I was introduced to ghazals by my elder cousins who had cassettes filled with them. And although i am not a huge fan of ghazals as such, to me it meant only two people: Jagjit Singh and Pankaj Udhas. 

We lost one of them today. 

Here are some of the moments that i had captured back then. I acknowledge the poor quality, but then, for once i was more interested in the performance than photography. 

With varying success. I suppose no one of them exactly meets all the aspects of the ghazal and the sonnet at once (so I will still be writing another; woo!), but I tend to find the iambic pentameter always creeping in to my ghazals anyway. It makes for a good couplet rhythm on its own, and in the same ways that the sonnet can be restrictive (yet breed freedom), in sound and structure, so can the ghazal.

Free Download Top 10 Ghazals Of All Time

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enjoyed working on this .. Just because I listened to ghazals in Hindi/Urdu and was familar with them did not make writing this in English an easy task.. but neverthless fun..(LadyInRead@MyRandRSpace)

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 'qaafiyaa' and 'radif' respectively. A ghazal's rhyming pattern may be described as AA BA CA DA, and so on.[9]

The ghazal originated in Arabia in the 7th century,[14] evolving from the qasida, a much older pre-Islamic Arabic poetic form.[9] Qadas were typically much longer poems, with up to 100 couplets. Thematically, qadas did not include love, and were usually panegyrics for a tribe or ruler, lampoons, or moral maxims. However, the qada's opening prelude, called the nasb, was typically nostalgic and/or romantic in theme, and highly ornamented and stylized in form. In time, the nasb began to be written as standalone, shorter poems, which became the ghazal.[4]

The nature of the ghazals also changed to meet the demands of musical presentation, becoming briefer in length. Lighter poetic meters, such as khaff, ramal, and muqtarab were preferred, instead of longer, more ponderous meters favored for qadas (such as kmil, bast, 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 (udhar), eroticism (hiss), homoeroticism (mudhakkar), and as a highly stylized introduction to a larger poem (tamhd).[4][15]

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.[4]

However, the most significant changes to the ghazal occurred in its introduction into Iran in the 10th century.[9] 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 ("tag_hash_105_____").[4] The imitation of Arabian forms in Persia extended to the qada, which was also popular in Persia.

It is said that Atul Prasad Sen pioneered the introduction of Bengali ghazals.[19] Residing in Lucknow, he was inspired by Persian ghazals and experimented with a stream of Bengali music which was later enriched profusely by the contribution of Kazi Nazrul Islam and Moniruddin Yusuf.[20][21][22][23][24]

Many of the major historical ghazal poets were either avowed Sufis themselves (like Rumi or Hafiz), or were sympathizers with Sufi ideas.[citation needed] Somewhat like American soul music, but with melancholy instead of funk, most ghazals can be viewed in a spiritual context, with the Beloved being a metaphor for God or the poet's spiritual master. It is the intense Divine Love of Sufism that serves as a model for all the forms of love found in ghazal poetry.[citation needed]

Traditionally invoking melancholy, love, longing, and metaphysical questions, ghazals are often sung by Afghan, Pakistani, and Indian musicians. The form has roots in seventh-century Arabia[unreliable source?],[citation needed] and gained prominence in the thirteenth and fourteenth centuries, thanks to such Persian poets as Rumi and Hafiz, and later to Indian poets such as Mirza Ghalib. In the eighteenth century, the ghazal was used by poets writing in Urdu. Among these poets, Ghalib is the recognized master[unreliable source?].

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.[why?]

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, Mehdi Hassan, Abida Parveen, Jagjit Singh, Farida Khanum and Ustad Ghulam Ali, Moinuddin Ahamed, are popular classical ghazal singers.

Understanding the complex lyrics of traditional ghazals required education typically available only to the upper classes. The traditional classical rgas 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 (sometimes even incorporating words from other languages, such as English - see Parveen Shakir), and moving away from a strictly male narrator.

Most of the ghazals are now sung in styles that are not limited to khayl, thumri, rga, tla 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, 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 (who first used a guitar in ghazals), 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.

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.[31] 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.[32] Legendary musician Umbayee composed ghazals in Malayalam and popularized this form of music across Kerala.[33]

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.[34]

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,"[35] 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).[36] 0852c4b9a8

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