Musicians from the Mughal era who shaped Hindustani music

Katherine Butler Schofields’ book throws light on music and musicians during the late mughal period

Katherine Schofield’s latest book is an invaluable addition to the few on Indian music. The book is not only an evidence of her scholarship and intensive research in a subject that many do not know about, but is also a riveting page turner. Her evocative bring alive the world of music in that era.

Confining herself to the period between 1748 and 1848, “one of the most significant periods of change for Hindustani music”, Katherine rues that the period has not been “properly mapped”. The reason, “a pervasive belief” that the musicians were illiterate. The 2000-year-old tradition of writing sangita shastras stopped during this period, and the repositories of music were thought to be ignorant and unletterred. However this assumption has been proved wrong by modern researchers, and this book relies on writings on music during this period; which “have languished in the archives”.

Six essays dealing with different subjects and belonging to different time zones and regions, have been skilfully linked. In 1752, Inayat Khan Rasikh wrote the first-ever biographical collection (tazkira) on musicians. Rasikh created a record of musicians, from Akbar to Aurangzeb’s reign, “the golden age of the Mughal empire and of Hindustani music.”

The longest entry in this work deals with an anecdote from the life of Khushhal Khan ‘Gunasamudra’, (d 1675), great grandson of Mian Tansen. His father Lal Khan was so talented that when Tansen heard him sing, he sent his son Bilas Khan to train under him, and later made Lal Khan part of his family by getting Bilas Khan’s daughter married to him.

Interestingly, 400 years ago, talent was recognised and musical training was not confined only to the family. Lal Khan went to become the chief musician in Shah Jahan ‘s court, a title given later to his talented son Khushhal.

Musicians at the time stood and sang; Rasikh writes of the young Khushhal and his brother Bisram standing on the edge of the carpet beneath the Emperor’s throne, and playing the ‘tambur’, and lending their voice in accompaniment to their father Lal Khan. The carpet is referred to by a later ustad, Sadarang (one of the greatest singers of his time) “only he who does not place a foot outside the carpet will earn the royal mantle of high distinction.”

Khushhal Khan stepped out of the carpet, metaphorically speaking, after he engaged the emperor’s attention by his wonderful rendition of Raga Todi. Seeing the emperor totally enamoured by the music, Khushhal signalled to an official to get him to sign a petition, which Shah Jahan unwittingly did, but later realised he had been tricked. He then banished the singer from court.