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Hindustani 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] |
Indian Classical Music
Indian classical music is the classical music of the Indian subcontinent. It has two major traditions: the North Indian classical music known as '' Hindustani'' and the South Indian expression known as '' Carnatic''. These traditions were not distinct until about the 15th century. During the period of Mughal rule of the Indian subcontinent, the traditions separated and evolved into distinct forms. Hindustani music emphasizes improvisation and exploration of all aspects of a raga, while Carnatic performances tend to be short composition-based. However, the two systems continue to have more common features than differences. The roots of the classical music of India are found in the Vedic literature of Hinduism and the ancient ''Natyashastra'', the classic Sanskrit text on performing arts by Bharata Muni., Quote: "The tradition of Indian classical music and dance known as ''Sangeeta'' is fundamentally rooted in the sonic and musical dimensions of the Vedas (Sama veda), Upanisha ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Natya Shastra
The ''Nāṭya Śāstra'' (, ''Nāṭyaśāstra'') is a Sanskrit treatise on the performing arts. The text is attributed to sage Bharata Muni, and its first complete compilation is dated to between 200 BCE and 200 CE, but estimates vary between 500 BCE and 500 CE. The text consists of 36 chapters with a cumulative total of 6000 poetic verses describing performance arts. The subjects covered by the treatise include dramatic composition, structure of a play and the construction of a stage to host it, genres of acting, body movements, make up and costumes, role and goals of an art director, the musical scales, musical instruments and the integration of music with art performance. The ''Nāṭya Śāstra'' is notable as an ancient encyclopedic treatise on the arts, one which has influenced dance, music and literary traditions in India. It is also notable for its aesthetic Rasa (aesthetics), "Rasa" theory, which asserts that entertainment is a desired effect of performa ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Thaat
A Thaat () is a "Parent scale" in North Indian or Hindustani music. It is the Hindustani equivalent of the term ''Melakartha raga'' of Carnatic Music. The concept of the ''thaat'' is not exactly equivalent to the western musical scale because the primary function of a ''thaat'' is not as a tool for music composition, but rather as a basis for classification of ragas. There is not necessarily strict compliance between a raga and its parent ''thaat''; a raga said to 'belong' to a certain ''thaat'' need not allow all the notes of the ''thaat'', and might allow other notes. ''Thaats'' are generally accepted to be heptatonic by definition. The term ''thaat'' is also used to refer to the frets of stringed instruments like the sitar and the veena. It is also used to denote the posture adopted by a Kathak dancer at the beginning of their performance. History The modern ''thaat'' system was created by Vishnu Narayan Bhatkhande (1860–1936), an influential musicologist in the field o ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Vishnu Narayan Bhatkhande
Pandit Vishnu Narayan Bhatkhande (10 August 1860 – 19 September 1936) was an Indian musicologist who wrote the first modern treatise on Hindustani classical music, an art which had been propagated for centuries mostly through oral traditions. During those earlier times, the art had undergone several changes, rendering the raga ''grammar'' documented in scant old outdated texts. Ragas used to be classified into Raga (male), Ragini (female), and Putra (children). Bhatkhande reclassified them into the currently used thaat system. He noted that several ragas did not conform to their description in ancient Sanskrit texts. He explained the ragas in an easy-to-understand language and composed several ''bandishes'' which explained the grammar of the ragas. Early life Pandit Vishnu Narayan Bhatkhande was born on 10 August 1860 in Walkeshwar, Bombay. While not a professional musician himself, his father, who worked for an affluent businessman, ensured that Vishnu Narayan and his siblin ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Gharana
In Hindustani music (North Indian classical music), a ''gharānā'' is a system of social organisation in the Indian subcontinent, linking musicians or dancers by lineage or apprenticeship, and more importantly by adherence to a particular musical style. The word gharana comes from the Hindi word 'ghar' which is derived from the Sanskrit word ''Griha'', which means 'house'. It typically refers to the place where the musical ideology originated; for example, some of the gharanas well known for singing khyals are: Dilli(Delhi), Agra, Gwalior, Indore, Atrauli-Jaipur, Kirana and Patiala. Four famous kathak gharanas are: Lucknow, Atrauli-Jaipur, Benares and Raigarh. Vocal gharanas Khyal gharanas The gharana system in khyal was rooted in the ''guru–shishya tradition'' and was similar to the Dhrupad ''Bani'' system. The gharana system was greatly influenced by the gradual fall of the Mughal Empire, which forced musicians to move from Delhi to princely states such as Gwalior, Luc ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Premanand Swami
Premanand Swami (1784–1855) was a saint of the Swaminarayan Sampradaya and one of Swaminarayan's paramhansas. Page 241 Biography Premanand Swami was born to Hindu (Brahmin) parents in the town of Ogan, Viramgam in 1784 and named Hathiram on birth. His parents abandoned him at a young age. Premanand Swami was born into a Sathodara Nagar Brahmin family in a village near Nadiad (some say that he was born in the village Dora, near Bharuch) around 1784 CE (Samvat 1840). His mother was very beautiful but his father was treated as a lunatic by the people. So, after his birth, people started slandering the mother. They said, “This child is illegitimate, so the mother should either disown him or kill him. We are not going to accept it in our family.” This caused great pain to the mother. However, bowing to social pressure, one early morning she pressed the child against her chest, went out of thevillage and left the child in the hole of a tree. After some time a carder passing by ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Brahmanand Swami
Brahmanand Swami (12 February 1772 – 1832) was revered as a saint of the Swaminarayan Sampraday and as one of Swaminarayan's Paramahamsa. He was also known as one of Swaminarayan's Ashta Kavi's (eight poets) within the Swaminarayan Sampraday In the scriptures of the Swaminarayan Sampraday it was noted that Brahmanand Swami as stated by Swaminarayan that as the name suggests and implies "Brahmanand" is an Avatar of Brahma. Biography Brahmanand Swami, born as Ladudanji, in Ashiya lineage of Charans to Shambhudanji Aashiya and Laluba Charan in Khan village, at the foot of Mount Abu, in Sirohi, in 1772 AD. Even as a young boy, he showed his talent in the royal court by composing and reciting poems. The Rana of Sirohi, impressed with him, directed that he be taught Dingal (the science of constructing poetry) at the cost of the state. Hence, Ladudanji was well educated and later became a part of King of Udaipur's court. Ladu Dan learnt Dingal and Sanskrit scriptures from Lad ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Mirabai
Meera, better known as Mirabai and venerated as Sant Meerabai, was a 16th-century Hindu mystic poet and devotee of Krishna. She is a celebrated Bhakti saint, particularly in the North Indian Hindu tradition. Mirabai was born into a Rathore Rajput royal family in Kudki (modern-day Pali district of Rajasthan) and spent her childhood in Merta. She is mentioned in ''Bhaktamal'', confirming that she was widely known and a cherished figure in the Bhakti movement culture by about 1600 CE.Catherine Asher and Cynthia Talbot (2006), India before Europe, Cambridge University Press, , page 109 Most legends about Mirabai mention her fearless disregard for social and family conventions, her devotion to Krishna, her treating Krishna as her husband and being persecuted by her in-laws for her religious devotion. She has been the subject of numerous folk tales and hagiographic legends, which are inconsistent or widely different in details.Nancy Martin-Kershaw (2014), Faces of the Feminine ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Dalpatram
Dalpatram Dahyabhai Travadi (21 January 1820 – 25 March 1898) was a Gujarati language poet during 19th century in India. He was the father of Nanalal Dalpatram Kavi, a poet. He led social reform movements in Ahmedabad, and wrote articles against superstitions, caste restrictions and child marriage. He dealt with the problem of widow remarriage at length in his poem, ''Vencharitra''. Biography Dalpatram was born on 21 January 1820 at Wadhwan city of Surendranagar district in a Brahmin family. His father's name is Dahyabhai. Dalpatram grew up to the resonant chanting of 'mantras' and recitations of religious scriptures. He was a child prodigy and displayed his extraordinary literary skills by composing ''hondula''s at the age of 12. He mastered the structures of rhyme, poesis and 'Vrajbhasha' as a Swaminarayan devotee under Brahmanand Swami, and later moved to Ahmedabad at the age of 24. Dalpatram died on 25 March 1898 at Ahmedabad. Career Dalpatram was a Sanskrit scholar and ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Vaishnavite
Vaishnavism ( sa, वैष्णवसम्प्रदायः, Vaiṣṇavasampradāyaḥ) is one of the major Hindu denominations along with Shaivism, Shaktism, and Smartism. It is also called Vishnuism since it considers Vishnu as the sole supreme being leading all other Hindu deities, i.e. ''Mahavishnu''. Its followers are called Vaishnavites or ''Vaishnava''s (), and it includes sub-sects like Krishnaism and Ramaism, which consider Krishna and Rama as the supreme beings respectively. According to a 2010 estimate by Johnson and Grim, Vaishnavism is the largest Hindu sect, constituting about 641 million or 67.6% of Hindus. The ancient emergence of Vaishnavism is unclear, and broadly hypothesized as a fusion of various regional non-Vedic religions with Vishnu. A merger of several popular non-Vedic theistic traditions, particularly the Bhagavata cults of Vāsudeva-krishna and ''Gopala-Krishna'', and Narayana, developed in the 7th to 4th century BCE. It was integrated wi ... [...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] |
Mughal Empire
The Mughal Empire was an early-modern empire that controlled much of South Asia between the 16th and 19th centuries. Quote: "Although the first two Timurid emperors and many of their noblemen were recent migrants to the subcontinent, the dynasty and the empire itself became indisputably Indian. The interests and futures of all concerned were in India, not in ancestral homelands in the Middle East or Central Asia. Furthermore, the Mughal empire emerged from the Indian historical experience. It was the end product of a millennium of Muslim conquest, colonization, and state-building in the Indian subcontinent." For some two hundred years, the empire stretched from the outer fringes of the Indus river basin in the west, northern Afghanistan in the northwest, and Kashmir in the north, to the highlands of present-day Assam and Bangladesh in the east, and the uplands of the Deccan Plateau in South India. Quote: "The realm so defined and governed was a vast territory of some , rang ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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