HINDUSTANI MUSIC

It is unclear when the process of differentiation of Hindustani music started. The development of Hindustani music reached a peak during the rule of Akbar. During this 16th century period, Tansen studied music for about six years of his life with the help of Hindu king Ram Chand of Gwalior, and after that he performed at the Muslim court of Akbar. Therefore many musicians consider Tansen is the founder of Hindustani Music. Tansen style of music inspired many, and many modern gharanas. 

Hindustani music exists in four major forms Dhrupad, Khyal, Tarana and the semi classical Thumri.

Thumri is romantic or devotional in nature. The term Thumri is derived from the Hindi verb "thumakna" means to walk with dancing steps so as to make the ankle bells tinkle. The lyrics are usually in Uttarpradesh dialects of Hindi called Awadhi and Brij bhasha. There are three major groups of Thumri Lucknow gharana, Banaras gharana and Punjabi gharana.

Tappa is a form of  Indian semi classical vocal music. Its specialty is a rolling pace base on fast, fine and complex constriction. Its tunes are melodious, sweet and depict the emotional explosion of lover. It was existed in Rajasthan and Punjab region before it was systematised into classical music stricture. It bacame popular with the Bengali musician's, developing their tappa.

Dhrupad, the ancient form described in the Hindu text Natyashastra, is one of the key forms of classical music found all over the Indian subcontinent. The word from Dhruva which means stable and permanent. It has four stanzas called  Sthayi, Antara, Sanchari and Abhoga.

Tarana is a type of composition in Hindustani classical vocal music in which there are certain words and syllables are used based on Persian and Arabic phonemes. For example Odani, Todani, Tadeem and Yalali.

Khyal or khayal is a traditional type of song from the northern part of the Indian subcontinent, with instrumental accompaniment. Khyal name come from an Arabic word meaning " imagination". It is thought to have developed out of Dhrupad introducing frequent taans and alankars. It is more free and flexible form and it provides greater scope improvisation and typically it having two main stanzas.

About my blog: This was the concluding part of the blog series explaining"History of Indian Classical Music".
The last three blogs(including this one)explained about origin and versatility of Indian Classical Music. We came to know about the different forms, rules and regulations of classical music.

Part II
Some of the ancient texts of Hinduism such as the Samaveda are structured entirely to melodic themes, it is a sections of Rigveda set to music. The Samaveda is organised into two formats. One part is based on music meter and another one is on rituals.

The swaras have about 12 different forms and different combinations, which are made to sit under the names of different Ragas. 

The lyrical part of the song is called "Sahityam" means singing the swaras all together but using the lyrics of the song.

The hymns of Samaveda contain melodic content, form, rhythm and metric organisation. The Rigveda also insert musical meter, without the kind of elaboration found in the Samaveda.

                                                                                

 

 About picture: Five Gandharvas from 4th-5th century CE, North West South Asia, carrying the four types of musical instruments. Gandharvas are discussed in Vedik era literature.

In the ancient traditions of Hinduism, two musical genre appeared, namely Gandharva (formal music) and Gana (informal music).

The Gandharva music also implied divine associations and while Gana aslo implied singing.

The Vedic Sanskrit musical tradition had spread widely in the Indian subcontinent.

About my blog: While reading this post you would have come to know that music was discovered long long ago. It is beyond history and it is im-memorable.

For more information wait for my upcoming post.

                     HISTORY OF MUSIC
Part I
Indian Classical Music is the classical music of the Indian subcontinent. We all know that it has two major traditions Hindustani and Carnatic. These traditions were not distinct till about the 16th century. During the turmoils( a state of great disturbance, confusion) of islamic rule period of the Indian subcontinent, the traditions separated and evolved into distinct forms.

Hindustani Music emphasizes improvisation and exploring all aspects of a raga, while Carnatic Music performances tend to be short and composition based. However these two major traditions have more common features then differences.

The roots of the Classical Music of India are found in the Vedic literature of Hindustani and the ancient Natyashastra. The classic Sanskrit text on performance arts by Bharat Muni. Natyashastra is at the foundation of the numerous Classical Music and dance traditions of India. Before Natyashastra was finalized, the ancient Indian traditions had classified musical instruments into four groups, which are four separate chapter in Natyashastra, one of each stringed instruments (chordophones), hollow instruments (aerophones), solid instruments (idiophones) and covered instruments (membraphones).

The 13th century Sanskrit text Sangita- Ratnakara of Sarangdeva is regarded as the definitive text by both the Hindustani and Carnatic Music traditions. It was patronized by king singhana of the Yadav dynasty in Maharashtra mentions and discusses Ragas and Talas. He identifies seven tala families, then subdivides them into rhythmic ratios.

Sangita-Ratnakara is one of the most complete historic medieval era Hindu treaties on this subject that has survived into the modern era, that relates to the structure technique and reasoning behind Ragas and Taal.

About my blog:  This is the history of Indian Classical Music, more history is still remaining. I am going to touch those aspects in my next post. 

So wait for my upcoming post.

10 February 2019...
I was very curiously waiting for this musical programme, that excitement of watching Pandit Venkatesh Kumar finally came true. When I saw him I was totally astonished, I was not knowing what to do and what not. I just wanted to touch his feet and take blessings from him.
Most of the musical singers especially male singers,whom I have seen they used to wear fashionable clothes but Pandit Venkatesh Kumar was in his routine dressed. His dressing style was simple.

In this programme he sang two Raags that is Raag - Shudha kalyan and Raag - Bihag.
When he was singing I was carried away by sweetness of his voice and I was totally engrossed. You can judge what kind of human being he is from his singing style. If you start listening to his voice, the people will fall in love with his melodious voice which should have no ending.
His respect towards his field, career, music and people is just noteworthing and this muscial programme was ending with Bhairavi.( A song sang in bhairavi raag inorder to close a musical event or show)

About my blog: My dream is fulfilled for which i was waiting eagerly from the day I heard about him. Thanks to RADHAKRISHNA ACADEMY for fulfilling my dream...
For more information wait for my upcoming post...

Hiii friends...here i have come with my second blog which will inform you regarding the upcoming musical programme in Goa 7th KAI. DHONDU BHIKU NAIK SMRUTI SANGEET SAMAROH which is organised by RADHAKRISHNA SANGEET ACADEMY, KALA AND SANSKRUTI. This upcoming event will be held on 10th February 2019 at Ravindra Bhavan Sakhali, Goa. The scheduled timing is from 9:30am to 9:30pm.

 The Indian Classical Music is great in its versatility. It always encourages many people to go ahead in music and achieve their goals. The people who made music as their life are always a true inspiration to every artists. The main idea to organise this event is to nurture and identify the various talents across Goa who have interest towards music.
For this event, a well known renowned musical artist from India Pt Venkatesh Kumar will be the main guest. I would like to give a gist information about Venkatesh kumar.
Sir was born on 1 July 1953 in Lakshamipura in the Bellary region of North karnataka. His father late. Huleppa was folk singer and a leather puppeteer. In 1968 when he was 12 years old, Venkatesh Kumar was taken by his uncle Belagallu Veeranna to the Veereshwara Punyashrama in Gadag run by Veerashaiva saint and Hindustani musician, Pattaraj Gawai.

He highlights some of the important feature about Dharwad, that it is a big name in the Indian Classical music. Most of the Indian Classical singers are trained and brought up in Dharwad.
Dharwad region is well known for the confluence of three Gharana's - GWALIOR, KIRANA, JAIPUR.
He was attached to Dharwad University and he had spend his 12 years in Dharwad to learn this three Gharana's from his Guru Pattaraj Gawai.
 Lastly ,his of the view that whatever knowledge he has acquired from his gurus , he wants to transfer it by meeting young music enthusiasts.


About my blog: This is an golden opportunity to all the music lovers to come and enjoy the musical moments with renowned musical artist. So do come on 10th February 2019 and get inspired.
For more information wait for my upcoming post....

CHANGING SCENARIO OF INDIAN MUSIC

Change is constant in each and every sphere of life. A lot of changes occur as time passes. Similarly the Indian traditional music is undergoing tremendous transformation from its evolution.
The fusion of Indian Music with Western Musical creation has added advantages for the upcoming singers, rockstars and performers.
A lot of Indian Musical instruments have been used in a Western Musical style which is widely accepted.



In one of her TV reality shows Aasha Bhosle spoke about how Indian Music industry is undergoing tremendous change with the fusion. She is also of the view that due to evolution of Western musical fusions, the Indian Classical Music has lost it's popularity and is on the verge of decline.
In today's generations, musical enthusiasts are attracted towards the Western Music by neglecting the traditional Classical Music.
Most of the artists in the Music Industry think that Classical Music is very difficult to learn. She also shares her experience about her past recording days in the studio where in they used to record 5 to 6 songs a day, but in today's Musical world hardly very few songs are recorded per day. This is because of various fusions which are included in the songs.
She also added that a lot of freedom is given to the singers, according to their level of singing abilities. Whereas during her time, the singers having low pitched voice were made to sing with high pitched singers. Their duet song recordings were done under careful supervision with utmost care so that their voices matched. But this is not same in today's Music Industry.


While concluding her talk, she advised singers of today's generation to completely rely on their self ability to compose and sing their songs or melodies and try to spread it in foreign lands. She is also of the view that today's generation is technology oriented. Everything is available with a click of button. Today's singers or artists can learn a lot without taking help of the experts This she says because we can learn it with the help of media, internet, you tube etc..


Aasha Bhosle is renowned playback singer in Hindi Cinema. She has done playback singing for over thousands Indian movies in addition she has recorded several private albums and she has sang more than 12,000 songs in 20 different regional languages.





ABOUT MY BLOG: In my first blog I have written about the experiences shared by our renowned bollywood singer Aasha Bhosle..In my opinion today's Musical World is mesmerising with the fusion of various musics across the world. Perhaps today's singers and composers are totally different from the past artists. Though the competition in musical industry has increased but there is a lot of capability in today's music lovers who want to achieve their goal in his or her field.
For more information wait for my upcoming post.