Nepal's Harmonic Odyssey: Tracing the Rich Tapestry of Music Through Time

 

Nepali musicians draw inspiration from the association of Nad with the Hindu trinity of Brahma, Vishnu, and Shiva. They connect with Brahma through pure swaras and shrutis, while Shiva's Tandavnritya symbolizes destruction and Vishnu represents preservation and art. Specific musical instruments like the sitar, bansuri, and ektara are linked to deities like Saraswati, Krishna, and Naradmuni. The classification of instruments as tata, susira, avanaddha, and ghana is rooted in Vedic principles. The origin of raagas can be traced back to the chantings of the Vedic scriptures, particularly the Saam Veda. Buddhist music also shapes Nepali culture, with the Mani Rimdu dance drama and the Baki Wanegu ritual combining Buddhist and Hindu elements. Western music was introduced in Nepal through the Nepali Army's military bands in the late 19th century, thanks to the Ranas' importation of Western ideas. Jang Bahadur's tour of Europe in 1850 was a significant cultural encounter between Europe and Nepal.Army musicians in Nepal partially fulfill the demand for musicians who can play Western instruments, especially in modern songs (aadhunik sangeet), due to the absence of schools that teach Western music Aadhunik sangeet: 20th-century secular vocal music expressing romanticism, patriotism, and national unity. Features isthayi-antara form with harmonium and tabla. Melodies inspired by lok sangeet, folk songs, and raagas, including Raaga Yemen. Incorporates traditional and Western instruments, giving it a unique sound. Radio Nepal's establishment after the 1951 revolution expanded its reach. Transcends barriers, making it a powerful medium for patriotic sentiments. Adaptable, incorporating rock songs and rap.Nepal's lok sangeet is diverse, reflecting our ethnic diversity. It encompasses social, ritual, and agroeconomic ties. Chutke geet and jhyaure geet are like "living newspapers" performed by Gaines. Northern music uses anhemitonic pentatonic scales and circular breathing, while southern melodies use heptatonic scales. Gaine performances feature sarangi imitating taala with plucking and bouncing the bow, along with ghunghur bells. Asarey geet and chaitey geet are seasonal songs, sung in June-July and March-April. Sorathi is an epic song by Gurungs, and Rateuli is sung by women at weddings, sometimes with explicit content. Teej geet is sung during the Brahmin festival of Teej. Dohari geet is a popular form of musical competition between a man and a woman. Most lok sangeet remains unknown outside their communities.Nepal's performing arts saw development after the political changes in the 1950s, with support from King Mahendra. Institutions like Radio Nepal, Royal Nepal Academy, Rastriya Nachghar (now Sanskritik Sansthan), Ratna Recording Corporation, Royal Nepal Film Corporation, and Nepal TV were established. Tribhuvan University offers a degree course in shastriya sangeet. However, Nepal faces challenges in balancing its diverse cultural identities and the desire for a unified national identity. Restrictions on broadcasting ethnic songs in languages other than Nepali aim to avoid inciting ethnic divisions. Although there has been some relaxation with regional songs on Radio Nepal and Nepal Television, there is still work to be done to include songs representing all ethnic groups in an authentic and respectful mannerThe broadcasting policy in Nepal aims for cultural homogeneity and national unity, but it restricts recognition of Nepal's cultural products. Vernacular ethnic songs face limitations while Hindi film songs and Indian/Pakistani ghazats in Urdu are regularly broadcasted. The policy, which started during the Panchayat era (1951-1990) to avoid ethnic tensions, still persists. Aadhunik sangeet faces challenges in incorporating Western elements without proper institutions for learning Western music. There is resistance to institutionalizing Western systems in Nepal.