SYMBIOSIS INSTITUTE OF FOREIGN TRADE

Export potential analysis

of

Indian Classical Music

to

U.K

Submitted by: Naina Malhotra

9011 Div A

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ACKNOWLEDGEMENTS

I would like to express my

heartfelt gratitude for the invaluable

help extended to me by Pt.Bhimsen

Joshi,, in the completion of this

report. I would like to extend my

thanks to Mr. Haresh Bakshi of Sound Of

India

I would also like to thank Mr.

Shrikant Bhojkar, Faculty – SIFT,

without whose guidance & support this

project would not have been possible. I

would like to thank Mrs. Supriya Joshi,

Librarian – SIFT & the entire staff for

all their help.

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CERTIFICATE

This is to certify that

Ms. Naina Malhotra, SA – 1 – 9011,

of Symbiosis Institute of Foreign

Trade has submitted the following

research report on the EXPORT

POTENTIAL OF INDIAN CLASSICAL MUSIC

TO UNITED KINGDOM in partial

fulfillment of the Masters

Programme in International Business

(2000-02) course at SIFT, Pune

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CONTENTS

� Introduction � Indian classical music � Various forms of I.C.Music � Terms related to I.C.M. � Guru shishya Parampara & Gharanas � Some of the eminent Artists and maestros � Organizations promoting classical music � Commercial aspects � Indian music industry � SWOT of Indian classical music

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� Competition � Export of Indian classical Music Target

market: United Kingdom � Cultural profile of UK � Indicative Costing � Marketing Strategy � Promotions of Indian classical Music � Future of Indian classical Music � Bibliography � People Contacted

INTRODUCTION

Indian classical music originated from the chanting of the

Vedas, chanting based on Sama Veda. These could be compared

with the Psalms in the Bible. Indian classical music is

categorized under two genres. These are as follows:

1. Hindustani

2. Carnatic.

Which are further divided into vocal and instrumental.

Vocal comprises of the ragas chanted by singers. The word

raga literally means colour. Indian classical music is

coloured by the emotions and moods and are closely

associated with the various times or the seasons of the

year.

TYPES OF INDIAN CLASSICAL MUSIC

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Indian Classical Music is of following types:

Dhrupad Dhamar

Hindustani Classical Khayal

Semi classical music (Natya sangeet)

Light Music ( Bhajans, songs )

Instrumental

Dhrupad compositions have four parts or stanzas, viz.

Asthayi, Antra, Sanchari and Abhog. Dhrupad is accompanied

only by the Tanpura and Pankhawaj. Dhrupad is considered to

be the oldest classical vocal forms of Hindustani music.

Hori Dhamar: These compositions are akin to Dhrupad and

enjoy identical status. Despite the variations in the

themes of these compositions, all of them are associated

with the festival of Holi (playing of colors) and the

compositions are all of 14 beats time cycle.

Khayal: The Dhrupad style of music was replaced by the

romantic Khayal (the word Khayal means imagination, idea).

The most important features of a Khayal are 'Tans' or the

running glides over notes and 'Bol-tans' which clearly

distinguish it from 'Dhrupad'. The slow (Vilambit) and fast

(Drut) styles of Khayal are the two recognised types today.

Tappa: This is a distinct style having its origin in the

Punjab. Its beauty lies in the quick and intricate display

of various permutations and combinations of notes. It is

strange that even though the Tappa lyrics are in Punjabi,

Tappa is not sung in the Punjab. Banares and Gwalior are

the strongholds of Tappa. Bengal has also been greatly

influenced by the Tappa style.

Thumri: Thumri originated in the Eastern part of Uttar

Pradesh. Its most distinct feature is the erotic subject

matter picturesquely portraying the various episodes from

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the lives of Lord Krishna and Radha. The beauty of Thumri

lies in the artist's ability to convey musically as many

shades of meaning as the words of a song can bear. It is a

much freer form than 'Khayal'

TERMS OF I.C. MUSIC

Swara is a notations followed in ragas. There are in total

7 swara and they are Sa. Re < Ga, Ma, Pa, Dha, Ni, Sa

Tal are the Rhythms prevalent in music like Tri tal, Dadra

Sur is the pitch or tone of swaras and music

There are male ragas and female ragas, which are called

raginis. Bhairav is a male raga and its female counter part

(ragini) is called Bhairavi.Raga is the melodic structure

at the centre of Hindustani (North Indian) and Carnatic

(South Indian) classical music.

It is the basis on which the vocalist or instrumentalist

improvises in slow, medium or fast phases.

A raga has five, six or seven notes in separate ascending

and descending structures, and its own recognizable feature

or theme. Each raga is associated with a particular time of

day or night, and has its principal Rasa or mood.

Some ragas are associated with the seasons of the year.

Moods are closely associated with human emotions of pathos

or sadness, joy, romance, love, devotion and the like,

which are reflected in the ragas.

The ragas, which are usually sung in the morning, are

Bhairavi, Lalit, Todi, and its variations. Similarly there

are afternoon ragas, such as Sarang and Bhimpalsi; the

evening ragas include Yaman, Pooriya, Marwa and Shree, to

name a few.In the same way there are ragas associated with

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the seasons such as Basant for the Spring, Hemant for the

Autumn, Malhar for the Rainy season and so on. Raga is

neither a scale, nor a mode. It is, however, a scientific,

precise, subtle, and aesthetic melodic form with its own

peculiar ascending and descending movement which consists

of either a full octave, or a series of six or five notes.

An omission of a jarring or dissonant note, or an emphasis

on a particular note, or the slide from one note to

another, and the use of microtones along with other

subleties, distinguish one Raga from the other.

There are 72 'melas', or parent scales, on which Ragas are

based. Raga has its own principal mood such as tranquility,

devotion, eroticism, loneliness, pathos, heroism, etc. In

Indian music there is above all an awareness between man

and nature, each acting and reacting on the other, andhence

each Raga is associated, according to its mood, with a

particular time of the day, night or a season.

Improvisation is an essential feature of Indian music,

depending upon the imagination and the creativity of an

artist; a great artist can communicate and isntill in his

listener the mood of the Raga.

'Tala' is the second important factor in Indian music.

These are rhythmic cycles ranging from 3 to 108 beats. The

division in a Tala and the stress on the first beat, called

'Sum', are the most important features of these cycles.

Talas having the same number of beats may have a stress on

diferent beats, e.g. a bar of 10 beats may be divided as:

2-3-2-3, or 3-3-4, or 3-4-3. Within the framework of the

fixed beats the drummer can improvise to the same extent as

the principal artisits after going their separate ways,

come back together with an accent or stress on the first

beat. Thus, the 'Sum' becomes the most important beat of

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emphasis thougout a recital of Indian music, since this

urge for unity and its fulfilment are the most rewarding

experience.

INDIAN MUSIC INDUSTRY

The business of music reselling has evolved to such an

extent where it has attained the status of an 'industry'

with its own characteristic dynamics. The Indian market has

emerged as the second largest music market after USA,

fetching valuations of RS 1200-1500crore.

Industry structure and emerging trends are that about 70 per

cent of recorded music till date is film music with the

balance 30 per cent being ghazals, classical, devotional,

western and Indi-pop.

Tips. HMV, Times Music are some of the companies who are

into the exports of cassettes and cd’s

Indian music industry is second after USA, fetching

valuations of 1200-1500 crore

70 % of recorded music is of films and rest 30%

Comprises of ghazals,classical, devotional, western and

Indi-pop

Growth in Indian music market by 13%in year 2000 when

global music industry fell by 1%

Indian classical instruments

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Various instruments which are played with both Hindustani

and Carnatic classical music are:

1. SITAR Sitar is the most popular stringed instrument of

India and has been in use for about 700 years. It is

fashioned from a seasoned gourd and teakwood and has twenty

mental frets with six or seven playing strings and nineteen

sympathetic strings below. It is played with a plectrum

worn on the finger. Sitar has a long and complex heritage;

its origin goes back to the ancient Veena

2.VEENA. Ravi Shankar, the great musician-artist brought

changes and a new perspective.

3. SAROD Sarod is another popular stringed instrument. The

body is carved from a single piece of well-seasoned

teakwood and the belly covered with goat skin. There are

four main strings, six rhythm and drone strings and fifteen

sympathetic strings, all made of metal. These are played by

striking with a plectrum made of a coconut shell. The Sarod

has no frets. Sarod as been found in carvings of the 1st

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century in Champa temple and also in paintings in the

Ajanta caves. It also has a similarity with the Rabab of

Afghanistan and Kashmir

4.SARANGI The instrument was modified by Amir Khusru in the

13th century. A definite change was made by Ustad Ali Akbar

Khan in shape of the instrument for improving the tonal

quality.SARANGI The name derives from Sau Rangi meaning 100

colours. Sarangi is played with a bow and has four main

strings and as many as forty resonant strings. It is

generally used to accompany singers but can also be a solo

instrument

5.TANPURA Tanpura is a four or five stringed instrument

which gives the essential drone background to all Indian

music.

6.SANTOOR Santoor is a North Indian instrument originating

from Kashmir. It has more than a hundred strings which run

across a hollow rectangular box and the strings are struck

by a pair of slim carved walnut mallets.

7.TABLA Tabla is the overall term for two drums, which are

played as accompaniment to North Indian music and dance.

The musician uses the base of the palm as well as the

fingers to produce great variations in sounds. The right

hand drum is tuned to the tonic dominant or sub-dominant

and the left-hand drum acts as the base.

8.PAKHAWAJ Pakhawaj is a long bodied wooden drum with both

ends covered in skin and is the most traditional drum of

North India. Played horizontally with the fingers and palms

of both hands, the right hand surface is tuned to the pitch

required and the left hand surface provides the base.

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9.MRIDANGAM Mridangam is similar in appearance to the

Pakhawaj but the ends have a different texture. It is the

most used drum in South Indian music

10.DHOLAK Dholak is a side drum, cylindrical in shape,

bored out of solid wood. Its pitch is variable and is an

essential accompaniment for folk music of North India. JAL

TARANG Jal Tarang is essentially a water-xylophone. It is

made up of a series of china bowls of varying sizes and

they are filled with varying levels of water. These are

then played with two light sticks

11.FLUTE Flute is found in every part of India, carved from

bamboo it is made in every possible size. It is usually

played in a vertical position.

12.SHEHNAI Shehnai is a double reeded wind instrument with

a widening tube towards the lower end. There are eight or

nine holes, the upper seven for playing, the lower ones for

tuning. The Shehnai is considered auspicious and is played

on all festive occasions in India

'GURU SHISHYA PARAMPARA' IN INDIAN

CLASSICAL MUSIC

Guru Shishya Parampara is the traditional method of

imparting training of Indian classical music. Shishya

devotes his full time to learning music. Guru imparts

training and also passes on the musical thought behind the

music that he practices. Guru also educates his disciple on

the cultural aspects of his style of music.

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Indian music the traditional Indian oral teaching method,

which proceeds by copying short phrases and gradually

building them up into longer units and simple songs. These

we sung together again and again, repeating and repeating.

Explanations were few and questions not encouraged! It was

emphasized that many years are required to absorb the

subtleties of the different schools or garanas

GHARANASAfter years of riyaz the artist if Indian classical music

have gained the Gharana title. Each gharana has its culture

and ethics.

A shishya has to spend his few years of life with the guru

to learn all the ethics and culture of the guru.

Some of the gharana in India are as follows.

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Gharana Founders

Agra Ustad Gagghe Khuda Bakhsh

Benaras Pt.Gopal Mishra

Bhendi Bazaar Ustad Chajju Khan

Delhi Amir Khusro

Delhi(tabla) Ram Kumar Mishra, Shakeel Ahmad

Khan

Gwalior Ustads Hassu Khan, Haddu Khan and

Nathu Khan

Imdadkhani

(instrumental)

Ustad Imdad Khan

Indore Ustad Amir Khan

Jaipur-Atrauli Ustad Alladiya Khan

Jaipur-Mewati Gagge Nazar Khan

Kirana Ustad Abdul Karim Khan

Maihar (instrumental) Baba Allaudin Khan

Patiala Ustad Fateh Ali Khan and Ustad Ali

Bakhsh

Qawwaal Bachche Amir Khusro

Ramdasi Baba Ramdas Bairagi

Rampur-Seheswan Ustad Inayat Khan

SOME OF THE MASTEROS OF INDIAN CLASSICAL MUSIC

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Classical Vocalists: Pt. Bhimsen Joshi , Pt,Jasaraj, Kishori AamonkarKarnatik Vocalists: M.S. Subbalkshmi , D. K.PattamalShahanai: Ut Bismilla KhanSitar Maestros : Pt. Ravi Shankar, Ustad VilayatKhan, Ut Usmaan KhanSarod Maestros: Ud. Ali Akbar Khan , Ut. Amjad AliKhanSantoor Maestros : Pt. Shivkumar Sharma , Pt.Satish vyasFlute Maestros : Pt. Hariprasad Chaurasia, LatePt. Pannalal Ghosh

Tabla Maestros : Late Ut. Allarakha, Ut ZakhirHussainGuitar/ Mohanveena : Pt. Vishva mohan Bhatt , Pt.Brijmohan Kabra

GENRE-WISE COST OF BRINGING AN ALBUM TO THE MARKET

Genre Total cost of the company(Mn)

New Hindi 30 to 100

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What are exports of Indian Classical Music?

Indian classical music is a foreign exchange earner for

India, It is famous all over the world and is exported in

the following ways:

1.Instruments

2.Cassettes and CD’s

3.Books

4.Services

Services could be in the form of the training, music

therapy or performances by our eminent performers like

Pt.Bhimsen Joshi, Hariprasad Chaurasia etc.overseas.

Destination country-U. KIndian classical music has become increasingly available in

UK concerts and recordings during the last few decades, and

it now has a substantial following amongst British music-

lovers and the Indian situated in UK, albeit if only as a

delightful exotic novelty.

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The major export players in UK

Two record companies dominate the UK market for Indian

classical music. Nimbus favors studio recordings, always

presented with excellent documentation, whereas Navras has

built up its extensive catalogue from live concert

recordings.

Major organization promoting Indian classical music Some of the non-profit gaining organizations, which are

promoting Indian classical music worldwide, are

• Sarodya Society

• Society for Indian Culture and Arts

• SPICMACAY

• Indian Artist Management

Society for the Promotion of Indian Classical MusicAnd Culture Among Youth

Was started in 1970 by IIT Bombay students .Its prime

objective is to promote Indian Classical Music all over the

world .It is a non-profit gaining organisation

It has 200 offices in India only

Its main work is to promote culture festivals like

savigandharva, etc in India.

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Its members are the college and school going students.

SARODYA SOCIETY

Is a non-profit organization dedicated to the preservation,

propagation and archiving of north Indian classical music.

Based in San Francisco, California, we have offices in

Amherst, Massachusetts and Calcutta, India. Sarodya Society

was formed in November 1998 as a vehicle to preserve the

art music of north India as represented by eminent

stalwarts late Radhika Mohan Maitra and late Jnan Prakash

Ghosh.

Primary purpose of the Sarodya society is to present

recitals of some of the highest quality Hindustani (north

Indian) art music and to record and archive these, as well

as to assist dozens of brilliant artists who languish in

unthinkable conditions. We propose to do so be organizing

benefit concerts, revenue from record sales, and by helping

them find students.

Teaching is a very important part of preserving any art,

and therefore we are imparting training in traditional

music of north India through some of its greatest masters,

Buddhadev Das Gupta who is one of the greatest living

masters of the sarod, and Debasish Sarkar, an unparalleled

tabla virtuoso of Calcutta, at the highest professional.

The most commonly taught instruments are the sarod, sitar,

sursingar, mohan-veena, surbahar and tabla as well as north

Indian vocal music.

Sarodya society have a collection over 1,000 hours of

Hindustani music recordings by some of the greatest masters

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of all time ranging from Abdullah Khan (b. 1848) to

Prattyush Banerjee (b. 1969).

All donations to Sarodya Society are tax-exempt.

STRENGHTS AND WEAKNESS OF INDIAN CLASSICAL MUSIC Strengths

Indian classical music is becoming popular day-by-day, as

more number of people are interested in learning and

listening to it. This has happened due to some artists of

international fame who have worked hard to propagate Indian

classical music both vocal and instrumental. People have

realized the healing power of Indian classical music.

Indian youth is also taking interest in pursuing classical

music as their career.

Weakness

But at the same time, we find that the quality of

classical music is deteriorating. This is a result of many

factors like, lack of dedicated teachers due to low

monetary payments, lack of practice (Riyaz) by students,

etc. Indian classical music is a knowledge trade, not

anyone can listen and appreciate it .the listeners need to

know what the singer is singing.

Indian classical Music is restricted to India only its not

prevalent all over the world.

Riyaz is time consuming and as I mentioned earlier it

needs years and years of practice

Lack of International popularity

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Threats

The Jaaz music and Cultural music of all the countries

Youth generation is more influenced by western culture and

they are not at all interested in Indian classical music

Diminishing culture and inability to create successors of

these legends

Opportunities

Growing NRI population worldwide

Some knowledge base is needed to understand ICM

Stress, violence, Chaos increasing (good for music therapy)

Performances on TV.

Institutional selling

YEH KHEL KAISE KHELENGE- HOW EXPORT WILL BE DONE

Music industry (India) into services

Get info. with help of distributors, association

Arrange 4 shows during festival, as per demands

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How to enter the UK Market In UK the Target Segment is the NRI situated in UK,

as UK has a strong base of NRI population, which is

around 16,00,000

Then some of the possible option is:

1.To identify any potential organization like

spicamacy which are into organizing the live showes

in U.K. These organizers will keep the company in

India about the various events and when these live

showes are usually held.

Then these organizer will also book the halls like

the Queen Elizabeth and with the same time they

will also work to keep the NRI informed about the

live concert through word of mouth as well as

distributing brochures, invitation card etc.

Besides this the organizer will also arrange for

the visas of the artist and the side artist. He

will also try to get the insurance coverage for the

Stalls for sale of cd’s cassettes and instrument

Place is decided

Arrange for performers (visa, accessories)

Send brouchers, Mails, time, invitation

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live showes from the UK governmental agency and

other legal formalities done.

With this a whole sole distributor of Cassettes and

cds as well as for Instruments. need to be

identified who has good public relations and a

strong control in the market, he will given a

margin of 10 – 15 . he will further supply these

cassttes , cds and instruments to the retail stores

.

PROMOTIONS

Well for a live music one needs to get good

promotion and publicity about the artist and the

show and some of the ways to do so are as follows:

• Website- A good website which contains all

the information about ICM,artist , their

availability and sample of there work

pieces

• Brouchers: with the website the brouchers

are to be distributed to the customers

specially Indian who are intereted and are

to be invited for the live showes.

• Sample of Cd’s and cassettes will be given

along with the invitation

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• Huge Promotion through Advertisement in

Local media and Word of Mouth publicity

• University tie-ups that means the exchange

program among the university in India and

the university of UK

• Once the UK market is captured then slowly

we can expand the market in the near by

countries like spain where there is demand

fro cultural showes and live performances

• Stalls in major festivals, art exhibition

• Tie- up with leading Indian music stores and

bookstores which are in UK and managed by

Indian

• Live performances and with that supply of

Cassettes and Cd’s so when the customer go

back they can revert back to song

• Documentary links with Indian movie halls,

advertisement in the theaters when a Indian

movie is going or Look for fillers

• Exclusive retail stores can be set for sale

of cd’s and cassettes

• For the live performance I need to look for

Try and tap temple festivals where all the

Indian festivals like Nvaratri , etc are

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• Setting up associations like

rashtravani

Indian PlayersSome of the Indian companies which are into the exports ofIndian classical music exports from India are thefollowings:

• Tips• Venus• T-Series• Polygram• BMG Crescendo,• Magnasound

Some of the international players

• Sony• EMI• Navraas• Virgin

• Bramin

COSTING

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Assumptions: conveyance @60,000 per person (4 person)Very Flexible costing

SOME RECOMMENDATIONS TO PROMOTE CLASSICAL MUSIC IN INDIA I .C.M need to be taught in schools and college as

a subject because classical music is a music which

cannot be understood until the listener have some

knowledge about it.

Heads Rs. LacsArtist Remuneration 5Accompanying Artist 1Conveyance 2.5Boarding 1.5Visa 1Margin@5-10% 0.5 to 1

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There are no good books on and it cant be taught

through books it need to be added as a as subject

in the course. Then the media need to promote of

more of awareness about the classical music among

the masses. Some more bodies like SPICMACY need to

come forward and take the initiative to motive

youth so that they start taking up classical music

as a career and are more devoted towards it.

In fact when I meet Pt.Bhimsen Joshi he told me

that though there are some

Youngsters who have started liking ICM but they are

not so devoted as he was

The future of Indian classical Arts

Music and dance have always ennobled and enriched

human life and particularly so

in our country, where in the words of Bharata they

have "enlightened the Man through entertainment."

Ancient Indian aesthetics have placed a distinct

emphasis on the artiste being

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the subjective experiencer expressing himself in a

highly detached and objective fashion. He meditates

upon his experience and is able to give form to the

formless. Thus the role of art is multiple--it is a

means of self-expression, a record of the

experiences of the artiste, a form of communication

satisfying man's need to be part of a group, a way

of searching for and understanding the virtues of

life.

To go back a little in time to the third quarter of

the last century when a great renaissance of our

performing arts took place, heralded by some of our

great intellectuals who inspired by patriotic

fervor, made successful attempts to bring back our

dance, drama and music not back to the temple which

had hitherto been the focal points of our culture--

but to the theatre which was based on Western

models.

Dance thus ceased to be a temple and palace art and

became a theatre art meant for the entertainment of

the many as opposed to the select-few. Inevitably

both

dance and music ceased to be the monopoly of temple

and court dancers and became arts which could be

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practiced by artistes and dancers from all strata

of society.

Another important factor to be considered here, is

the replacement of the personal patronage of the

Maharajas by the impersonal one of Government

dispersed through its various academies and

departments. Naturally there have been a number of

changes in the format and objectives of classical

arts ranging from the good to the absurd. These

changes are to be seen both in the

methodology of techniques and presentation and like

all changes some are for the better and some for

the worse. There has also been a change in the

mental attitudes of the artiste. He or she has

become highly subjective, no longer believing in

the objectivity of presentation or attempts to

project spiritedly with the result that the art

forms have become intensely personalised expression

of the artiste.

This is very hard to visualise in view of the

almost hourly changes that are taking place in the

various fields of knowledge, particularly in those

of science and technology. TOP

One trend which is obvious is that dancing is

becoming a group effort and group performances and

dance-dramas are becoming popular with a plethora

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of characters participating and with as many

dancers performing as the stage can hold and with

combined choreographic presentations of a number of

Gurus being presented. This

may lead to permanent troupes being maintained by

the Government in future.

Another trend is the realisation that apart from

depicting myths and legends centered around Gods

and Goddesses dancing could be used to express

contemporary

life and its problems. Here, one must digress and

point out that a thought should be given to the

total alienation that has occurred between

classical art forms appreciated by urbanites and

rural art forms that are appreciated by the

villager and which however are slowly being

replaced by cinema music and dance.

As a consequence of the above trends, musical and

dance styles are becoming hybridised and totally

mixed up. Will this lead to the creation of common

or national style of dancing similar to the

Bharatanatya prevailed in the country

I am confident that the strong roots of our culture

and the versatility of the Indian artistic genius

will produce suitable art, which will more than

adequately satisfy the needs of all times

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Some Famous Festivals of India

� Savaigandharva, pune � Elephanta festival, Bombay � Banganga ,Bombay � Tansen Festival , Gwalior

Bibliography

Some of the websites which where surfed to get the data are as followes:

• www.google.com

• www.themusic.com

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• www.musicnirvana.com

• www.muisc.indiana.edu

• www.musicworld.com

• Www.surdhwani. org.uk

• www.amazon.com

• www.megaspider.com

People meet Special thanks to Pt. Bhimsen Joshi

Mr.Suresh Alurkar owner of Alurkar stores, Pune

Mr.Ghokhale, secretary of Sarvgandhar festival

Ms. Olivia, exports division Magna Sound

Received emails from Mr., Harsh bakhshi, member of advisory committee of

saregama.