Music also finds mention in Buddhist and Jain texts from the earliest periods of the common era. 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). The names of the Jatis reflect regional origins, for example Andhri and Oudichya. Dattilam categorizes melodic structure into 18 groups called Jati, which are the fundamental melodic structures similar to the raga. It also discusses various arrangements of the notes ( Murchhana), the permutations and combinations of note-sequences ( tanas), and alankara or elaboration. 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. 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 the same time as Natya Shastra. In the Vishnudharmottara Purana, the Naga king Ashvatara asks to know the swaras from Saraswati. Gandharvas are presented as spirits who are musical masters, and the gandharva style looks to music primarily for pleasure, accompanied by the soma rasa. Ravana and Narada from Hindu mythology are accomplished musicians Saraswati with her veena is the goddess of music. This also helped spread of Hindustani classical music to masses from royal courts. This brought respect to musicians, who were treated with disdain earlier. Many students from the School's early batches became respected musicians and teachers in North India. 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. Vishnu Digambar Paluskar in 1901 founded the Gandharva Mahavidyalaya, a school to impart formal training in Hindustani classical music with some historical Indian Music. An aspect of Hindustani music going back to Sufi times is the tradition of religious neutrality: Muslim ustads may sing compositions in praise of Hindu deities, and Hindu pandits may sing similar Islamic compositions. This is a very flawed system but is somewhat useful as a heuristic.ĭistinguished musicians who are Hindu may be addressed as Pandit and those who are Muslim as Ustad. Around 1900, Vishnu Narayan Bhatkhande consolidated the musical structures of Hindustani classical music, called ragas, into a few thaats based on their notes. Artists such as Dalptaram, Mirabai, Brahmanand Swami and Premanand Swami revitalized classical Hindustani music in the 16-18th century.Īfter the 16th century, the singing styles diversified into different gharanas patronized in different princely courts. In medieval times, 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. These principles were refined in the musical treatises Natya Shastra, by Bharata (2nd–3rd century CE), and Dattilam (probably 3rd–4th century CE). It is melodic music, with no concept of harmony. This music combines the Indian classical music tradition with Perso-Arab musical knowledge, resulting in a unique tradition of gharana system of music education.Īround 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. Hindustani classical music arose in the Ganga-Jamuni Tehzeeb, a period of great influence of Perso-Arabic arts in the subcontinent, especially the Northern parts. Its origins from the 12th century CE, when it diverged from Carnatic music, the classical tradition in South India. It is played in instruments like the violin, sitar and sarod. The term shastriya sangeet literally means classical music, and can also mean Indian classical music in general. It may also be called North Indian classical music or, in Hindustani, shastriya sangeet. Hindustani classical music is the classical music of northern regions of the Indian subcontinent.
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