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Music of Jammu and Kashmir reflects a rich musical heritage and cultural legacy of the Indian-administered union territory of Jammu and Kashmir. Two different regions of Jammu and Kashmir consists the Jammu region and Kashmir Valley. Music of Kashmir Valley has influences of Central Asian music [1] while music from Jammu region is similar to that of other regions of North India.
Sufiana Kalam is the classical music of Kashmir, which uses its own maqams, and is accompanied by the Rubab, the Kashmiri saz, the Santoor, the wasool and the dokra.[ citation needed ] The dance based on the sofiyiana kalam is the hafiz nagma. [2]
Chakri is one of the most popular types of traditional music played in Jammu & Kashmir. Chakri is a responsorial song form with instrumental parts, and it is played with instruments like the harmonium, the rubab, the sarangi, the Ghatam which is popularly known as Noet [3] In Kashmiri, the geger, the tumbaknaer and the chimta. It is performed in folk and religious spheres, by the Kashmiri Muslims and Kashmiri Pandits. [4] Chakri was also used to tell stories like fairy tales or famous love stories such as Yousuf-Zulaikha, Laila-Majnun, etc. Chakri ends with the rouf, though rouf is a dance form but few ending notes of Chakri which are played differently and on fast notes is also called Rouf. [2] It is a very important part of the Henna Night (Ma'enzi raat) during weddings.
Henzae is a traditional and ancient form of singing which is practiced by Kashmiri Pandits at their festivals. It appears to have archaic features that suggest it is the oldest form of Kashmiri folk singing. [5]
Rouf is a traditional dance form usually performed by women on certain important occasions like marriage and other functions and also in cultural activities. [6]
: In Kashmiri language, the normal meaning of ‘Nai’ is related to flute. In Kashmiri folk music, the prevalence of Nai is older than two thousand years as we get its description in Nilamata Purana. "Punyahved shabdin vansi venurvenaya sut magadh shabden tatha vandisvanenc" Nilamata Purana described banshi as well as venu and in the modern era even the Kashmiri artists, especially of Anantnag, are proficient in playing two types of flutes.
1. The first type of flute is empty from inside and there are seven holes for seven musical notes. While playing it, fingers of both the hands are used. This type of flute is more prevalent in the folk life.
2. The second type of flute is also called 'Pi-Pi' in Kashmiri language. This type of flute is made of walnut’s wood. Even this flute has seven holes but the hole from where the air is blown is absent, but its adjacent hole is put into the mouth and blown. The player sees the seven holes clearly. This instrument is used more conveniently and the player does not get tired soon. This type of flute is more famous in Kashmir.
Ladishah is one of the most important parts of the Kashmiri music tradition. Ladishah is a sarcastic form of singing. The songs are sung resonating to the present social and political conditions and are utterly humorous. The singers move from village to village performing generally during the harvesting period. The songs are composed on the spot on issues relating to that village, be it cultural, social or political. The songs reflect the truth and that sometimes makes the song a bit hard to digest, but they are totally entertaining. [10] [11] [12]
Music and musical instruments find mention in the earliest texts like the Nilmatapurana and Rajatarangini by Kalhana.[ citation needed ] The very fact that it was a Kashmiri, Abhinavagupta (the great philosopher), who wrote a commentary called Abhinavabharati on Bharata's Natyashatra shows how much importance was given to music in the ancient times. A favorite traditional instrument is the santoor (Shat-tantri-veena), a hundred string percussion instrument which is played by the goddess Sharada (the goddess of learning and art in ancient Kashmir).
Notable santoor players from Jammu and Kashmir include Shivkumar Sharma, from Jammu, and Bhajan Sopori from the Kashmir Valley. [ citation needed ]
Music in Jammu division is diverse with essence of both mountains and plains. Musical instruments of Jammu include flute, ektara, dafla, sarangi, Chang, narsingha, kansiya etc.
Traditional music includes:
Pandit Shivkumar Sharma was an Indian classical musician and santoor player who is credited with adapting the santoor for Indian classical music. As a music composer, he collaborated with Indian flautist Hariprasad Chaurasia under the collaborative name Shiv–Hari and composed music for such hit Indian films as Faasle (1985), Chandni (1989), and Lamhe (1991).
The music of Himachal Pradesh includes many kinds of folk songs from the area, many of which are sung without accompaniment. It is A Rights Management Company in Himachal Pradesh. Every Musical Artist Must be Certification from HMI Other Wise Their All Track Are Takedown and Rights hol by Himachal Pradesh Music Industry (HMI). Himachal Pradesh Music Industry (HMI) Owned By Desi Beats Private Limited & Government Of India
Folk music of Haryana has two main forms: classical folk music of Haryana and desi folk music of Haryana. They take the form of ballads and pangs of parting of lovers, valor and bravery, harvest and happiness.
Chhattisgarh is a state of India with strong tribal traditions of music and dance. The state of Chhattisgarh is best known for its deep roots in folk music, which originated from its long history of tribal involvement.
The Dogras, or Dogra people, are an Indo-Aryan ethno-linguistic group living primarily in the Indian union territory of Jammu and Kashmir and neighbouring Pakistan, consisting of the Dogri language speakers. They live predominantly in the Jammu region of Jammu and Kashmir, and in adjoining areas of Punjab and Himachal Pradesh. Some also live in northeastern Pakistan. Their historical homeland is known as Duggar.
A folk instrument is a traditional musical instrument that has remained largely restricted to traditional folk music, and is not usually used in the classical music or other elite and formal musical genres of the culture concerned, though related intruments may be.
Kashmiris are an Indo-Aryan ethnolinguistic group speaking the Kashmiri language and originating from the Kashmir Valley, which is today located in Indian-administered Jammu and Kashmir.
Pandit Bhajan Sopori was an Indian instrumentalist. He was a player of the santoor, an ancient stringed musical instrument.
Rubab, robab, or rabab is a lute-like musical instrument. The rubab is the national musical instrument of Afghanistan; it is also commonly played in Pakistan, mostly by Pashtuns, Balochis, Sindhis, Kashmiris, and Punjabis. Variants of the rubab include the Kabuli rebab of Afghanistan, the Rawap of Xinjiang, the Pamiri rubab of Tajikistan and the seni rebab of northern India. The instrument and its variants spread throughout West, Central, South and Southeast Asia. The Kabuli rebab from Afghanistan derives its name from the Arabic rebab and is played with a bow while in Central Asia and the Indian subcontinent, the instrument is plucked and is distinctly different in construction.
Wanvun or Wanwun is a style of singing and dancing used by Kashmiri Pandits before certain Hindu rituals such as Yagnopavit and marriages, in the Kashmir Valley of Jammu and Kashmir, India. It can also be used to describe a music session at which traditional songs are sung. A similar dance, drawing significant influence from Wanvun, is performed by Kashmiri Muslims and is called Rauf.
The Gandarbha caste or Gaine are a tribal community which belongs to the Indo-Aryan ethnic group from the central, hilly region of Nepal. They have also been called a "caste of professional musicians" and "itinerant bards." By tradition they make their living by singing Gandarbha Geet or Gaine Geet, a type of folk song. The Gandarbhas traditionally work as travelling musicians and play traditional folk and historical songs. They improvise songs too, incorporating news into them as a service, in return for which they receive donations of food or other things. They use the Nepali sarangi, a type of violin, as their main musical instrument. The sarangi has been an iconic musical instrument identified with the Gandarbha people. The instrument has replaced another instrument they played, the aarbajo, which was larger and "more cumbersome." They speak their own language which is called Parse kura.
In Hindustani music, meend refers to a glide from one note to another. It is an essential performance practice, and is used often in vocal and instrumental music. On the veena, sitar, sarangi and other plucked stringed instruments, it is usually done by pushing the strings across the frets to vary their effective length and tension; compare portamento and finger vibrato. This can be done on wind instruments like the bansuri by using the fingers to cover the holes in a manner that the changes between discrete pitches are imperceptible. It is considered a sort of alankar, or ornament.
Pashto music or Də Pəx̌tó ṭang-ṭakór is commonly performed in Afghanistan and Pakistan among Pashtun people.
The culture of Kashmir encompasses the spoken language, written literature, cuisine, architecture, traditions, and history of the Kashmiri people native to the northern part of the Indian subcontinent. The culture of Kashmir was influenced by the Persian as well as Central Asian cultures after the Islamic rule of Kashmir. Kashmiri culture is influenced by Hinduism, Buddhism and later by Islam.
Vibha Saraf is an Indian singer-songwriter and Bollywood playback singer. She performs folk songs and writes and performs music for soundtracks, primarily Kashmiri folk-inspired songs. Her work has been featured on the soundtracks for the films Raazi, which went to win Best Film in the 64th Filmfare Awards, and Gully Boy, the fourth highest-grossing Bollywood film of 2019. In 2019, she was jointly nominated with Harshdeep Kaur for Best Female Playback Singer for the 65th Filmfare Awards and Best Female Playback Singer for the 20th International Indian Film Academy Awards for the song Dilbaro, from the 2018 drama thriller Raazi.
Abhay Rustum Sopori is an Indian Santoor player, music composer and conductor. He is the son of Santoor player Pandit Bhajan Sopori, known for his versatility, innovations and experimentation. Sopori has received awards in recognition of his contribution in the field of music, and is one of the youngest recipients of awards such as 'Bharat Shiromani Award' & 'Ustad Bismillah Khan Yuva Puraskar'. Abhay was invited to speak at the international conference TEDx.
The Indian santoor instrument is a trapezoid-shaped hammered dulcimer, and a variation of the Iranian santur. The instrument is generally made of walnut and has 25 bridges. Each bridge has 4 strings, making for a total of 100 strings. It is a traditional instrument in Jammu and Kashmir, and dates back to ancient times. It was called Shatha Tantri Veena in ancient Sanskrit texts.
Bacha Nagma is one of the major folk dance forms found in the Kashmir valley. It is also referred to as Bacha Gyavaun in certain parts of Kashmir. Afghans of Kabul are credited with the parentage of this dance. It is a derivative of the Hafiza Nagma. During the Bacha Nagma, a teenaged boy dressed as a girl dancer, who is trained in the Hafiza style of dancing sings Kashmiri Ballad and dances. This dance is popular in the villages, mainly at the harvest time. It is also popular for being performed in social gatherings and parties by young boys who disguise themselves as women in long skirts. Bacha Nagma is common in Kashmir during wedding celebrations and when the wedding processions are taken out on boats on the Jhelum river. This dance form is much appreciated and has the ability to engage large audiences. It is accompanied by instruments like rabab, sarangi, and drums. It involves quick spinning movements just like in the Hafiza dance form and some may even resemble those of kathak. The song-dance proceeding is known as Bach Nagma Jashan - Kid Dancer's Celebration. The dancer is known as The Bacha - the Kid - usually a thin and graceful boy/man who dances, sometimes comically, is always attired like a woman in a multi-colored frock-like dress.
Ladishah is a storytelling musical genre originated in Jammu and Kashmir with its roots in traditional and humorous folk singing originally sung by minstrels while locally wondering from one place to another. It is usually sung in Kashmiri language to express anguish or to entertain people in a rhythmic form primarily revolves around political, social and cultural issues in the form of ballad or melodious satire. It is identified when an entertainer raises their concerns in the form of humorous and melody singing without a voice break at some occurrences. It is sung with a musical instrument called dhukar, a traditional instrument consisting of two metal rods. Sometimes, an artist sings without a musical instrument.
Ghulam Muhammad Zaz is an artist from Kashmir, India. He is known for making Santoor and other hand-crafting traditional musical instruments. He is known to be the last Santoor maker of Kashmir.
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