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Radhika Prasad Goswamy
Acharya Radhika Prasad Goswamy ( bn, রাধিকা প্রসাদ গোস্বামী) (), known as Sangeet Nayak ( bn, সঙ্গীত নায়ক), was an Indian vocalist in the Hindustani classical tradition, based in the Bishnupur Gharana. A renowned exponent of the Bishnupur Gharana, he was known for the ''Khayal'', ''Dhrupad'', '' Thumri'' and '' Tappa'', along with ''Raga-pradhan'' songs. From Bengal, Radhika was the uncle of Pandit Jnanendra Prasad Goswamy. Early life Radhika's journey to the world of Indian Classical Music was initiated at his home under the guidance of his elder brother Pandit Bipin Chandra Goswamy, who was a noted Esraj player. His acquaintance were eminent vocalists such as Pandit Girija Shankar Chakrabarty and Ustad Faiyaz Khan. He received his music training from musicians of Betiya gharana of Bihar, as did other contemporary singers of the Bishnupur gharana. Professional career For sometime after shifted from Bishnupur ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Bishnupur, Bankura
Bishnupur is a city and a municipality of Bisnupur district in the state of West Bengal, India. It is the headquarters of the Bishnupur District. It is famous for its terracotta temples built by the Malla rulers, historic Radha Krishna temples built during 1600–1800 CE and the Baluchari sarees. History Bishnupur was ruled under the Gupta period by local Hindu kings who paid tribute to Samudra Gupta. Following a long period of obscurity, where the land oscillated between being a minor independent principality and a vassal state. The land is also called Mallabhum after the Malla rulers of this place. The Malla rulers were Vaishnavites and built the famous terracotta temples during the 17th and 18th centuries at this place. The legends of Bipodtarini Devi are associated with Malla Kings of Bishnupur. For almost a thousand years it was the capital of the Malla kings of Mallabhum, of which Bankura was a part, till their power waned during the times when Mughal Empire weakene ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Bengal Presidency
The Bengal Presidency, officially the Presidency of Fort William and later Bengal Province, was a subdivision of the British Empire in India. At the height of its territorial jurisdiction, it covered large parts of what is now South Asia and Southeast Asia. Bengal proper covered the ethno-linguistic region of Bengal (present-day Bangladesh and the Indian state of West Bengal). Calcutta, the city which grew around Fort William, was the capital of the Bengal Presidency. For many years, the Governor of Bengal was concurrently the Viceroy of India and Calcutta was the de facto capital of India until 1911. The Bengal Presidency emerged from trading posts established in Mughal Bengal during the reign of Emperor Jahangir in 1612. The East India Company (HEIC), a British monopoly with a Royal Charter, competed with other European companies to gain influence in Bengal. After the decisive overthrow of the Nawab of Bengal in 1757 and the Battle of Buxar in 1764, the HEIC expanded ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
British India
The provinces of India, earlier presidencies of British India and still earlier, presidency towns, were the administrative divisions of British governance on the Indian subcontinent. Collectively, they have been called British India. In one form or another, they existed between 1612 and 1947, conventionally divided into three historical periods: *Between 1612 and 1757 the East India Company set up Factory (trading post), factories (trading posts) in several locations, mostly in coastal India, with the consent of the Mughal emperors, Maratha Empire or local rulers. Its rivals were the merchant trading companies of Portugal, Denmark, the Netherlands, and France. By the mid-18th century, three ''presidency towns'': Madras, Bombay and Calcutta, had grown in size. *During the period of Company rule in India (1757–1858), the company gradually acquired sovereignty over large parts of India, now called "presidencies". However, it also increasingly came under British government over ... [...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] |
Khayal
Khyal or Khayal (ख़याल / خیال) is a major form of Hindustani classical music in the Indian subcontinent. Its name comes from a Persian/Arabic word meaning "imagination". Khyal is associated with romantic poetry, and allows the performer greater freedom of expression than dhrupad. In khyal, ragas are extensively ornamented, and the style calls for more technical virtuosity than intellectual rigour. Etymology (خیال) is an Urdu word of Arabic origin which means "imagination, thought, ideation, meditation, reflection". Hence khyal connotes the idea of a song that is imaginative and creative in either its nature or execution. The word entered India through the medium of the Persian language. Just as the word reflects ideas of imagination and imaginative composition, the musical form is imaginative in conception, artistic and decorative in execution and romantic in appeal.Francis Joseph Steingassخیال A Comprehensive Persian-English Dictionary Characteristics T ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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] |
Thumri
Thumri () is a vocal genre or style of Indian music. The term "thumri" is derived from the Hindi verb ''thumuknaa'', which means "to walk with a dancing gait in such a way that the ankle-bells tinkle." The form is, thus, connected with dance, dramatic gestures, mild eroticism, evocative love poetry and folk songs, especially from Uttar Pradesh, though there are regional variations. The text is romantic or devotional in nature, the lyrics are usually in Uttar Pradesh dialects of Hindi called Awadhi and Brij Bhasha. Thumree is characterized by its sensuality, and by a greater flexibility with the ''raga''. ''Thumri'' is also used as a generic name for some other, even lighter, forms such as Dadra, Hori, Kajari, Sawani, Jhoola, and Chaiti, even though each of them have their own structure and content — either lyrical or musical or both—and so the exposition of these forms vary. Like Indian classical music itself, some of these forms have their origin in folk literature and m ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Tappa
Tappa is a form of Indian semi-classical vocal music. Its specialty is a rolling pace based on fast, subtle and knotty construction. Its tunes are melodious and sweet, and depict the emotional outbursts of a lover. Tappe (plural) were sung mostly by songstresses, known as baigees, in royal courts. History Tappa originated from the folk songs of the camel riders in Punjab. The tappa style of music was refined and introduced to the imperial court of the Mughal Emperor Muhammad Shah, and later by Mian Ghulam Nabi Shori or Shori Mian, a court singer of Asaf-Ud-Dowlah, Nawab of Awadh. In Bengal, Ramnidhi Gupta & Kalidas Chattopadhay composed Bengali tappa and they are called Nidhu Babu's Tappa. Tappa ''gayaki'' took new shape and over decades became ''puratani'', a semi-classical form of Bengali songs. Tappa, as a significant genre in Bengali musical styles, reached levels of excellence in lyrics and rendition (gayaki), arguably unmatched in other parts of India. Hugely popular in the ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Jnanendra Prasad Goswamy
Acharya Jnanendra Prasad Goswamy ( bn, আচার্য জ্ঞানেন্দ্র প্রসাদ গোস্বামী) (25 December 1902 – 29 October 1945) ( Jnan Gossain bn, জ্ঞান গোসাই), from Bengal, was an Indian vocalist in the Hindustani classical music tradition. A renowned exponent of the Bishnupur gharana, he was known for the ''Khayal'', ''Dhrupad'', ''Thumri'' and ''Tappa'', along with ''Raga-pradhan'' songs. Early life Jnanendra's journey to the world of Indian classical music was initiated at his home under the guidance of his father Bipin Chandra Goswamy, who was a noted esraj player. His next guru was his uncle, Pandit Radhika Prasad Goswamy, a great vocalist of his times. He also got his training form eminent vocalists such as Pandit Girija Shankar Chakrabarty and Ustad Faiyaz Khan. Professional career Jnanendra Prasad was instrumental in popularizing Indian Classical music and created an audience of its own. In Bishnup ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Faiyaz Khan
Ustad Faiyaz Khan (8 February 1886 5 November 1950) was an Indian classical vocalist, an exponent of the Agra gharana of Hindustani classical music. According to SwarGanga Music Foundation website, "By the time he died at Baroda, he had earned the reputation of being one of the greatest and most influential vocalists of the century." Early life Born at Sikandara in the North-Western Provinces in 1886, he was the son of Safdar Hussain, who died four months before his birth. He was brought up by his maternal grandfather, Ghulam Abbas (1825-1934), who taught him music up to the age of 25. He was also a student of Ustad Mehboob Khan "Daraspiya", his father-in-law, Natyan Khan and his uncle Fida Hussain Khan. According to an article on a music website titled, 'Great Masters of Hindustani Music', "Faiyaz Khan's musical lineage goes back to Tansen himself. His family is traced back to Alakhdas, Malukdas and then to Haji Sujan Khan (son of Alakhdas who became a Muslim)." Singing caree ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Bettiah Raj
Bettiah Raj was the second-largest zamindari in the region of India now known as Bihar. It generated annual land revenue rentals of more than 2 million rupees. History Before British rule Gangeswar Deo, a Brahmin of Jaitharia clan, popularly known as ''Jaitharia Bhumihar Brahmin. Gangeswar'' Deo descendants are among the present day Kashyap Gotra of Brahmins and a branch of this clan also set up residence at a place called Jaithar Saran near Champaran, later moved east and established a state at Bettiah in Bihar. They were known as ''Bhumihar Brahmin''. Bettiah Raj was the oldest in the region and had also been a branch of ''Raj Riyasat Sirkar'' of Champaran since the 17th century (the time of Shah Jahan) when the raja of Bettiah was Ugrasen Singh. Both the Madhuban Raj and Sheohar estates had broken off from Bettiah Raj. even then making it the largest zamindari in Bihar. The Rajas of Bettiah had turbulent relations with Khandavalas of Mithila , who often assisted the Nawab o ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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