86-632: The Just Alap Raga Ensemble is a Hindustani classical music ensemble, based in New York City, formed in 2002 by La Monte Young , Marian Zazeela , and Jung Hee Choi . The ensemble performs music in the tradition of the Kirana Gharana , a style inherited through Young and Zazeela's long discipleship under master Indian vocalist, Pandit Pran Nath . The music features extended alap sections and sustained vocal drones in just intonation over tamburas . The Just Alap Raga Ensemble merges
172-438: A few Hindi words to complete the sense…. It was only Khusrau's genius that could arrange these words in such a way to yield some meaning. Composers after him could not succeed in doing so, and the tarana became as meaningless as the ancient Nirgit. It is believed that Khusrau invented the tarana style during his attempt to reproduce Gopal Naik's exposition in raag Kadambak. Khusrau hid and listened to Gopal Naik for six days, and on
258-578: 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
344-452: 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
430-491: 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 . Amir Khusro Abu'l Hasan Yamīn ud-Dīn Khusrau (1253 – 1325 AD), better known as Amīr Khusrau , sometimes spelled as, Amir Khusrow or Amir Khusro ,
516-401: A poet of Persian." Khusrau's love and admiration for his motherland is transparent through his work. Khusrau was an intelligent child. He started learning and writing poetry at the age of nine. His first divan , Tuhfat us-Sighr (The Gift of Childhood), containing poems composed between the ages of 16 and 18, was compiled in 1271. In 1273, when Khusrau was 20 years old, his grandfather, who
602-491: A rendition of Khusrau's Aaj Rung Hai , and the film's plot sees the poem employed as a symbol of rebellion. Amir Khusro , a documentary feature covering his life and works directed by Om Prakash Sharma released in 1974. It was produced by the Government of India 's Film's Division . Amir Khusro , an Indian television series based on Khusrau's life and works aired on DD National , the national public broadcaster, in
688-434: 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
774-638: A work of prose that contained the teachings of Nizamuddin Auliya. In 1320, Mubarak Shah Khalji was killed by Khusro Khan , who thus ended the Khalji dynasty and briefly became Sultan of Delhi. Within the same year, Khusro Khan was captured and beheaded by Ghiyath al-Din Tughlaq , who became Sultan and thus began the Tughlaq dynasty . In 1321, Khusrau began to write a historic masnavi named Tughlaq Nama (Book of
860-606: 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
946-411: 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
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#17328023061181032-648: 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
1118-458: 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
1204-573: 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
1290-412: Is now Uzbekistan . When he was a young man, the region was destroyed and ravaged by Genghis Khan 's invasion of Central Asia , and much of the population fled to other lands, India being a favored destination. A group of families, including that of Amir Saif ud-Din, left Kesh and travelled to Balkh (now in northern Afghanistan), which was a relatively safe place; from there, they sent representatives to
1376-839: Is often attributed to him. Khusrau is sometimes referred to as the "voice of India" or "Parrot of India" ( Tuti-e-Hind ). Khusrau is regarded as the "father of qawwali " (a devotional form of singing of the Sufis in the Indian subcontinent), and introduced the ghazal style of song into India, both of which still exist widely in India and Pakistan. Khusrau was an expert in many styles of Persian poetry which were developed in medieval Persia , from Khāqānī's qasidas to Nizami's khamsa . He used 11 metrical schemes with 35 distinct divisions. He wrote in many verse forms including ghazal, masnavi, qata, rubai, do-baiti and tarkib-band. His contribution to
1462-471: 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
1548-585: 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
1634-483: 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
1720-409: 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
1806-619: 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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#17328023061181892-461: 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
1978-609: 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
2064-537: 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
2150-589: 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
2236-436: 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
2322-524: 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
2408-521: 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
2494-620: The 18th century. The language of the Hindustani verses appears to be relatively modern. He used the term 'Hindavi' (meaning 'of Hind or India' in Persian) for the Hindustani language, and gave shape to it in the Islamic literature. He also wrote a war ballad in Punjabi . In addition, he spoke Arabic and Sanskrit . His poetry is still sung today at Sufi shrines throughout India and Pakistan . The 1978 film Junoon opens with
2580-642: The 1980s. He was portrayed by actor Bhawani Muzamil as a court poet of Alauddin Khalji in the 2018 Indian film Padmaavat by Sanjay Leela Bhansali . One of Khusro's poems on Basant , Sakal bun phool rahi sarson , was quoted in an episode of Saladin Ahmed's The Magnificent Ms. Marvel . Various renditions of this poem have been recorded time and again, including one sung by Rizwan-Muazzam in Season 8 of Coke Studio Pakistan , as well as another rendition by Pakistani singer Meesha Shafi in collaboration with
2666-462: 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
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2752-600: The Great in 4500 verses. The fifth masnavi was Hasht-Bihisht , which was based on legends about Bahram V , the fifteenth king of the Sasanian Empire . All these works made Khusrau a leading luminary in the world of poetry. Ala ud-Din Khalji was highly pleased with his work and rewarded him handsomely. When Ala ud-Din's son and future successor Qutb ud-Din Mubarak Shah Khalji was born, Khusrau prepared
2838-769: 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
2924-691: The Mamluk dynasty of the Delhi Sultanate and starting the Khalji dynasty . Jalal ud-Din Firuz Khalji appreciated poetry and invited many poets to his court. Khusrau was honoured and respected in his court and was given the title "Amir". He was given the job of "Mushaf-dar". Court life made Khusrau focus more on his literary works. Khusrau's ghazals which he composed in quick succession were set to music and were sung by singing girls every night before
3010-538: 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
3096-467: 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 ,
3182-546: 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
3268-692: The Sultan of Delhi. Khusrau wrote a masnavi on Mubarak Shah Khalji called Nuh Sipihr (Nine Skies), which described the events of Mubarak Shah Khalji's reign. He classified his poetry in nine chapters, each part of which is considered a "sky". In the third chapter he wrote a vivid account of India and its environment, seasons, flora and fauna, cultures, scholars, etc. He wrote another book during Mubarak Shah Khalji's reign by name of Ijaz-e-Khusravi (The Miracles of Khusrau), which consisted of five volumes. In 1317 Khusrau compiled Baqia-Naqia (Remnants of Purity). In 1319 he wrote Afzal ul-Fawaid (Greatest of Blessings),
3354-456: The Sultan of distant Delhi seeking refuge. This was granted, and the group then travelled to Delhi. Sultan Shams ud-Din Iltutmish , ruler of Delhi, was also Turkic like them; indeed, he had grown up in the same region of Central Asia and had undergone somewhat similar circumstances in earlier life. This was the reason the group had turned to him in the first place. Iltutmish not only welcomed
3440-655: The Sultan. Khusrau writes about Jalal ud-Din Firuz: The King of the world Jalal ud-Din, in reward for my infinite pain which I undertook in composing verses, bestowed upon me an unimaginable treasure of wealth. In 1290, Khusrau completed his second masnavi, Miftah ul-Futuh (Key to the Victories), in praise of Jalal ud-Din Firuz's victories. In 1294, Khusrau completed his third divan, Ghurrat ul-Kamaal (The Prime of Perfection), which consisted of poems composed between
3526-661: The Tughlaqs) about the reign of Ghiyath al-Din Tughlaq and that of other Tughlaq rulers. Khusrau died in October 1325, six months after the death of Nizamuddin Auliya. Khusrau's tomb is next to that of his spiritual master in the Nizamuddin Dargah in Delhi. Nihayat ul-Kamaal (The Zenith of Perfection) was compiled probably a few weeks before his death. A popular fable which has made its way into scholarship ascribes
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3612-462: The ages of 34 and 41. After Jalal ud-Din Firuz, Ala ud-Din Khalji ascended to the throne of Delhi in 1296. Khusrau wrote the Khaza'in ul-Futuh (The Treasures of Victory) recording Ala ud-Din's construction works, wars and administrative services. He then composed a khamsa (quintet) with five masnavis, known as Khamsa-e-Khusrau (Khamsa of Khusrau), completing it in 1298. The khamsa emulated that of
3698-496: 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,
3784-480: 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
3870-567: The development of the ghazal was significant. Amīr Khusrau was born in 1253 in Patiyali , Kasganj district , in modern-day Uttar Pradesh , India, in what was then the Delhi Sultanate , the son of Amīr Saif ud-Dīn Mahmūd, a man of Turkic extraction and Bibi Daulat Naz, a native Indian mother. Amir Saif ud-Din Mahmud was a Sunni Muslim. He grew up in Kesh , a small town near Samarkand in what
3956-496: The distinguishing characteristics of a qawwali. Khusrau's disciples who specialised in Qawwali singing were later classified as Qawwals (they sang only Muslim devotional songs) and Kalawants (they sang mundane songs in the Qawwali style). The musical flow of some of his poems has made them favorites of musicians even today. Tarana and Trivat are also credited to Khusrau. Musicologist and philosopher Jaidev Singh has said: Tarana
4042-580: The dust of your feet is found is like a relic of paradise for me. In 1310, Khusrau became a disciple of Sufi saint of the Chishti Order , Nizamuddin Auliya . In 1315, Khusrau completed the romantic masnavi Duval Rani - Khizr Khan ( Duval Rani and Khizr Khan), about the marriage of the Vaghela princess Duval Rani to Khizr Khan, one of Ala ud-Din Khalji's sons. After Ala ud-Din Khalji's death in 1316, his son Qutb ud-Din Mubarak Shah Khalji became
4128-426: The earlier poet of Persian epics, Nizami Ganjavi . The first masnavi in the khamsa was Matla ul-Anwar (Rising Place of Lights) consisting of 3310 verses (completed in 15 days) with ethical and Sufi themes. The second masnavi, Khusrau-Shirin , consisted of 4000 verses. The third masnavi, Laila-Majnun , was a romance. The fourth voluminous masnavi was Ayina-i Iskandari , which narrated the heroic deeds of Alexander
4214-603: 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
4300-404: 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
4386-602: 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
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#17328023061184472-565: The ensemble in June 2004. Jon Catler , fretless sustainer guitar, became a member in September 2006. 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
4558-428: The first recorded Indian personages with a true multicultural or pluralistic identity. Musicians credit Khusrau with the creation of six styles of music: qaul, qalbana, naqsh, gul, tarana and khyal , but there is insufficient evidence for this. Khusrau wrote primarily in Persian . Many Hindustani (or Hindi - Urdu ) verses are attributed to him, since there is no evidence for their composition by Khusrau before
4644-539: The following famous Persian verse to Khusrau: Agar Firdaus bar ru-ye zamin ast, Hamin ast o hamin ast o hamin ast. In English: "If there is a paradise on earth, it is this, it is this, it is this." This verse is believed to have been inscribed on several Mughal structures, supposedly in reference to Kashmir , specifically a particular building at the Shalimar Garden in Srinagar, Kashmir (built during
4730-596: 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
4816-679: 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
4902-614: 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
4988-404: 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
5074-483: The horoscope of Mubarak Shah Khalji in which certain predictions were made. This horoscope is included in the masnavi Saqiana . In 1300, when Khusrau was 47 years old, his mother and brother died. He wrote these lines in their honour: A double radiance left my star this year Gone are my brother and my mother, My two full moons have set and ceased to shine In one short week through this ill-luck of mine. Khusrau's homage to his mother on her death was: Where ever
5160-560: The introduction of two-part harmony into Indian classical khayal composition. The founding members of The Just Alap Raga Ensemble were La Monte Young, Marian Zazeela, and Jung Hee Choi, voices. Brad Catler, tabla , became a member in August 2002. Rose Okada, sarangi , became a member in June 2002. Charles Curtis , cello, became a member in August 2003. Da’ud Constant, voice, became a member in February 2004. Naren Budhkar, tabla, joined
5246-771: 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
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#17328023061185332-530: 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
5418-655: 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,
5504-564: 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
5590-486: 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
5676-483: The refugees to his court but also granted high offices and landed estates to some of them. In 1230, Amir Saif ud-Din was granted a fief in the district of Patiyali . Amir Saif ud-Din married Bibi Daulat Naz, the daughter of Rawat Arz, an Indian noble and war minister of Ghiyas ud-Din Balban , the ninth Sultan of Delhi. Amir Saif ud-Din and Bibi Daulatnaz became the parents of four children: three sons (one of whom
5762-534: The reign of Mughal Emperor Jahangir). However, recent scholarship has traced the verse to a time much later than that of Khusrau and to a place quite distant from Kashmir. Historian Rana Safvi inspected all probable buildings in the Kashmir garden and found no such inscription attributed to Khusrau. According to her the verse was composed by Sa'adullah Khan, a leading noble and scholar in the court of Jahangir's successor and son Shah Jahan. Even in popular memory, it
5848-562: 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,
5934-526: The royal courts of more than seven rulers of the Delhi Sultanate. He wrote many playful riddles , songs and legends which have become a part of popular culture in South Asia. His riddles are one of the most popular forms of Hindavi poetry today. It is a genre that involves double entendre or wordplay. Innumerable riddles by the poet have been passed through oral tradition over the last seven centuries. Through his literary output, Khusrau represents one of
6020-404: 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 ;
6106-491: 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
6192-462: 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
6278-490: The seventh day, he reproduced Naik's rendition using meaningless words ( mridang bols ) thus creating the tarana style. Khusrau is credited for the invention of the sitar. At the time, there were many versions of the Veena in India. He modified the three stringed Tritantri Veena as a Setar (Persian for 3 stringed), which eventually became known as the sitar . Amir Khusrau was a prolific classical poet associated with
6364-603: 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
6450-422: The traditions of Western and Hindustani classical music, with Young applying his own compositional approach to traditional raga performance, form, and technique. With the ensemble, Young has introduced several new elements to Indian classical music. The pre-composition part of the alap , includes drones in two- and three-part harmony as well as counterpoint, while Young's harmony lines for these compositions comprise
6536-456: 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
6622-503: 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
6708-427: Was Jahangir who first repeated the phrase in praise of Kashmir. Khusrau is credited with fusing the Persian , Arabic , Turkic , and Indian singing traditions in the late 13th century to create qawwali , a form of Sufi devotional song . A well-punctuated chorus emphasising the theme and devotional refrain coupled with a lead singer utilising an ornate style of fast taans and difficult svara combinations are
6794-558: Was Khusrau) and a daughter. Amir Saif ud-Din Mahmud died in 1260, when Khusrau was only eight years old. Through his father's influence, he imbibed Islam and Sufism coupled with proficiency in Turkish , Persian, and Arabic languages. He was known by his sobriquet Tuti-i Hind ("Parrot of India"), which according to the Encyclopaedia of Islam "compares the eloquent poet to the sweet-talking parrot, indicates his canonical status as
6880-410: Was a center of knowledge and learning. Caravans of scholars, tradesmen and emissaries transited through Multan from Baghdad , Arabia and Persia on their way to Delhi. Khusrau wrote that: I tied the belt of service on my waist and put on the cap of companionship for another five years. I imparted lustre to the water of Multan from the ocean of my wits and pleasantries. On 9 March 1285, Khan Muhammad
6966-489: Was an Indo-Persian Sufi singer, musician, poet and scholar, who lived during the period of the Delhi Sultanate . He is an iconic figure in the cultural history of the Indian subcontinent . He was a mystic and a spiritual disciple of Nizamuddin Auliya of Delhi , India. He wrote poetry primarily in Persian , but also in Hindavi . A vocabulary in verse, the Ḳhāliq Bārī , containing Arabic, Persian and Hindavi terms
7052-649: Was entirely an invention of Khusrau. Tarana is a Persian word meaning a song. Tillana is a corrupt form of this word. True, Khusrau had before him the example of Nirgit songs using śuṣk-akṣaras (meaningless words) and pāṭ-akṣaras (mnemonic syllables of the mridang). Such songs were in vogue at least from the time of Bharat. But generally speaking, the Nirgit used hard consonants. Khusrau introduced two innovations in this form of vocal music. Firstly, he introduced mostly Persian words with soft consonants. Secondly, he so arranged these words that they bore some sense. He also introduced
7138-515: Was killed in battle while fighting Mongols who were invading the Sultanate. Khusrau wrote two elegies in grief of his death. In 1287, Khusrau travelled to Awadh with another of his patrons, Amir Ali Hatim. At the age of eighty, Balban called his second son Bughra Khan back from Bengal, but Bughra Khan refused. After Balban's death in 1287, his grandson Muiz ud-Din Qaiqabad , Bughra Khan's son,
7224-674: Was made the Sultan of Delhi at the age of 17. Khusrau remained in Qaiqabad's service for two years, from 1287 to 1288. In 1288, Khusrau finished his first masnavi , Qiran us-Sa'dain (Meeting of the Two Auspicious Stars), which was about Bughra Khan meeting his son Muiz ud-Din Qaiqabad after a long enmity. After Qaiqabad suffered a stroke in 1290, nobles appointed his three-year-old son Shams ud-Din Kayumars as Sultan. A Turko-Afghan named Jalal ud-Din Firuz Khalji then marched on Delhi, killed Qaiqabad and became Sultan, thus ending
7310-611: Was reportedly 113 years old, died. After Khusrau's grandfather's death, Khusrau joined the army of Malik Chajju, a nephew of the reigning Sultan, Ghiyas ud-Din Balban . This brought his poetry to the attention of the Assembly of the Royal Court where he was honoured. Nasir ud-Din Bughra Khan , the second son of Balban, was invited to listen to Khusrau. He was impressed and became Khusrau's patron in 1276. In 1277 Bughra Khan
7396-457: Was then appointed ruler of Bengal , and Khusrau visited him in 1279 while writing his second divan, Wast ul-Hayat (The Middle of Life). Khusrau then returned to Delhi. Balban's eldest son, Khan Muhammad (who was in Multan ), arrived in Delhi, and when he heard about Khusrau, he invited him to his court. Khusrau then accompanied him to Multan in 1281. Multan at the time was the gateway to India and
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