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Tappa
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Tappa is a form of Indian semi-classical vocal music. Its specialty is a rolling pace based on fast, subtle and knotty construction. Its tunes are melodious and sweet, and depict the emotional outbursts of a lover. Tappe (plural) were sung mostly by songstresses, known as baigees, in royal courts.
History
[edit]Tappa originated from the folk songs of the camel riders in Punjab.[1] The tappa style of music was refined and introduced to the imperial court of the Mughal Emperor Muhammad Shah,[2] and later by Mian Ghulam Nabi Shori or Shori Mian, a court singer of Asaf-Ud-Dowlah, Nawab of Awadh.[citation needed]
In Bengal, Ramnidhi Gupta, Shibangshu De ( known as real powerhouse of "Tappa") & Kalidas Chattopadhyay composed Bengali tappa and they are called Nidhu Babu's Tappa. Tappa gayaki took new shape and over decades became puratani, a semi-classical form of Bengali songs.
Tappa, as a significant genre in Bengali musical styles, reached levels of excellence in lyrics and rendition (gayaki), arguably unmatched in other parts of India. Hugely popular in the latter half of the 19th century and the beginning of the 20th, tappa was the genre of choice of the wealthy elite as well as the classes with more modest means. An evolved format of the tappa was the baithaki style, which evolved under the direct patronage of the landed elites of the zamindari classes of the late 19th and early 20th centuries, in their baithak-khanas (literally, baithak - assembly, khana - halls or salons) and jalsaghar (literally, halls for entertainment, mujra or nautch halls)
Composers of repute included Bidyasundar, Roopchaand Pakkhi, Dadathakur, and Hiralal Sarkhel.[citation needed] Unfortunately, tappa being mainly a vocal tradition, a lot of priceless material from the body of art has been lost in the passage of time. Many celebrated artists died before recordings of music became common. What is left today is mainly handed down from the generations by oral traditions as well as some written matter, occasionally turned up in the course of research.
Ramkumar Chattopadhyay was perhaps the most significant vocal proponent in recent times,[citation needed] of the tappa style in Bengal, renowned for his semi-humorous and majorly artistic renditions and his comical incorporation of English into the Bengali lyrics, either his own translations or his anecdotal translations based on prior sources, ostensibly for the 'comprehension' of the British 'sahibs' in the British Raj era, but containing many subversive and sarcastic tones in the English transliterations, clearly against the Imperial regime, but subtly put, so as not to arouse the suspicion of the strict and (usually) sensitive colonial government and invite charges of sedition. (e.g. Let me go, ohe dwari, tumi kader kuler bou (humorously translated by him as "Madam, whose family you belong to...").
Performers
[edit]Among the prominent living performers of this style are Pt. Laxmanrao and his daughter Vidushi Meeta Pandit,[3][circular reference] Pandita Malini Rajurkar and Shashwati Mandal of the Gwalior Gharana,[4] Shanno Khurana of the Rampur-Sahaswan gharana,[5] Smt. Shubhada Paradkar, a disciple of Gajananrao Joshi and Pt. Ajoy Chakrabarty of the Patiala gharana.
Among instrumentalists, sarod player Shekhar Borkar from Pune was the first ever to perform a tappa on an instrument, implementing the Tarankaar Baaz, a style of playing he invented.[6][7]
References
[edit]- ^ "Types of Music Compositions: Tappa". 8 August 2012.
- ^ Massey, R.; Massey, J. (1996). The Music of India. Abhinav Publications. p. 55. ISBN 9788170173328. Retrieved November 17, 2014.
- ^ Meeta Pandit
- ^ Pandit, Meeta. "Sitarist Adnan Khan spells magic on stage". The Tribune. No. 15 October 2016. The Tribune, Chandigarh.
- ^ "Tapping tappas". The Hindu. Jan 16, 2006. Archived from the original on October 9, 2013. Retrieved May 29, 2013.
- ^ Archived at Ghostarchive and the Wayback Machine: "Pt. Shekhar Borkar - Tappa on the Sarod". YouTube.
- ^ "Shekhar Borkar". Archived from the original on 2014-04-05. Retrieved 2014-04-05.
External links
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Tappa
View on Grokipediafrom Grokipedia
Tappa is a semi-classical form of Hindustani vocal music characterized by its rapid tempo, rhythmic propulsion, and intricate melodic flourishes such as tans, meends, and khatkas, typically set to brief texts of two to four lines.[1][2] Originating from the folk songs of camel herders in the Punjab-Sindh region, where the style emulated the skittering gait and calls of camels, it evolved into a structured genre through court patronage.[2][3]
The form gained classical refinement in the 18th century under Mian Ghulam Nabi Shori (1742–1792), a musician at the Awadh court, who adapted the raw folk elements into a sophisticated vocal style emphasizing technical virtuosity and subtle knotty constructions.[4][5] Shori's innovations, building on his family's musical lineage, transformed tappa from provincial folk expression into a demanding repertoire piece, often performed in drut (fast) laya with a catchy, rolling pace that tests a singer's agility and precision.[3][1] While primarily rooted in northern Indian traditions, tappa influenced regional variants, such as Bengali adaptations by Ramnidhi Gupta in the 19th century, blending it with local baithak styles under zamindari patronage.[6] Its enduring appeal lies in the fusion of earthy folk rhythms with classical elaboration, demanding high skill without the expansive improvisation of khayal.[7][8]
Definition and Characteristics
Core Elements
Tappa constitutes a semi-classical vocal form in Hindustani music, structured as a gitabandha composition with concise, fixed textual phrases known as bols, rendered at a brisk pace to highlight rhythmic intricacy. These bols are improvised within short bursts, employing subtle layakari—knotty patterns of rhythmic variation—that demand precise control over tempo and phrasing, often in talas like teental or similar cycles.[1][3] Melodically grounded in ragas such as Khamaj or Kafi, which convey lighter moods of romance or pathos, tappa prioritizes bol-taans: rapid, serrated runs weaving syllables into melodic flourishes that underscore vocal agility rather than prolonged elaboration. This focus on technical demands elevates the form beyond its folk precedents, transforming raw rhythmic propulsion into a vehicle for demonstrating breath control and phonetic clarity in fast passages.[9][10] Distinguishing it from thumri, which emphasizes bhava or emotional nuance through slower, expressive bends, and tarana, reliant on non-semantic syllables like "ta" or "dheem" for abstract rhythm, tappa retains meaningful Punjabi-derived lyrics in a skittering, bouncy cadence evocative of camel drivers' chants—yielding a trippy, jumping quality unique to its knotty construction and relentless forward momentum.[11][12]Technical Demands
Tappa demands exceptional vocal agility, characterized by the rapid execution of bol-taans, where syllables from poetic texts or conventional bols (e.g., "ta re ta re") are enunciated at accelerating speeds, often reaching drut laya (fast tempo) while preserving melodic purity and rhythmic precision.[13] This requires innate control over throat muscles to articulate notes crisply without blurring, as any slackness disrupts the form's signature "jumping" quality, derived from its etymology implying bounce and skip.[11] Performers must integrate complex gamaks—subtle oscillations and graces on notes—amid these high-velocity passages, ensuring intonation remains unshaken despite the physical strain.[6] Breath management forms a core technical pillar, enabling uninterrupted streaks of singing that span multiple avartas (cycles) of the tala without audible pauses, a discipline that tests diaphragmatic support and pharyngeal openness under duress.[8] In talas such as Keherwa or Dadra, typically at 8 or 6 matras, singers navigate up-beat accents (e.g., on the khali or lighter beats) and micro-variations like layakari (rhythmic play), demanding split-second synchronization to avoid metrical deviation in knotty, interlocking patterns.[14] Such exigencies forge resilience against fatigue, with empirical training emphasizing sustained practice to internalize these mechanics, as lapses in either breath or rhythm compromise the form's structural integrity.[11] Though classified as semi-classical, Tappa's rigors contribute substantially to foundational training in Hindustani gharanas like Patiala, where it cultivates transferable skills in velocity and subtlety applicable to purer classical genres such as khayal.[15] Its emphasis on precision amid complexity empirically enhances overall technical command, evidenced by historical incorporation into pedagogical regimens that prioritize rhythmic innovation and vocal endurance over mere elaboration.[16] This utility persists, as mastery demonstrably correlates with proficiency in broader repertoire, underscoring Tappa's role in empirically verifiable skill-building despite its lighter thematic origins.[14]Historical Origins
Folk Roots in Punjab and Sindh
Tappa emerged from the folk songs of camel drivers in the Punjab-Sindh border regions, where nomadic herders sang rhythmic chants to soothe their animals during long desert treks, a practice rooted in the practical demands of travel and labor endurance.[2][17] These songs, often termed dhapa in Punjab or associated with qabbāl traditions, featured short, repetitive phrases that mirrored the camel's jolting gait, employing fast-paced bol iterations—syllabic patterns like ta-ta-ka-dhi—to maintain rhythm over extended periods without instrumental support.[6][17] Ethnographic accounts highlight how such vocal techniques served mnemonic purposes, aiding herders in recalling routes and livestock signals amid isolation, predating any formal musical adaptation.[16] Lyrics in these proto-tappa forms drew from rural exigencies, depicting pastoral scenes, unrequited love, or natural elements like monsoons and arid sands, rendered in Punjabi or Sindhi dialects to evoke communal solidarity among laborers.[8][18] The high-pitched, flexible delivery accommodated the physical strain of riding, with improvisational repetitions fostering vocal agility suited to open terrains rather than enclosed performances.[19] Oral transmissions preserved this utility-driven essence, as documented in regional song anthologies analyzing thousands of folk tappas, underscoring their genesis in nomadic utility over artistic embellishment.[20] This undiluted folk variant persisted as a labor tool into the 18th century, with evidence from traveler observations and local ethnographies confirming its prevalence among camel caravans before urban musicians encountered it.[21][16] Unlike later refinements, these songs prioritized endurance and animal pacification, using cyclic motifs to combat fatigue, a causal adaptation verifiable through consistent descriptions across Punjabi-Sindhi cultural records.[17][6]Refinement by Early Musicians
Ghulam Nabi Shori (1742–1792), a khayal singer at the Awadh court of Nawab Asaf-ud-Daula, played a pivotal role in refining folk tappas into a semi-classical form after encountering them during travels in the Punjab-Sindh region.[2][22] He formalized these brief, rhythmic folk songs by integrating them with raga structures and introducing systematic improvisation, transforming their raw, utility-driven essence—originally used by camel drivers for endurance—into courtly performances emphasizing vocal agility and ornamentation.[18][3] This adaptation was driven by the Awadh court's demand for novel artistic displays, where Shori's compositions retained the folk brevity of sthayi and antara sections but added elaborate taans and bol-taans to showcase technical prowess, marking an empirical shift from functional singing to aesthetic elaboration suited to elite patronage.[2][22] Shori signed his works as "Shori Mian" and innovated tappa-khyal bandishes, blending the form's fast-paced, knotty rhythms with khayal's melodic depth, which elevated tappas from regional improvisations to a challenging genre requiring precise breath control and rapid note clusters.[3][22] In the early 19th century, musicians like those in the Senia gharana tradition further refined tappa by intensifying rhythmic complexity through intricate layakari and enhanced gamakas, tailoring the form to connoisseur audiences while preserving its Punjab-origin brevity against longer classical formats.[18] These developments responded to competitive court environments, where novelty in vocal fireworks—such as chained taans—differentiated tappas from prevailing dhrupad and khayal, fostering a genre prized for its demanding execution over lyrical depth.[2]Evolution and Regional Spread
Integration into Hindustani Classical Tradition
By the late 19th century, Tappa had been absorbed into the gharana systems of Hindustani classical music, particularly through lineages emphasizing its technical bol-taan proficiency. The Patiala gharana, established around the 1870s by ustads Ali Baksh Khan (c. 1850–1920) and Fateh Ali Khan, played a pivotal role by incorporating Punjabi folk-derived Tappa elements into formal classical pedagogy, blending them with khayal structures to highlight intricate rhythmic elaborations.[15] Similarly, the Gwalior and Banaras gharanas adopted Tappa as a core semi-classical form, with performers refining its execution to demand precise control over rapid note clusters and gamak ornaments, taught via guru-shishya parampara in these traditions. This embedding prioritized verifiable oral lineages over untraced anecdotes, establishing Tappa's place in institutional training influenced by these gharanas by the early 20th century. Performance protocols for Tappa underwent standardization within these frameworks, typically commencing with a concise alap to outline the raga's swara patterns before transitioning to drut-laya bol-taans—swift, syllabic improvisations in teental or similar cycles that test the singer's agility and breath control.[24] Musicological documentation from the era, including emerging notations in gharana-specific compositions, codified these elements to ensure reproducibility, distinguishing Tappa from looser folk renditions while maintaining its core of fast-paced, knotty melodic runs.[15] Tappa's rhythmic innovations, characterized by unyielding acceleration and complex taan divisions, causally advanced semi-classical forms by bridging the measured austerity of dhrupad with khayal's improvisational fluidity, thereby institutionalizing folk-derived vitality within Hindustani's rigorous aesthetic. This elevation, evident in gharana curricula from the 1890s onward, underscored Tappa's utility in cultivating layakari expertise, though its demands limited widespread adoption beyond specialized pedagogy.[25]Adaptations in Bengal and Beyond
In the early 19th century, Ramnidhi Gupta, known as Nidhu Babu (1741–1839), introduced Tappa to Bengal, adapting the brisk, rhythmic northern form derived from Punjab-Sindh camel drivers' songs into a slower, more expansive variant suited to local sensibilities.[26][2] He modified the tempo to a more languid pace, elongated the compositions, and infused themes of romantic longing and pathos, thereby creating what became known as Bangla Tappa or Nidhu Babur Tappa.[27] This adaptation reflected empirical adjustments to Bengali auditory preferences, prioritizing emotional depth over the original's rapid bol-taans and percussive drive.[2] Migrating musicians facilitated Tappa's expansion to other regions, including parts of eastern and southern India, where performers incorporated linguistic variations such as Hindi or regional dialects into lyrics, alongside tempo shifts to align with prevailing gharana styles.[21] By the 20th century, early recordings documented these evolutions, preserving instances of elongated sthayi sections and modified rhythmic patterns that deviated from the Punjab-Sindh prototype while retaining core elements like intricate meends and gamaks.[28] Following the 1947 partition, Tappa maintained its presence in Indian Punjab through classical concert traditions, often rendered in Hindustani frameworks with preserved technical rigor.[29] In Pakistani Punjab, conversely, the form persisted more prominently in rural folk contexts, evolving with local poetic emphases but occasionally simplifying ornamentation amid broader cultural shifts toward vernacular performance.[16] Across both regions, the foundational rhythmic essence—rooted in the camel drivers' lilting gait—endured, though interpretive divergences arose from partitioned patronage structures and audience demands.[18]Notable Performers
Pioneering Figures
Mian Ghulam Nabi Shori (c. 1742–1792), a court musician under Nawab Asaf-ud-Daula in Lucknow, systematized the tappa form by adapting Punjabi folk songs of camel drivers, which featured quick, tripping rhythms, into structured compositions that adhered to raga frameworks while preserving idiomatic bol-bant (rhythmic syllable play).[3][30] His tappas, signed with the takhallus "Shori," emphasized vocal agility and rhythmic precision, marking an early codification that elevated the genre from rustic origins to courtly refinement in Awadh gharanas.[14] This innovation influenced subsequent Lucknowi musicians by demonstrating tappa's potential as a semi-classical vehicle for technical display without sacrificing melodic integrity.[31] Ramnidhi Gupta, better known as Nidhu Babu (1741–1839), extended tappa's reach into Bengal by composing over 1,000 pieces in the local language, infusing the form with erotic and devotional themes drawn from human experiences, which deepened its emotional resonance beyond instrumental virtuosity.[32] Working as a revenue collector in Chhapra from 1776, he modified the rapid northern style with slower tempos and subtler gamakas (oscillations) to suit Bengali sensibilities, often pairing vocals with esraj or sarangi accompaniments for enhanced expressiveness.[2] Surviving notations from the early 1800s, including works like "Onugoto Jene Keno," attest to these adaptations, which popularized tappa in 19th-century Bengali salons and foreshadowed its integration into regional theatre and poetry.[33][34] Other contributors, such as early Awadh contemporaries influenced by Shori, further codified tappas through lyrical experimentation, incorporating poetic meters that broadened the form's appeal from elite performances to wider audiences in northern India during the late 18th century.[35]Modern Exponents
Malini Rajurkar (1941–2023), a leading vocalist of the Gwalior gharana, exemplified modern mastery of tappa through her precise bol-bant (rhythmic syllable play) and rapid taans, as heard in recordings like her Bhairavi tappa featuring intricate rhythmic accelerations up to 16 matras per beat.[36] Her performances, preserved in All India Radio archives and commercial releases from the 1970s onward, maintained the form's unembellished rigor, avoiding fusion dilutions by adhering to traditional bandishes attributed to Mian Shori.[37] Rajurkar's 1984 Sawai Gandharva rendition in Khamaj demonstrated empirical control, with bol deliveries sustaining purity across octaves without vibrato excess, influencing disciples in niche teaching circuits despite tappa's limited concert appeal.[38] Girija Devi (1929–2017), another Gwalior exponent, sustained tappa in the mid-20th century via live demonstrations of folk-derived skittering rhythms, as in her Kafi-based pieces emphasizing camel-driver origins through staccato phrasing at teental speeds exceeding 200 notes per minute.[11] Her recordings from the 1950s–1980s, archived by broadcasters like AIR, preserved pre-partition stylistic fidelity, showcasing verifiable skill in unadorned meends (glides) that prioritized causal precision over ornamental elaboration.[11] Contemporary practitioners like Manjiri Asnare Kelkar continue the tradition in 21st-century concerts, delivering tappas in ragas such as Kafi with documented bol accuracy, as evidenced in 2022 performances highlighting rhythmic independence from khayal influences.[39] Similarly, Debapriya Adhikary upholds Benarasi variants through teaching and recordings that stress empirical taan velocity, countering genre dilution by focusing on Shori Miyan bandishes in unhybridized forms.[40] These exponents, often featured in specialized festivals, rely on AIR-sourced exemplars for transmission, ensuring tappa's niche survival amid dominant khayal preferences.Reception, Impact, and Challenges
Cultural and Musical Influence
Tappa's intricate taans and rhythmic precision have established it as a foundational training exercise for Hindustani vocalists, fostering agility and control that extend to genres like khayal and thumri.[28][8] The form's emphasis on rapid, knotty melodic runs demands rigorous breath control and diction, enabling performers to execute complex improvisations across semi-classical repertoires.[13] In modern pedagogy, such as that documented in studies of vocal technique, tappa bol bolna (singing with syllabic precision) sharpens the technical finesse required for expansive khayal elaborations.[28] The genre's folk-derived rhythmic vitality has permeated semi-classical evolutions, injecting layered bol-taans into thumri compositions and enhancing their expressive depth.[28] This influence manifests in the adoption of tappa's subtle, rolling paces, which add propulsion to lighter forms without diluting raga fidelity.[8] Post-independence regional adaptations, particularly in Punjab and Bengal, have drawn on these elements to revitalize folk-infused styles, bridging rural oral traditions with urban concert platforms.[21] By elevating Punjabi camel drivers' songs into a durable classical idiom, tappa exemplifies how empirical folk structures underpin Hindustani music's adaptability to socio-economic shifts, including urbanization's demand for concise, virtuosic expressions.[21][28] Its integration demonstrates causal persistence: grounded rhythmic empiricism sustains technical innovation amid cultural transitions, as seen in the form's role in maintaining vocal stamina against performative brevity.[13]Criticisms and Decline
Tappa's decline stems primarily from its formidable technical barriers, including relentless rapid taans and bol-bant that demand exceptional vocal stamina and precision, deterring widespread adoption among trainees who opt for less arduous forms like khayal. The secretive transmission within gharanas, such as Patiala, has further restricted access to mastery, contributing to the genre's erosion as a living practice.[16] By the late 20th century, custodians like the Gwalior gharana reported a steady diminishment in proficient exponents, with Tappa increasingly overshadowed by genres emphasizing improvisational breadth over rhythmic intensity.[8] In 21st-century concerts, performances remain infrequent, typically confined to short segments post-raga elaboration, underscoring a scarcity of specialists amid audience preferences for accessible repertoires.[41] The genre's core attribute of accelerated delivery has invited critique for potentially privileging acrobatic display over substantive emotional conveyance, as the format's brevity curtails extended alaap and rasa-building akin to khayal's expansive scope. Modern renditions, in particular, have been observed to accentuate speed's virtuosity, occasionally at the cost of nuanced expression rooted in the form's folk origins. This technical primacy, while innovative in its camel-driver heritage, contrasts with slower styles' capacity for deeper affective immersion, limiting Tappa's appeal in evaluative contexts.[16] Post-1947 independence, the dismantling of princely states eroded hereditary patronage systems that once sustained niche forms like Tappa, redirecting support toward concert circuits and media favoring prolonged, narrative-driven khayal. Rising fusion experiments and Western integrations in the ensuing decades further eroded dedicated audiences, consigning Tappa to endangered obscurity without institutional bolstering, as market dynamics prioritized mass-accessible hybrids over specialized traditions.[42][16]Preservation Efforts
The Sangeet Natak Akademi maintains an audio-visual library with 9,844 discs and 761 pre-recorded cassettes, alongside documentation of rare recordings, supporting the archival preservation of Hindustani semi-classical forms including Tappa for scholarly analysis.[43][44] Gharana traditions have also contributed to archiving styles encompassing Tappa, thumri, and related genres through systematic documentation efforts.[45] Post-2000 digital recordings, such as those of Tappa performances by exponents like Malini Rajurkar, have been uploaded to platforms like YouTube, capturing the form's rapid taans and bol-bant for posterity, though durability depends on platform policies.[46] Since the 2010s, teaching initiatives in Tappa have utilized traditional gurukul systems alongside online platforms like ipassio, which offer one-on-one Hindustani vocal lessons adaptable to specialized forms amid their rarity.[47] These approaches emphasize empirical transmission of Tappa's Punjabi-origin rhythmic patterns, but participant numbers remain low, correlating with the genre's niche status and fewer dedicated instructors compared to khayal or thumri.[48] Commemorative activities, including tributes after Malini Rajurkar's death on September 6, 2023, have featured discussions of her Tappa expertise in media and online forums, with occasional inclusions in festivals to highlight legacy works.[36][49] Such events provide visibility but demonstrate limited causal impact on broader revival, as Tappa's festival programming stays marginal due to preferences for more accessible classical styles.[50]References
- https://scroll.in/article/690830/tappas-a-gift-from-the-gharana-vocalists-of-gwalior-and-banaras