gazal

Intro

As beautiful as the word, Ghazal is the most beautiful musical expression of love, pain, and separation. The ultimate culmination of lyrics, melody, and feelings that touch upon the most sensitive points of human emotion - Ghazal always finds a special place in the collectibility of every musical connoisseur. Taking its

roots from the 7th century Arabic poetry, Ghazal spread its roots across Persia, Turkey, India, and also in Germany.

The Arabic word ‘Ghazal’ means to speak sweetly and passionately or to display a romantic gesture. A slight variation in the spelling – ‘Gazaal’ refers to a young and beautiful deer. There are several interpretations that also relate the word ‘Gazal’ to the ‘cry of an injured Gazaal' (deer).Thus, the poetic form of Gazal derives its elements of passion and pain from both the above connotations.

Ghazals are composed in the form of poems that comprise five to fifteen rhythmic couplets. Just like Qawwali and Khayal, Ghazal also has a specific structure that binds the poems. Ideally, Ghazals comprise less than five

couplets. The ones that go up to fifteen couplets are known as ‘qasidas’. Ghazal follows a particular

‘rhyme and refrain rule’ – the Arabic terms of which are – ‘qaafiyaa’ and ‘radif.’ Other significant fragments that impart Ghazal its depth and grace include – Matlaa or the first ‘sher,’ Maqtaa or the last couplet and Bah or the metric pattern that binds each line of the Ghazal. Each ‘sher’ or couplet of a Ghazal is complete in itself

and yet connected with each other to impart a holistic oneness in the rendition.

Ghazal, as a form of music, spread its roots in India around the 12th century following the same route as its closest analogs – Khayal and Qawwali. Following the path set by its progenitor – Amir Khusroo, the baton was

taken up by notable stalwarts in India – Mirza Ghalib, Mohammad Iqbal, and Kazi Nazrul Islaam. Ghazal

a kind of light song with Persian origin. There are two main branches of Indian songs: Hindustani or North Indian songs and Karnataki or South Indian songs. Ghazals belong to the former group, with the two main centres located in Delhi and Lucknow. The language of the Indian ghazal is mainly urdu, though Indian poets have also written persian ghazals.

The ghazal is erotic in nature, expressing diverse emotions of lovers: courtship, passion, repentance, apathy, separation, desire, togetherness, etc. While many ghazals are about secular love, many of them are philosophical and express love and devotion towards God in terms of human love. In the ghazal, words are more important than the tune. The poem relies upon word play, delighting the audience with the cleverness of the poet. Although the ghazal is about erotic love, it can be on any subject. The nature of the ghazal is soft, and, like tappa and thungri, it uses sweet and slow ragas, such as kafi, jhijhint, khamvaj, bhairavi, pilu, varoya. The common rhythms used are pashtu and dipavandi.

The pioneer of Bangla ghazals was atulprasad sen. Atulparasad lived in Lucknow where he learned ghazals. Kazi nazrul islam also wrote Bangla ghazals and greatly popularised them. moniruddin yusuf has also written a number of Bangla ghazals. In recent years, the singing of Urdu ghazals has become popular, and new Bangla

ghazals are also being composed.

Ghazal is characterized by:

- Poetic Lyrics: Written in Urdu or Persian, with intricate metaphors and symbolism.

- Melodic Composition: Set to music in various ragas (melodic modes), with a focus on emotional expression.

- Vocal Rendering: Sung in a soulful, emotive voice, with intricate ornamentations.

- Accompaniments: Often accompanied by instruments like the tabla, harmonium, and sarangi.

Ghazal has inspired numerous other music genres, including Bollywood film music and Indipop. Its poetic and musical richness continues to enthrall audiences worldwide, making it an integral part of India's cultural heritage.

Ghazal, a poetic and musical form, stands as a testament to the timeless beauty of soulful music and poetry. Known for its intricate verses and emotive melodies, Ghazal has captivated audiences for centuries, weaving its way through various cultures and regions, and leaving an indelible mark on the world of semi-classical music.

The ghazal form is ancient, tracing its origins to 7th-century Arabic poetry. The ghazal spread into the Indian subcontinent in the 12th century due to the influence of Sufi mystics and the courts of the new Islamic Sultanate, and is now most prominently a form of poetry of many Languages of South Asia and Turkey. A ghazal commonly consists of five to fifteen couplets, which are independent, but are linked – abstractly, in their theme; and more strictly in their poetic form. The structural requirements of the ghazal are similar in stringency to those of the Petrarchan sonnet. In style and content, due to its highly allusive nature, the ghazal has proved capable of an extraordinary variety of expression around its central themes of love and separation.

The ghazal is a short poem consisting of rhyming couplets, called bayt or sher. Most ghazals have between seven and twelve bayts. For a poem to be considered a true ghazal, it must have no fewer than five couplets. Almost all ghazals confine themselves to less than fifteen couplets (poems that exceed this length are more

accurately considered as qasidas). Ghazal couplets end with the same rhyming pattern and are expected to have the same meter. The ghazal's uniqueness arises from its rhyme and refrain rules, referred to as the 'qafiya' and 'radif' respectively. A ghazal's rhyming pattern may be described as AA BA CA DA, and so on. In its strictest form, a ghazal must follow a number of rules:

Matla: The first sher in a ghazal is called the 'matla'. Both lines of the matla' must contain the qafiya and radif. The matla' sets the tone of the ghazal, as well as its rhyming and refrain pattern.

Radif: The refrain word or phrase. Both lines of the matla' and the second lines of all subsequent shers must end in the same refrain word called the radif.

Qafiya: The rhyming pattern. The radif is immediately preceded by words or phrases with the same end rhyme pattern, called the qafiya.

Maqta: The last couplet of the ghazal is called the maqta'. It is common in ghazals for the poet's nom de plume, known as takhallus to be featured in the maqta'. The maqta' is typically more personal than the other couplets in a ghazal. The creativity with which a poet incorporates homonymous meanings of their takhallus to offer

additional layers of meaning to the couplet is an indicator of their skill.

Bahr: Each line of a ghazal must follow the same metrical pattern and syllabic (or morae) count.

Misra-e-uulaa: The first line of each verse must be a statement.

Misra-e-sani: The second line of each verse must be the proof of statement given in the first line.

Unlike in a nazm, a ghazal's couplets do not need a common theme or continuity. Each sher is self-contained and independent from the others, containing the complete expression of an idea. However, the shers all contain a thematic or tonal connection to each other, which may be highly allusive. A common conceit that traces its

history to the origins of the ghazal form is that the poem is addressed to a beloved by the narrator. Abdolhamid Ziaei considers the content of old Persian ghazal to include four elements: love, mysticism, education or excellence, and Qalandari.

The Ghazal tradition is marked by the poetry's ambiguity and simultaneity of meaning.Learning the common tropes is key to understanding the ghazal. There are several locations a Urdu sher might take place in: The Garden, where the poet often takes on the personage of the bulbul, a songbird. The poet is singing to the beloved, who is often embodied as a rose.

Important ghazal poets

Ghazals were written by Rumi, Hafiz and Saadi Shirazi of Persia; the Turkic poets Yunus Emre, Fuzuli and Nasimi in the Ottoman Empire; Mirza Ghalib and Muhammad Iqbal of North India; and Kazi Nazrul Islam of Bengal. Through the influence of Goethe (1749–1832), the ghazal became very popular in Germany during the 19th century; the form was used extensively by Friedrich Rückert (1788–1866) and August von Platen (1796–1835). The Kashmiri poet Agha Shahid Ali was a proponent of the form, both in English and in other languages; he edited a volume of 'real Ghazals in English'. Ghazals were also written by Moti Ram Bhatta (1866–1896), the pioneer of Nepali ghazal writing in Nepali. Ghazals were also written by Hamza Shinwari, He is known as the father of Pashto Ghazals.

Translations and performance of classical ghazal

Enormous collections of ghazal have been created by hundreds of well-known poets over the past thousand years in Persian, Turkish, and Urdu as well as in the Central Asian Turkic languages. Ghazal poems are performed in Uzbek-Tajik Shashmakom, Turkish Makam, Persian Dastgah and Uyghur Muqam. There are many published translations from Persian and Turkish by Annemarie Schimmel, Arthur John Arberry and many others.

Ghazal 'Gayaki', the art of singing or performing the ghazal in the Indian classical tradition, is very old. Singers like Ustad Barkat Ali and many other singers in the past used to practice it, but the lack of historical records make many names anonymous. It was with Begum Akhtar and later on Ustad Mehdi Hassan that classical

rendering of ghazals became popular in the masses. The categorization of ghazal singing as a form of 'light classical' music is a misconception.

Classical ghazals are difficult to render because of the varying moods of the 'shers' or couplets in the ghazal. Nusrat Fateh Ali Khan, Amanat Ali Khan, Begum Akhtar, Talat Mahmood, Saleem Raza, Mehdi Hassan, Abida Parveen, Jagjit Singh, Farida Khanum and Ustad Ghulam Ali, Moinuddin Ahamed, are popular classical ghazal singers.

Popularity

The ghazal has historically been one of the most popular poetic forms across the Middle East and South Asia. Even into the modern era the ghazal has retained its extreme popularity among South Asian royalty and nobility, among whom its education and patronisation has traditionally found shelter, especially with several Indian rulers including several Indian Emperors being profound composers of ghazals. In the 19th century ghazals gained popularity in Germany with Goethe's translations, as well as with Spanish ghazal writers such as Federico García Lorca. Despite often being written in strong Urdu and rendered with classical Indian Ragas along with complex terminology most usually accessible to the upper classes, in South Asia ghazals are nonetheless popular among all ages. They are most popular in Turkey and South Asia, and readings or musical renditions of ghazals—such as at mehfils and mushairas—are well attended in these countries, even by the laity. Ghazals are popular in South Asian film music. The ragas to which ghazals are sung are usually chosen to be in consonance with their lyrical content.

The ghazal's beauty goes beyond rich or poor, or where you come from. Whether it's spoken in fancy places or sung in everyday life, its powerful words touch deep inside, staying with us for a long time.

Understanding the complex lyrics of traditional ghazals required education typically available only to the upper classes. The traditional classical ragas in which the lyrics were rendered were also difficult to understand. The ghazal has undergone some simplification in recent years, in terms of words and phrasings, which helps it to reach a larger audience around the world. Modern shayars (poets) are also moving towards a less strict adherence to form and rules, using simpler language and words , and moving away from a strictly male narrator.

Most of the ghazals are now sung in styles that are not limited to khayal, thumri, raga, tala and other classical and light classical genres. However, those forms of the ghazal are looked down on by purists of the Indian classical tradition.

In Pakistan,Saleem Raza, Mehdi Hassan, Noor Jehan, Iqbal Bano, Abida Parveen, Farida Khanum, Ghulam Ali, Ahmed Rushdi, Ustad Amanat Ali Khan, and Parvez Mehdi are known for ghazal renditions. Indian Singers like Jagjit Singh, Ahmed and Mohammed Hussain, Hariharan, Adithya Srinivasan, Pankaj Udhas, Umbayee and many others have been able to give a new shape to the ghazal by incorporating elements of Western music.

Ghazals in other South Asian languages

In addition to Urdu, ghazals have been very popular in the Gujarati language. For around a century, starting with Balashankar Kantharia, there have been many notable Gujarati ghazal writers including Kalapi, Barkat Virani 'Befaam', Asim Randeri, Shunya Palanpuri, Amrut Ghayal, Khalil Dhantejvi and many more. Some notable ghazals of those prominent writers have been sung by Bollywood playback singer Manhar Udhas.

Renowned ghazal singer, and pioneer of Telugu ghazals, Ghazal Srinivas popularized the ghazal in Telugu. Ghazals in the Kannada language were pioneered in the 1960s by poet Shantarasam, though recordings of their poetry only began to be made in the early 2000s. Legendary musician Umbayee composed ghazals in Malayalam and popularized this form of music across Kerala.

Suresh Bhat popularized ghazals in the Marathi language. Some of his amazing ghazals were sung by famous artists like Lata Mangeshkar and Asha Bhosale. He was known as Ghazal Samrat (the Emperor of ghazals) for his exposition of the ghazal form of poetry and its adaptation to the Marathi language. His disciple Ilahi Jamadar continued the tradition, blending Urdu and Marathi verses in his work.

Kazi Nazrul Islam brought ghazals to the Bengali language, composing numerous poems which are still famous in both Bangladesh and India. Teg Ali Teg introduced ghazals in Bhojpuri, his ghazals collection Badmash Darpan was published in 1895.

Motiram Bhatta was the pioneer & the one who introduced the ghazal in the world of Nepali literature due to which he is called Ghazal Samrat of Nepali Literature. They have become an important part of it.

In English

After nearly a century of 'false starts,' the early experiments of James Clarence Mangan, James Elroy Flecker, Adrienne Rich, Phyllis Webb, etc., many of whom did not adhere wholly or in part to the traditional principles of the form, experiments dubbed as 'the bastard Ghazal,' the ghazal finally began to be recognized as a viable closed form in poetry of the English language some time in the early to mid-1990s. It came about largely as a result of serious, true-to-form examples being published by noted American poets John Hollander, W. S. Merwin and Elise Paschen as well as by Kashmiri-American poet Agha Shahid Ali, who had been teaching and

spreading word of the Ghazal at American universities over the previous two decades. Jim Harrison created his own free-form Ghazal true to his poetic vision in Outlyer and Ghazals (1971).

In 1996, Ali compiled and edited the world's first anthology of English-language ghazals, published by Wesleyan University Press in 2000, as Ravishing DisUnities: Real Ghazals in English.

A ghazal is composed of couplets, five or more. The couplets may have nothing to do with one another except for the formal unity derived from a strict rhyme and rhythm pattern.

Filmi-ghazal

This article may be confusing or unclear to readers. Please help clarify the article. There might be a discussion about this on the talk page. (March 2015) The filmi-ghazal is a genre of filmi music based on ghazal poetry in Hindustani (Hindi-Urdu), used in Indian films, especially the music of Bollywood (Hindi cinema). The filmi-ghazals retain the couplet format and rhyme scheme similar to that in ghazals. However, instead of vocal or instrumental passages as interludes, the filmi-ghazal usually uses precomposed musical pieces.

History

The ghazal tradition of Urdu poetry was the basis for early Bollywood music, ever since the first Indian talkie film, Alam Ara (1931). In turn, filmi ghazals had roots in earlier Urdu Parsi theatre during the 19th to early 20th centuries. The ghazal was the dominant style of Indian film music since the 1930s up until the 1960s. By

the 1980s, however, ghazals had become marginalized in film music. Reasons for the decline include Urdu ghazal poetry being gradually phased out from the Indian education system, lyricists targeting urban middle-class audiences, and the influence of Western and Latin American music.

Music directors like Madan Mohan composed notable filmi-ghazals extensively for Muslim socials in the 1960s and the 1970s.

The filmi-ghazal style experienced a revival in the early 1990s, sparked by the success of Nadeem–Shravan's Aashiqui (1990). It had a big impact on Bollywood music, ushering in ghazal-type romantic music that dominated the early 1990s, with soundtracks such as Dil (1990), Saajan (1991), Phool Aur Kaante (1991) and Deewana (1992). However, the filmi ghazal style was once again marginalized by the early 21st century, as filmi songs became faster-paced along with greater Western and Latin influences. However, there have been a number of well-received filmi ghazal songs composed into the 2010s. A popular ghazal song from Aashiqui was 'Dheere Dheere', a cover version of which was later recorded by Yo Yo Honey Singh and released by T-Series in 2015.

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Performers

12 Timeless Ghazal Singers You Must Follow

Ghazals represent the effervescence of love that has undergone pain of loss. As the beauty of ghazals slowly fade from collective consciousness, we take a look at some maestros the world should not forget. The world has been blessed with some great Ghazal singers. These singers are admired across borders for their brilliant

classical vocals and profound choice of lyrics. Their soulful melodies have brought solace to many, transporting them to a different world simply with their enthralling voices. Ghazals are appreciated for their meaningful Urdu verses and soul-soothing music. They invoke a sense of calmness within us, but also help us connect with our deepest feelings. With the music and entertainment space changing rapidly today, one does hope that Ghazals are not forgotten. What better way to remember them now, than discussing the geniuses that have left an eternal mark in the world and in our hearts.

1. Jagjit Singh (1941-2011) : This name needs no introduction. Known as the ‘King of Ghazals,’ Jagjit Singh has been one of India’s most admired Ghazal singers. His songs have a place in every listeners’ hearts – no matter what age he/she be. His diction of Urdu was unbelievable and the range and depth of his voice are

incomparable. He laid a lot of emphasis on simplicity and clarity; as a result, his endearingly honeyed voice became a part of everyone’s joys and sorrows. This great artist is considered among the most successful Ghazal singers of all time, in terms of both critical acclaim and commercial success. In 2003, he was awarded

Padma Bhushan by the Government of India. His most memorable Ghazals are –

Tumko Dekha Toh Yeh Khayaal Aya

Tum Itna Jo Muskura Rahe Ho

Baat Niklegi Toh Bohot Durr Talak Jaayegi

Woh Kaghaz Ki Kashti

Hothon Se Chu Lo Tum

2. Hariharan (Born 1955) : Hariharan is an Indian playback, bhajan and Ghazal singer from Trivandrum. His intonation, voice modulation and selection of ghazals make him a living legend. He is not just a maestro; but a music institute in himself. One of Hariharan's first Ghazal albums was 'Abshaar-e-Ghazal' with Asha Bhonsle,

which went gold in sales. Another outstanding Ghazal album was 'Gulfam', which not only hit double platinum in sales, but also fetched Hariharan the Diva Award for the Best Album of the Year in 1994. In 2004, Hariharan was honored with the Padma Shri by the Government of India. He is also a two-time National Award winner. He has also won titles such as 'Swarna Kuraloan' (for his mellifluous voice) in Sri Lanka and ‘Raga Chakravarthy' (King of Ragas) in Toronto in the year 2001. His most

memorable Ghazals are –

Pathar Sulag Rahe The

Ajeeb Saaneha Mujh Par Guzar Gaya

Haal-E-Dil

Hosh Waalon Ne Mujhe

Aayi Idhar Baharein

3. Pankaj Udhas (Born 1951) : Pankaj Udhas is yet another popular Indian Ghazal singer. This man who has been a legend since the 80s, may not be in the limelight anymore, but his body of work is something most of us have grown up listening to. And his music is, as they say – like old wine that just keeps getting better with

every year gone by. Pankaj Udhas started his career with the release of a Ghazal album titled 'Aahat' in 1980 and subsequently recorded many hits later. He rose to fame for singing in the 1986 film Naam, in which his song 'Chitthi Aayee Hai' became an instant hit. Moreover, his live concerts in various countries gave him global recognition. In 2006, Pankaj Udhas was awarded the Padmashree for his contribution to the art of Ghazal singing. His most memorable Ghazals are –

Chandi Jaisa Rang Hai Tera

Phir Haath Mein Sharab Hai

Chhu Gayi

Dil Gaya Tumne Liya

Kaise Likhoge Mohabbat Ki Kitaab

Aur Bhala Kya Mangu Mein Rab Se

4. Talat Aziz (Born 1956) : Talat Aziz is one of the country's leading Ghazal singers. His versatility and consummate talent make him one of the most successful vocalists in India. An evergreen favorite, with a distinctively smooth voice and charming stage presence, Talat Aziz has been singing in concerts for over four

decades and has traveled the globe with his sell-out performances. Hailing from Hyderabad, Talat Aziz was trained in music by Ustad Samad Khan and Ustad Fayaz Ahmed of the Kirana Gharana. It was in February 1980 that Talat Aziz was launched by Ghazal virtuoso Jagjit Singh. In 2003, he was invited by the King of Morocco Mohd XI to Marrakech as his special guest to celebrate the New Year along with a host of celebrities from around the world including none other than Sir Sean Connery. His most memorable Ghazals are –

Phir Chiddi Raat

Zindagi Jab Bhi

Ab Kya Ghazal Sunaoon

Aawargi Hamari

Tumhin Se Roshan Hai Raat

5. Bhupinder Singh (Born 1940) : Bhupinder Singh is an Indian musician, chiefly a Ghazal singer and a Bollywood playback singer. Born in Amritsar, Singh's training began with his father, who was a musician. While Bhupinder kept getting film playback offers, he released his Ghazal EPs, popular ones being ‘ Aankhon Ka Tha Kasoor ’ and ‘Aahat Si Koi Aaye’. Bhupinder is a singer of style and variety. This singer also introduced modern instruments into Ghazal orchestration. By introducing flutes, Spanish guitar, drums, and other stringed instruments, Singh gave Ghazal a modern sound, which began to attract new listeners. The softness and charisma of his voice definitely makes him one of the top singers of India. His most memorable Ghazals are –

Har Ek Ranj Mein

Ishq Mein Jalte Rahe

Charagar teri mohabbat ka asar kafi hai

Aaj peene ki dawat hai

6. Anup Jalota (Born 1953) : Anup Jalota is an Indian singer/musician, best known for his performances in the Indian musical form, the bhajan, and the Urdu form of poetry, Ghazal. Jalota started his musical career as a chorus singer on All India Radio. He has recorded over 1,500 bhajans, Ghazals, and film songs. He has performed over 5,000 live concerts spread over 400 cities across five continents. Anup Jalota is the only modern Indian singer who really sings Ghazals in style. Undoubtedly a prodigy, his voice and tone are intricate and accurate than more seasoned singers. Anup Jalota was awarded the Padma Shri in 2012 for his contribution to the field of Art-Indian Classical Music. His most memorable Ghazals are –

Aisi Lagi Lagan

Chaand Angdaiyaan Le Raha Hai

Tumhare Shahar Ka Mausam

Jag Mein Sundar Hai Do Naam

Main Nazar Se Pee Raha Hoon

Hum Se Achi to Kahin Aaine ki Khismat Hogi

7. Farida Khanum (Born 1929) : Farida Khanum, also known as Malika-e-Ghazal is a classical singer from Pakistan. She has been trained in Khayal, Thumri, and Dadra

genres by Ustad Aashiq Ali Khan. Farida Khanum is a gem in the world of Ghazals. The emotions she invests, the throw of the honey-sweetened rich voice, the style of

delivery, the adaa, etc — make her unique from the rest. Born in 1929 in Calcutta, British India, Farida’s family moved from Amritsar to Lahore in Pakistan when she

was 18 years old. She gave her first public concert in 1950 at the young age of 21. She then joined Radio Pakistan, where she gained recognition for herself. The Ghazal

she is most associated with is ‘Aaj Jaane Ki Zidd Naa Karo’ written by the famous poet Fayyaz Hashmi. Farida Khanum became a well-known singer when President Ayub

Khan invited her to a public recital in the 1960s. His most memorable Ghazals are –

Woh Ishq Jo Humse Rooth Gaya,

Maine Pairon Mein Payal to Bandhi Nahin,

Raat Jo Tum Ne Deep Bujhaye and

Woh Mujh Se Hue Ham Kalam

8. Ustad Mehndi Hasan (1927 –2012) : Mehdi Hasan Khan was a Pakistani Ghazal singer and playback singer for Lollywood. One of the greatest and most influential figures

in the history of Ghazal singing, he is referred to as the 'Shahenshah-e-Ghazal' (Emperor of Ghazal). He was distinctively known for his melodic patterns and

innovative ragas. Critics and fans alike have marveled at Hassan’s ability to sing with such lightness, given his essential training in the classical tradition.

In 1964, his Ghazal 'Gulon mein rang bharay, baad-e-naubahar chale' for a film Farangi, gave him a major breakthrough into the Pakistani film industry; he never looked

back after that. By the time he breathed his last, Mehdi Hassan had not only gained millions of fans across the world, but had also been honored with some high

civilian awards from the governments of Pakistan, India and Nepal. His most memorable Ghazals are –

Alam-e-Khwaab ho ya

Aagay Barhe Na Qissa -E -Ishq -E- Butaan Se Hum

Aaj tak yaad hai woh Pyaar ka Manzar

Aaj Tu Ghair Sahi

9. Ghulam Ali (Born 1940) : Ustad Ghulam Ali is a prominent Pakistani Ghazal singer. He is considered one of the best ghazal singers of his era. His style and

variations in singing are unique, as he blends Hindustani classical music with Ghazals, unlike any other Ghazal singer. Along with singing Ghazals, Ghulam Ali composed

music for his own Ghazals. His compositions were raga-based and sometimes include a scientific mixture of ragas. He is known for blending gharana-gaayaki into ghazal

and this gives his singing the capability to touch people's hearts. Many of his hit ghazals have been used in Bollywood movies. He was introduced to Hindi cinema with

a Hindi film song “Chupke Chupke Raat Din” written by the poet Hasrat Mohani in B. R. Chopra's film, Nikaah (1982). Recently, in February 2013, the maestro became the

first person to receive the Bade Ghulam Ali Khan award. He also got the first Swaralaya Global Legend Award (2016) at Trivandrum, Kerala, India. Ghulam Ali was also

the singer of choice for His Late Majesty the king of Nepal Mahendra Birbikram Shah Dev. His most memorable Ghazals are –

Saaqi Sharab Laa

Baharon ko Chaman

Barsan Lagi Sawan Bundiya Raja

Bata do tum humein bedaad karna

Bechain bahut phirna ghabraaye huye rehna

10. Begum Akhtar (1914 –1974) : Akhtari Bai Faizabadi also known as Begum Akhtar, was an Indian singer and actress. Known as 'Mallika-e-Ghazal' (Queen of Ghazals), she

is regarded as India’s finest ghazal singer of all time. Begum Akhtar evolved her own signature style of thumri-dadra, in which she combined both the Purab and the

Punjab styles of Hindustani classical music. Her style of singing is inimitable and only a few can match up to her style. Moreover, most of her songs are self-composed

and based on ragas. At the tender age of fifteen, Begum Akhtar gave her first public performance. People were so moved by her voice that she gained instant

recognition. Her Ghazals even impressed the famous poetess of India, Sarojini Naidu. Begum Akhtar received the Sangeet Natak Akademi Award for vocal music in 1972, was

awarded the Padma Shri, and later Padma Bhushan, by the Government of India. Her most memorable Ghazals are –

Wo Jo Humme Tumme Qaraar Tha

Hamri Atariya Pe

Kuch to Duniya Ki

11. Nusrat Fateh Ali Khan (1948 –1997) : Nusrat Fateh Ali Khan, born Pervez Fateh Ali Khan, was a Pakistani vocalist, musician, composer, music director and primarily

a singer of qawwali, a form of Sufi devotional music. His voice is quite unlike any other. It's heavy and hulking powerful, yet also nimble and pointedly precise.

Unique and multi-talented, Nusrat Fateh Ali Khan captivated the hearts of millions across the globe with his magnificent and haunting voice. In his lifetime, he also

collaborated with many Western musicians. His vocals appeared on soundtracks to films directed by Martin Scorsese, Oliver Stone and Tim Robbins. Many honorary titles

were bestowed upon Khan during his music career. He was given the title of Ustad (the master) after performing classical music at a function in Lahore on the

anniversary of his father's death. His most memorable Ghazals are –

Hungama Hai Kyon

Yeh Dil Pagal Dil Mera

Dil Mein Ek Leher Si Uthi

Chupke Chupke Raat Din

12. Abida Parveen (Born 1954) : Abida Parveen is a Pakistani Muslim singer, composer, and musician. Parveen is referred to as one of the world's greatest mystic

singers. She mainly sings ghazals, Thumri, Khyal, Qawwali, Raga, Sufi rock, Classical and Semi-classical music. Parveen is best known for singing in an impassioned,

loud voice. But the core of her music is her spirituality; it’s evident not just from her performances, but in the philosophy she brings to her art. In 1977, she was

introduced as an official singer on Radio Pakistan. Since then, Parveen has risen to prominence. Today, she is considered one of the finest vocal artists of Pakistan.

She also performs across the globe. Although Parveen is a highly acclaimed singer, she has never rendered her voice to films. However, her pre-recorded songs have been

used in films, on the insistence of her fans. Abida Parveen received numerous awards during her lifetime. She is among the 500 Most Influential Muslims of the world,

with the power to induce hysteria in her audience. Her most memorable Ghazals are –

dil-e-nadan tujhe hua kya hai

hazaron KHwahishen aisi ki har KHwahish pe dam nikle

wo jo hum mein tum mein qarar tha tumhein yaad ho ki na yaad ho

ye na thi hamari qismat ki visal-e-yar hota

kal chaudhwin ki raat thi shab bhar raha charcha tera

With their ability to stir our souls and expose the most deepest of feelings within us, Ghazals have carved a distinctive place in the world of music. No wonder they are considered classics. When one is feeling lost or looking for peace of mind, all they need to do is tune in to the Ghazals by these amazing artists. Their vocals will not only ring magic into your ears, but will also rejuvenate your mind and soul.

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History

History of Ghazal

Originally an Arabic verse form dealing with loss and romantic love, medieval Persian poets embraced the ghazal, eventually making it their own. Consisting of syntactically and grammatically complete couplets, the form also has an intricate rhyme scheme. Each couplet ends on the same word or phrase (the radif), and is

preceded by the couplet’s rhyming word (the qafia, which appears twice in the first couplet). The last couplet includes a proper name, often of the poet’s. In the Persian tradition, each couplet was of the same meter and length, and the subject matter included both erotic longing and religious belief or mysticism.

If both thumri and ghazal in some form predate the court of Wajid Ali Shah, there is no doubt that they achieved unprecedented prominence in the nawabi era, and further that their efflorescence in that milieu is much better documented than that of previous epochs. The precondition for these developments was the decline of Delhi in the eighteenth century and the subsequent rise of Lucknow as the pre-eminent center for fine-arts patronage in north India. After the death of Aurangzeb in 1707 the Mughal Empire had all but collapsed, with the xaiven the frequent ambiguity of such distinctions, it is not surprising that one encounters many early recordings, and also many song texts in contemporary anthologies like the Brahmiinand /rajan Mala, labelled qawwa/f-ghazal' or 'ghazal-qawwiili'. Effective authority of subsequent emperors barely extending beyond the borders of Delhi, which was itself repeatedly sacked by marauding invaders. If Dargah Quli Khan's

Muraqqa'-i Dehfi portrays a surprisingly lively musical ambience in the immediate aftermath of Nadir Shah's

1739 pillage of Delhi, there is no doubt that the city's ability to sustain musical patronage suffered dramatically thereafter. By the late 1700s, Pax Britannica had imposed a certain so11 of political stability over north India, but Lucknow was by this time replacing Delhi as the region's cultural lodestar. From 1775 to 1856 the Lucknow court received formal recognition and military protection from the British in exchange for paying a heavy annual tribute. Thus denied (or relieved ) fiscal and administrative responsibilities, the most celebrated Lucknow nawabs-especially Wajid Ali Shah--concentrated their energies on cultural patronage. As Lucknow's courts and noblemen avidly supported literature and the fine arts, many of Delhi's performers, poets, and artists flocked to Awadh's thriving capital. Although Mughal arts and fashions retained a certain prestige, Lucknow's cultural ambience was in many respects lighter and less rigorous than Delhi's, if nevertheless displaying its own sort of rococo, manneristic refinement, whether in architecture, poetry, or music and dance. The causes for this cultural reorientation were numerous, complex, and in some cases rather intangible. Perhaps ultimately most important was the gradual decline of the Mughal feudal zamindar nobility and its increasing replacement, from around 1800, by a new class of protocapitalist, nouveau riche entrepreneurs, speculators, and landlords (tiiluqdar). These new elites, although often avid patrons of the fine arts, generally lacked interest in and exposure to Mughal-era genres like dhrupad, which they came to perceive as dull and archaic.

Accordingly, contemporary accounts-especially Muhammad Karam Imam's Ma'dan alMus'iq'i of 1856-57-indicate that thumri and ghazal were the most popular and vital urban music genres of the nawabi era. Although performed most extensively by courtesans (tawaifs), both genres also profited from the increasing attention of male professional musicians like Sadiq Ali Khan and Vazir Mirza (Kadar Piya). Thumri and ghazal flourished as genres accompanying interpretive kathak dance, while simultaneously coming to thrive as independent musical items. Their popularity spread accordingly to other cities and appears to have extended even beyond the milieus of the court, the courtesan alon, and the homes of the gentry. In Delhi, by the 1850s-60s, the new ghazals of Urdu poet Zauq would be sung the next day by court musicians and street singers, and his rival Ghalib would suggest particular ragas for the musical rendering of his own verses. Meanwhile, Abdul Halim Sharar's colourful account of nawabi Lucknow speaks of 'bazaar boys' expertly singing Bhairavi and Sahni (thumri-alig ragas) and Lucknow's 'Bhairvin riigi1J,'i' becoming 'as famous throughout India as Lucknow's melons'. The British annexation of A wadh in 1856 and the disruptions resulting from the 'Mutiny' of 1857-58 truncated Lucknow's prominence as a cultural centre. Nevertheless, these events appear to have aided the spread of Lucknow-style thumri and ghazal, as performers dispersed Such policies were not atypical of local courts elsewhere in the colonial period; for example, the cultural rivalry between the Jogjakarta and Surakarta courts under Dutch rule in Indonesia, which dramatizes the life of a contemporary courtesan.

Ghazal: A Timeless Tradition of Soulful Music and Poetry

Ghazal, a poetic and musical form, has a rich history spanning over a thousand years. Its origins can be traced back to ancient Persia (modern-day Iran) in the 6th century AD. The word 'Ghazal' is derived from the Persian word 'ghazal,' meaning 'to talk to the beloved.'

Evolution of Ghazal

Over time, Ghazal evolved and spread to various regions, influenced by different cultures:

- Persian Ghazal (6th-12th centuries): Developed in Persia, with famous poets like Rumi and Hafez.

- Arabic Ghazal (7th-13th centuries): Flourished in Arabia, with notable poets like Al-Khansa and

Al- utanabbi.

- Turkish Ghazal (13th-16th centuries): Emerged in Ottoman Turkey, with famous poets like Fuzuli and Baki.

- Indian Ghazal (16th-20th centuries): Developed in India, with renowned poets like Mirza Ghalib and Mir Taqi Mir.

Ghazal in Indian Classical Music

In India, Ghazal became an integral part of classical music, with legendary musicians like:

- Tansen (16th century): A renowned composer and singer who popularized Ghazal in Indian classical music.

- Ustad Mehdi Hassan (20th century): A Pakistani singer who revived Ghazal's popularity in India and Pakistan.

- Jagjit Singh (20th century): An Indian singer who modernized Ghazal, making it accessible to a wider audience.

Ghazal, with its profound poetry and soulful music, stands as a bridge between the past and the present, tradition and modernity. Its journey from ancient Persia to contemporary India and beyond highlights its universal appeal and enduring legacy. Whether through the evocative verses of classical poets or the emotive renditions of modern singers, Ghazal continues to touch hearts and souls, proving that true art transcends time and space.

The ghazal originated in Arabia in the 7th century, evolving from the qasida, a much older pre-Islamic Arabic poetic form. Qasidas were typically much longer poems, with up to 100 couplets. Thematically, qasida did not include love, and were usually panegyrics for a tribe or ruler, lampoons, or moral maxims. However, the qasida's opening prelude, called the nasib, was typically nostalgic and/or romantic in theme, and highly ornamented and stylized in form. In time, the nasib began to be written as standalone, shorter poems, which became the ghazal.

The ghazal came into its own as a poetic genre during the Umayyad era (661–750) and continued to flower and develop in the early Abbasid era. The Arabic ghazal inherited the formal verse structure of the qasida, specifically, a strict adherence to meter and the use of the qafiya, a common end rhyme on each couplet

The nature of the ghazals also changed to meet the demands of musical presentation, becoming briefer in length. Lighter poetic meters, such as khafîf, ramal, and muqtarab were preferred, instead of longer, more ponderous meters favored for qa?idas (such as kamil, basît, and rajaz). Topically, the ghazal focus also changed from nostalgic reminiscences of the homeland and loved ones, towards romantic or erotic themes. These included sub-genres with themes of courtly love (udharî), eroticism (hissî), homoeroticism (mudhakkar), and as a highly stylized introduction to a larger poem (tamhidi).

During the Umayyad and early Abbasid eras, the ghazal blossomed. It inherited the structure of the qasida, focusing on meter and end rhymes. With time, it adapted for musical presentation, becoming shorter. Lighter meters were preferred, and themes shifted towards romance and eroticism.

Spread of the Arabian ghazal : With the spread of Islam, the Arabian ghazal spread both westwards, into Africa and Spain, as well as eastwards, into Persia. The popularity of ghazals in a particular region was usually preceded by a spread of the Arabic language in that country. In medieval Spain, ghazals written in Hebrew as

well as Arabic have been found as far back as the 11th century. It is possible that ghazals were also written in the Mozarabic language. Ghazals in the Arabic form have also been written in a number of major West African literary languages like Hausa and Fulfulde.

Early Arabo-Persian ghazals (10th to 11th century) : However, the most significant changes to the ghazal occurred in its introduction into Iran in the 10th century. The early Persian ghazals largely imitated the themes and form of the Arabian ghazal. These 'Arabo-Persian' ghazals introduced two differences compared to their Arabian poetic roots. Firstly, the Persian ghazals did not employ radical enjambment between the two halves of the couplet, and secondly, the Persian ghazals formalized the use of the common rhyme in both lines of the opening couplet (matla'). The imitation of Arabian forms in Persia extended to the qasida, which was also popular in Persia. Because of its comparative brevity, thematic variety and suggestive richness, the ghazal soon eclipsed the qasida, and became the most popular poetry form in Persia. Much like Arabian ghazals, early Persian ghazals typically employed more musical meters compared to other Persian poetry forms. Rudaki (858–941 CE) is considered the most important Persian ghazal poet of this period, and the founder of classical Persian literature.

Early Persian ghazal poetry (12th to early 13th century): The Persian ghazal evolved into its own distinctive form between the 12th and 13th centuries. Many of those innovations created what we now recognize as the archetypical ghazal form. These changes occurred in two periods, separated by the Mongol Invasion of Persia from 1219 to 1221 AD. The 'Early Persian poetry' period spanned approximately one century, from the Ghaznavid era (which lasted until 1187) till a little after the Mongol Invasion. Apart from the movement towards brevity, this period also saw two significant and lasting changes to the ghazal form. The first change was the adoption of the Takhallus, the practice of mentioning the poet's penname in the final couplet (called the 'maqta'). The adoption of the takhallus became a gradually accepted part of the ghazal form, and by the time of Saadi Shirazi (1210–1291 AD), the most important ghazal poet of this period, it had become de rigueur. The second marked change from Arabian ghazal form in Persian ghazals was a movement towards far greater autonomy between the couplets.

Late Persian poetry in the Early Mongol Period (1221–) : The ghazal later spread throughout the Middle East and South Asia. It was famous all around the Indian subcontinent in the 18th and 19th centuries

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