© 2019 JETIR April 2019, Volume 6, Issue 4 www.jetir.

org (ISSN-2349-5162)

THE GHARANAS AND PROMINENT

MUSICIANS OF CLASSICAL MUSIC OF
KASHMIR
Research Scholar: Iqbal Hussain Mir

Deptt. Of Music, Punjabi University Patiala

Pin: 147002

Abstract

Classical music of Kashmir is the amalgamation of the Music of central Asia, Persia, Turkey and India.
It is generally believed that during the time of Sultan Zain-ul-Abidin, Artists from central Asia and Persia
brought with them their art, music, musical instruments and culture and that resulted in the wonderful
interaction with the local culture of Kashmir and in the course of time gave birth to beautiful “Sufiana
Mousique” presently known as Classical music of Kashmir.

Key words:- Sufiana Mousique, Gharana, Musicians

Introduction

The Classical music of Kashmir is also known as “Sufiana Mousiqui”. The word “Sufiana” has been
derived from the word “Sufism” and intimates mystical and philosophical poetry, the poetry used in Sufiana
Mousiqui or Classical music of Kashmir is usually in Kashmiri but sometimes in Persian as it is blended with
Persian music which is “sung in praise of Supreme being”. The enchanting melody of Classical music of
Kashmir fills the devotees with an intense sense of devotion and dedication. It is said about this form of music
that it has been associated with mystics and has been food for souls for those persons who indulged in
spiritualism. The Traditional Classical music of Kashmir is an interesting blend of many an influences under
different rules. It possesses some unique elements. It has its own principles. It contains a treasure of verses
with deep thought of Kashmiri and Persian poetry. It borrowed its style from Persian music. It has about fifty
four Maqams (Modes or a type of scales) or ragas and has incorporated a number of Indian ragas, having
Indian names like Bhairvi, Lalit, jhinjoti and Kalyan, etc. while other Maqams bear Persian names as Far,
Dugah, Chargah, Panjgah, Rast farsi, Rast Iraq, Ishfahani and Sehgah, etc. The Maqams are played with
respect to time significance (Similar to Indian ragas) some of them are morning Maqams and some evening.

The singers of Classical music of Kashmir sing with full devotion and enthusiasm which is reflected in
their flawless performances composed of poetic expression that shows the divine love between the passionate
devotees and the Supreme Being. It is the amalgamation of poetry rich with sonorous voices of the singer and
the beautiful pieces of music that keep listeners captivated until the performance ends.

Gharana “Gharana” is linked

to the ancient concept of ‘Guru-shishya Parampara’. The word Gharana has been derived from Hindi/Urdu
word “Ghar” which means house or family. A Gharana may take the name of a person, family or a place or
region.1

1
Pandit Nikhil Ghosh, Sangit Mahabharati, The Oxford Encyclopedia Of The Music Of India, Vol. 1, P. 355
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The characteristic feature of a Gharana is its peculiar style of presentation, which is the result of the
special and extra ordinary creativity and innovation of a highly talented musician. Each Gharana has its own
peculiar style of presentation. The different presentation style of the same Maqam (raag) by different
Gharanas distinguishes them from each other.

In the Gharana System there were a number of Gharanas of Classical music of Kashmir. These
Gharanas were spread across the length and breadth of Kashmir valley but nowadays there are only three
districts in Kashmir where Classical music of Kashmir is practiced. These include district Budgam, Anantnag
and Srinagar. There are only four Gharanas of Classical music of Kashmir (Sufiana Mosique) existing in
Kashmir at present.

a. Ramzan Joo Gharana

b. Qaleenbaft Gharana

c. Kamal Bhat Gharana

d. Setari Gharana

a. Ramzan Joo Gharana

The most prominent Gharana of Classical music of Kashmir is ‘Ramzan Joo Gharana’ located in the
heart of Srinagar district of Kashmir. This Gharana is known by the name of its leading musician Ramzan Joo
(1881-1971). The last leading musician of this Gharana was Ustad Ghulam Mohammad Saaznawaz who died
recently in February 2014. This is the oldest and the main Gharana of Classical music of Kashmir. The
present ‘Khalifa’ of this Gharana is Shabir Ahmad Saznawaz, son of late Ghulam Mohammad Saznawaz.

The main characteristic feature of Ramzan Joo Gharana is that, its musicians present a Maqam in
uniform tempo from beginning till end. They mostly present a Maqam in Vilambit Laya.

b. Qaleenbaft Gharana

One of the most prominent Gharanas of District Budgam is “Qaleenbaft Gharana”. The Gharana is
named after the most renowned musician of the Gharana, Ustad Ghulam Muhammad Qaleenbaft. It is an
offshoot Gharana by Ramzan Joo Gharana. Ustad Qaleenbaft had initially learnt the Classical music of
Kashmir from Ustad Sultan joo, Ramzan Joo and Mohammad Khaleel (Khalla Sahib) but Ustad Qaleenbaft
later developed his own style of singing and founded a separate Gharana. Ustad Qaleenbaft was able to
establish himself as one of the leading Kashmiri Classical musician.

The characteristic feature of Qaleenbaft Gharana is change of tempo of the Maqam from Vilambit
(slow) to Madhya (Medium) and Drut (fast) tempo, while presenting the “jawab” of the Maqam (Jawab is
instrumentally repeated after a waqf/rest during the presentation of a Maqam).

c. Kamal Bhat Gharana

Kamal Bhat Gharana is one of the prominent Gharana of District Budgam. This Gharana is the
Gharana of Bhands and is named after top most musician of the Gharana, Ustad Kamal Bhat. He inherited
the art of Classical music of Kashmir from his father, Muhammad Jamal Bhat and his cousin Qadir Bhat.

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Ustad Kamal Bhat and his family were professional musicians. He was very proficient in playing the
following Talas, Neemdor, NeemSakeel, Mukhammas, Hijaz, Dor-e-Khafif, Duroya, Yeka, Doyeka, Sehtal,
Chapandaz, Ravani and so on.

One of the main differences between the Bhands and other mainstream Gharanas is that traditionally
the musician of this Gharana used to present a Maqam without the accompaniment of Santoor. Only Sehtar,
Saaz-e-kashmir and wasul were used but now a days the present musicians of this Gharana use Santoor as the
leading instrument. The Gharana is presently represented by Ustad Mohammad Ismail Bhat of Wathora.

The characteristic feature of ‘Kamal Bhat Gharana’ is that the musicians of this Gharana present a
Maqam in a comparatively faster tempo as compared to the other Gharanas.

d. Setari Gharana

The only surviving Gharana of south Kashmir is the “Setari Gharana”. This Gharana is known for its
Sehtar players. The most well known musician of this Gharana was “Ustad Abdul Khaliq Setari”. It is
generally believed that the latter Ustad was so adept in playing ‘Sehtar’ that he earned the name and fame
Setari, the name with which his family is still recognized. I found that not only the family is known by the
name Setari but the entire local community uses the surname Setari and the entire Mohalla (clan) are therefore
known as ‘Setari Mohalla’.

Ustad Abdul Khaliq Setari is regarded as the founder of Setari Gharana. He was born at Bijbehara
District Anantnag in 1904. He belonged to a ‘Kashmiri classical musical family’. He received his initial
training from his father ‘Khwaja Abdul Gaffar’ and also learnt from his brother. Ustad Abdul Khaliq
maintained his good voice and entertained people with his magical voice till he breathed his last in 1985.

Present practitioner of ‘Setari Gharana’ is Ustad Muhammad Abdullah Shah Setari son of late Ustad
Abdul Khaliq Setari. The Ustad is presently running a home based school “Al-Khaliq Sufiana Bazum
Bijbehara” where he is imparting training to his disciples.

Prominent Musicians of Classical Music of Kashmir

Ustad Ghulam Mohmmad Qaleenbafat: Ustad Ghulam Mohmmad Qaleenbaft, son of Mohammad Sadique
was born in 1909 at Khankah-i-Moula, Srinagar. He belonged to the elite group of singers and musicians.
Right from his childhood he used to participate in Sufiana Mousique Mehfils and thus gathered interest in the
Art. He received his initial training in the art of Sufiana Mousique from Ustad Sultan Joo (brother of Ustad
Ramzan Joo) and then from Ustad Khalla Joo (Khaliq Joo) who in turn was the disciple of Abdullah Shah. He
also learnt Tabla from Ustad Ramzan Joo. He had a unique style of singing. He served All India Radio,
Kashmir Srinagar from 1949 to 1971. He also imparted music lessons to girl students at women’s collage
Srinagar. Later on he was employed by Cultural Akademy Srinagar to impart Sufiana Mousique lessons to the
students.

Ustad Qaleenbaft has performed throughout the length and breadth of the country and also abroad and
received many Awards including the prestigious Sangeet Natak Akademi Award for his life time contribution
to Sufiana Mousique. He died in 1996 at the age of 90 years and his disciples include Ustad Mohammad
Yaqoob Shaikh (grandson), Shaikh Abdul Aziz, Mushtaq Ahmad and Shakeel Ahmad Lala.

Shaikh Abdul Aziz: Sheikh Abdul Aziz (1928-2005) received initial training in Classical music of Kashmir
from Ustad Ghulam Muhammad Qaleenbaft and then learned under the guidance of Ustad Muhammad
Siddique. Although he didn’t belong to the family of musicians but with his dedication and hard work, he
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attained perfection in the art of singing and playing Santoor and Sehtar. His great contribution in Classical
music of Kashmir is his book “Kashur Sargam”. The importance of “Kashur Sargam” is that in this work the
notation of every Maqam (Raag) is written in the same way as the Maqam is actually sung. The “Baazgasht”2
which forms an integral part of classical music performance of Kashmir has been given a due place in the
notation. Before this, Classical music of Kashmir had no exact notation and had been handed from father to
son, teacher to pupil. This, in fact had hampered its proper growth. Under these circumstances condition it was
bound to lose some of the subtle characteristics in the process. Another important publication of “Sheikh
Abdul Aziz” is his “Ramooz-e-Mousiqui” (secrets of music) which is small textbook on Classical music of
Kashmir.

Sheikh Abdul Aziz served the “Institute of Music and Fine Arts, Srinagar” for over a decade.
Afterwards he joined All India Radio, Kashmir and served there till his retirement. Sheikh was the first
classical singer or musician of Kashmir who was invited by University of Maryland, USA to deliver extension
lectures on Classical music of Kashmir.

Ustad Mohammad Yaqoob sheikh: Ustad Yaqoob sheikh (Born 1960) received his initial training at the age
of seven from his maternal grandfather the legendary Ustad Qaleenbaft. Ustad Yaqoob achieved top grade in
the year 2012 from the Kashmiri Classical music audition board, All India Radio, New Delhi and at present is
employed at All India Radio, Kashmir, Srinagar as staff artist. Yaqoob is having the great honor to perform in
seventeen European & African countries such as Paris, England, Switzerland, Holland, Germany, Italy,
Algeria and Libya, etc.

One of the important contributions of Yaqoob Sheikh towards promoting and preserving Classical
music of Kashmir is the establishment of “Qaleenbaft Memorial Sufiana Music Institute” at Bonishah
Kralpora. The institute is running since 1996 and is dedicated to the ‘Guru’ and the maternal grandfather of
Yaqoob Ustad Qaleenbaft. Here he imparts free training in the traditional style (Guru-Shishya Parampara) to
his disciples. The Institute has produced many students including two groups of girl musicians and singers
who have performed in both public and on radio. (Otherwise Kashmiri classical music has been traditionally
performed by men only). This unique achievement of Yaqoob has been appreciated by one and all. One of the
unique features of Ustad Yaqoob’s training is to teach students with the notation of the Maqams. He is
striving hard for the promotion, propagation and preservation of the dying art of Classical music of Kashmir.

Ustad Mohammad Abdullah Tibetbaqal: In addition to these famous singers, there was a legendry
Kashmiri classical singer “Ustad Muhammad Abdullah Tibetbaqal (1914-1982)”. Ustad Tibetbaqal cannot be
put under any of the Gharanas. It is a well known fact that Ustad Tibetbaqal had not taken any formal lesson
in Classical music of Kashmir but had himself learnt this art by participating in the “Mehfils” of great Ustads
and by his imagination, dedication and hard work. He has become one of the most successful vocalists and
composers that Kashmir has produced so far.

According to his son, (Mohd Ashraf) he was a self-taught genius who composed a large number of
famous Sufiana kalaams (Maqams) Leelas, Manqabats and Naats with his extraordinary creative faculty.

In earlier days Santoor was predominantly used as an accompanying instrument in Kashmiri classical
music but it was the contribution of Ustad Tibetbaqal who introduced it first time as a lead instrument in solo-

2
Baazgasht is repeating a line or a phrase in Classical music of Kashmir. It is for creating variation
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performance.3 The archived tapes in possession of All India Radio, Sangeet Natak Akademi, Doordarshan
and private library of Ustad Tibatbaqal are a testimony to this.

According to “Mohd Ashraf Tak” Pandit Shiv Kumar Sharma and Pandit Bhajan Sopori “Santoor
maestros” took their initial lessons in Santoor from Ustad Tibatbaqal. Besides these, many renowned people
like ‘Jawarhar Lal Nehru, Indra Gandhi and Dilip Kumar were his fans’.4

It is said that, when the renowned singer ‘Mohammad Rafi’ came to Kashmir for Tibatbaqal’s magical
Kashmiri classical performances at polo-ground and then at Tagore-hall Srinagar, he took his skilled and art-
crafted hands in his own hands and kissed them.5 Ustad Tibetbaqal has been honoured by many appreciation
and awards like,

* Sangeet Nalak Akademi Award, 1972

* Kala Kendra and Golden jubilee Award (All India Radio) by the Ministry of Information and Broadcasting.

Ustad Ghullam Mohammad Saaznawaz: Ustad Ghullam Mohammad Saaznawaz (1940-2013) is the leading
musician of Ramzan Joo Gharana. Saaznawaz is among the few artistes, who could play many musical
instruments such as Santoor, Saaz-e-Kashmir, Kashmiri Sehtar, Madham (Hindustani sitar) and Tabla.
Saazsnawaz knew most of the Maqamas and could sing in difficult Talas. As told by Ustad Muhammad
Yaqoob Sheik (famous Kashmiri classical singer) Saaznawaz had a great control over Layakary.

During the researcher’s interaction with Saaznawas’s family members, they claimed that Saaznawaz
was the only musician and singer of his time, who could play the difficult Talas such as Neemdor, Neemskale
and Mukhamas with ease. He has performed all over India and abroad. One of the important contributions of
Ustad Saaznawaz towards promoting and preserving Classical music of Kashmir is the establishment of a
Musical institute. The institute has produced many Artists including his three sons, Mushtaq Saaznawaz,
Sahabir Saaznawaz and Rafiq Saaznawaz.

Ustad Ghulam Mohammad Saaznawaz has been honoured by many appreciations and awards by State
and Central govt. The prominent of these are:

* Sangeet Natak Akademi Award (1999)

* Tulsi Award by Madhya Pradesh Govt. (2004)

* Sa Ma Pa, Sher-i-Kashmir Sheik Muhammad Abdullah Award (2009)

* Saaznawaz was also awarded as “Man of the year 2001” by American Biographical Institute (ABI).

* In 2013 Ustad Saaznawaz was honoured by prestigious “Padama Shree” Award by the Govt. of India for
his contribution towards classical music of Kashmir.

3
Telephonic Interview, Pandit Shiv Kumar Sharma (Santoor Maestro), time, 11:30 Am, 27 Nov 2018
4
Mohd Ashraf tak (Ustad Mohammad Abdullah Tibetbakal Shakhs va Fan) Urdu Sheeraza, p. 362
5
Interview, Adil Tibetbakal (Santoor Maestro, Grandson of Ustad Mohammad Abdullah Tibetbakal), 28 Nov 2018
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Conclusion

At present Classical music of Kashmir is battling for a survival. It is declining day by day. There are only
a few Ustads still striving hard to protect this glorious musical tradition. Among the Ustads, Ustad Mohmmad
Yaqoob Shaikh, Ustad Mohammad Abdullah Setari and Ustad Mohammad Ismail Bhat are actively involved in
the continuation of this art form but these masters are not able to attract many disciples because people do
not want their children waste precious time in learning an art which does not provide economic security and
earning opportunity. Besides these master musicians, the sons and disciples of Padma Shree Ustad, Late
Gullam Mohammad Saznawaz are also struggling to keep the tradition alive.

Bibliography

English books

1. Balochman, H, Ain-i-Akbari, English translation, Publisher Low Price Publications, 2002

2. Sofi, G.M.D, Islamic Culture In Kashmir, publisher Gulshan Books Srinagar, 2007
3. Ghosh, Pandit Nikhil, Sangit Mahabharati, The Oxford Encyclopedia Of The Music Of India, Publisher
OUP India, 2010
4. K.N. Pandit, Baristani-i-Shahi, Eng. Tr. Culcatta, Firma KLM Private Limitted, 1988
5. Dutta. J.C, Kings of Kashmir, Eng. Tr. Of Zaina Rajatarangini of Jonraja, 1879
6. Srivara, Pandit, Zaina Rajatarangini, Eng. Tr. By Kashi Nath Dhar, New Delhi India Council of
Historical Research and peoples Publication House, 1994
7. Jozef, Sufiana Kalam-“The Classical Music of Kashmir”, University of Taxes Press

Urdu Books
1. Shaikh, Abdul Aziz, Koshur Sargam, vol. 3, Published by J & K Cultural Akademi, Srinagar, 1963-65
Urdu Magazine
1. Ahmad, Mohammad Indrabi, Sufiana Mousique Aur Kashmir, Urdu Sheraza, vol. 36, Published by J &
K Cultural Akademi, Srinagar, 2006

Interviews
1. Telephonic Interview, Pandit Shiv Kumar Sharma (Santoor Maestro), time 11:30 AM, 27 Nov 2018
2. Interview, Adil Tibetbakal (Santoor Maestro, Grandson of Ustad Mohammad Abdullah
Tibetbakal), 28 Nov 2018
3. Interview, Ustad Mohammad yaqoob Shaikh (Top Grade Kashmiri Classical Singer), time, 9
AM, 8 Oct 2018
4. Telephonic Interview, Manzoor-ul-Haq, (Sangeet Natak Akademi Awadi) Time, 5 PM, 18 Dec 2018
5. Interview, Ustad Ghullam Mohammad Saaznawaz (Recorded by All India Radio, Kashmir, Srinagar)
2009
6. Interview, Ustad Mohammad yaqoob Shaikh (Top Grade Kashmiri Classical Singer), time, 9 AM, 8 Oct
2018

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