BY V. R. TALASIKAR, M.A., LL.B.

One does not require to be an alarmist to state that the classical element in creative art and literature is falling into a general disfavour. Firstly, I wish to relate to you the changes in circumstances, which have reacted in a very marked manner upon the ultimate ends and methods of expression in fine arts. And then I shall deal with Indian classical music in particular.

I say it is not a peculiar case with India that there is an increasing apathy towards classical music. More or less, and with minor variations, the appearance of this new feeling is almost universal. What the causes are of such an unmistakable tendency does not lie within the scope of the present discourse; but suffice it to say here that the general tendency has been towards frivolity and sentimentality.

If we closely scrutinize the field of Indian classical music, we have the same sorrowful story to tell. The music of ‘Ragas’ is not appreciated. There are about 5 departments in Indian classical music, viz. ‘Khyal,’ ‘Tappa,’ ‘Thumari,’ ‘Dhrupad’ and ‘Tarana,’ out of which the second and the fourth have practically become extinct. Classical musicians sing a ‘Khyal’ at the very beginning of their concert, but it falls flat on unappreciative ears. ‘Thumari’ is popular no doubt, but not because of its classicality, but there is less rigour with regard to the purity of ‘Ragas’.

People have been unable to go through the rigorous discipline and austerities which classical musicians underwent for the sake of their art. This difficult art has been essentially handed down from preceptor to disciple who has to perform a penance in the pursuit of the art which his master has placed in his hands.

Nowadays people wish to attain these results without undergoing the necessary austerities. They hope to be musicians, but without disturbing their comfort. They also want the gratification of the ears of the audience and hence they always learn the art with an eye to popular appeal. And hence we see that there is a regular crop of flippant songs and desultory melodies like ‘Lavanis,’ ‘Bhavgitas,’ and cheap lyrics in the music of today.

Another important factor which has augmented the apathy for Indian classical music is the cinema. Film-producers think that it is not economically advantageous to adopt classical music in movies, so they incorporate cheap ‘Gazals’ and ‘Kavalis’ which tickle the fancy of the masses. Thus the tendency towards lighter and frivolous music is increasing day by day, with the result that nobody has the inclination and the patience to hear the deep and rich strains of classical music.

The culture of a country is judged by the profundity of its arts. Nietzsche used to say, "Music has lost its world-transfiguring, yea saving character: it is decadent music and no longer the flute of Dionysus." In England, there is a similar agitation against the neglect of music which is being shown by the general population living essentially in an industrial civilisation. The Indian classical music will keep its own standard only if people realise its true nature and do not allow themselves to drift towards cheap sentimental music.

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