Northern Indian Semi-Classical Music form Thumari: In Context of Instrumental Music

Authors

Dr. Anjali Sharma

Assistant Professor, Department of Instrumental Music, Mahila Mahavidyalaya Banaras Hindu University (India)

Article Information

DOI: 10.51244/IJRSI.2026.1306000198

Subject Category: Music

Volume/Issue: 13/6 | Page No: 2768-2772

Publication Timeline

Submitted: 2026-06-06

Accepted: 2026-06-11

Published: 2026-06-30

Abstract

Indian classical music is a unique and most favourite art form of Indian Culture that expresses emotion and feeling without using any words and this special quality of Music makes it a universal language which can be understood in across cultures. Unlike pure entertainment, it is deeply rooted in spirituality and devotion, which gives it a distinct identity worldwide. Over time, it has evolved in response to changing social and cultural environments, giving rise to many vocal forms such as Prabandha, Dhrupad, Khayal, Tappa, Thumri in Hindustani music, and Varnam, Kriti, Ragam-Tanam-Pallavi, and Javali in Carnatic music.
Indian classical music, while Dhrupad represents the spiritual tradition, the Khayal singing style was patronized by the royal court. But with the passage of time, the taste of music among the people started changing and as a result, the Thumri singing style, which flourished in the court of King Nawab Wajid Ali Shah of Lucknow, got popularized. There has been a very close relationship between Thumri style and Kathak dance. Thumri is known for its romantic and devotional themes, such as the depiction of Radha Krishna's Raas. Since classical rules are relaxed in this genre, ornamentation such as meend, murki, krittan, khatka, etc. are used to create an emotional composition.
Thumri consists of three main elements swar (melody), laya/taal (rhythm), and sahitya (text), sometimes combined with abhinaya (expression). However, in modern times, the importance of lyrical content has decreased in many vocal forms, with greater focus on melodic development. Despite this, Thumri retains its essence through its emotional and decorative style.
It is debated whether Thumri can be performed on instruments since sahitya is absent, but it is generally accepted that if melody and rhythm are properly expressed, instrumental Thumri remains authentic and effective. Thus, Thumri continues to be a flexible yet classical form blending structure with emotional freedom.

Keywords

Classical Music, Thumri, Semi Classical, Instrumental, Vocal

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References

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