It is commonly believed that quite apart from the experience in society at large, hierarchies have never existed in the world of Hindustani music. However, history informs us that for several centuries, there has been a social stratification of hereditary Hindu or Muslim musicians. The gender bias was also evident, as hereditary women performers, who were trained in singing and dancing, were relegated to the lower rung as compared to the male musicians. Similarly, vocalists occupied prime position followed by instrumentalists. Among the instrumentalists, the accompanying musicians were relegated to second position.
Among vocalists, dhrupad singers were considered superior to khayal singers and thumri specialists came third in the order.
This framework was redefined on many occasions and nomenclatures changed with the progress of time, but the fact remains that the stratification remained right through.
Individuals not belonging to hereditary musician families took to music as a profession in the twentieth century, but some elements of the earlier stratification extended even to this growing number of non-hereditary performers. In fact, the remnants of the earlier social organisation continue to be seen in some ways even to this day.
However, such hierarchies have also been applied while comparing Hindustani music with other genres. Classical musicians often believe that the music they pursue is of the highest order and has divine attributes. According to them, all other musical forms have no connection with the spiritual. Their place in the musical firmament is temporary.
This opinion is expressed more vociferously when questions are posed about the ostensible threat to classical music from Western music. A strange mixture of aggressive nationalism and pride in one’s chosen musical form as compared to even other Indian musical genres is what comes to the fore in response to such questions asked by journalists who often have no clue about either Indian or Western music.
Here is a clip of Banaras gharana tabla maestro Kishan Maharaj (1923-2008) addressing the press in Silchar, Assam, in 2005. He speaks of the permanence of classical music as compared to other Indian and Western musical forms, which he likens to worms that appear during the rains but disappear by Diwali, the festival of lights. He even derides intercultural music collaborations.
In two other clips from the same press meet, Kishan Maharaj speaks about the dedication that is required from a serious student of Hindustani music. As with all other musicians, Kishan Maharaj too regards learning as a life-long pursuit, but he points out the significance of having a good guru even at the preliminary stage. He alludes to mythological episodes to strengthen his viewpoint.
