Welcome to the Asurer Surlokjatra series (formerly known as Gaan Kheko). Since this is essentially a diary of my personal musical journey, I shall begin with a few words of my own.
I believe music has no age. However, when classical music first touched my heart, the time to sing it with my voice had already passed. With the demands of a professional career and the weight of social and familial responsibilities, I found no time to capture the essence of music in my voice or through an instrument.
But, as with any cherished ailment, healing is not so easily attained. Gradually, music became something akin to my “Keeping up with the Joneses,” stayed with me. I don’t understand much about music, but I live it every day—listening to it, consuming it, watching it unfold (even in my dreams).
Gaan Kheko- Index
In the realm of music, some fall in love with it so deeply that they become composers, singers, instrumentalists, or critics. But I realised that none of these would be my calling. So, I made a decision – I would become a listener.
With that mindset, I began my studies, convinced that “this will be a piece of cake, an easy feat”. But as I delved deeper, I realised that becoming a truly good listener is far more challenging than I had ever imagined.
I don’t have much of a habit of giving up in life. So, I started pondering how I could navigate my way through this. Then a cunning little idea popped into my head. I had once heard that the easiest way to understand any subject is to write a book about it! But considering I barely knew my scales, what chance did I have of writing a book on music? So, I decided instead to take a different route – I would write something new for the listeners: a class copy.
Title of the Copybook: “Gaan Kheko (The Song Eater)”
Content – How to Listen, Understand, and Enjoy Hindustani Classical Music.
I am still a novice listener. “Gaan Kheko”, later renamed Asurer Surlokjatra, is the notebook of my journey along this path. Filled with intense excitement, impulsive feelings, and a great deal of misguided confidence, I wrote down my thoughts. Later, upon realising some mistakes, I revised and corrected them. However, many errors remain, left untouched due to my limited knowledge.
I can empathise with those who, like me, have never learned to sing but still wish to savour the essence of classical music. I understand the struggle of trying to grasp something beyond one’s reach—the blind leading the blind. It is for those like us—the “blind ones”—that I have dared to share these notes. Asurer Surlokjatra will not serve the purpose of an expert in classical music, but I hope it can be of use to those seeking to engage with the art form. Oh, and yes, since there are many errors, I would be delighted and grateful if you could point them out.
I have not kept the structure of Asurer Surlokjatra conventional. This very article serves as the outline. Subsequent articles in The Asurer Surlokjatra series are linked within this text. If you wish to read further, you need only click on the links.
So, let us begin…
From a young age, I’ve been immersed in a wide variety of music. Whether it was from tapes, the radio, television, or live performances, some I listened to out of curiosity, while others simply found their way into my ears from the surrounding environment. No special effort was required for this. The songs I grew fond of, I would play over and over, occasionally making a list and recording them, which required little more than a touch of effort. But to truly understand the music, I did not need to do much more than listen. I did not have to take extra steps to savour the essence of the songs.
However, upon entering the world of classical music, I discovered that in order to truly enjoy its beauty, one must not only spend time with the music but must also learn how to listen to it properly.
At first, my stubborn mind asked, “Why, out of all the music in the world, must I go through the trouble of listening to classical music? Why should I put in extra effort and make special arrangements just to understand a song?”
While reading this blog, you may wonder, “How did someone like me, a person from the rigid world of information technology, find myself drawn into the enchanting world of melody?” I had written that story previously in an article titled “Asurer Surlokjatra,” which was published in the Chaar Bela Chaar Dik magazine on the occasion of the Bengal Music Festival.
One does not need to know music theory to enjoy it. But, driven by curiosity, I sought answers to certain questions, and I have now shared those answers from my own notes:
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What is classical music, or marg music, or high art music, or raag music?
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What, within that realm, is Indian classical music?
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What, within that, is Hindustani classical music?
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What are the differences in the systems of these various types of music?
The painting titled “Struggle”, created by the renowned artist Zainul Abedin in 1976, has always captivated me. I first encountered it in my childhood. At first glance, it intrigued me, though I did not find it profoundly moving. Back then, I did not fully understand the essence of a hand-painted oil portrait, nor could I fathom the immense stature of Zainul Abedin himself. While I grasp a little more of its depth today, I still do not know the historical context or the technical intricacies that define its craftsmanship. I am certain that, had I understood these details, my appreciation for the piece would have only deepened. I would have seen countless more dimensions to the painting that, even now, I fail to recognise. Yet, despite lacking this knowledge, I have come to deeply appreciate the artwork. Today, I find myself returning to it time and time again, drawn to it more with each viewing. I believe this is true of all forms of art. The more attention one pays to the details, the greater the pleasure derived.
Unlike other art forms, music is not so difficult to enter into. The pathway to enjoyment is perhaps not so dry. Anyone, regardless of age, language, or level of familiarity, can begin the journey with any degree of knowledge. Even from the outset, one can enjoy the experience. For those seeking deeper enjoyment, however, the key is to listen with attention and patience, allowing time for the music to unfold.
At this point, you may be thinking: Classical music is simply songs sung in various styles or instrumental performances by numerous instruments. But what is the common thread among them? What does it really mean to “listen” to classical music? To explore the answer to that question, I invite you to read the article titled “What Shall We Listen To?”
However, as with any journey, it is best to be prepared. Preparation makes the journey easier and more enjoyable. So, let us take a moment to read through the “Preparation for Listening” article.
You can listen to music either through recordings or live performances. Classical music, however, follows certain conventions in its presentation. Each vocalist or instrumentalist performs in a specific sequence, shaped by their tradition, training, individuality, mood, audience, and the medium of presentation. To understand these nuances, one can explore the Basic Aspects of Hindustani Classical Music Performance.
If you have come this far, I assume you are genuinely interested in listening to classical music. And to truly appreciate classical music, a basic understanding of its grammar can be quite helpful.
For this reason, I have included the fundamentals of classical music theory, covering concepts like Naad, Swar, Sur, Shruti, and Saptak. There is also a brief discussion on Taal, Theka, and Laya. Additionally, having a basic idea of how to read notation (Swaralipi) will make it easier to understand the raga notes that follow.
Once you have a basic understanding of the above topics, let’s proceed towards the realm of ragas.
First, take an initial grasp from the “Raga Shastra Index” and then gradually acquaint yourself with each raga, one by one.
The ragas that I have listened to and understood to some extent, I have noted down in a simple manner. I have created an index and linked it with those raga notes. You may have a look – “Complete Raga Notes Index” (this index is linked with the individual raga notes, which will be added gradually).
Ragas grouped by “family-based ragas / raga ang-based groups.”
Ragas grouped by “Thaat-based ragas.”
Ragas grouped by “time-based ragas.”
A list of “season-based ragas.”
Ragas grouped by “rasa-based groups.”
A list of all “commonly known and lesser-known ragas.”
Along with this, I have also included notes on various musical “genres within classical music”, as well as a section on the “Gharana tradition” – an important aspect of classical music.
As for “music therapy”, I am still in the process of understanding this vast and intriguing subject, but I have added what little I have gathered under a section called Music Therapy Notes.
When you dive into the world of classical music, you will likely want to learn about the great composers, lyricists, instrumentalists, and vocalists. I have made an effort to keep track of what I have read and heard about them.
There was a time when I loved collecting lyrics, verses, and bandishes of my favourite songs. Though I have lost many of those notebooks, I am now attempting to create a digital archive of these treasures.
The stories of maestros and their musical journeys are also quite fascinating, and I have tried to capture some of these in a section I call “Ganer Tukro Goppo” (Musical Snippets).
Finally, as I have explored the world of classical music, I have come across many books, notes, and online references. I plan to compile these into a regularly updated page, which I have titled “Gaan Kheko References” (References for the Music Lover).
***One more thing. The most important thing. This is not a complete guidebook. It’s just a collection of scribbles. Most of it is incomplete. I add bits and pieces whenever I find the time.