Tarana

Tarana is a type of vocal music composition in Hindustani classical music from the Indian subcontinent, wherein certain words are used to convey an ode or a hymn. [1] The compositions are rendered at a medium (madhya) or fast (drut) pace (laya) in a straight form. It was invented by Amir Khusro (1253-1325 CE),[2] and is similar to the Qalbana form of Sufi poetry. According to Ustad Amir Khan, these words have meanings but according to some other Indian musicians they do not have meanings. In modern times, the tarana composition is usually used to create an anthem style of music of celebration, hymn or ode. Tarana was also used by Sikh tenth Guru Gobind Singh in his compositions.

Form

The structure consists of the main melody, usually short, repeated many times, with variation and elaboration at the performer's discretion. There is a second, contrasting melody, usually with higher notes, which is introduced once before returning to the main melody. The tarana may include few Urdu sheirs or a Persian couplet, and may use syllables from musical sounds; singers might recite full compositions (e.g. tihais, gats, tukdas, nazm) within the body of the tarana.

History

In the words of Thakur Jaidev Singh, an influential commentator on Indian music:

[Tarana] was entirely an invention of Khusrau. Tarana is a Persian word meaning a song. Tillana is a corrupt form of this word. True, Khusrau had before him the example of Nirgit songs using śuṣk-akṣaras (meaningless words) and pāṭ-akṣaras (mnemonic syllables of the mridang). Such songs were in vogue at least from the time of Bharat. But generally speaking, the Nirgit used hard consonants. Khusrau introduced two innovations in this form of vocal music. Firstly, he introduced mostly Persian words with soft consonants. Secondly, he so arranged these words that they bore some sense. He also introduced a few Hindi words to complete the sense…. It was only Khusrau’s genius that could arrange these words in such a way to yield some meaning. Composers after him could not succeed in doing so, and the tarana became as meaningless as the ancient Nirgit.[3]

Derivatives

The thillana from Carnatic music is based on the tarana, according to Balasaraswati,[4] and is widely used in dance performances.

References

  1. ↑ ITCSRA Glossary - Tarana
  2. ↑ Massey, Reginald. India's Dances. Abhinav Publications. p. 13. ISBN 81-7017-434-1.
  3. ↑ Singh, Thakur Jai Deva (1975). "Khusrau's Musical Compositions". In Ansari, Zoe. Life, Times & Works of Amir Khusrau Dehlavi. New Delhi: National Amir Khusrau Society. p. 276.
  4. ↑ Discussion with Amir Khan, from the AIR archives, commercially unpublished.

Coordinates: 23°19′48″N 76°01′48″E / 23.33000°N 76.03000°E / 23.33000; 76.03000

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