Saturday, December 25, 2010
Thursday, December 23, 2010
Tribute! Brilliant Pandit D.V. Paluskar
(May 28 1921 - October 25 1955) was born in Nasik, Maharashtra to well-known Hindustani musician Vishnu Digambar Paluskar. Never has any classical musican acheived legendary status in such a short lifetime. He was only ten years old when his father died, and was subsequently trained by Pandit Vinayakrao Patwardhan and Pandit Narayanrao Vyas. He was also trained by Pandit Chintamanrao Paluskar and Pandit Mirashi Buwa. But later on he evolved his own style of singing. (Photo copyright by Shubnam Gill).
He had a very sweet and melodious voice. His alap clearly outlined the raga he sang; this was followed by the bandish embellished by beautiful taans in an effortless enchanting style. He was a master at presenting an attractive and comprehensive picture of a raga in a very short duration. He cut his first disc in 1944 and visited China as a member of the Indian cultural delegation in 1955.
Raag Shree - Pt. D.V.Paluskar - His last recording
Pt. D.V.Paluskar - Raag Darbari Kanada "Jhanak Jhanakva"
Raag Hindol - Karana pichkari
http://courses.nus.edu.sg/course/ellpatke/sound%20files/paluskar_hindol.mp3 Raag Nand - Ajahu nahin aye
http://courses.nus.edu.sg/course/ellpatke/sound%20files/paluskar_nand.mp3 Raag Hansakinkini - Piya nahin aye
http://courses.nus.edu.sg/course/ellpatke/sound%20files/paluskar_hanskinkini.mp3Even though D.V. was mainly a Classical singer, he was also a very talented Bhajan singer. He was known for his melodious voice and enchanting rendition of devotional songs. He sung such Bhajans as: Chalo Man Ganga Jamuna Teer, Thumak Chalat Ram Chandra, and many more...
He introduced the famous bhajan "Payoji Maine Ram Ratan Dhan Payo" to the modern generation:
Payo ji meine - Meerabai bhajan - D.V. Paluskar set it to the tune almost 70 years ago first!
D.V. Paluskar - Bhajan in Raag Lalat.
(http://en.wikipedia.org/wiki/Baiju_Bawra_%281952_film%29).
Ut. Amir Khan & D. V. Paluskar
"Aaj Gawat Man Mero" - Raag Desi:
The only other film he sang for was a Bengali film called Shaap Mochan:
SONG: Kaliyan sang karat rang raliyan - SINGER: D.V. Paluskar
MOVIE: Shapmochan (1955)
CAST: Uttam Kumar, Suchitra Sen, Pahari Sanyal, Kamal Mitra, Bikash Roy.
"I first saw Pandit D. V. Palukar as a little boy in the Shree Ram Mandir at Panchavati, Nasik in the year 1925. He was then about 5 or 6 years old and had come with his father, Sangeet Bhaskar Vishnu Digambar Paluskar. Vishnu Digambar was singing the bhajan Raghupati Raghav Rajaram. The atmosphere all around was intensely devotional. Looking at the boy who was staring at his father with rapt attention, I wondered whether the lad had inherited any of his father's gifts, and whether he would carry on the tradition of Vishnu Digambar. In due course he did become a very brilliant and accomplished singer in his own right; a worthy successor to his most illustrious father.... To read more: http://www.chembur.com/anecdotes/dvpaluskar.htm.
Poverty and ill health snatched Pt. D.V. Paluskar when he was only 34!
Wednesday, December 22, 2010
Celebrating the Full Moon : Raags Chandrakhauns & Chandranandan!
1- Raag Chandrakhauns:
Chandrakauns* is a very beautiful and striking rag. It is also surprisingly easy to perform. One should keep in mind, that there are actually two versions of Chandrakauns. There is an old obsolete version, and there is the modern version. Time: Late Night
Chandrakauns* is a very beautiful and striking rag. It is also surprisingly easy to perform. One should keep in mind, that there are actually two versions of Chandrakauns. There is an old obsolete version, and there is the modern version. Time: Late Night
The name Chandrakauns is interesting. The prefix "chandra" means "moon". Although the etymology of the term "kauns" is obscure, it generally is used to represent five note raga. There are several forms of both pronunciation and spelling, Chandrakosh is the second most common pronunciation.
Pandit Habib Khan and Ustad Zakir Hussien at Berkeley. Chandrakauns[Part 3]
Old Form - This is an example of how quickly rags can change. Where a century ago, this might have been the only form that you would hear, today you will probably only hear this in old recordings. The old form as was mentioned by Bhatkhande has the structure:
This form of Chandrakauns has a strong feel of Bhageshree about it.
Raag Chandrakauns by Keerti Kumar Badseshi
Disciple of Pt. Vinayak Torvi, at Susagar in 2003.
Modern Form - The modern and most widely accepted version of Chandrakauns is an audav rag that is essentially identical to Malkauns with one small change. In Chandrakauns the Nishad is shuddha rather than komal. At first glance, one would think that the shift from the komal Ni to the shuddha Ni would make this rag more harmonically balanced and have a much more mellow feel. However we must remember that the mind performs a musical inversion where theMadhyam is perceived to be the tonic. With such an inversion, the shift from komal Ni to shuddha Ni actually increases the feeling of tension. It is this tension that is the characteristic "massala" which makes Chandrakauns so strikingly beautiful.
For quite some time Chandrakauns has been a popular rag for the lahara. The lahara, also known as the naghma (nagma), is a repetitive melody used in the accompaniment of tabla solos and in kathak pieces. Bollywood in turn has picked up on this, and has further reinforced the association by frequently using Chandrakauns based laharas in scenes that depict traditional tawaifs (an Indian version of the geisha) and traditional kathak dances.
Here are the characteristics of Chandrakauns:
Avarohana
That: Not one of Bhatikhande's 10 thats, but some suggest that it is kafi.
Sa - Ma
Harmonium Jugalbandi in the Raag - Chandrakauns.
Harmonium Jugalbandi in the Raag - Chandrakauns.
Harmonium Jugalbandi Pt. Dr. Vidyadhar Oke and Aditya Oke
Unbelievable speed, skill and control displayed by Aditya Oke.2- Raag Chandranandan:
The exceptional Sarode legend Late Ali Akbar Khan of North Indian Classics created the moon
raga Chandranandan. It can be counted as one of the outstanding compositions of Ali Akbar Khan. Chandranandan is a mix of four traditional Ragas: Malkoush, Chandrakauns, Nandakoush and Kaushi Kanada.
Rag Chandranandan (1of2) late Ustad Ali Akbar & late Dhyanesh Khan
Recorded onto VHS tape (regrettably, on extended play speed) in the early 90s.
Tabla:Swapan Chaudhri
So ja re so ja - A lilting lullaby composed by Shankar Jaikishan
Perhaps one of the loveliest lullabies created in Indian cinema. The song from Kathputli (1957) is written by Hasrat Jaipuri and rendered by Lata Mangeshkar. Shankar Jaikishan had a close association with the Sarod maestro Ustad Ali Akbar Khan in the early fifties (he himself played Sarod in Suno chhoti si gudiya ki lambi kahani in Seema). Ustad Ali Akbar Khan created a Raag by name 'Chandra Nandan'. Shankar Jaikishan created this beautiful melody in Raag Chandra Nandan.
Very rich on melody quotient, this was possibly the first ever lullaby with rich orchestration and full fledged 'Counter Melody' - a Shankar Jaikishan speciality.
Pt Ulhas Bapat santoor with Suryaksha Deshpande on Tabla in a concert at Belgaon. Raag: chandranandan Taal : Teentaal
Abhisek Lahiri on Sarod, Rag- Chandranandan
Rag: Chandranandan on Sarod by "A" Grade Sarod player Shri. ABHISEK LAHIRI... Live Concert in France, Nov' 09. Gat played in Rupak Tal (7 beats). Accompanied on the Tabla: Parimal Chakrabarty.
http://music.barnesandnoble.com/Over-the-Moon/Rajeev-Taranath/e/675754458621#TABS
| 1 |  Raga Chandranandan: Alap, Jor 22:11 |
| 2 | Raga Chandranandan: Gat in Madhya-Laya Teentaal 19:03 |
| 3 | Raga Chandranandan: Drut Gat in Teentaal 13:55 |
Another variant of a moon ragas is ChandraDhwani. A blend between the moon raga Chandrakauns and night raga Kaushik Dhwani. Both are 5 notes ragas (pentatonic). For Kaushik Dhwani the 2nd pitch Re (Rishabh) and 5th pitch Pa (Pancham) are omitted. All notes are played as “suddha” (natural).
3- South Indian Classics (Carnatic) - Ragams of Melakarta system:
Same as in Indian Astrology in South Indian Classics (Carnatic) there exist 12 groups (chakras) with each six Ragams. Altogether exist 72 Ragams in the the classification system of Carnatic music, called Melakarta system. Ragams are the South Indian form equivalent to the North Indian Ragas. The first group is Indu, beside Chandra a second name for moon. There is only one moon, therefore Indu is the first group, the first Chakra in the Melakarta system. The color red (similar to Chakra Svadhisthana) is assigned to this Melakarta Chakra. Singing of these moon ragas makes the heart feels relieved. We feel the gentleness and pleasant effect of the full moon.6th Melakarta Ragams (Kanakangi, Ratnangi, Ganamurti, Vanaspati, Manavati and Tanarupi) of the 1st Chakra Indu (Source: allcarnaticmusic.com)
Ranjani-Gayatri - 15 - Chandrakauns - Bhoota Mothe (Abhang).
Margazhi Mahotsavam 2007
Song: Pandhari Che Bhoota Mothe (abhang)
RAgam: Chandrakauns (somewhat similar to Malkauns/HindoLam)
Composer: Tukaram - Language: Marathi
Lyrics:
Pandhari Che Bhoota Mothe
Aalya Gailya Zhadapi Vaatay
Bahu Ghethalicha Raana
Bagha hey Veeday hoya Mana
Thethay Jaavu nakaa konnee
Gailay Nahi aalay Parathoni
Tuka Pandhari see gailaa
Punha Janma Nahi Aalaa
RAgam: Chandrakauns (somewhat similar to Malkauns/HindoLam)
Composer: Tukaram - Language: Marathi
Lyrics:
Pandhari Che Bhoota Mothe
Aalya Gailya Zhadapi Vaatay
Bahu Ghethalicha Raana
Bagha hey Veeday hoya Mana
Thethay Jaavu nakaa konnee
Gailay Nahi aalay Parathoni
Tuka Pandhari see gailaa
Punha Janma Nahi Aalaa
* Source: www.chandrakantha.com
Monday, December 20, 2010
Tribute! Pandit Vishnu Govind Jog (V.G. Jog)
Although the European instrument had long been championed in the related but disparate South Indian tradition, violin had found little favour or appreciation amongst musicians and rasikas in the north of the subcontinent. Pandit Jog ushered in a new era of musical appreciation of Hindustani- style violin and was unquestionably the `Violin Samrat` for all time to come.
Pt V.G. JOG Violin & Ut Shaik Dawood Tabla - Raag Ahir Bhairav
V. G. Jog - Raag Purvi
(http://www.hummaa.com/music/artist/Pt+V+G+Jog/15246)
| ||||||||||||||||||||||||
Ustad Zakir Hussain & Pandit VG Jog- Raga Jog
http://www.youtube.com/watch?v=UpnLo4EGLEg
http://www.youtube.com/watch?v=4jUxaLqgpTc
In recognition of his contribution to Hindustani Classical Music, he had innumerable awards and honours conferred on him. Chief among these were the Padma Bhushan (1982), the Sangeet Natak Akademi award (1981), and the ITC award. Pandit Jog was associated with All India Radio (AIR), Kolkata and was also a distinguished Member of the Experts Committee of the ITC Sangeet Research Academy.
Beginning in 1999, he suffered from Parkinson's disease, and also suffered from respiratory problems in his later years. After prolonged illness Pandit Jog died on Jan 31, 2004. Some of his famous disciples are Mr. Pallab Bandyopadhayay, Mr. Utpal Chakrabarty, Mr Subal Biswas and so on.
Saturday, December 18, 2010
About! Meerabai Bhajans
Her religious tendencies were encouraged by her mother and after her mother died, she was put up with her Grandfather. Their family held the worship of Lord Krishna in high regard and so Meera wasn't interrupted in anyway to carry on with her worship. Her bhajans suggest that she had an in-depth knowledge of music and poetry.Lata Mangeshkar sings Meerabai bhajan - Mhara re Giridhar Gopal
She was married to Prince Bhoj Raj of Chittor, son of Rana Sangha. She still held Lord Krishna her husband and apparently had her idol by her side even on the bridal seat. She refused to worship the family deity and continued to sing and dance in the shrine of Lord Krishna and often met other devotees who came to the shrine. This is was seen as a threat to the female piety, Meera now being a princess of a highly esteemed royal state. After her husband died within three years of the wedding, Meera refused to enter the fire, saying her husband was Lord Krishna. Her activities now seemed quite unacceptable to her husband's family members, and attempts were made to kill her twice as she was now seen as a blot of shame.
पग घूँघरू बाँध मीरा नाची रे।
मैं तो मेरे नारायण की आपहि हो गई दासी रे।
लोग कहै मीरा भई बावरी न्यात कहै कुलनासी रे॥
विष का प्याला राणाजी भेज्या पीवत मीरा हाँसी रे।
'मीरा' के प्रभु गिरिधर नागर सहज मिले अविनासी रे॥
"Meera dances with the anklets on her feet,
I'm my Narayan's, I'm his slave
The Rana has sent a cup of poison and Meera drinks it happily
People say Meera is mad, and the relations say Meera has betrayed her clan
Meera says Oh my Lord Giridhar, please come and meet me soon"
She miraculously survived all the attempts to murder her. She took to the dangers with a smile, knowing already about them. But her unflinching faith made her ready to face them all.
Lakshmi Shankar - Mirabai Meerabai Bhajan - Janama Marana
Inspite of all the negative attitude around her, Meera could only think about her Lord Giridhar. She was ready to face any obstacle, but nothing made her shun her love for Lord Krishna. She left her in-law's place , only to find herself moving out of her own house as well.
Meera began to travel wide and far.. Her lord Giridhar was the only thing she knew. Her bhajans speak for themselves, in volumes about her unparalleled devotion.
बसो मोरे नैनन में नंदलाल।
मोहनी मूरति सांवरि सूरति, नैणा बने बिसाल।
अधर सुधारस मुरली राजत, उर बैजंती-माल।।
छुद्र घंटिका कटि तट सोभित, नूपुर सबद रसाल।
मीरा प्रभु संतन सुखदाई, भगत बछल गोपाल।।
" Stay in my eyes, oh beloved of Nanda
With adorable persona, Dark complexion and magnificent eyes
The nectar providing flute adorning the lower lip, the never fading Vaijayanti Mala on the chest
The bells in the anklet giving beautiful sounds,
Meera's Lord the giver of prosperity and happiness....."
And her pining away to see her Lord is heart rendering:
जल बिन कमल, चंद बिन रजनी। ऐसे तुम देख्यां बिन सजनी॥
आकुल व्याकुल फिरूं रैन दिन, बिरह कलेजो खाय॥
दिवस न भूख, नींद नहिं रैना, मुख सूं कथत न आवै बैना॥
कहा कहूं कछु कहत न आवै, मिलकर तपत बुझाय॥
क्यूं तरसावो अंतरजामी, आय मिलो किरपाकर स्वामी॥
मीरां दासी जनम जनम की, पड़ी तुम्हारे पाय॥
"My beloved, give me Darshan, I am not able to live without you
Just like the Lotus cannot live without water and the Moon without the night,
The same way I cannot live without you.
Anxiety filled in me, I roam day and night
Seperation from you is like Death to my heart.
There's no hunger during the day, no sleep in the night, nothing comes out of my mouth
What do I say, i know nothing to say, satisfy my thirst by meeting me
Why do you test me, O Omnipotent Lord, Have pity, please come and meet me
Meera your slave in all births, falls at your feet"
Sainya main Girdhar ke - Bina Mehta - Mirabai Bhajan Ashit Desai
Album Gori Mori Vhaala Mora Gujarati
She is reported to have gone to Vrindavan, the place Lord Krishna is reported to have played in his childhood. During her final days, Meera is reported to have gone to Dwarka. It is believed that Meera disappeared into the idol of the Lord Krishna at Dwarka.
Her bhajans are immortal and are continued to be sung to this day throughout India. Mahatma Gandhi even portrayed her as the Independent woman, who chose her freedom and will and had the strength to live for all that she believed in. Meera, the Krishna Bhaktaa, still lives on. (Source: http://rebelliousmasala.blogspot.com/2009/11/mere-toh-giridhar-gopal-sant-meerabai.html)
Ustad Rashid Khan - Prabhu Aawan (Bhairavi) Depicting Mirabai's love, devotion & longing.
Girija Deviji in old city of Varanasi - Mirabhai Bhajan in Raag Madhuvanti madhya teentaal
Rattan Mohan Sharma & Shankar Mahadevan, Mirabai bhajan
MS Amma sings Mere to Giridhar Gopal, a famous bhajan by Meera Bhai
Thursday, December 16, 2010
Tribute! T.N. Rajaratnam Pillai, the Nagaswara Chakravarti...
"Pages ago - A trail-blazing nagaswaram genius" - The Hindu December 13 2010
Among the wind instruments of South India, the nagaswaram has always enjoyed a very good patronage. No auspicious function is complete without nagaswaram music. There is no pleasanter musical experience than to listen to nagaswaram being played in the stillness of the night three or four furlongs away. It forms a part of the ritual at home and in the temple. Probably the first music that a child hears, barring of course a mother's lullaby in a South Indian home, is nagaswaram. There are hundreds and hundreds of nagaswara vidwans. Any village may have a player attached to the local temple, but only a few have come to the top. Among them T.N. Rajaratnam Pillai is one of the most outstanding. He has not earned fame by pandering to popular tastes. On the other hand, he appears to be a puritan among puritans. That was the firm impression he left on me during the course of my conversation with him.
T.N.Rajaratnam Pillai sings~கொஞ்சும் கிளிகள்
He said that one of the reasons why a nagaswara vidwan did not enjoy the same status as any other musician was the former's inability to resist the temptation to play cheap tunes, merely because they are popular. “In my opinion, if a nagaswara vidwan cannot render big pieces of Tyagaraja and Dikshitar as ‘Sadhinchene', and 'Sri Subrahmanyaya', he is not entitled to respect. ‘Mohudi' (snake-charmer's tune) may be appealing to some but there are occasions when it should be played. I do not like a musician who reduces the standards just to become popular. I have quite often incurred the displeasure of my well-meaning friends by not obliging them with light music.”
In several ways, Rajaratnam has blazed a new trail. He claims he was the first to have introduced the all-wood pipe. In earlier days, the wider end of the pipe was made of metal. He has a special pipe which is longer than the usual types. Rajaratnam said that such a length was necessary if the musical syllables had to be rendered powerfully and correctly. There may not be unanimous approval of a tambura sruti for nagaswaram. But he was the first to introduce the change. He said that he got this idea while playing with the late Veena Dhanammal at Tiruvaduthurai - Rajaratnam's place. Dhanammal was an admirer of his music. At a performance in Soundarya Mahal in 1939, he had a tambura for the first time. Rajaratnam said that to play with tambura sruti was very difficult. There was no harm provided the player could correctly keep the sruti and play. In fact, he said, it would be an excellent combination if nagaswaram was introduced in a veena duet. He was anxious to try this himself and hoped to have a performance in Madras to the accompaniment of two veenas.
T.N.Rajarathnam Pillai- sings-Thodi Virutham
T.N. Rajaratnam Pillai was born in 1902 in Tirumarugal near Nannilam. His uncle Tirumarugal Natesan was a famous nagaswara player. In his seventh year, Rajaratnam learnt vocal music from Tirukodikaval Krishna Aiyar (the famous violinist) and Konerirajapuram Vaidyanatha Aiyar, a leading singer. He said he considered a few years' practice of vocal music necessary before one took to nagaswara. In his tenth year, he gave concerts to the accompaniment of Azhaghanambi Pillai on the mridangam. At that time the Pandara Sannidhi (Mutt) at Tiruvaduthurai had no nagaswara vidwan. So His Holiness suggested that Rajaratnam Pillai might take to nagaswaram—the profession of his ancestors. Rajaratnam obeyed. Sri Markandam Pillai took him under training, and taught him fundamentals. Rajaratnam had a remarkable swara gnana, having been trained by masters like Krishna Aiyar and Vaidyanatha Aiyar. After hardly six months he was able to perform like an accomplished player.Thus began a successful career. People went miles to listen to his playing. For some time Rudrapati Pillai accompanied him on the tavil. The most popular tavil player was, however, Malakkottai Panchapakesan, affectionately called Punchami.
| Song | MP3 File | Listen | Singer | ||
| Janakiramana | - | Listen | T.N. Rajaratnam ... (1984) | ||
| Mariyatha | - | Listen | T.N. Rajaratnam ... (1984) | ||
| Samajarasah | - | Listen | T.N. Rajaratnam ... (1984) | ||
| Jesina Della | - | Listen | T.N. Rajaratnam ... (1984) | ||
| Raghu Vara | - | Listen | T.N. Rajaratnam ... (1984) |
Rajaratnam tried his hand in films also. But his effort, “Kalamegham”, though it contained many inspiring songs, failed to click owing to technical deficiencies.
Rajaratnam is the recipient of many titles - Nagaswara Chakravarti, Isai Mannar, Sangita Ratnakara (awarded by His Holiness Sri Sankaracharya). Source: http://www.thehindu.com/arts/music/article948529.ece
Tuesday, December 14, 2010
Hindustani Classical Music, Its Evolution And Emotional Synthesis!
By Priyaankaa Mathur*, October 2010
Indian classical music is a heritage that has evolved through the centuries. It is a blend of ritualistic, folk and cultural expression of the sub-continent and represents music of different genres. At one extreme, it is classical music whilst at the other extreme; it is a mixture of musical genres of different regions that reflect the diversity of India.
Hindustani classical music is an Indian classical music tradition that took shape in northern India in the 13th and 14th centuries A. D. Its origins lie in existing religious, folk and theatrical performance practices. The origins of Hindustani classical music can be found in the Samaveda (wherein Sāman means "melody" and Veda means "knowledge"). The Samaveda comes second in the usual order of the four Vedas. Samaveda consists of a collection (Samhita) of hymns and verses or specifically indicated melodies called Samagana that were sung by the priests while offering libations to various deities.
Hindustani classical music has its origin as a form of meditation and is based upon ragas and taals each designed to affect different "chakras" (energy centers, or "moods") in the path of the "Kundalini" of the human system. Vedic practice traces specific physical, mental, biological and spiritual results associated with activation of these centres to generate the very sound of “OM”. ‘OM’ is believed to be the beginning of all creation in which are rooted the seeds of sound and music.
According to Bharata, there are nine mental states or feelings or Bhavas that are latent in our minds as the ‘Sthayibhavas’. They are Rati, Hasya, Krodha, Utsaha, Bhaya, Vismaya and Jugupsa. These are the objects of experience for a person. These nine Bhavas are latent in the minds of the Sahradya i.e. the knowledgeable contemplator in the form of ‘Sthayibhavas’ (permanent basic emotional states). When associated with Vibhavas i.e. the stimuli or environment, they are capable of infusing the emotional states and become the objects of mental perception in correlation to the artist’s creation and expression (bhava-abhivyakti). This emotional state is called “Rasa” and the aesthetic experience so achieved is “Rasanubhuti”. Thus, the aesthetic experiences which emerged as a result of these beliefs were called the “theory of rasa”, as propounded by Bharata (300 BC) in his extensive treatise “Natyashastra”. According to Bharata, there are nine emotional states or “navarasas”. These are: Shringar, Hasya, Karun, Raudra, Veer, Bhayanaka, Vibhatsya, Adbhut and Shant.
A gharana is more a school of thought rather than an institution. Each gharana developed distinct facets and styles of presentation and performance. Indian classical music has one of the most complex and complete musical systems ever developed in the history of mankind. It divides the Saptak (octave) into 12 swaras or semitones (5 shudha + 4 komal+1 tivra + 2 sthira) out of which the 8 basic notes are Sa Re Ga Ma Pa Dha Ni Sa, in that order.
Musicologists came to believe that music originated from natural sounds, such as the cry of a peacock which became the Swara note Sa or shadja. The voice of a Chatak (Rain bird) gave the Swara Re or Rishabh. Thecall of a Goat yielded the Swara Ga or Gandhara. The crowing of a crow became the Swara Ma or Madhyama. The sound of a cuckoo became the Swara Pa or Pancham. Thesound of a frog was considered the Swara Dha or Dhaivata. The trumpeting of an elephant became the Swara Ni or Nishaada. Hindustani music has a number of embellishments and ornamentations or gamaks like meend, kana, murki, etc. which enhance its aesthetic appeal. The prime themes of Hindustani music are romantic love, descriptions of nature’s beauty and devotion to the almight. These are, in-turn, enhanced further with the use of the embellishments in appropriate measure.
The wide range and complex content of Indian music was not restricted merely to India. It was also influenced by countries like Persia and Afghanistan. The 'Sufi' influence in Hindustani music during the medieval period was fused with ideas from Persian music, particularly through the influence of Sufi composers like Amir Khusru and Tansen. However, Amir Khusru is erroneously referred to as the inventor of the sitar and tabla and numerous musical forms such as khayal and tarana. The Hindustani music that developed during the time of the Moghul period (15th and 16th centuries, A.D.) is based on the rich Indian tradition and its interaction with Moghul influences.
During the rule of Moghul emperor Akbar, Hindustani music reached its zenith, mainly due to Mian Tansen (He was born Tanna Mishra or Ramtanu to Makarand Pande. The name of his Guru was Swami Haridas), who was one of the nine jewels in Akbar's court. It was during this era that Hindustani music, like an ever flowing river, absorbed many streams of varied musical genres such as Dhrupad, Dhamar and Khayal. Many semi-classical music genres also came in vogue during the period of Mughal Emperor Mohammad Shah Rangila. These were Thumri, Dadra, Hori, Sawan and Chaiti.
Subscribe to:
Posts (Atom)
