Abstract

India has always been having music with spirituality at its foundation. Due to the medieval period of foreign invasions, the music system in northern India got influenced by the Persian Islamic rulers, which is known as the ‘Hindustani music system’ today. It is said that this system lost its connection with spirituality and ‘Bhakti’ Rasa was replaced by ‘Śṛṃgāra’ Rasa. However, the core of the Indian thought process could not be changed so easily; that is why the change is seen in the presentation and not in the intention or spirit. Khayal genre of vocal music, which evolved in the 15th century, was not an exception to it. The compositions in Khayal appear to be phrased as Nāyaka-Nāyikā Bhava (Hero-Heroin relationship), but they are just metaphors. They actually lead to Kṛṣṇa-Rādhā or Jīva-Śiva Bhava as the path of Advaita does. In Carnatic music, Vāggeyakāras (music and lyrics composers) were mostly saints, which was not the case in Hindustani music. They were kings, court musicians, and mainly Gurus. They did not take music as a path toward salvation. Still, the Advaita philosophy reflects in their works, which shows how it is deep-rooted in Indian culture. Though music went from temples to courts, the language changed from Sanskrit to Braj, Viṣṇupada changed to Dhṛvapada or Dhṛpada transformed into Khayal, Advaitic thought is invariably seen interwoven into it. It was certainly nurtured by alternative music systems from time to time, such as the Bhakti movement, Haveli Sangeet, Sikh Gurmat Sangeet, Sūfī music etc. The research paper aims to reveal the Advaita thought hidden in Khayal Bandishes (compositions). The research will span from the first Khayal composer ‘Sadāraṃga’ to contemporary composers. It will find which principles of Advaita are imbibed into them and analyze why so. The paper will deeply study Khayal lyrics to find expressions of Advaita.