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Dhrupad
Dhrupad is a genre in Hindustani classical music from the Indian subcontinent. It is the oldest known style of major vocal styles associated with Hindustani classical music, Haveli Sangeet of Pushtimarg Sampraday and also related to the South Indian Carnatic tradition. It is a term of Sanskrit origin, derived from ''dhruva'' (ध्रुव, immovable, permanent) and ''pada'' (पद, verse). The roots of Dhrupad are ancient. It is discussed in the Hindu Sanskrit text ''Natyashastra'' (~200 BCE – 200 CE), and other ancient and medieval Sanskrit texts, such as chapter 33 of Book 10 in the ''Bhagavata Purana'' (~800–1000 CE), where the theories of music and devotional songs for Krishna are summarized. The term denotes both the verse form of the poetry and the style in which it is sung. It is spiritual, heroic, thoughtful, virtuous, embedding moral wisdom or solemn form of song-music combination. Thematic matter ranges from the religious and spiritual (mostly in praise of Hindu ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Hindustani Classical Music
Hindustani classical music is the classical music of northern regions of the Indian subcontinent. It may also be called North Indian classical music or, in Hindustani, ''shastriya sangeet'' (). It is played in instruments like the violin, sitar and sarod. Its origins from the 12th century CE, when it diverged from Carnatic music, the classical tradition in South India. Hindustani classical music arose in the Ganga-Jamuni Tehzeeb, a period of great influence of Perso-Arabic arts in the subcontinent, especially the Northern parts. This music combines the Indian classical music tradition with Perso-Arab musical knowledge, resulting in a unique tradition of gharana system of music education. History Around the 12th century, Hindustani classical music diverged from what eventually came to be identified as Carnatic classical music.The central notion in both systems is that of a melodic musical mode or '' raga'', sung to a rhythmic cycle or '' tala''. It is melodic music, with no ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Haveli Sangeet
Haveli Sangeet is a form of Hindustani classical music sung in ''havelis''. The essential component is dhrupad. It originated in Mathura in Braj, northern India. It takes the form of devotional songs sung daily to Krishna by the Pushtimarg sect. Under the survey of All India Radio, Government of India it was realized by learned surveyors that the bandish, khayal sung in various gharanas of Hindustani classical music are derived from Haveli Sangeet where they are sung in complete and original form. Some notable Haveli Sangeet vocalists are: * Vitthalanatha (c. 1516-1588) * Harirayji Maharaphu * Aacharya Dr. Gokulotsavji Maharaj History ''Havelis'' were places where Hindu deities were installed; due to restrictions on Hindu temples during the Muslim rulers, it was called Haveli Sangeet. Basically, Haveli Sangeet is another name for Hindu temple music practiced by the followers of Vaishnavism of Nathdwara in Rajasthan, Gujarat, India, and considered a part of a rich historical ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Tansen
Tansen ( – 26 April 1589), also referred to and commonly known as Sangeet Samrat () , was a Hindustani classical musician. Born in a Hindu Gaur Brahmin family, he learnt and perfected his art in the northwest region of modern Madhya Pradesh. He began his career and spent most of his adult life in the court and patronage of the Hindu king of Rewa, Raja Ramchandra Singh (r.1555–1592), where Tansen's musical abilities and studies gained widespread fame. This reputation brought him to the attention of the Mughal Emperor Akbar, who sent messengers to Raja Ramchandra Singh, requesting Tansen to join the musicians at the Mughal court. Tansen did not want to go, but Raja Ramchandra Singh encouraged him to gain a wider audience, and sent him along with gifts to Akbar. In 1562, about the age of 60, the Vaishnava musician Tansen joined the Akbar's court, and his performances became a subject of many court historians. Numerous legends have been written about Tansen, mixing facts a ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Ravi Shankar
Ravi Shankar (; born Robindro Shaunkor Chowdhury, sometimes spelled as Rabindra Shankar Chowdhury; 7 April 1920 – 11 December 2012) was an Indian sitarist and composer. A sitar virtuoso, he became the world's best-known export of North Indian classical music in the second half of the 20th century, and influenced many musicians in India and throughout the world. Shankar was awarded India's highest civilian honour, the Bharat Ratna, in 1999. Shankar was born to a Bengali Brahmin family in India, and spent his youth as a dancer touring India and Europe with the dance group of his brother Uday Shankar. He gave up dancing in 1938 to study sitar playing under court musician Allauddin Khan. After finishing his studies in 1944, Shankar worked as a composer, creating the music for the ''Apu Trilogy'' by Satyajit Ray, and was music director of All India Radio, New Delhi, from 1949 to 1956. In 1956, Shankar began to tour Europe and the Americas playing Indian classical music and incr ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Swami Haridas
Swami Haridas (1480—1573) was a spiritual poet and classical musician. Credited with a large body of devotional compositions, especially in the Dhrupad style, he is also the founder of the Haridasi school of mysticism, still found today in North India. His work influenced both the classical music and the Bhakti movements of North India, especially those devoted to Krishna's consort Radha. Hit Harivansh Mahaprabhu, Hariram Vyas, Rupa Goswami, Vidyapati, Mahaprabhu Vallabhacharya, Vitthalnath (Gusainji), were his contemporaries. Swami Haridas is a direct disciple of father of Carnatic Music Purandara Dasa of Karnataka. He had many pupils, Tansen being one of them and one of Akbar's nine gems. Biography Haridas's father was a Saraswat Brahmin from Multan and that his mother's name was Chitra Mata. The family migrated to a village called Rajpur , near Vrindavan in Uttar Pradesh. Haridas was born there in 1480 and the village is now called Rajpur gram in his honor. This vi ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Baiju Bawara
Baiju Bawra (Lit. "Baiju the Insane", born as Baijnath Mishra) was a dhrupad musician from medieval India. Nearly all the information on Baiju Bawra comes from legends, and lacks historical authenticity. According to the most popular legends, he lived in the Mughal period during the 16th and 17th centuries. He was one of the court musicians of Man Singh Tomar of Gwalher (now Gwalior). Chanderi–Gwalior legend According to a story, mentioned by Susheela Misra in ''Some immortals of Hindustani music'', Baiju Bawra was born as Baijnath Mishra in a poor Brahmin family in Champaner, Gujarat Sultanate. After his father's death, his mother, a devotee of Krishna, went to Vrindavan. There, Baiju met his teacher Swami Haridas, and was trained in a gurukula. He also adopted an orphan named Gopal, and trained him to be a musician. Gradually, Baiju became famous, and was invited to the court of the Raja of Chanderi. In Chanderi, Baiju's adopted son Gopal also became famous. Gopal married h ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Antara (music)
Antarā is the equivalent of a verse in Hindustani classical music. In Hindustani classical music, the fixed (dhrupad/bandish) section is in four parts of which only the first two are performed regularly: Sthāyī (pallavi in Carnatic music) - the first line of the Sthāyī serves as a cadence (music) In Western musical theory, a cadence (Latin ''cadentia'', "a falling") is the end of a phrase in which the melody or harmony creates a sense of full or partial resolution, especially in music of the 16th century onwards.Don Michael Randel (1999 ..., while the section itself serves as a base for the singer returns to the Sthāyī time and again after each part; Antarā (Anupallavi in Carnatic music) - the intermediate part sung in a high register focusing on the tar shadja, with a good deal of text manipulation and repeated forays into sthāyī; the third section Sanchari (charanam in Carnatic music) - created by the division of the Abhoga and it remains a free-moving section; the ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Vishnu
Vishnu ( ; , ), also known as Narayana and Hari, is one of the principal deities of Hinduism. He is the supreme being within Vaishnavism, one of the major traditions within contemporary Hinduism. Vishnu is known as "The Preserver" within the Trimurti, the triple deity of supreme divinity that includes Brahma and Shiva.Gavin Flood, An Introduction to Hinduism' (1996), p. 17. In Vaishnavism, Vishnu is the supreme being who creates, protects, and transforms the universe. In the Shaktism tradition, the Goddess, or Adi Shakti, is described as the supreme Para Brahman, yet Vishnu is revered along with Shiva and Brahma. Tridevi is stated to be the energy and creative power (Shakti) of each, with Lakshmi being the equal complementary partner of Vishnu. He is one of the five equivalent deities in Panchayatana puja of the Smarta tradition of Hinduism. According to Vaishnavism, the highest form of Ishvara is with qualities (Saguna), and have certain form, but is limitless, transcend ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Govind Swami
Govind may refer to: *An alternate spelling of Govinda, which is a name in Hinduism given to the god Krishna. It means "cowherd." *The name Govind is commonly used in Sikhism to refer to God. It is derived from "Gobinda" which means Preserver of the World in Gurmukhi. In the Guru Granth Sahib, the Sikh Scripture there are many reference of this word. One example is: "''Every day, hour and moment, I continually sing and speak of Govind, Govind, the Lord of the Universe. , , 1, , ''"Guru Granth Sahib Page 404. *Govind is sometime the name used to refer to the Tenth Sikh Guru, Guru Gobind Singh. Although, this is more commonly written as 'Gobind'. The Dasam Granth, which is the second Sikh Scripture written by the Tenth Guru, has two references to 'Govind': **On Page 643, Line 3: "''O Lord! I have forsaken all other doors and have caught hold of only Thy door. O Lord! Thou has caught hold of my arm; I, Govind, am Thy serf, kindly take (care of me and) protect my honour. 864.''" **On Pag ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Ain-i-Akbari
The ''Ain-i-Akbari'' ( fa, ) or the "Administration of Akbar", is a 16th-century detailed document recording the administration of the Mughal Empire under Emperor Akbar, written by his court historian, Abu'l Fazl in the Persian language. It forms Volume III and the final part of the much larger document, the ''Akbarnama'' (''Account of Akbar''), also by Abu'l-Fazl, and is itself in three volumes. Contents The ''Ain-i-Akbari'' is the third volume of the ''Akbarnama'' containing information on Akbar's reign in the form of administrative reports, similar to a gazetteer. In Blochmann's explanation, "it contains the 'āīn' (i.e. mode of governing) of Emperor Akbar, and is in fact the administrative report and statistical return of his government as it was about 1590."Blochmann, H. (tr.) (1927, reprint 1993). ''The Ain-I Akbari by Abu'l-Fazl Allami'', Vol. I, Calcutta: The Asiatic Society, preface (first edition) The ''Ain-i-Akbari'' is divided into five books. The first book calle ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Samaveda
The Samaveda (, from ' "song" and ' "knowledge"), is the Veda of melodies and chants. It is an ancient Vedic Sanskrit text, and part of the scriptures of Hinduism. One of the four Vedas, it is a liturgical text which consists of 1,875 verses. All but 75 verses have been taken from the Rigveda. Three recensions of the Samaveda have survived, and variant manuscripts of the Veda have been found in various parts of India. While its earliest parts are believed to date from as early as the Rigvedic period, the existing compilation dates from the post-Rigvedic Mantra period of Vedic Sanskrit, between c. 1200 and 1000 BCE or "slightly rather later," roughly contemporary with the Atharvaveda and the Yajurveda. Embedded inside the Samaveda is the widely studied Chandogya Upanishad and Kena Upanishad, considered as primary Upanishads and as influential on the six schools of Hindu philosophy, particularly the Vedanta school. The Samaveda set important foundations for the subsequent India ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Nimbarka Sampradaya
The Nimbarka Sampradaya (IAST: ''Nimbārka Sampradāya'', Sanskrit निम्बार्क सम्प्रदाय), also known as the Hamsa Sampradāya, and Sanakādi Sampradāya (सनकादि सम्प्रदाय), is one of the four Sampradāyas. It was founded by Nimbarka, a Telugu Brahmin yogi and philosopher. It propounds the Vaishnava Bhedabheda theology of Dvaitadvaita (dvaita-advaita) or ''dualistic non-dualism''. ''Dvaitadvaita'' states that humans are both different and non-different from Isvara, God or Supreme Being. Specifically, this Sampradaya is a part of Krishnaism—Krishna-centric traditions. Guru Parampara Nimbarka Sampradaya is also known as Kumāra Sampradāya, Hamsa Sampradāya, and Sanakādi Sampradāya. According to tradition, the ''Nimbarka Sampradaya'' Dvaita-advaita philosophy was revealed by to Sri Sanakadi Bhagawan, one of the Four Kumaras; who passed it to Sri Narada Muni; and then on to Nimbarka. The Four Kumaras, ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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