Omkarnath Thakur (June
24, 1897 - December 29, 1967) was an influential Indian educator,
musicologist, and Hindustani classical singer. He is famously known as
"Pranav Rang", his pen-name. A disciple of classical singer Vishnu
Digambar Paluskar of Gwalior gharana, he became the principal of Gandharva
Mahavidyalaya, Lahore, and later went on become the first dean of the music
faculty at Banaras Hindu University.
The Topic of Panditji's
lecture is "Bislawal", the fundamental mode from which a plenitude
of ragas have derived through the centuries. It was Panditji's firm
conviction that Bilawal never evolved itsefl into an independent raga --- as
a theme suitable for vocal or instrumental rendition. It was essentially a
"thaat" from which emanated a rich variety of "janya"
ragas like alhaiya Bilawal, Devgiri BIlawal, Kukubh Bilawal and a host of
And Panditji ecsues
profound scholarship as he stresses his point of view. His argument is marked
by incisive analysis, sound judgement and forthright advocacy, There is also
in it the familiar the toric and ebullience of manner, too -- all of which
wins the listners over to his side.
Kahan Gailo - Raga : Alhaiya - Bilawal
Panditji's exposition of
the raga Alhaiya Bilawal. It is a brilliant revelation of the diverse aspects
of his consummate artistry: his crushing sonority of voice; his accurate
intonation: his typical ardour and fervour; his natural expressiveness; his
penchant for dramatisation; and, abov all, his power to move his listeners.
Alhaiya Bilawal is a
celebrated morning melody with a complete scale (sampurna raga), The sixth
(dha) is the dominant (vadi) note and third (ga) or the second (re) is the
sub-dominant (samvadi) note. All the notes are natural (shuddha). But the
raga also makes use of the flat seventh (komal nishad) in the descent