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The poetic structure of the ghazal is precise. Unfortunately, it also created economic pressures to lower the standards for the lyrical content. All of this had tremendous economic advantages for performers and producers alike. They also created an environment where it was convenient to treat the ghazal as though it were a mere git. The development of the recording and film industries created a mass media that was well suited to the musical ghazal. The job of converting ghazal to a musical form was finished in the 20th century. It continued to build upon its musical component, and began to be heard more and more in the concert hall. This change in culture also saw a change in the performance of ghazal. The decline in the feudal society at the end of the 19th and early 20th century brought with it a decline in the tawaif tradition. They were widely acclaimed for their musical abilities and did not hesitate to demonstrate these abilities when they performed the ghazal. The courtesans, known as tawaif, were considered the mavens of art, literature, dance, music, etiquette, and in short, all of the high culture. In the 18th and 19th centuries, the ghazal became associated the courtesan. The process of converting this poetic form into a musical form was a slow one. Northern India began to embrace Urdu as a poetic language only in about the 19th century. Such leaders as, Nusrati, Wajhi, Hashmi, Mohammad Quli Qutab Shah, and Wali are notable in their patronage and contributions. It was in the courts of Golkonda, and Bijapur that this revolution occurred. The North Indian principalities were very much oriented toward Persian, but it was in the south that Urdu was beginning to be used for literary purposes.
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These forms were given a local colour by many Indian artists such as Amir Khusru, and continued to enjoy widespread popularity among Indian Muslims for many centuries.Īlthough the ghazal was introduced first in the north, the south is responsible for its Urdu character. The ghazal, along with many other cultural desiderata, were imported into India from the 12th to the 18th centuries. Thus Persian culture became a great inspiration for India. India considered herself to be culturally inferior to greater Persia. Ghazal’s introduction into India from the 12th century, was part of an ongoing revolution in North Indian society. The ghazal soon became the most popular form of poetry in Iran. Therefore, a portion of the qasida, known as the tashib was detached and this became the ghazal.
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The qasida was at times unmanageably long. It dealt with the themes of the greatness of kings. There was an Arabic form of poetry called qasida which came to Iran in about the 10th century. The word ghazal is an Arabic word that literally means a “discourse” or more correctly a “talk to women”. It is said that we must turn to Arabia to find the origins of the ghazal. However, today it is commonly conceived of as an Urdu song whose prime importance is given to the lyrics. Strictly speaking, it is not a musical form at all but a poetic recitation. The ghazal is a common form in Indian and Pakistan. Biblio., Disc., & Works Cited open child menu.Electronic Aids in Indian Music Education.Takhallus (تخلص "liberated", hence "ending") - The poet's pen name or nom de plume, typically included in the maqta as a sort of sign-off.(As noted below, each couplet constitutes a mini-poem.) This is the Persian term, and the one used in this article. Sher (شعر "poem") - Any couplet of a ghazal.Radif (ردیف "row, order") - The refrain, discussed in Step 1.Qaafiya (قافیہ "rhyme") - The rhyme, discussed in Step 2.It tells the reader the radif (refrain) and qaafiya (rhyme). Matla (مطلع "beginning") - The first sher (couplet) of a ghazal.Typically it includes the poet's takhallus (pen name). Maqta (مقطع "division, part, section") - The last sher (couplet) of a ghazal.Ghazal (غَزَل) - An ancient form of Arabic poetry, now diffused to many languages and cultures, and still actively written in our time.In English, for our purposes, it refers to the number of syllables in a line. In Arabic, the meter is often quite strict. Bahr (بحر "sea") - Refers to the meter of the poem.(These terms are from Arabic unless otherwise noted.)