[Reader-list] Third Posting, Dripta Piplai, I-fellow

[Dripta Piplai]

Third Posting, Dripta Piplai, I-fellow:
  Record Versus Swarabitan : Who wins?
  
  When the investigations are being made regarding the songs with more than one gayan-style, it is found that the songs which are sung in more than one gayan-style-are not only Muktachhanda (without any rhythm) Rabindrasangeets, but also some songs sung in tala. E.g. the songs ‘majha majhe tobo dekha pai’, ‘tomarei koriyachi jibonero dhrubotara’ (both documented in Bramhasangeet-2 and Swarabitan-23) etc.
   
  But there are some interesting facts regarding the recorded version versus the documented notation version in terms of the teaching-learning practice of Rabindrasangeet in Calcutta. For example, the song ‘odhora madhuri’ (notation is documented in Swarabitan-62) has different styles. The style which can be found in the record of Subinoy Roy is a different style from the documented notation. And the schools will definitely follow the Swarabitan version. So, the question remains- what will happen to the version of Subinoy Roy?
  The song ‘tobu mone rekho’ (swaralipi documented in Satagan, Gitimala and Shephali) can also be found in different versions in records of some prominent artists. 
  Some major institutions of Rabindrasangeet, in some cases, tend to follow the recorded version instead of the Swarabitan-version. For example- the muktachhanda songs ‘baje koruno sure’ and ‘ami rupe tomay bholabo na’ are taught in institutions following the recorded version- not the swaralipi.
   
  So- the question here is why in these cases recorded versions have become norms instead of the Swarabitan? And why these particular songs have notation forms which are documented in Swarabitan but are not taught in the Calcutta music schools? On the contrary, some recorded versions, which are different from the swaralipi, were practically thrown out by the concerned authorities!(It happened with the legendary Tagore song artist Debabrata Biswas actually).
   
  The Viswa Bharati Music Board was established in 1944 for the concerns related to, e.g. teaching-learning of Rabindrasangeet etc. Practically, this is the authority who decides the ‘norms’ of the gayan of Rabindrasangeet. Questions can be aroused regarding the role of Music Board in choosing the recorded vs. Swarabitan version.
   
  One senior member of Viswa Bharati Music Board remarks, - Muktachhanda Rabindrasangeet gayan are not very much particularly normative, some sort of individual styles may be allowed while performing these. 
  Regarding the same issue, another authority member writes- “It is normal that in Muktachhanda Rabindrasangeet different artists will perform in different styles. But some people take advantage of their institutional gurus which are never questioned. Gharana in Rabindrasangeet!”
  -         The senior authority member, here, has claimed strongly that, ‘gharana’ is an impossible word in the domain of Rabindrasangeet. Can’t we say that the denial of the existence of ‘gharana’ or the multiplicity of tradition itself is a threat towards the practice of Rabindrasangeet?
   
  The power game continues.
   
  I’ll be starting the recordings of songs by different artists, different schools and collect old records of some songs from next month onwards.
     


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