92-555: Dadra is associated with the Hindustani classical music of the Indian subcontinent . This is a Hindustani classical tala (rhythmic cycle), consisting of six beats in two equal divisions of three. The most commonly accepted theka or basic pattern for this tala is dha dhi na, dha tu na . There is a higher emphasis laid on the first swar in comparison the following two, that is, dha - higher emphasis following dhi na and again
184-490: A comprehensive aid to the learning of virtue, proper behavior, ethical and moral fortitude, courage, love and adoration of the divine. — Susan L. Schwartz The contents of the Natyashastra , states Susan Schwartz, are "in part theatrical manual, part philosophy of aesthetics, part mythological history, part theology". It is the oldest surviving encyclopedic treatise on dramaturgy from India, with sections on
276-479: A classic Sanskrit bhasya ("reviews and commentaries") – written by Abhinavagupta . The title of the text is composed of two words, "Nāṭya" and "Shāstra". The root of the Sanskrit word Nāṭya is Nata (नट) which means "act, represent". The word Shāstra (शास्त्र) means "precept, rules, manual, compendium, book or treatise", and is generally used as a suffix in the Indian literature context, for knowledge in
368-452: A defined area of practice. Performance arts and culture Let Nāṭya (drama and dance) be the fifth vedic scripture . Combined with an epic story, tending to virtue, wealth, joy and spiritual freedom, it must contain the significance of every scripture, and forward every art. — Nāṭyaśāstra 1.14–15 The composition date of Nāṭya Shāstra is unknown. Estimates vary between 500 BCE to 500 CE. The text may have started in
460-507: A drama can deploy to carry its message. The text describes four means of communication between the actors and the audience – words, gestures, dresses, representation of temperament and aharya (make ups, cosmetics), all of which should be harmonious with the temperament envisioned in the drama. The text discusses the dominant, transitory and temperamental states, for dramatic arts, and the means that an artist can use to express these states, in chapters 6 through 7. The Natyashastra describes
552-578: A few generations (e.g. the Sham Chaurasia gharana). Meanwhile, the Bhakti and Sufi traditions continued to develop and interact with the different gharanas and groups. Until the late 19th century, Hindustani classical music was imparted on a one-on-one basis through the guru-shishya ("mentor-protégé") tradition. This system had many benefits but also several drawbacks. In many cases, the shishya had to spend most of his time, serving his guru with
644-545: A form of Vedic ritual ceremony (yajna). The general approach of the text is treated entertainment as an effect, but not the primary goal of arts. The primary goal is to lift and transport the spectators, unto the expression of ultimate reality and transcendent values. The text allows, states Schwartz, the artists "enormous innovation" as they connect the playwright and the spectators, through their performance, to Rasa (the essence, juice). The "rasa theory" of Natyashastra , states Daniel Meyer-Dinkgräfe, presumes that bliss
736-518: A higher emphasis on dha following tu na . मात्रा भाग : 3-3. धा धिं ना - धा तीं ना It has a characteristic pattern of bols (theka). This can also be shown using the following figure In this context dadra is a light classical vocal form in Hindustani classical music , mostly performed in Agra and in Bundelkhand region. It was originally accompanied by dadra tala (from where
828-546: A higher level of consciousness, suggests Natyashastra . Great songs do not instruct or lecture, they delight and liberate from within to a state of godlike ecstasy. According to Susan Schwartz, these sentiments and ideas of Natyashastra likely influenced the devotional songs and musical trends of the Bhakti movement that emerged in Hinduism during the second half of the 1st millennium CE. Indian dance ( nritta , नृत्त) traditions, states Daniel Meyer-Dinkgräfe, have roots in
920-452: A mood of elation and are usually performed towards the end of a concert. They consist of a few lines of bols either from the rhythmic language of Tabla , Pakhawaj , or Kathak dance set to a tune. The singer uses these few lines as a basis for fast improvisation. The tillana of Carnatic music is based on the tarana, although the former is primarily associated with dance. Tappa is a form of Indian semi-classical vocal music whose specialty
1012-573: A perfect match, which, before Thumri became a solo form, were performed together. Some recent performers of this genre are Abdul Karim Khan , the brothers Barkat Ali Khan and Bade Ghulam Ali Khan , Begum Akhtar , Nirmala Devi , Girija Devi , Prabha Atre , Siddheshwari Devi , Shobha Gurtu , and Chhannulal Mishra . Natya Shastra Divisions Sama vedic Yajur vedic Atharva vedic Vaishnava puranas Shaiva puranas Shakta puranas Traditional The Nāṭya Shāstra ( Sanskrit : नाट्य शास्त्र , Nāṭyaśāstra )
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#17327732266141104-529: 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" theory, which asserts that entertainment
1196-434: A rendition of bandish, with the pakhawaj as an accompaniment. The great Indian musician Tansen sang in the dhrupad style. A lighter form of dhrupad called dhamar , is sung primarily during the spring festival of Holi . Dhrupad was the main form of northern Indian classical music until two centuries ago when it gave way to the somewhat less austere khyal, a more free-form style of singing. Since losing its main patrons among
1288-477: A super sensual inner state of being. The Natya connects through abhinaya , that is applying body-speech-mind and scene, wherein asserts Natyashastra , the actors use two practices of dharmi (performance), in four styles and four regional variations, accompanied by song and music in a playhouse carefully designed to achieve siddhi (success in production). The verse details the eleven essential components of drama and dramatic production: The text discusses
1380-808: A supersensual state of discovery and understanding. The stories and plots were provided by the Itihasas (epics), the Puranas and the Kathas genre of Hindu literature. The text also states that the god Brahma combined the elements of acting from the four Vedas: "recitation from the Rigveda , music from the Samaveda , mimetic art from the Yajurveda , and sentiments from the Atharvaveda ." The text states that
1472-407: A variety of performance arts as well as the design of the stage. The text details three architectural styles for the playhouse: Drama, in this ancient Sanskrit text, is an art to engage every aspect of life, in order to glorify and gift a state of joyful consciousness. The text discusses the universal and inner principles of drama, that it asserts successfully affects and journeys the audience to
1564-548: Is Gauhar, Khandar and Nauharvani.The living legends of this gharana is Pt. Ramjee Mishra A section of dhrupad singers of Delhi Gharana from Mughal emperor Shah Jahan 's court migrated to Bettiah under the patronage of the Bettiah Raj , giving rise to the Bettiah Gharana. Khyal is the modern Hindustani form of vocal music. Khyal, literally meaning "thought" or "imagination" in Hindustani and derived from
1656-411: Is a Sanskrit scripture describing the theory of music and its applications in not just musical form and systems but also in physics, medicine and magic. It is said that there are two types of sound: āhata (struck/audible) and anāhata (unstruck/inaudible). The inaudible sound is said to be the principle of all manifestation, the basis of all existence. There are three main 'Saptak' which resemble to
1748-424: Is a Sanskrit treatise on the performing arts . The text is attributed to sage Bharata , 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 6,000 poetic verses describing performance arts. The subjects covered by the treatise include dramatic composition, structure of
1840-412: Is a desired effect of performance arts but not the primary goal, and that the primary goal is to transport the individual in the audience into another parallel reality, full of wonder, where they experience the essence of their own consciousness, and reflect on spiritual and moral questions. The text further inspired secondary literature such as the 10th century commentary Abhinavabharati – an example of
1932-593: Is also used to refer to Indian classical music in general. It is played on instruments like the veena , sitar and sarod . It diverged in the 12th century CE from Carnatic music , the classical tradition of Southern India . While Carnatic music largely uses compositions written in Sanskrit , Kannada , Telugu , Tamil , Malayalam , Hindustani music largely uses compositions written in Hindi , Urdu , Braj , Avadhi , Bhojpuri , Bengali , Rajasthani , Marathi and Punjabi . Knowledge of Hindustani classical music
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#17327732266142024-458: Is into "melodic modes" or "parent scales", known as thaats , under which most ragas can be classified based on the notes they use. Thaats may consist of up to seven scale degrees, or swara . Hindustani musicians name these pitches using a system called Sargam , the equivalent of the Western movable do solfege : Both systems repeat at the octave. The difference between sargam and solfege
2116-487: Is intrinsic and innate in man, it exists in oneself, that manifests non-materially through spiritual and personally subjective means. Performance arts aim to empower man to experience this rasa , or re-experience it. Actors aim to journey the spectator to this aesthetic experience within him. Rasa is prepared, states Natya Shastra , through a creative synthesis and expression of vibhava (determinants), anubhava (consequents) and vyabhicharibhava (transitory states). In
2208-573: Is its rolling pace based on fast, subtle, knotty construction. It originated from the folk songs of the camel riders of Punjab and was developed as a form of classical music by Mian Ghulam Nabi Shori or Shori Mian, a court singer for Asaf-Ud-Dowlah , the Nawab of Awadh . "Nidhubabur Tappa", or tappas sung by Nidhu Babu were very popular in 18th and 19th-century Bengal. Thumri is a semi-classical vocal form said to have begun in Uttar Pradesh with
2300-474: Is mentioned in other late Vedic texts, as are two scholars names Shilalin ( IAST : Śilālin) and Krishashva (Kṛśaśva), credited to be pioneers in the studies of ancient drama, singing, dance and Sanskrit compositions for these arts. The Natyashastra refers to drama performers as Śhailālinas, likely because they were so known at the time the text was written, a name derived from the legacy of the vedic sage Śilālin credited with Natasutras . Richmond et al. estimate
2392-459: Is presented in chapters 26 and 35 of the text. The theory of music, techniques for singing, and music instruments are discussed over chapters 28 to 34. The text in its final chapters describes the various types of dramatic characters, their roles and need for team work, what constitutes an ideal troupe, closing out the text with its comments of the importance of performance arts on culture. Dramatic arts Natyashastra praises dramatic arts as
2484-471: Is primarily vocal-centric, insofar as the musical forms were designed primarily for a vocal performance, and many instruments were designed and evaluated as to how well they emulate the human voice. The major vocal forms or styles associated with Hindustani classical music are dhrupad , khyal , and tarana . Light classical forms include dhamar , trivat , chaiti , kajari , tappa , tap-khyal , thumri , dadra , ghazal and bhajan ; these do not adhere to
2576-638: Is set to a melodic pattern called a raga characterized in part by specific ascent ( aroha ) and descent ( avaroha ) sequences, "king" ( vadi ) and "queen" ( samavadi ) notes and characteristic phrases ( pakad ). Ragas may originate from any source, including religious hymns, folk tunes, and music from outside the Indian subcontinent . For example, raga Khamaj and its variants have been classicized from folk music, while ragas such as Hijaz (also called Basant Mukhari) originated in Persian maqams. The Gandharva Veda
2668-483: Is taught through a network of classical music schools, called gharana . Hindustani classical music is an integral part of the culture of India and is performed across the country and internationally. Exponents of Hindustani classical music, including Ustad Bismillah Khan , Pandit Bhimsen Joshi , and Ravi Shankar have been awarded the Bharat Ratna , the highest civilian award of India, for their contributions to
2760-409: Is that re, ga, ma, dha, and ni can refer to either "Natural" ( shuddha ) or altered "Flat" ( komal ) or "Sharp" ( teevra ) versions of their respective scale degrees. As with movable do solfege, the notes are heard relative to an arbitrary tonic that varies from performance to performance, rather than to fixed frequencies, as on a xylophone. The fine intonational differences between different instances of
2852-619: Is the tradition of religious neutrality: Muslim ustads may sing compositions in praise of Hindu deities, and Hindu pandits may sing similar Islamic compositions. Vishnu Digambar Paluskar in 1901 founded the Gandharva Mahavidyalaya, a school to impart formal training in Hindustani classical music with some historical Indian Music. This was a school open to all and one of the first in India to run on public support and donations, rather than royal patronage. Many students from
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2944-461: Is used in instrumental music in dhrupad. Dhrupad music is primarily devotional in theme and content. It contains recitals in praise of particular deities. Dhrupad compositions begin with a relatively long and acyclic alap, where the syllables of the following mantra is recited: " Om Anant tam Taran Tarini Twam Hari Om Narayan, Anant Hari Om Narayan ". The alap gradually unfolds into more rhythmic jod and jhala sections. These sections are followed by
3036-609: The Gandharva Mahavidyalaya music school that he opened in Lahore in 1901, helped foster a movement away from the closed gharana system. Paluskar's contemporary (and occasional rival) Vishnu Narayan Bhatkhande recognized the many rifts that had appeared in the structure of Indian classical music. He undertook extensive research visits to a large number of gharanas, Hindustani as well as Carnatic, collecting and comparing compositions. Between 1909 and 1932, he produced
3128-428: The "Rasa" theory on aesthetics in performance arts, while chapters 8 to 13 are dedicated to the art of acting. Stage instruments such as methods for holding accessories, weapons, relative movement of actors and actresses, scene formulation, stage zones, conventions and customs are included in chapters 10 to 13 of the Natyashastra . The chapters 14 to 20 are dedicated to plot and structure of underlying text behind
3220-579: The Gana was free form art and included singing. The Sanskrit musical tradition spread widely in the Indian subcontinent during the late 1st millennium BCE, and the ancient Tamil classics make it "abundantly clear that a cultivated musical tradition existed in South India as early as the last few pre-Christian centuries". The art schools of Shilalin and Krishashva, mentioned in both the Brahmanas and
3312-537: The ITC Sangeet Research Academy . Meanwhile, Hindustani classical music has become popular across the world through the influence of artists such as Ravi Shankar and Ali Akbar Khan . Indian classical music has seven basic notes with five interspersed half-notes, resulting in a 12-note scale. Unlike the 12-note scale in Western music, the base frequency of the scale is not fixed, and intertonal gaps ( temperament ) may also vary. The performance
3404-597: The Kalpasutras and Srautasutras , may have been associated with the performance of vedic rituals, which involved storytelling with embedded ethical values. The Vedanga texts such as verse 1.4.29 of Panini Sutras mention these as well. The roots of the Natyashastra thus likely trace to the more ancient vedic traditions of integrating ritual recitation, dialogue and song in a dramatic representation of spiritual themes. The Sanskrit verses in chapter 13.2 of Shatapatha Brahmana (~800–700 BCE), for example, are written in
3496-538: The Natasutras to have been composed around 600 BCE. According to Lewis Rowell, a professor of Music specializing on classical Indian music, the earliest Indian artistic thought included three arts, syllabic recital ( vadya ), melos ( gita ) and dance ( nrtta ), as well as two musical genre, Gandharva (formal, composed, ceremonial music) and Gana (informal, improvised, entertainment music). The Gandharva subgenre also implied celestial, divine associations, while
3588-589: The maharajahs and nawabs declined in the early 20th century, so did their patronage. With the expulsion of Wajid Ali Shah to Calcutta after 1857, the Lucknavi musical tradition came to influence the music of the renaissance in Bengal , giving rise to the tradition of Ragpradhan gan around the turn of the century. Raja Chakradhar Singh of Raigarh was the last of the modern-era Maharajas to patronize Hindustani classical musicians, singers and dancers. Also, at
3680-436: The sitar ) were also introduced in his time. Amir Khusrau is sometimes credited with the origins of the khyal form, but the record of his compositions does not appear to support this. The compositions by the court musician Sadarang in the court of Muhammad Shah bear a closer affinity to the modern khyal. They suggest that while khyal already existed in some form, Sadarang may have been the father of modern khyal. Much of
3772-524: The 'Octaves' in Western Music except they characterize total seven notes or 'swaras' instead of eight. These are-- low ( mandra), medium ( madhya) and high ( tāra ) . Each octave resonates with a certain part of the body, low octave in the heart, medium octave in the throat and high octave in the head. The rhythmic organization is based on rhythmic patterns called tala . The melodic foundations are called ragas. One possible classification of ragas
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3864-521: The 16th century, the singing styles diversified into different gharanas patronized in different princely courts. Around 1900, Vishnu Narayan Bhatkhande consolidated the musical structures of Hindustani classical music, called ragas , into a few thaats based on their notes. This is a very flawed system but is somewhat useful as a heuristic. Distinguished musicians who are Hindu may be addressed as Pandit and those who are Muslim as Ustad . An aspect of Hindustani music going back to Sufi times
3956-439: The 1st millennium BCE, expanded over time, and most scholars suggest, based on mention of this text in other Indian literature, that the first complete version of the text was likely finished between 200 BCE to 200 CE. The Nāṭyaśāstra is traditionally alleged to be linked to a 36,000 verse Vedic composition called Adibharata , however there is no corroborating evidence that such a text ever existed. The text has survived into
4048-462: The Dhrupad vocalists of this tradition. A Very ancient 500 years old Dhrupad Gharana from Bihar is Dumraon Gharana, Pt. Tilak Chand Dubey , Pt. Ghanarang Baba was founder of this prestigious Gharana.Dumraon Gharana Dist-Buxar is an ancient tradition of Dhrupad music nearly 500 years old. This Gharana flourished under the patronage of the king of Dumraon Raj. The dhrupad style (vanis) of the gharana
4140-769: The Hindu culture from their kingdoms. This helped spur the fusion of Hindu and Muslim ideas to bring forth new forms of musical synthesis like qawwali and khyal . The most influential musician of the Delhi Sultanate period was Amir Khusrau (1253–1325), a composer in Persian , Turkish and Arabic , as well as Braj Bhasha . He is credited with systematizing some aspects of Hindustani music and also introducing several ragas such as Yaman Kalyan , Zeelaf and Sarpada . He created six genres of music: khyal, tarana , Naqsh, Gul, Qaul and Qalbana. A number of instruments (such as
4232-538: The Mughal Empire came into closer contact with Hindus, especially under Jalal ud-Din Akbar , music and dance also flourished. In particular, the musician Tansen introduced a number of innovations, including ragas and particular compositions. Legend has it that upon his rendition of a nighttime raga in the morning, the entire city fell under a hush and clouds gathered in the sky so that he could light fires by singing
4324-467: The Persian/Arabic term, is a two- to eight-line lyric set to a melody. Khyal contains a greater variety of embellishments and ornamentations compared to dhrupad . Khyal 's features such as sargam and taan as well as movements to incorporate dhrupad-style alap have led to it becoming popular. The importance of the khyal's content is for the singer to depict, through music in the set raga ,
4416-546: The School's early batches became respected musicians and teachers in North India. This brought respect to musicians, who were treated with disdain earlier. This also helped spread of Hindustani classical music to masses from royal courts. Ravana and Narada from Hindu tradition are accomplished musicians; Saraswati with her veena is the goddess of music. Gandharvas are presented as spirits who are musical masters, and
4508-506: The aesthetics of Natyashastra . The text defines the basic dance unit to be a karana , which is a specific combination of the hands and feet integrated with specific body posture and gait ( sthana and chari respectively). Chapter 4 describes 108 karanas as the building blocks to the art of dance. The text states the various movements of major and minor limbs with facial states as means of articulating ideas and expressing emotions. The Natyashastra is, states Emmie te Nijenhuis ,
4600-496: The arts by the time Agni Purana was composed. The Natyashastra is the oldest surviving ancient Indian work on performance arts. The roots of the text extend at least as far back as the Naṭasūtras , dated to around the mid 1st millennium BCE. The Natasutras are mentioned in the text of Panini , the sage who wrote the classic on Sanskrit grammar , and who is dated to about 500 BCE. This performance arts related Sutra text
4692-496: The arts. 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 concept of harmony. These principles were refined in the musical treatises Natya Shastra , by Bharata (2nd–3rd century CE), and Dattilam (probably 3rd–4th century CE). In medieval times,
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#17327732266144784-437: The audience tastes dominant states of a drama through expression of words, gestures and temperaments. These dominant states are love, mirth, sorrow, anger, energy, terror, disgust and astonishment. Further, states the text, there are 33 psychological states which are transitory such as discouragement, weakness, apprehension, intoxication, tiredness, anxiety, agitation, despair, impatience. There are eight temperamental states that
4876-480: The court of Nawab Wajid Ali Shah , (r. 1847–1856). There are three types of thumri: poorab ang, Lucknavi, and Punjabi thumri. The lyrics are primarily in older, more rural Hindi dialects such as Brij Bhasha , Awadhi , and Bhojpuri . The themes covered are usually romantic in nature, hence giving more importance to lyrics rather than Raag, and bringing out the storytelling qualities of music. The need to express these strong emotional aesthetics makes Thumri and Kathak
4968-603: The earliest musical composition sung in the classical tradition called Ashtapadi music . In the 13th century, Sharangadeva composed the Sangita Ratnakara , which has names such as the Turushka Todi ("Turkish Todi "), revealing an influx of ideas from Islamic culture. This text is the last to be mentioned by both the Carnatic and the Hindustani traditions and is often thought to date the divergence between
5060-404: The earliest periods of the common era . Narada 's Sangita Makarandha treatise, from about 1100 CE, is the earliest text where rules similar to those of current Hindustani classical music can be found. Narada actually names and classifies the system in its earlier form before the Persian influences introduced changes in the system. Jayadeva 's Gita Govinda from the 12th century was perhaps
5152-602: The emotional significance of the khyal. The singer improvises and finds inspiration within the raga to depict the khyal. The origin of Khyal is controversial, although it is accepted that this style was based on dhrupad and influenced by other musical traditions. Many argue that Amir Khusrau created the style in the late 14th century. This form was popularized by Mughal Emperor Mohammad Shah through his court musicians; some well-known composers of this period were Sadarang , Adarang , and Manrang . Another vocal form, taranas are medium- to fast-paced songs that are used to convey
5244-424: The form of a riddle play between two actors. The Vedic sacrifice ( yajna ) is presented as a kind of drama, with its actors, its dialogues, its portion to be set to music, its interludes, and its climaxes. The most studied version of the text, consisting of about 6000 poetic verses, is structured into 36 chapters. The tradition believes that the text originally had 12,000 verses. Somewhat different versions of
5336-596: The fundamental melodic structures similar to the raga . The names of the Jatis reflect regional origins, for example Andhri and Oudichya . Music also finds mention in a number of texts from the Gupta period ; Kalidasa mentions several kinds of veena (Parivadini, Vipanchi ), as well as percussion instruments ( mridang ), the flute ( Vamshi ) and conch ( Shankha ). Music also finds mention in Buddhist and Jain texts from
5428-679: The gandharva style looks to music primarily for pleasure, accompanied by the soma rasa. In the Vishnudharmottara Purana , the Naga king Ashvatara asks to know the swaras from Saraswati . While the term raga is articulated in the Natya Shastra (where its meaning is more literal, meaning "color" or "mood"), it finds a clearer expression in what is called Jati in the Dattilam , a text composed shortly after or around
5520-625: The good and the bad, actions and feelings, of each character, whether God or man. According to Natyashastra , state Sally Banes and Andre Lepeck, drama is that art which accepts human beings are in different inner states when they arrive as audience, then through the art performed, it provides enjoyment to those wanting pleasure, solace to those in grief, calmness to those who are worried, energy to those who are brave, courage to those who are cowards, eroticism to those who want company, enjoyment to those who are rich, knowledge to those who are uneducated, wisdom to those who are educated. Drama represents
5612-614: The government-run All India Radio , Bangladesh Betar and Radio Pakistan helped bring the artists to public attention, countering the loss of the patronage system. The first star was Gauhar Jan , whose career was born out of Fred Gaisberg 's first recordings of Indian music in 1902. With the advance of films and other public media, musicians started to make their living through public performances. A number of Gurukuls , such as that of Alauddin Khan at Maihar , flourished. In more modern times, corporate support has also been forthcoming, as at
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#17327732266145704-404: The hope that the guru might teach him a " cheez " (piece or nuance) or two. In addition, the system forced the music to be limited to a small subsection of the Indian community. To a large extent, it was limited to the palaces and dance halls. It was shunned by the intellectuals, avoided by the educated middle class, and in general, looked down upon as a frivolous practice. First, as the power of
5796-771: The junior Dagar brothers, Nasir Zahiruddin and Nasir Faiyazuddin Dagar ; and Wasifuddin , Fariduddin , and Sayeeduddin Dagar . Other leading exponents include the Gundecha Brothers and Uday Bhawalkar , who have received training from some of the Dagars. Leading vocalists outside the Dagar lineage include the Mallik family of Darbhanga tradition of musicians; some of the leading exponents of this tradition were Ram Chatur Mallick, Siyaram Tiwari , and Vidur Mallick. At present Prem Kumar Mallick, Prashant and Nishant Mallick are
5888-499: The manuscripts exist, and these contain 37 or 38 chapters. Predominant number of its verses are in precise Anustubh meter (4x8, or exactly 32 syllables in every shloka ), some verses are in Arya meter (a morae-based Sanskrit meter), and the text has some text that is in prose particularly in chapters 6, 7 and 28. The structure of the text harmoniously compiles aspects of the theatrical arts into separate chapters. The text opens with
5980-411: The material they are made of). The Natyashastra accepts these four categories as given, and dedicates four separate chapters to them, one each on stringed instruments ('tat' or chordophones ), hollow instruments ('sushir' or aerophones ), solid instruments ('ghan' or idiophones ), and covered instruments ('avanaddha' or membranophones ). Chapters 15 and 16 of the text discuss Sanskrit prosody in
6072-530: The melodic systems were fused with ideas from Persian music, particularly through the influence of Sufi composers like Amir Khusro , and later in the Mughal courts, noted composers such as Tansen flourished, along with religious groups like the Vaishnavites . Artists such as Dalptaram , Mirabai , Brahmanand Swami and Premanand Swami revitalized classical Hindustani music in the 16-18th century. After
6164-494: The message and the meaning being communicated. After the 10th-century, Hindu temples were designed to include stages for performance arts (for example, kuttampalams ), or prayer halls (for example, namghar ) that seconded as dramatic arts stage, based on the square principle described in the Natyashastra , such as those in the peninsular and eastern states of India. The Natyashastra discusses Vedic songs, and also dedicates over 130 verses to non-Vedic songs. Chapter 17 of
6256-586: The mixture of poetic verses and prose in a few extant manuscripts of Natyashastra may be because of this. According to Pramod Kale, who received a doctorate on the text from the University of Wisconsin, the surviving version of Natya Shastra likely existed by the 8th-century. The author of the Natya Shastra is unknown, and the Hindu tradition attributes it to the Rishi (sage) Bharata . It may be
6348-462: The modern age in several manuscript versions, wherein the title of the chapters varies and in some cases the content of the few chapters differ. Some recensions show significant interpolations and corruption of the text, along with internal contradictions and sudden changes in style. Scholars such as PV Kane state that some text was likely changed as well as added to the original between the 3rd to 8th century CE, thus creating some variant editions, and
6440-655: The monumental four-volume work Hindustani Sangeeta Paddhati , which suggested a transcription of Indian music, and described the many traditions in this notation. Finally, it suggested a possible categorization of ragas based on their notes into a number of thaats (modes), subsequent to the Melakarta system that reorganized Carnatic tradition in the 17th century. The ragas that exist today were categorized according to this scheme, although there are some inconsistencies and ambiguities in Bhatkande's system. In modern times,
6532-564: The musical forms innovated by these pioneers merged with the Hindu tradition, composed in the popular language of the people (as opposed to Sanskrit) in the work of composers like Kabir or Nanak . This can be seen as part of a larger Bhakti tradition (strongly related to the Vaishnavite movement) which remained influential across several centuries; notable figures include Jayadeva (11th century), Vidyapati (fl. 1375 CE), Chandidas (14th–15th century), and Meerabai (1555–1603 CE). As
6624-430: The mythical genesis and history of drama, mentions the role of different Hindu deities in various aspects of the arts, and the recommended puja (consecration ceremony) of a stage for performance arts. The text, states Natalia Lidova, then describes the theory of Tāṇḍava dance ( Shiva ), the theory of rasa , of bhāva, expression, gestures, acting techniques, basic steps, standing postures. Chapters 6 and 7 present
6716-557: The oldest surviving text that systematically treats "the theory and instruments of Indian music". Music has been an integral part of performance arts in the Hindu tradition since its Vedic times, and the theories of music found in the Natyashastra are also found in many Puranas , such as the Markandeya Purana . Prior to the Natyashastra, the ancient Indian tradition classified musical instruments into four groups based on their acoustic principle (how they work, rather than
6808-504: The performance art. These sections include the theory of Sanskrit prosody , musical meters and the language of expression. Chapter 17 presents the attributes of poetry and figures of speech, while chapter 18 presents the art of speech and delivery in the performance arts. The text lists ten kinds of play, presents its theory of plot, costumes, and make-up. The text dedicates several chapters exclusively to women in performance arts, with chapter 24 on female theater. The training of actors
6900-512: The playwright should know the bhavas (inner state of being) of all characters in the story, and it is these bhavas that the audience of that drama connects with. The hero is shown to be similar to everyone in some ways, trying to achieve the four goals of human life in Hindu philosophy, then the vastu (plot) emerges through the "representation of three worlds – the divine, the human, the demonic". Drama has dharma, it has artha, it has kama, it has humor, fighting and killing. The best drama shows
6992-405: The process of emotionally engaging the individual in the audience, the text outlines the use of eight sentiments – erotic, comic, pathetic, terrible, furious, odious, heroic and marvellous. The Natyashastra defines drama in verse 6.10 as that which aesthetically arouses joy in the spectator, through the medium of actor's art of communication, that helps connect and transport the individual into
7084-486: The raga "Deepak". At the royal house of Gwalior , Raja Mansingh Tomar (1486–1516 CE) also participated in the shift from Sanskrit to the local idiom ( Hindi ) as the language for classical songs. He himself penned several volumes of compositions on religious and secular themes and was also responsible for the major compilation, the Mankutuhal ("Book of Curiosity"), which outlined the major forms of music prevalent at
7176-562: The rigorous rules of classical music. Dhrupad is an old style of singing, traditionally performed by male singers. It is performed with a tambura and a pakhawaj as instrumental accompaniments. The lyrics, some of which were written in Sanskrit centuries ago, are presently often sung in brajbhasha , a medieval form of North and East Indian languages that were spoken in Eastern India. The rudra veena , an ancient string instrument,
7268-455: The royalty in Indian princely states, dhrupad risked becoming extinct in the first half of the twentieth century. However, the efforts by a few proponents, especially from the Dagar family, have led to its revival. Some of the best known vocalists who sing in the Dhrupad style are the members of the Dagar lineage, including the senior Dagar brothers, Nasir Moinuddin and Nasir Aminuddin Dagar ;
7360-509: The same for instance Madan Mohan composition - Lag Jaa Gale , a song from the movie Woh Kaun Thi . This article about the music of India is a stub . You can help Misplaced Pages by expanding it . Hindustani classical music Hindustani classical music is the classical music of the Indian subcontinent 's northern regions. It may also be called North Indian classical music or Uttar Bhartiya shastriya sangeet . The term shastriya sangeet literally means classical music, and
7452-491: The same swara are called srutis . The three primary registers of Indian classical music are mandra (lower), madhya (middle) and taar (upper). Since the octave location is not fixed, it is also possible to use provenances in mid-register (such as mandra-madhya or madhya-taar) for certain ragas. A typical rendition of Hindustani raga involves two stages: Tans are of several types like Shuddha, Koot, Mishra, Vakra, Sapaat, Saral, Chhoot, Halaq, Jabda, Murki Hindustani classical music
7544-462: The same time as Natya Shastra . The Dattilam is focused on Gandharva music and discusses scales ( swara ), defining a tonal framework called grama in terms of 22 micro-tonal intervals ( shruti ) comprising one octave. It also discusses various arrangements of the notes ( Murchhana ), the permutations and combinations of note-sequences ( tanas ), and alankara or elaboration. Dattilam categorizes melodic structure into 18 groups called Jati , which are
7636-408: The stage for performance arts as the sacred space for artists, and discusses the specifics of stage design, positioning the actors, the relative locations, movement on stage, entrance and exit, change in background, transition, objects displayed on the stage, and such architectural features of a theatre; the text asserts that these aspects help the audience get absorbed in the drama as well as understand
7728-617: The term for the genre was borrowed), but later dadra compositions are often found in other light talas (such as keherwa ). The peculiarity of Dadra genre is that the Sthayi is in Braj Bhasha while the Antara is sometimes in Urdu . It is one of the illustrations of how cultures have amalgamated and coexisted in Indian classical music. There have been some Bollywood songs as well based on
7820-457: The text is entirely dedicated to poetry and the structure of a song, which it states is also the template for composing plays. Its chapter 31 asserts that there are seven types of songs, and these are Mandraka , Aparantaka , Rovindaka , Prakari , Ullopyaka , Ovedaka and Uttara . It also elaborates on 33 melodic alankaras in songs. These are melodic tools of art for any song, and they are essential. Without these melodic intonations, states
7912-474: The text, a song becomes like "a night without the moon, a river without water, a creeper without a flower and a woman without an ornament". A song also has four basic architectural varna to empower its meaning, and these tone patterns are ascending line, steady line, descending line and the unsteady line. The ideal poem produces bliss in the reader, or listener. It transports the audience into an imaginative world, transforms his inner state, and delivers him to
8004-573: The theory and practice of various performance arts. The text extends its reach into asking and understanding the goals of performance arts, the nature of the playwright, the artists and the spectators, their intimate relationship during the performance. Natya topics as envisioned in this text includes what in western performing arts would include drama, dance, theatre, poetry and music. The text integrates its aesthetics, axiology and description of arts with mythologies associated with Hindu Devas and Devis . Performance arts, states Natyashastra , are
8096-603: The time. In particular, the musical form known as dhrupad saw considerable development in his court and remained a strong point of the Gwalior gharana for many centuries. After the dissolution of the Mughal empire, the patronage of music continued in smaller princely kingdoms like Awadh , Patiala , and Banaras , giving rise to the diversity of styles that is today known as gharanas . Many musician families obtained large grants of land which made them self-sufficient, at least for
8188-407: The truths about life and worlds, through emotions and circumstances, to deliver entertainment, but more importantly ethos, questions, peace and happiness. The text goes into specifics to explain the means available within dramatic arts to achieve its goals. Just like the taste of food, states Natyashastra , is determined by combination of vegetables, spices and other articles such as sugar and salt,
8280-456: The turn of the century, Vishnu Digambar Paluskar and Vishnu Narayan Bhatkhande spread Hindustani classical music to the masses in general by organizing music conferences, starting schools, teaching music in classrooms, devising a standardized grading and testing system, and standardizing the notation system. Vishnu Digambar Paluskar emerged as a talented musician and organizer despite being blind from age of 12. His books on music, as well as
8372-503: The two. The advent of Islamic rule under the Delhi Sultanate and later the Mughal Empire over northern India caused considerable cultural interchange. Increasingly, musicians received patronage in the courts of the new rulers, who, in turn, started taking an increasing interest in local musical forms. While the initial generations may have been rooted in cultural traditions outside India, they gradually adopted many aspects from
8464-461: The work of several authors, but scholars disagree. Bharat Gupt states that the text stylistically shows characteristics of a single compiler in the existing version, a view shared by Kapila Vatsyayan . The Agni Purana , a generic encyclopedia, includes chapters on dramatic arts and poetry, which follow the Natyashastra format, but enumerates more styles and types of performance arts, which states Winternitz, may reflect an expansion in studies of
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