofjoy