Khayal Past, Present & Future

Khayal, imaginative in conception, romantic in appeal, has an interpretative theme and classico-romantic method of execution encompassing the gravity of the Dhruvapada, the romanticism of the Thumri and the lyricism of the lighter forms of Dadra and Ghazal. This variation makes Khayal immensely interesting and attractive by offering something to appreciate to a wide variety of listeners. Khayal, the main singing style of modern times has been developed and modified from time to time by various eminent musicians & scholars. Although Khayal has a long list of followers who sing, listen and appreciate it all over the world including lot of people from India and abroad, but still a large number of people are there who are unaware of this excellent art form. Even though lot of artists, musicologists, scholars, Government agencies like Sangeet Natak Academy, private agencies like Spic Macay and the media are doing their efforts to promote Khayal but still a lot of work is needed to be done.

Any art form is a sum total of its history, its norms, its forms, formal rules, its ethnic and social implications. The study of these inter-relationships and subsequent developments would certainly improve one’s understanding of the art that’s why in this book I tried to touch every aspect of Khayal starting from historical background. I have tried to approach the study of Khayal from a Philosophical, Psychological & Sociological point of view so as to provide an in-depth historical analysis and a pertinent presentation of Khayal. I have always felt that there is a need for a scientific and logical way to approach and study the various aspects of the Khayal. This is the only way in which one can connect the multitudes to this beautiful art form and appreciate it. Being a great admirer of Khayal I firmly believe that Khayal has the potential to spread all over the world. The sole reason of writing this book is to analyze and find ways in which this potential can be fulfilled. This book includes suggestions given by eminent artists, teachers and scholars whom I got a chance to interview during my study. Here I would like to clarify that many may not agree with what has been stated regarding some aspects mentioned in this book, but that disagreement is only natural as I have written this book keeping in mind only the benefit and progress of Khayal.

It is a pleasant task to express my thanks to all those who contributed in many ways in the completion of this book. At this moment of accomplishment, first of all I am grateful to my Guru ji Pt. Om Parkash Thaper, who showed me light throughout my music journey. I am grateful to Prof: (Dr.) Pandit Ishwarchandra and Dr. Ashwini Kumar Singh for their guidance, support and encouragement. I find myself with limitation of words to express my deep sense of gratitude to my Parents Mr. Parmjit Rai and Ms. Chhinder Pal for their blessings and inspiration. I would like to thank my wife Ms. Huma Khosla who has been a continuous source of energy to me. I also wish to express my deepest appreciation to Mr. Himshail Chauhan and Ms. Mankirat Kaur for extending constant help in the book.