Hindustani Classical Music (Hindi: हिन्दुस्तानी शास्त्रीय संगीत, Urdu: ہندوستانی شاستریے سنگیت) is the Hindustani or erstwhile North Indian style of Indian classical music. The music of India' includes multiple varieties of folk, popular, pop, and classical music. A Bhajan is a type of Hindu Devotional Song, often simple lyrical and expressing love for the Divine. Filmi (or Filmy used as an adjective is a colloquial term which refers to anything relating to the Bollywood film industry Indian folk music is diverse because of India's vast cultural diversity Indian hip hop is mainly performed in the Hindi language and Punjabi language. In Poetry, the ghazal ( Arabic / Persian / Urdu: غزل; Hindi: ग़ज़ल Turkish gazel) is a Indian pop music often known as Indian-Pop, Hindi Pop or Indipop, is based on an amalgamation of Indian folk and classical music and modern beats from different Qawwali ( Urdu / Persian: قوٌالی; Punjabi / Multani: ਖ਼ਵ੍ਵਾਲੀ قوٌالی Brajbhasha / Hindi Indian Rock is a tall peak on the Columbia Plateau in Washington, USA. The origins of Indian classical music can be found from the oldest of Scriptures part of the Hindu tradition the Vedas. Carnatic music (also spelled Karnatak music or Karnatik music, and originally called Karṇāṭaka sangīta or Karṇāṭaka sangītam in India A music festival is a Festival oriented towards Music that is sometimes presented with a theme such as Musical genre, Nationality or locality The Sangeet Natak Akademi International Festival takes place in India. The Tyagaraja Aradhana festival is held in January when most of the leading exponents of Carnatic music come to perform and are watched by thousands of ardent fans of Indian Cleveland Thyagaraja Aradhana is a Music festival of Indian classical music. Sruti is an English language magazine on the Performing Arts, Indian music and dance published from Chennai, India. A national anthem is a generally patriotic musical composition that evokes and eulogizes the history traditions and struggles of its people recognized either by a nation's Jana Gana Mana (জন গণ মন Jôno Gôno Mono) is the National anthem of India. Bande Mataram redirects here for other uses of the term see Bande Mataram (disambiguation. The Andaman and Nicobar Islands are part of India. Folk traditions of the area include that of the Moken sea-farers and various kinds of ritual tribal dance Andhra Pradesh is a state of South India. Telugu language is considered the heart and soul of Carnatic music. Arunachal Pradesh is a State of India. It is known for dance music which comes in many different styles The music of Assam, a state in the northeastern part of India, can be divided into various categories of folk music Bihar is a state of India. The classical form of the Indian music is already quite well known (for example Bihar has produced musicians like Bharat Ratna Chhattisgarh is a state of India with strong tribal traditions of music and dance Music of Goa refers to the music from the tiny state of Goa on the west coast of India a former Portuguese colony and a centre that has produced a number of prominent musicians and singers Gujarat is a part of India, known for lively traditions of both folk and classical music. The Indian state of Haryana has produced a number of kinds of Folk music, and has also produced many important innovations in Indian classical music. Himachal Pradesh is a state of India, located in the northwest corner of the country Traditionally the music composed by ethnic Kashmiris has a wide range of musical influences in composition Jharkhand 's music tradition consists of various tribal forms and is known for its diversity Karnataka is a State of India with a long tradition of innovation in the fields of both Carnatic and Hindustani classical music. Traditionally the music composed by ethnic Kashmiris has a wide range of musical influences in composition Kerala is a region of India, musically known for Sopanam. Sopanam is religious in nature and developed through singing invocatory songs at the Kalam of Madhya Pradesh is a state of India. Music from the area includes rural folk and tribal music ceremonial and ritual music and Indian classical music. Maharashtra is a state of India. The region's folk heritage includes bharuds gondhals lavni]]s Shahiris and povadas Manipur is a region of India. Some varieties of Folk music from the area include the rural love songs Khullong ishei, the Rhythmic Lai Haraoba Meghalaya is a state of India with a rich folk tradition Drums Bamboo Flutes and buffalo horn Singas Mizoram is a region in India. Its Folk music is based around the Drum and Gong, though there is also a long history of Flute -playing Nagaland is a state of India. The area's Folk music is dominated by String instruments like the Petu among the Chakhesangs and Orissa is a state of India, one of the musical centres of the South Asia Official Website Punjab is a region in the world which has a diverse style of Music. Music of Rajasthan originates from Rajasthan, one of the states of India and home to several important centers of Indian musical development including Sikkim is a state of India. It is a center for western-style music in India and has been since the rise of bands like Orchids and Naren Rasaily 's Music of Tamil Nadu has a long tradition and history going back several hundred years Tripura is a state of India that has produced a wide variety of Folk music. Uttar Pradesh is a state of India. The region's folk heritage includes songs called Rasiya (known especially in Braj) which celebrate the divine love Uttarakhand, the 27th state of India, is often referred as the Land of Gods. West Bengal is a state of India. It is part of the region of Bengal (along with Bangladesh) which has a rich tradition of Bengali music. The music of Pakistan includes diverse elements ranging from music from other parts of South Asia as well as Central Asian folk music, Persian music In Poetry, the ghazal ( Arabic / Persian / Urdu: غزل; Hindi: ग़ज़ल Turkish gazel) is a Qawwali ( Urdu / Persian: قوٌالی; Punjabi / Multani: ਖ਼ਵ੍ਵਾਲੀ قوٌالی Brajbhasha / Hindi Pakistani pop music or Paki-pop refers to popular music forms in Pakistan. Filmi pop (Urdu فلمی موسیقی filmi mosiqi is a term first coined by Pakistani music journalist M Ali Tim in 1990 but made famous by the Pakistani rock or Paki Rock is a form of rock music that is largely produced in Pakistan. Pakistani hip hop is mainly performed in the Urdu language and Punjabi language. The Lux Style Awards is an award ceremony held annually in Pakistan since 2002. MTV (Music Television Pakistan is the Pakistani subsidiary of MTV, a cable television network headquartered in New York. Indus Media Group (IMG is Pakistani company broadcasting a mix of free-to-air news and entertainment channels via satellite The Musik is a 24-hour Urdu - English music channel from Pakistan. MTV (Music Television Pakistan is the Pakistani subsidiary of MTV, a cable television network headquartered in New York. Geo TV or GEO Television is a Pakistani Television network founded by Mir Shakil ur Rehman in May 2002 The Musik is a 24-hour Urdu - English music channel from Pakistan. MTV (Music Television Pakistan is the Pakistani subsidiary of MTV, a cable television network headquartered in New York. Indus Media Group (IMG is Pakistani company broadcasting a mix of free-to-air news and entertainment channels via satellite The Musik is a 24-hour Urdu - English music channel from Pakistan. Geo TV or GEO Television is a Pakistani Television network founded by Mir Shakil ur Rehman in May 2002 A national anthem is a generally patriotic musical composition that evokes and eulogizes the history traditions and struggles of its people recognized either by a nation's The Qaumī Tarāna ( Urdu:) is the National anthem of Pakistan. Balochi (بلوچی also Baluchi, Baloci or Baluci) is a Northwestern Iranian language. Punjabi (pa ਪੰਜਾਬੀ in Gurmukhi script pa-PK {{Nastaliq پنجابی}} in Shahmukhi script Pañjābī in Transliteration) is an Sindhi ( Arabic script: سنڌي Devanagari script: सिन्धी Sindhī) is the language of the Sindh region of South Asia Pashto ( Naskh: پښتو‎ pəʂ'to also rendered as Pakhto, Pushto, Pukhto, Pashtu, Pushtu, also known as Kashmiri (कॉशुर کٲشُر Koshur) is a Dardic language spoken primarily in the valley of Kashmir, a region situated in the Indian state Khowar,(کھوار)also known as Chitrali is a Dardic language spoken by 250000 people in Chitral in Northwest Pakistan, in Yasin Valley Hindko (هندکو /Hindkoŭ/ also Hindku, Hinko, or Lahnda, لَیہندا is an ancient Indo-Aryan language spoken in North Western Hindi ( Devanāgarī: hi [[wiktहिन्दी हिन्दी]] or hi [[wiktहिंदी हिंदी]] IAST:, IPA:) is Urdu ( ur '''{{Nastaliq اردو}}''' trans Urdū, historically spelled Ordu) is a Central Indo-Aryan language Urdu is a standardised Hindustani ( Hindi: हिन्दुस्तानी is an adjectival form of Hindustan which originally meant people from the whole geographical region of Geography Northern India lies mainly on continental India and a very small part of it lies on the Indian peninsula The origins of Indian classical music can be found from the oldest of Scriptures part of the Hindu tradition the Vedas. Originating in the Vedic period, it is a tradition that has been evolving from the 12th century AD, in what is now northern India and Pakistan, and also Bangladesh, Nepal and Afghanistan, and is today one of the two main parts of Indian classical music, with the other one being the Carnatic music, which represents the music of South India. India, officially the Republic of India (भारत गणराज्य inc-Latn Bhārat Gaṇarājya; see also other Indian languages) is a country Pakistan () officially the Islamic Republic of Pakistan, is a country located in South Asia, Southwest Asia, Middle East and ( Bengali: বাংলাদেশ inc-Latn Bangladesh) officially Nepal (नेपाल) is a Landlocked country in South Asia. Afghanistan /æfˈgænɪstæn/ officially the Islamic Republic of Afghanistan ( Pashto: د افغانستان اسلامي جمهوریت, The origins of Indian classical music can be found from the oldest of Scriptures part of the Hindu tradition the Vedas. Carnatic music (also spelled Karnatak music or Karnatik music, and originally called Karṇāṭaka sangīta or Karṇāṭaka sangītam in India South India is the area encompassing India 's states of Andhra Pradesh, Karnataka, Kerala and Tamil Nadu as well as the union

Characteristics

The tradition was born out of a cultural synthesis from several musical streams: the vedic chant tradition dating back to approximately one millennia BCE^[1], the equally ancient Persian tradition of Musiqi-e assil, and also existent folk traditions prevalent in the region. "Veda" redirects here For other uses see Veda (disambiguation. Persian traditional music (also known as Iranian traditional music, Musiqi-e Sonati-e Irani, also Persian classical music or Iranian classical music The terms North Indian Classical Music or Shāstriya Sangeet are also occasionally used.

It is traditional for performers who have reached a distinguished level of achievement, to be awarded titles of respect; Hindus are usually referred to as Pandit and Muslims as Ustad. A Hindu ( Devanagari: हिन्दू is an adherent of the philosophies and scriptures of Hinduism, a set of religious, Philosophical A Muslim (مسلم pronounced Muslim, not Muzlim) is an adherent of the Religion An interesting aspect of Hindustani music going back to sufi times, is the tradition of religious neutrality: Muslim ustads singing Hindu bhajans, or vice versa. Sufism ( تصوّف - taṣawwuf, Persian: صوفی‌گری sufigari, Turkish: tasavvuf, Urdu: تصوف A Bhajan is a type of Hindu Devotional Song, often simple lyrical and expressing love for the Divine.

Around the 12th century, Hindustani classical music diverged from the principle which eventually came to be identified as Carnatic classical music. Carnatic music (also spelled Karnatak music or Karnatik music, and originally called Karṇāṭaka sangīta or Karṇāṭaka sangītam in India The central notions in both these systems is that of a melodic mode or raga, sung to a rhythmic cycle or tala. In Music, a scale is an ordered series of Musical intervals which along with the key or tonic, define the pitches However mode Rāga ( Sanskrit, lit "colour" or "mood" or rāgam in Carnatic music) refers to melodic modes used The tradition dates back to the ancient Samaveda, (lit. The Samaveda ( Sanskrit: सामवेद sāmaveda, from sāman "melody" + veda "knowledge") is third (in the usual sāma=ritual chant), which deals with the norms for chanting of srutis or hymns such as the Rig Veda. If you are looking for the singer see Shruti Haasan. For other meanings see Śruti (disambiguation. The Rigveda ( Sanskrit sa ऋग्वेद ṛgveda, a compound of ṛc "praise verse" and veda "knowledge" These principles were refined in the Natyashastra by Bharata (2nd-3d c. The Nātya Shastra ( Sanskrit: Nātyaśāstra नाट्य शास्त्र is an ancient Indian treatise on the Performing arts CE) and the Dattilam (probably 3d-4th c. Dattilam is an ancient Indian musical text ascribed to the sage (muni Dattila. AD)^[2].

In medieval times, many of the melodic systems were fused with ideas from Persian music, particularly through the influence of sufi composers like Amir Khusro, and later in the Moghul courts. Sufism ( تصوّف - taṣawwuf, Persian: صوفی‌گری sufigari, Turkish: tasavvuf, Urdu: تصوف Ab'ul Hasan Yamīn al-Dīn Khusrow ( Hindi: hi अबुल हसन यमीनुद्दीन ख़ुसरो (1253-1325 CE better known as Amīr Khusrow The Mughal Empire ( Persian and self-designation گورکانی; مغلیہ سلطنت) was an Islamic imperial power which ruled most Noted composers such as Tansen flourished, along with religious groups like the Vaishnavites. Tansen or Miyan Tansen or Ramtanu Pandey (1493 or 1506 &ndash 1586 or 1589 is considered among the greatest composer-musicians in Hindustani classical music Vaishnavism is a tradition of Hinduism, distinguished from other schools by its worship of Vishnu or its associated avatars principally as Rama and After the 16th century, the singing styles diversified into different gharanas patronized in different princely courts. In Hindustani music, a gharānā is a system of social organization linking musicians or dancers by lineage and/or apprenticeship and by adherence to a particular Around 1900, Pandit Vishnu Narayan Bhatkhande consolidated the musical structures of Hindustani Classical music into a number of thaats. Pandit Vishnu Narayan Bhatkhande ( August 10, 1860 &ndash September 19, 1936) was an Indian classical musician widely acclaimed to A thaat (ঠাট also transliterated as that) is a mode in Hindustani music. In the 20th century, Hindustani classical music has become popular across the world through the influence of artistes like Ravi Shankar, Ali Akbar Khan and many others. Pandit Ravi Shankar ( রবি শংকর Devanagari: रविशंकर "Pandit" ( Sanskrit, "learned" is honorific born April Ustad Ali Akbar Khan (আলী আকবর খাঁ a master of the Sarod, His performances worldwide have established the modern sarod idiom and contributed

Indian classical music has 7 basic notes Sa Re Ga Ma Pa Dha Ni, 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 (temper) may also vary; however with the gradual replacement of the sarangi by the harmonium, an equal tempered scale is increasingly used. In Music theory, the term interval describes the relationship between the pitches of two Notes Intervals may be described as vertical The Sarangi ( Hindi A harmonium is a free-standing musical keyboard instrument similar to a Reed Organ or Pipe Organ Equal temperament is a Musical temperament, or a system of tuning in which every pair of adjacent notes has an identical Frequency ratio. The performance is set to a melodic pattern called a raga (also spelled as raag) characterized in part by specific ascent (Arohana) and descent (Avarohana) sequences, which may not be identical. Rāga ( Sanskrit, lit "colour" or "mood" or rāgam in Carnatic music) refers to melodic modes used Avarohana Arohana, Arohanam or Arohan, in the context of North Indian Classical Music and South Indian Classical Music, is the ascending Other characteristics include King (Vadi) and Queen (Samavadi) notes and a unique note phrase (Pakad). Vadi, in both Hindustani classical music and Carnatic music, is the dominant Swara (musical note of a given Raga (musical scale In Indian classical music the second-most prominent note of a Raga. In Hindustani music, a pakad is a generally-accepted musical phrase (or set of phrases thought to encapsulate the essence of a particular Raga. In addition each raga has its natural register (Ambit) and glissando (Meend) rules, as well as features specific to different styles and compositions within the raga structure. " Glissando " (plural glissandi abbreviated gliss is a glide from one pitch to another In Hindustani music meend refers to the bending or deflecting of pitches Performances are usually marked by considerable improvisation within these norms.

History

Music was first formalized in India in connection with preserving the sruti texts, primarily the four vedas, which are seen as apaurasheya (lit. Music is an Art form in which the medium is Sound organized in Time. If you are looking for the singer see Shruti Haasan. For other meanings see Śruti (disambiguation. "Veda" redirects here For other uses see Veda (disambiguation. un-created by man). Not only was the text important, but also the manner in which they had been enunciated by the immortals. Prosody and chanting were thus of great importance, and were enshrined in the two vedangas (bodies of knowledge) called Shiksha (pronunciation, chants) and Chhandas (prosody); these remained a key part of the brahminic educational system till modern times. The Vedanga ( vedāṅga, "member of the Veda" are six auxiliary disciplines for the understanding and tradition of the Vedas. See Shiksha (NGO for the Indian non-governmental organization The main principle of Vedic meter is measurement by the number of syllables The formal aspects of the chant are delineated in the Samaveda, with certain aspects, e. The Samaveda ( Sanskrit: सामवेद sāmaveda, from sāman "melody" + veda "knowledge") is third (in the usual g. the relation of chanting to meditation, elaborated in the Chandogya Upanishad (ca. The Chandogya Upanishad is one of the "primary" ( Mukhya) Upanishads Together with the Jaiminiya Upanishad Brahmana and the Brihadaranyaka 8th c. BC). Priests involved in these ritual chants were called Samans and a number of ancient musical instruments such as the conch (shankh), lute (veena), flute (bansuri), trumpets and horns were associated with this and later practices of ritual singing. A conch (pronounced in the USA as "konk" or "konch" ˈkɒŋk or /ˈkɒntʃ/ is one of a number of different Species Veena (also spelled 'vina' Kannada: ವೀಣ Malayalam: വീണ Tamil: வீணா Telugu: వీణ is a Plucked stringed The bansuri (बांसुरी is a transverse alto Flute of India, Pakistan, Bangladesh and Nepal, made of a single length of bamboo

Maharajah Swathi Thirunal of Travancore Kingdom, South India, was a prolific composer of Hindustani and Carnatic songs

Sanskritic Tradition

The Samaveda outlined the ritual chants for singing the verses of the Rig veda, particularly for offerings of Soma. Sri Swathi Thirunal Rama Varma (April 16 1813 - December 25 1846 was the Maharaja of the state of Travancore, in India. Travancore or Thiruvithaamkoor ( Malayalam: തിരുവിതാങ്കൂര്‍ "Thiru" (respectful prefix which suggests either royal or The Samaveda ( Sanskrit: सामवेद sāmaveda, from sāman "melody" + veda "knowledge") is third (in the usual Soma ( Sanskrit: सोम) or Haoma ( Avestan) from Proto-Indo-Iranian * sauma-, was a ritual drink of importance proposed a tonal structure consisting of seven notes, which were named, in descending order, as Krusht, Pratham, Dwitiya, Tritiya, Chaturth, Mandra and Atiswār. These refer to the notes of a flute, which was the only fixed frequency instrument. This is why the second note is called pratham (lit. first, i. e. note when only first hole is closed).

Music is dealt with extensively in the Valmiki Ramayana; Narada is an accomplished musician, as is Ravana; Saraswati with her veena is the goddess of music. The Rāmāyaṇa ( Devanāgarī: sa रामायण is an ancient Sanskrit epic attributed to the Hindu sage ( Maharishi) Valmiki Narad redirects here for the village in Slovakia see Ňárad. For the South Indian film see Ravana (film. Ravanaa, also transliterated as Raavana, Ravan or Saraswati (pronounced as; Sanskrit: sa सरस्वती sarasvatī; Malay: Saraswati Thai: สุรัสวดี is the Veena (also spelled 'vina' Kannada: ವೀಣ Malayalam: വീണ Tamil: வீணா Telugu: వీణ is a Plucked stringed Gandharvas are presented as spirits who are musical masters, and the gandharva style looks to music primarily for pleasure, accompanied by the soma rasa. In Hinduism In Hinduism, the Gandharvas ( Sanskrit: गंधर्व gandharva) are male nature spirits husbands of the Apsaras Soma ( Sanskrit: सोम) or Haoma ( Avestan) from Proto-Indo-Iranian * sauma-, was a ritual drink of importance In the Vishnudharmottara Purana, the Naga king Ashvatara asks to know the svaras from Saraswati. The Vishnudharmottara Purana (or simply the Vishnudharmottara) is a Hindu text dedicated to the arts for the town in Nepal see Swara Nepal The notes or swaras, of Indian music are shadja rishabh gandhar madhyam pancham dhaivat and nishad

The most important text on music in the ancient canon is Bharata's Natya Shastra, composed around the 3rd c. Bharata was an ancient Indian Musicologist who authored the Natya Shastra, a Theoretical Treatise on ancient The Nātya Shastra ( Sanskrit: Nātyaśāstra नाट्य शास्त्र is an ancient Indian treatise on the Performing arts CE. The Natya Shastra deals with the different modes of music, dance, and drama, and also the emotional responses (rasa) they are expected to evoke. The scale is described in terms of 22 micro-tones, which can be combined in clusters of 4, 3, or two to form an octave.

While the term raga is articulated in the Natya Shastra (where its meaning is more literal, colour, as in the 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. Rāga ( Sanskrit, lit "colour" or "mood" or rāgam in Carnatic music) refers to melodic modes used Dattilam is an ancient Indian musical text ascribed to the sage (muni Dattila. The Dattilam is focused on gandharva music, and discusses scales (swara), defining a tonal framework called grama in terms of 22 micro-tonal intervals (sruti^[3]) comprising one octave. for the town in Nepal see Swara Nepal The notes or swaras, of Indian music are shadja rishabh gandhar madhyam pancham dhaivat and nishad 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 the fundamental melodic structures similar to the raga. Rāga ( Sanskrit, lit "colour" or "mood" or rāgam in Carnatic music) refers to melodic modes used The names of the jatis reflect regional origins, e. g. andhri, 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). The Gupta Empire ( Hindi: गुप्त राजवंश was ruled by members of the Gupta dynasty from around 320 to 550 C "Kalidasa" redirects here For the true bug Genus, see Kalidasa (insect. Music also finds mention in Buddhist and Jaina texts from the earliest periods of the Christian era. Buddhism is a family of beliefs and practices

Narada's Sangita Makarandha treatise circa 1100 CE is the earliest text where rules similar to the current Hindustani classical music can be found. Narad redirects here for the village in Slovakia see Ňárad. Narada actually names and classifies the system in its earlier form before the advent of changes as a result of Persian influences. Narad redirects here for the village in Slovakia see Ňárad. Jayadeva's Gita Govinda from the 12th century was perhaps the earliest musical composition presently known sung in the classical tradition called Ashtapadi music. Jayadeva ( Oriya: ଜୟେଦବ was a Sanskrit poet who lived in Orissa, circa 1200 AD The Gita Govinda (Sanskrit गीत गोविन्द ( Song of Govinda) is a work composed in the 12th century by the great poet Jayadeva of Puri

In the 13th century, Sharngadeva composed the Sangita Ratnakara, which has names such as the turushka todi (Turkish todi), revealing an influx of ideas from the Islamic influx. Sharangadeva (1210-1247 AD was the author of the Sangita Ratnakara, which is considered by many to be the most important work on music after Bharata 's Natya The Sangita-Ratnakara of Sharngadeva (13th century is one of the most important musicological texts from India which both Hindustani music and Carnatic music Todi is a town and Comune (municipality of the Province of Perugia ( Umbria) in central Italy. 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 the two.

Medieval Period: Persian influence

The advent of Islamic rule under the Delhi Sultanate and later the Mughal Empire over northern India caused considerable cultural interchange. The Delhi Sultanate ( Urdu: دلی سلطنت, दिल्ली सलतनत or Sultanat e Hind ( سلطنتِ هند; सलतनत ए The Mughal Empire ( Persian and self-designation گورکانی; مغلیہ سلطنت) was an Islamic imperial power which ruled most Increasingly, musicians received patronage in the courts of the new rulers, who in their turn, started taking increasing interest in local music forms. The initial generations may have been rooted in a cultural traditions outside India, gradually, they adopted many aspects from their kingdoms which retained the traditional Hindu culture. A Hindu ( Devanagari: हिन्दू is an adherent of the philosophies and scriptures of Hinduism, a set of religious, Philosophical This helped spur the fusion of Hindu and Muslim ideas to bring forth new forms of musical synthesis like qawwali and khayal. Qawwali ( Urdu / Persian: قوٌالی; Punjabi / Multani: ਖ਼ਵ੍ਵਾਲੀ قوٌالی Brajbhasha / Hindi Khyal (or Khayal: Hindi: ख़्याल Urdu: خیال is the modern genre of classical singing in North India.

The most influential musician from the Delhi Sultanate period was Amir Khusrau (1253-1325), sometimes called the father of Hindustani classical music^[4]. The Delhi Sultanate ( Urdu: دلی سلطنت, दिल्ली सलतनत or Sultanat e Hind ( سلطنتِ هند; सलतनत ए Ab'ul Hasan Yamīn al-Dīn Khusrow ( Hindi: hi अबुल हसन यमीनुद्दीन ख़ुसरो (1253-1325 CE better known as Amīr Khusrow A prolific composer in Persian, Turkish, Arabic, as well as Braj Bhasha, he is credited with systematizing many aspects of Hindustani music, and also introducing the ragas Zeelaf and Sarparda. Turkish ( tr Türkçe IPA) is a language spoken by over 63 million people worldwide making it the most commonly spoken of the Turkic languages. Arabic (ar الْعَرَبيّة (informally ar عَرَبيْ) in terms of the number of speakers is the largest living member of the Semitic language Brij Bhasha (ब्रज भाषा also called Braj Bhasha, Braj Bhakha, or Daihaati Zabaan (country tongue is a Central Indian language He created the genre of the qawwali, which fuses Persian melody and beat on a dhrupad like structure. Qawwali ( Urdu / Persian: قوٌالی; Punjabi / Multani: ਖ਼ਵ੍ਵਾਲੀ قوٌالی Brajbhasha / Hindi A number of instruments (such as the sitar) were also introduced in his time. The sitar ( Hindi: सितार Urdu: ستار Persian: سی تار) is a Plucked stringed instrument.

Amir Khusrau is sometimes credited with the origins of the khayal form, but the record of his compositions do not appear to support this. Khyal (or Khayal: Hindi: ख़्याल Urdu: خیال is the modern genre of classical singing in North India. It is possible that the word khayal was a corruption of qawwali, but it is more likely that it has a separate etymology (the Arabic word khyal means mood or capriciousness). The compositions by the court musician Niyamat Khan (Sadarang) in the court of Muhammad Shah 'Rangiley' bear a closer affinity to the modern khyal, and suggests that 'Sadarang' may have been the father of modern day 'Khayal'. Muhammad Shah ( محمد شاه) (1748 &ndash 1702 also known as Roshan Akhtar was a Mughal emperor of India between 1719 and 1748

Much of 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. Al-Kabir "the Great" is also one of the 99 names of God in Islam Guru Nanak Dev (ਗੁਰੂ ਨਾਨਕ ਦੇਵ (गुरु नानक گرونانک Gurū Nānak ( 15 april 1469, Nankana Sahib 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 (1375 AD), Chandidas (14th-15th century), and Meerabai (1555-1603 AD). Bhakti ( Devanāgarī: भक्ति) is a word of Sanskrit origin meaning devotion. Vaishnavism is a tradition of Hinduism, distinguished from other schools by its worship of Vishnu or its associated avatars principally as Rama and Jayadeva ( Oriya: ଜୟେଦବ was a Sanskrit poet who lived in Orissa, circa 1200 AD Vidyapati Thakur (1352? - 1448? also known by the sobriquet Maithil Kavi Kokil (the poet Cuckoo of Maithili) was a Maithili poet and a Chandidas ( Bangla: চন্ডীদাস (born 1408 CE refers to (possibly more than one medieval poet of Bengal. Mirabai (मीराबाई (1498-1547 CE) (alternate orthographies: Meera; Mira; Meera Bai) was a Hindu

As the Mughal Empire came into closer contact with Hindus, especially under Jalal ud-Din Akbar, music and dance also flourished. Akbar redirects here For other uses see Akbar (disambiguation Jalaluddin Muhammad Akbar ( Jalāl ud-Dīn Muhammad Akbar Particularly, the legendary musician Tansen is recognized as having introduced a number of innovations, ragas as well as particular compositions. Tansen or Miyan Tansen or Ramtanu Pandey (1493 or 1506 &ndash 1586 or 1589 is considered among the greatest composer-musicians in Hindustani classical music Legend has it that upon his rendition of a night-time raga in the morning, the entire city fell under a hush and clouds gathered in the sky, or that he could light fires by singing raga Deepak, which is supposed to be composed of notes in high octaves.

At the royal house of Gwalior, Raja Mansingh Tomar (1486-1516 AD) also participated in the shift from Sanskrit to the local idiom (Hindi) as the language for classical songs. WikipediaWikiProject Indian cities for details --> Gwalior ( Hindi: ग्वालियर) is a city in Madhya Pradesh in India Hindi ( Devanāgarī: hi [[wiktहिन्दी हिन्दी]] or hi [[wiktहिंदी हिंदी]] IAST:, IPA:) is 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 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. This article is about Dhrupad the genre of Indian classical singing

After the dissolution of the Mughal empire, the patronage of music continued in smaller princely kingdoms like Lucknow, Patiala, Banaras, giving rise to the diversity of styles that is today known as gharanas. Lucknow is also a mansion in New Hampshire Lucknow ( लखनऊ لکھنؤ Lakhnaū) is the capital city of Uttar Pradesh WikipediaWikiProject Indian cities for details --> Patiala ( Punjabi: ਪਟਿਆਲਾ is a city in the Punjab state of India. Varanasi ( Sanskrit: वाराणसी Vārāṇasī, pronunciation) also commonly known as Benares ( or Banaras (बनारस In Hindustani music, a gharānā is a system of social organization linking musicians or dancers by lineage and/or apprenticeship and by adherence to a particular Many musician families obtained large grants of land which made them self sufficient, at least for a few generations (e. g. the Sham Chaurasia gharana). Sham Chaurasia gharana is a Gharana (musical heritage in Hindustani classical music, known for the singing of vocal duets most notably represented in modern times Meanwhile the Bhakti and Sufi traditions continued to develop, and interact with the different gharanas and groups. Bhakti ( Devanāgarī: भक्ति) is a word of Sanskrit origin meaning devotion. Sufism ( تصوّف - taṣawwuf, Persian: صوفی‌گری sufigari, Turkish: tasavvuf, Urdu: تصوف

Modern era

In the 20th century, the power of the maharajahs and nawabs declined, and so did their patronage. The word Mahārāja (also spelled maharajah) is Sanskrit for "great king" or " High king " (a Karmadharaya from mahānt A Nawab or Nawaab ( Urdu: نواب Hindi: नवाब was originally the Subedar (provincial governor or viceroy of a With the expulsion of Wajid Ali Shah to Calcutta after 1857, the Lucknavi musical tradition came to influence the music of renaissance Bengal, giving rise to the tradition of Ragpradhan gan around the turn of the century. Wajid Ali Shah (نواب واجد على شاه (official name. Etymology and ethnology The exact origin of the word Bangla or Bengal is unknown though it is believed to be derived from the Dravidian-speaking tribe Bang

In the early 20th century, Pandit Vishnu Digambar Paluskar emerged as an extremely talented musician and organizer (despite having been blinded at age 12). Pandit Vishnu Digambar Paluskar ( August 18, 1872 – August 21, 1931) was a Hindustani musician Early His books on music, as well as the Gandharva Mahavidyalaya music school that he opened in Lahore in 1901 helped foster a movement away from the closed gharana system. ( lahor is the capital of the Pakistani province of Punjab and is the second largest city in Pakistan after Karachi.

Paluskar's contemporary (and occasional rival) 'Chaturpandit' Vishnu Narayan Bhatkhande recognized the many rifts that had appeared in the structure of Indian classical music. Pandit Vishnu Narayan Bhatkhande ( August 10, 1860 &ndash September 19, 1936) was an Indian classical musician widely acclaimed to 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 brought out the monumental Hindustani Sangeetha Padhathi (4 vols)^[5], which suggested a transcription for Indian music and described the many traditions in this notation. Finally, it consolidated the many musical forms of Hindustani Classical music into a number of thaats, a system that had been proposed in the Carnatic tradition in the 17th century. A thaat (ঠাট also transliterated as that) is a mode in Hindustani music. The ragas as we know them today were consolidated in this landmark work, although there are some inconsistencies and ambiguities in Bhatkande's system.

In modern times, the government-run All India Radio and Radio Pakistan helped to bring the artists in front of the public, countering the loss of the patronage system. All India Radio (abbreviated as AIR) officially known as Akashvani ( Devanagari: आकाशवाणी ākāshavānī ( Urdu: اکاشوانی Radio Pakistan is the official International broadcasting station of Pakistan. The first star was Gauhar Jan, whose career was born out of Fred Gaisberg's first recordings of Indian music in 1902. Gauhar Jaan (or Gauhar Jan ( Hindi: गौहर जान (1873–1930 was an Indian Singer and Dancer meaning a Tawaif from Calcutta. Frederick William Gaisberg (born Washington DC, USA, 1 January 1873; died Hampstead, London, England With the advance of films and other public media, musicians started to make their living through public performances. With exposure to Western music, some of these melodies also started merging with classical forms, especially in the stream of popular music. A number of Gurukuls, such as that of Alauddin Khan at Maihar, flourished. A Gurukul ( Guru refers to "teacher" or "master" Kul refers to his domain from the Sanskrit word kula, meaning extended family Allauddin Khan ( Bangla: ওস্তাদ আলাউদ্দীন খান also known as Baba Allauddin Khan) (1862 &ndash 1972 was a Bengali WikipediaWikiProject Indian cities for details --> Maihar (मैहर is a city and a Municipality in Satna district in the Indian In more modern times, corporate support has also been forthcoming (e. g. the ITC Sangeet Research Academy).

Principles of Hindustani music

The rhythmic organization is based on rhythmic patterns called Taal. The melodic foundations are "melodic modes", or "Parent Scales", known as Thaats, thaats are part of "musical personalities" called Ragas or Raags. A thaat (ঠাট also transliterated as that) is a mode in Hindustani music. Rāga ( Sanskrit, lit "colour" or "mood" or rāgam in Carnatic music) refers to melodic modes used

Thaats - and so Ragas - may consist of up to seven scale degrees, or swara. for the town in Nepal see Swara Nepal The notes or swaras, of Indian music are shadja rishabh gandhar madhyam pancham dhaivat and nishad Hindustani musicians name these pitches using a system called Sargam, the equivalent of Western movable do solfege:

• Sa = Do
• Re = Re
• Ga = Mi
• Ma = Fa
• Pa = Sol
• Dha = La
• Ni = Ti
• Sa = Do

Both systems repeat at the octave. In Music, solfège ('soʊlfɛʒ also called solfeggio, sol-fa, or solfa) is a Pedagogical Solmization technique for the The difference between sargam and solfege is that re, ga, ma, dha, and ni can refer to either "Pure" (Shuddha) or altered "Flat" (Komal) or "Sharp" (Tivra) 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 the same swara are sometimes called śruti. The śruti ( Sanskrit "thing heard" "sound" written also sruti or shruti is the smallest interval of the tuning system in The three primary registers of Indian classical music are Mandra, Madhya and Tara. Since the octave location is not fixed, it is also possible to use provenances in mid-register (such as Madra-Madhya or Madhya-Tara) for certain ragas. A typical rendition of Hindustani raga involves two stages:

• Alap: a rhythmically free improvisation on the rules for the raag in order to give life to the raga and shape out its characteristics. The alap can be further divided into the alap, jod and jhala.

• Bandish or Gat: a fixed, melodic composition set in a specific raga, performed with rhythmic accompaniment by a tabla or pakhavaj. There are different ways of systematizing the parts of a composition. For example:
  • Sthaayi: The initial, Rondo phrase or line of a fixed, melodic composition. Rondo, and its French equivalent rondeau, is a word that has been used in Music in a number of ways most often in reference to a Musical form
  • Antara: The first body phrase or line of a fixed, melodic composition. ANTARA is the official News agency of the government of Indonesia.
  • Sanchaari: The third body phrase or line of a fixed, melodic composition, seen more typically in Dhrupad Bandishes
  • Aabhog: The fourth and concluding body phrase or line of a fixed, melodic composition, seen more typically in Dhrupad Bandishes. This article is about Dhrupad the genre of Indian classical singing This article is about Dhrupad the genre of Indian classical singing

  There are three variations of Bandish, regarding tempo:

  • Vilambit Bandish: A slow and steady melodic composition, usually in Largo to Adagio speeds. Vilambit ( Hindi: hi विलंबित also called vilambit laya) is an introductory slow tempo or laya, used in the performance
  • Madhyalaya Bandish: A medium tempo melodic competition, usually set in Andante to Allegretto speeds.
  • Drut Bandish: A fast tempo melodic composition, usually set to Allegretto speed, and onwards. Drut (द्रुत also called drut laya) is the concluding section in fast tempo (or laya) of the performance of a vocal Raga

Vocal music

Hindustani classical music is primarily vocal-centric, insofar as the musical forms were designed primarily for vocal performance, and many instruments were designed and evaluated as to how well they emulate the human voice.

Types of compositions

The major vocal forms-cum-styles associated with Hindustani classical music are Dhrupad, Khayal, and Thumri. This article is about Dhrupad the genre of Indian classical singing Khyal (or Khayal: Hindi: ख़्याल Urdu: خیال is the modern genre of classical singing in North India. Thumri ( Devnagari: ठुमरी, Nastaliq: ٹھمری) is a common genre of semi classical Indian music from the Other forms include Dhamar, Tarana, Trivat, Chaiti, Kajari, Tappa, Tap-Khayal, Ashtapadis, Dadra, Ghazal and Bhajan. Tarana (Hindi तराना is a type of composition in Hindustani classical vocal music in which certain words and syllables (e Kajari ( Hindi: कजरी derived from the Hindi word Kajra, or Kohl, is a genre of Hindustani classical music singing popular Ashtapadis or Ashtapadi rhymns are regular compositions of Music in India where there are eight lines (steps within the composition Dadra ( Devanagari: दादरा is a light classical vocal form in Hindustani classical music, mostly performed in Agra and in Bundelkhand In Poetry, the ghazal ( Arabic / Persian / Urdu: غزل; Hindi: ग़ज़ल Turkish gazel) is a A Bhajan is a type of Hindu Devotional Song, often simple lyrical and expressing love for the Divine. Of these, some forms fall within the crossover to folk or Semi-Classical or Classical ('Light' Classical) music, as they often do not adhere to the rigorous rules and regulations of 'pure' Classical Music.

Dhrupad

Main article: Dhrupad

Dhrupad is a yet older style of singing, traditionally performed by male singers. This article is about Dhrupad the genre of Indian classical singing This article is about Dhrupad the genre of Indian classical singing It is performed with a tanpura and a Pakhawaj as instrumental accompaniments. The tambura ( Hindi: तानपूरा is a type of Stringed instrument found in different versions in different places around the world most are plucked The Pakhavaj, also called Mardal, Pakhawaj, Pakuaj, Pakhvaj or Mardala, is an ancient Indian barrel shaped percussion instrument The lyrics, which sometimes were in Sanskrit centuries ago, are presently often sung in Brajbhasha, a medieval form of Hindi that was spoken in the Mathura area. Brij Bhasha (ब्रज भाषा also called Braj Bhasha, Braj Bhakha, or Daihaati Zabaan (country tongue is a Central Indian language Hindi ( Devanāgarī: hi [[wiktहिन्दी हिन्दी]] or hi [[wiktहिंदी हिंदी]] IAST:, IPA:) is The Rudra Veena, an ancient string instrument, is used in instrumental music in the style of Dhrupad. The rudra veena (also spelled rudra vina, and also called been or bin) is a large plucked String instrument used in Hindustani

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. This is followed by a rendition of Bandish, with the pakhawaj as an accompaniment. The greatest of Indian musicians, Tansen sung in the Dhrupad style. Tansen or Miyan Tansen or Ramtanu Pandey (1493 or 1506 &ndash 1586 or 1589 is considered among the greatest composer-musicians in Hindustani classical music A lighter form of Dhrupad, called Dhamar, is sung primarily during the festival of Holi. Holi ( or language|Bhojpuri]] also called the Festival of Colours, is a popular Hindu spring Festival observed in India,

Dhrupad was the main form of northern Indian classical music until two centuries ago, but has since then given way to the somewhat less austere, khyal, a more free-form style of singing. This article is about Dhrupad the genre of Indian classical singing Khyal (or Khayal: Hindi: ख़्याल Urdu: خیال is the modern genre of classical singing in North India. Since losing its main patrons among the royalty in Indian princely states, Dhrupad ran the risk of becoming extinct in the first half of the twentieth century. Fortunately, the efforts by a few proponents from the Dagar family have led to its revival and eventual popularization in India and in the West.

Some of the best known vocalists who sing in the Dhrupad style are the members of the Dagar lineage, including the late Senior Dagar brothers, i. e. Us. Nasir Moinuddin Dagar and Us. Nasir Aminuddin Dagar, the late Junior Dagar brothers, i. e. Us. Nasir Zahiruddin and Us. Nasir Faiyazuddin Dagar, Us. Wasifuddin Dagar, Us. Ustad Faiyaz Wasifuddin Dagar is considered to be one of the foremost Dhrupad singers in India today Fariduddin Dagar, Us. Sayeeduddin Dagar. Other leading exponents include the Gundecha brothers (i. e. Ramakant and Umakant Gundecha), Dr. Ritwik Sanyal and Pt. Prof Ritwik Sanyal is one of the virtuosos of the north Indian vocal classical style Dhrupad and a professor and head of the Department of Vocal Music in the faculty of performing Uday Bhawalkar, who have received training from some of the Dagars. Leading vocalists outside the Dagar lineage include the Mallik family.

Khayal

Main article: Khayal

Khayal is a form of vocal music in Hindustani music, adopted from medieval Persian music and based on Dhrupad music. Khyal (or Khayal: Hindi: ख़्याल Urdu: خیال is the modern genre of classical singing in North India. Khyal (or Khayal: Hindi: ख़्याल Urdu: خیال is the modern genre of classical singing in North India. Vocal music is Music performed by one or more Singers with or without non-vocal instrumental accompaniment This article is about Dhrupad the genre of Indian classical singing Khayal, literally meaning "Thought" in Hindi/Urdu originally from Arabic, Khyal, is special as it is based on improvising and expressing emotion. Khyal (or Khayal: Hindi: ख़्याल Urdu: خیال is the modern genre of classical singing in North India. Hindi ( Devanāgarī: hi [[wiktहिन्दी हिन्दी]] or hi [[wiktहिंदी हिंदी]] IAST:, IPA:) is Urdu ( ur '''{{Nastaliq اردو}}''' trans Urdū, historically spelled Ordu) is a Central Indo-Aryan language Urdu is a standardised A Khayal is a 4 to 8 lined lyric set to tune. Khyal (or Khayal: Hindi: ख़्याल Urdu: خیال is the modern genre of classical singing in North India. The lyric is of an emotional account possibly from poetic observation. Khayals are also more popularly depicting emotional significance between two lovers, a situation evoking intense feeling, or situations of ethological significance in Hinduism and Islam.

Th importance of the Khayal's content is for the singer to depict, through music in the set raga, the emotional significance of the Khayal. Rāga ( Sanskrit, lit "colour" or "mood" or rāgam in Carnatic music) refers to melodic modes used The singer improvises and finds inspiration within the raga to depict the Khayal. Rāga ( Sanskrit, lit "colour" or "mood" or rāgam in Carnatic music) refers to melodic modes used

The origination of Khayal is controversial, yet it is accepted that this style was based on Dhrupad gayaki and influenced by Persian music. This article is about Dhrupad the genre of Indian classical singing Many argue that Amir Khusrau created the style in the late 16th Century. Ab'ul Hasan Yamīn al-Dīn Khusrow ( Hindi: hi अबुल हसन यमीनुद्दीन ख़ुसरो (1253-1325 CE better known as Amīr Khusrow This form was popularized by Mughal Emperor Hussain Shah Sharqi, an art connoisseur, through his court musician, Mohammad Shah. The Mughal Empire was the dominant power in the Indian subcontinent between the mid-16th century and the end of the 17th century Muhammad Shah ( محمد شاه) (1748 &ndash 1702 also known as Roshan Akhtar was a Mughal emperor of India between 1719 and 1748 Other well-known composers of this period were Sadarang, Adarang, Manarang. Sadarang (1670-1748 was the Pen name of the Hindustani musical Composer and artist Niyamat Khan.

   "   Kaisku Marwa Jaayal Hamaraa   More darawa nayan ghar kan warahe,      Mohammad Shah ke Sadarangile,   Prem Piya la Chapate Apne,   Huntara Tana Mana Waarune   "            - Mohammad Shah

This Khayal bandish in raga Bibhas was popularized by D. Khyal (or Khayal: Hindi: ख़्याल Urdu: خیال is the modern genre of classical singing in North India. Rāga ( Sanskrit, lit "colour" or "mood" or rāgam in Carnatic music) refers to melodic modes used Bibhas is a Hindustani classical Raga. Theory Writing about the musical theory of Indian classical music is fraught with complications V. Paluskar. It is interesting how this bandish mentions three names; Mohammad Shah, Sadarang, and Prem Piya.

Later performers include Pt. Dattatreya Vishnu Paluskar, Faiyaz Khan, Pt. Ustad Faiyaz Khan is the most well known exponent of Agra Gharana in Hindustani classical music. Vinayak Rao Patwardhan, Pt. Shankar Rao Vyas, Pt. Narain Rao Vyas,Pt. Balabhau Umdekar "Kundalguru" Ut. Nazakat Ali And Ut. Salamat Ali Khan, Pt. Eknath Sarolkar, Pt. Kashinath Pant Marathe, Ut. Bade Ghulam Ali Khan, Smt. Kesarbai Kerkar, Mogubai Kurdikar, Krishnarao Shankar Pandit,Amir Khan, Pt. Hindustani vocalist Surashri Kesarbai Kerkar ( Devanagari: सुरश्री कॆसरबाई कॆरकर (b Mogubai Kurdikar (मोगुबाई कुर्डीकर (July 15 1904 – February 10 2001 was a renowned North Indian classical vocalist of the Jaipur-Atrauli Gajananrao Joshi, Pt. Ram Marathe, Pt. Ratnakar Pai, Pt. Kumar Gandharva, Pt. Jitendra Abhisheki, Pt. A. Kanan,Pt. Basavaraj Rajaguru and Mallikarjun Mansur. Pandit Mallikarjun Mansur ( Kannada:ಮಲ್ಲಿಕಾರ್ಜುನ ಮನ್ಸೂರ್ Devanagari:मल्लिकार्जुन मन्सूर

Some of the present day vocalists are Rashid Khan, Pandit Jasraj, Bhimsen Joshi, Gangubai Hangal, Pt. Ustad Rashid Khan (b Badayun 1966-07-01) is an Indian classical musician in the North Indian Hindustani music tradition Pandit Jasraj ( January 28, 1930) is a famous Indian Classical Vocalist, and the foremost exponent of the Mewati Gharana in Pandit Bhimsen Gururaj Joshi (ಪಂಡಿತ ಭೀಮಸೇನ ಗುರುರಾಜ ಜೋಷಿ born February 4 1922 is a renowned Hindustani classical Vocalist Gangubai Hangal (ಗಂಗೂಬಾಯಿ ಹಾನಗಲ್ (born on March 5, 1913) is one of the greats of the Hindustani classical music. Yeshwantbua Joshi, Girija Devi, Kishori Amonkar, Satyasheel Deshpande, Ustad Iqbal Ahmad Khan, Dr. Girija Devi (b May 8, 1929, Varanasi, Uttar Pradesh, India) is an Indian singer and represents the Banaras Gharana of Kishori Amonkar (िकशोरी आमोणकर (born April 10 1931 in Mumbai) is a noted Indian classical vocalist Pandit Satyasheel Deshpande (born January 9, 1951) is an Indian musician who specializes in singing Khyal. Born and brought up in the musical environs of Delhi Gharana of music Ustad Iqbal Ahmed Khan is an active promoter of Hazrat Amir Khusro’s tradition of Indian music Ishwarchandra Karkare,Dr. Rajshekhar Mansur, Pt Ulhas Kashalkar, Pt. Arun Bhaduri, Malini Rajurkar, Pt. Ajoy Chakrabarty, Prabakar Karekar, Alka Deo Marulkar, Aslam Khan, Sanjeev Abhyankar, Shruti Sadolikar, Ashwini Bhide, Padma Talkwalker, Arati Ankalikar-Tikekar, Maya Motegaonkar, Ajay Pohankar, Chandrashekar Swami, Pt. Pandit Sanjeev Abhyankar (born October 5, 1969) is a Hindustani classical music Vocalist of the Mewati Gharana. Shruti Sādolikar ( Shruti Sādolikar-Kātkar) (b 1951) is a classical music singer of the Jaipur-Atrauli Gharānā of Hindustani classical music Venkatesh Kumar, Mashkoor Ali Khan,Vidushi Subhra Guha,Pt. Parameshwar Hegde, Indrani Choudhury, Pandit Ganapathi Bhatt, Pt. Pandit Ganapati Bhat ("Pandit" (Sanskrit "learned" is honorificis an Indian Hindustani classical Vocalist. Madhav Gudi, Bhawani Angiras, Smt. Shashwati Mandal Paul, Pandit Nagaraj Havaldar, Pt. Somanath Mardoor, Pt. Panchakshariswamy Mattigatti, Pt. Shivanand Patil, Sandipan Samajpati,Manjiri Asanare-Kelkar, Sanjeev Chimmalgi

Tappa

Tappa is a form of Indian classical vocal music whose specialty is its rolling pace based on fast, subtle, knotty construction. Sanjeev Chimmalgi is a Hindustani vocalist and a leading disciple of the master composer musician and revered guru the Padmabhushan Late Pandit C The arrangement of words, with the help of tone vibrations performed in an exquisite vocal style, create a charming atmosphere. It originated in the Punjab Gharana. Among the prominent living performers of this style is Smt. Girija Devi. Girija Devi (b May 8, 1929, Varanasi, Uttar Pradesh, India) is an Indian singer and represents the Banaras Gharana of

Tarana

Another vocal form, Tarana are songs that are used to convey a mood of elation and are usually performed towards the end of a concert. Tarana (Hindi तराना is a type of composition in Hindustani classical vocal music in which certain words and syllables (e They consist of a few lines of rhythmic sounds or bols set to a tune. A bol, is a mnemonic syllable It is used in Indian music to define the tala, or rhythmic pattern and is one of the most important parts of Indian The singer uses these few lines as a basis for very fast improvisation. In some sense the tarana can be compared to the Tillana of Carnatic music. Tarana (Hindi तराना is a type of composition in Hindustani classical vocal music in which certain words and syllables (e Carnatic music (also spelled Karnatak music or Karnatik music, and originally called Karṇāṭaka sangīta or Karṇāṭaka sangītam in India

Thumri

Main article: Thumri

Thumri is a semiclassical vocal form said to have begun with the court of Nawab Wajid Ali Shah, 1847-1856. Thumri ( Devnagari: ठुमरी, Nastaliq: ٹھمری) is a common genre of semi classical Indian music from the Thumri ( Devnagari: ठुमरी, Nastaliq: ٹھمری) is a common genre of semi classical Indian music from the A Nawab or Nawaab ( Urdu: نواب Hindi: नवाब was originally the Subedar (provincial governor or viceroy of a Wajid Ali Shah (نواب واجد على شاه (official name. There are three types of thumri: Punjabi, Lucknavi and poorab ang thumri. The lyrics are typically in a proto-Hindi language called Braj bhasha and are usually romantic. Hindi ( Devanāgarī: hi [[wiktहिन्दी हिन्दी]] or hi [[wiktहिंदी हिंदी]] IAST:, IPA:) is Brij Bhasha (ब्रज भाषा also called Braj Bhasha, Braj Bhakha, or Daihaati Zabaan (country tongue is a Central Indian language

Prominent recent performers of this genre are Bade Ghulam Ali Khan and Barkat Ali Khan, Girija Devi, Siddheshwari Devi, Begum Akhtar, Shobha Gurtu and Pandit Channulal Mishra. Ustad Bade Ghulam Ali Khan Devanagari: बड़े ग़ुलाम अली ख़ान; Shahmukhi: بذے غلام علی خان; b Girija Devi (b May 8, 1929, Varanasi, Uttar Pradesh, India) is an Indian singer and represents the Banaras Gharana of Siddheshwari Devi (1907 - 1976 was a famous Hindustani singer from Varanasi, India lovingly known as Maa (mother Begum Akhtar ( October 7, 1914 – 1974 was a vocalist from Lucknow, Uttar Pradesh in India. Shobha Gurtu (शोभा गुर्टू (1925 -2004 was one of India 's most famous singers in the light Hindustani classical style Pandit Channulal Mishra ( Hindi: पंडित छन्नूलाल मिश्रा (b

Ghazal

Ghazal is an originally Persian form of poetry. In Poetry, the ghazal ( Arabic / Persian / Urdu: غزل; Hindi: ग़ज़ल Turkish gazel) is a In the Indian sub-continent, Ghazal became the most common form of poetry in the Urdu language and was popularized by classical poets like Mir Taqi Mir, Ghalib, Zauq and Sauda amongst the North Indian literary elite. Khuda-e-Sukhan Mir Taqi Mir ( Urdu: میر تقی میر) (b 1723 - d Dabeer-ul-Mulk Najm-ud-daulah Mirza Asadullah Baig Khan ( Urdu / Persian: مرزا اسد اللہ بیگ خان) Pen-name Sheikh Mohammad Ibrahim Zauq was the Pen name of Sheikh Ibrahim (1789-1854 one of the brightest stars in the galaxy of Urdu Poets He was a poor is a municipality and industrial town in the county of Rogaland, Norway. Vocal music set to this mode of poetry is popular with multiple variations across Iran, Afghanistan, Central Asia, Turkey, India and Pakistan. For a topic outline on this subject see List of basic Iran topics. Afghanistan /æfˈgænɪstæn/ officially the Islamic Republic of Afghanistan ( Pashto: د افغانستان اسلامي جمهوریت, Central Asia is a region of Asia from the Caspian Sea in the west to central China in the east and from southern Russia in the north to northern Pakistan in the south Turkey (Türkiye known officially as the Republic of Turkey ( is a Eurasian Country that stretches India, officially the Republic of India (भारत गणराज्य inc-Latn Bhārat Gaṇarājya; see also other Indian languages) is a country Pakistan () officially the Islamic Republic of Pakistan, is a country located in South Asia, Southwest Asia, Middle East and Ghazal exists in multiple variations, including folk and pop forms but its greatest exponents sing it in a semi-classical style. Folk music can have a number of different meanings including Traditional music: The original meaning of the term "folk music" was synonymous Pop music as a genre features a noticeable rhythmic element catchy melodies and hooks, a mainstream style and conventional structure

Instrumental music

Although Hindustani music clearly is focused on the vocal performance, instrumental forms have existed since ancient times. In fact, in recent decades, especially outside South Asia, instrumental Hindustani music is more popular than vocal music, perhaps because the lyrics in the latter are not comprehensible due to unfamiliarity with the language.

A number of musical instruments are associated with Hindustani classical music. The veena, a string instrument, was traditionally regarded as the most important, but few play it today and it has largely been superseded by its cousins the sitar and the sarod, both of which owe their origin to Persian influences. Veena (also spelled 'vina' Kannada: ವೀಣ Malayalam: വീണ Tamil: வீணா Telugu: వీణ is a Plucked stringed The sitar ( Hindi: सितार Urdu: ستار Persian: سی تار) is a Plucked stringed instrument. The sarod is a stringed musical instrument used mainly in Indian classical music. Other plucked/struck string instruments include the surbahar, sursringar, santoor, and various versions of the slide guitar. The Surbahar ( Hindi: सुर बहार also known as bass sitar) is a Plucked string instrument used in the Hindustani classical music The Santur is a Persian hammered dulcimer similar to the Indian santoor. Slide guitar or bottleneck guitar is a particular method or technique for playing the Guitar. Among bowed instruments, the sarangi, esraj (or dilruba) and violin are popular. The Sarangi ( Hindi The esraj (Bengali এস্রাজ also called israj) is a String instrument found in two forms throughout the north central and The esraj (Bengali এস্রাজ also called israj) is a String instrument found in two forms throughout the north central and The violin is a bowed String instrument with four strings usually tuned in Perfect fifths It is the smallest and highest-pitched member The bansuri (bamboo flute), shehnai, harmonium, and samvadini are important wind instruments. The bansuri (बांसुरी is a transverse alto Flute of India, Pakistan, Bangladesh and Nepal, made of a single length of bamboo For the movie refer to Shehnai (film The Shehnai is an Aerophonic instrument which is thought to bring good luck and as a result is widely used in North A harmonium is a free-standing musical keyboard instrument similar to a Reed Organ or Pipe Organ A harmonium is a free-standing musical keyboard instrument similar to a Reed Organ or Pipe Organ In the percussion ensemble, the tabla and the pakhavaj are the most popular. This article is about the Indian drum For the drum with the same name in Arabic, see Goblet drum. The Pakhavaj, also called Mardal, Pakhawaj, Pakuaj, Pakhvaj or Mardala, is an ancient Indian barrel shaped percussion instrument Various other instruments (including the Bulbul tarang and the piano) have also been used in varying degrees. A bulbul tarang (or Indian banjo) is a String instrument from India and Pakistan. The piano is a Musical instrument played by means of a keyboard that produces sound by striking steel strings with Felt covered hammers

Some representative performers (these lists are by no means comprehensive nor are intended to be):

• Veena: Dabir Khann, Birendra Kishore Roy Chowdhury, Zia Mohiuddin Dagar, Bahauddin Dagar, Asad Ali Khan, Suvir Misra, Jeff Lewis

• Vichitra Veena: Dr. Ustad Zia Mohiuddin Dagar ( 14 March, 1929 – 28 September, 1990) popularly known as Z Lalmani Misra, Pt. Dr Lalmani Misra ( August 11, 1924 - July 17, 1979) MA PhD D Mus Gopal Krishna, Dr. Gopal Shankar Misra, Mrs. Dr Gopal Shankar Misra (b 1957 Kanpur d Aug13 1999 Bhopal is an Indian musician and music teacher Radhika Budhkar

• Sitar: Imdad Khan, Enayet Khan, Wahid Khan, Mushtaq Ali Khan, Pandit Ravi Shankar, Vilayat Khan, Nikhil Banerjee, Shujaat Khan, Manilal Nag, Purnendu Shekhar Sengupta (Kanu Babu), Rais Khan, Abdul Halim Jaffer Khan, Imrat Khan, Shahid Parvez, Indranil Bhattacharya, Santosh Banerjee, Kalyani Roy, Budhaditya Mukherjee, Sanjoy Bandopadhyay, Kartik Seshadri, Shriram Umdekar, Purbayan Chatterjee, Indrajit Banerjee, Sri Jagdeep Singh Bedi

• Sarod: Allauddin Khan, Brij Narayan, Hafiz Ali Khan, Radhika Mohan Moitra, Timir Baran, Ali Akbar Khan, Jatin Bhattacharya, Buddhadev Das Gupta, Vasant Rai, Sharan Rani, Dhyanesh Khan, Aashish Khan, Ustad Amjad Ali Khan, Mukesh Sharma, Rajeev Taranath

• Surbahar: Imdad Khan, Wahid Khan, Enayet Khan, Annapurna Devi, Imrat Khan, Sri Jagdeep Singh Bedi

• Shehnai: Bismillah Khan, Ali Ahmed Khan

• Bansuri: Pannalal Ghosh, Hariprasad Chaurasia, Raghunath Seth, Bari Siddiqui, Deepak Ram

• Santoor: Shivkumar Sharma, Tarun Bhattachrya, Bhajan Sopori, Omprakash Chaurasiya, Smt Shruti Adhikari

• Sarangi: Ram Narayan, Bundu Khan, Ustad Sultan Khan, Abdul Latif Khan

• Esraj: Ashesh Bandopadhyay, Ranadhir Roy

• Violin: Parur Sundaram Iyer, V. G. Jog, Gajananrao Joshi, N. Ustad Imdad Khan (1848–1920 was one of the greatest Sitar and Surbahar players of all time Enayat Khan (1895–1938 was one of India 's most influential Sitar and Surbahar players in the first decades of the 20th Century Lineage Ustad Wahid Khan the great Surbahar and Sitar player was born in a small town near Agra called Etawah in UP Ustad Mushtaq Ali Khan was born in Banaras ( June 20 1911 – July 21 1989) and an Indian Sitar, Surbahar (and Pakhawaj player Pandit Ravi Shankar ( রবি শংকর Devanagari: रविशंकर "Pandit" ( Sanskrit, "learned" is honorific born April Ustad Vilayat Khan ( Bangla: বিলায়েত খাঁ Bilaeet Khã) (August 8 1928 –March 13 2004 was one of India 's well known Pandit Nikhil Banerjee ( 14 October 1931 – 27 January 1986) was one of India's most prominent Sitar masters of the 20th Century Shujaat Husain Khan is a noted Indian musician and Sitar player belonging to the Imdadkhani gharana and is the son of Ustad Vilayat Khan. Imrat Khan (born November 17, 1935) is a leading Sitar and Surbahar player Ustad Shahid Parvez Khan (b 14th October 1955 Agra is a famous Sitar player of Hindustani Classical Music from Agra India. Budhaditya Mukherjee (1955– is a Hindustani classical Sitar and Surbahar player of the Imdadkhani Gharana (school Sanjoy Bandopadhyay is a Hindustani classical Sitar player He is Ustad Allauddin Khan Professor and Head at the Department of Instrumental Music of Rabindra Kartik Seshadri ( 1957 - is a leading Sitarist, Composer and teacher Allauddin Khan ( Bangla: ওস্তাদ আলাউদ্দীন খান also known as Baba Allauddin Khan) (1862 &ndash 1972 was a Bengali Hafiz Ali Khan (1888-1972 was an iconoclast figure in twentieth-century Sarod music. Ustad Ali Akbar Khan (আলী আকবর খাঁ a master of the Sarod, His performances worldwide have established the modern sarod idiom and contributed Buddhadev Das Gupta (b 1933 - Indian classical Sarod musician and teacher currently residing in Kolkata, India. Vasant Rai (1942-1985 was one of world's most acclaimed performers of Indian music and virtuoso of the Indo/Persian/Afgani instrument Sarod. Aashish Khan Debsharma ( Devanāgarī आशिष खान देबशर्मा ( Bangla ??? (born December 5, 1939) (popularly known as Ustad Amjad Ali Khan is a highly acclaimed Indian Sarod player and Composer. Ustad Imdad Khan (1848–1920 was one of the greatest Sitar and Surbahar players of all time Lineage Ustad Wahid Khan the great Surbahar and Sitar player was born in a small town near Agra called Etawah in UP Enayat Khan (1895–1938 was one of India 's most influential Sitar and Surbahar players in the first decades of the 20th Century Annapurna Devi ( Devanāgarī:अन्नपूर्णा देवी (born Roshanara Khan, Maihar, India, 1926 is a reclusive Imrat Khan (born November 17, 1935) is a leading Sitar and Surbahar player Ustad Bismillah Khan Sahib ( March 21, 1916 – August 21, 2006) was a Shehnai Maestro from India. Pannalal Ghosh (1911-1960 also known as Amal Jyoti Ghosh was a Bengali Indian flute ( bānsurī) player and composer Pandit Hariprasad Chaurasia (born July 1, 1938) is known internationally as a player of the Bansuri, the North Indian Bamboo Bari Siddiqui (born 15th November 1954 is a classical flautist who created his own genre of folk fusion by fusing North Indian Classical Music with Baul music Pandit Shivkumar Sharma (born January 13, 1938) is an Indian classical musician of Hindustani classical music tradition Pandit Bhajan Sopori is a Hindustani instrumental composer from Kashmir. Pandit Ram Narayan is a longime and influential Sarangi player Ustad Sultan Khan is a renowned Indian Sarangi player and singer specializing in the Hindustani Classical music tradition. Pandit Vishnu Govind Jog, better known as V G Jog (b Satara district, Maharashtra, India, 1921 or 1922 d Gajanan Anant Joshi (30 January 1911 - 1987/88 was a vocalist and violin player in Hindustani Music Rajam, Allaudin Khan, L. Shankar, L. Subramaniam, Kala Ramnath, Sisir Kana Dhar Choudhury

• Harmonium: Pt. Allauddin Khan ( Bangla: ওস্তাদ আলাউদ্দীন খান also known as Baba Allauddin Khan) (1862 &ndash 1972 was a Bengali Lakshminarayanan Shankar (born April 26 1950) also known as L Lakshminarayanan Subramaniam ( Subramaniam Lakshminarayanan L Gyan Prakash Gosh, Ustad Zamir Ahmed Khan, Ustad Bhure Khan

• Samvadini: Pt. Manohar Chimote, Pt.Rajendra Vaishampayan, Pt. Jitendra Gore

• Tabla: Ahmed Jan Thirakwa, Gyan Prokash Ghosh, Shyamal Bose, Shankar Ghosh, Anindo Chaterjee, Chatur Lal, Shamta Prasad, Kanthe Maharaj, Alla Rakha, Arup Chattopadhyay, Anokhelal Misra, Keramatullah Khan, Kishen Maharaj, Zakir Hussain, Aban E. Ustad Ahmed Jan Thirakwa is considered one of the greatest tabla players of the 20th century Chatur Lal (b Udaipur, Rajasthan, 1925 died 1965 was an Indian Tabla player Ustad Alla Rakha ( April 29, 1919 - February 3, 2000) was a master of the Tabla, a classical Hindustani percussion instrument Ustad Zakir Hussain ( Hindi: ज़ाकिर हुसैन Urdu: زاکِر حسین born March 9, 1951, is a famous Tabla Mistry, Yogmaya Shukla,Shubhankar Banerjee, Subrata Bhattacharya, Debashis Choudhury.

• Guitar, slide (modified), or mohan veena: Brij Bhushan Kabra, Vishwa Mohan Bhatt, Dr. Kamala Shankar, Debashish Bhattacharya, Nalin Mazumdar of Allahabad

Prominent performers

There have been many great exponents of Hindustani music. Mohan veena is a stringed Musical instrument used in Indian classical music Pandit Vishwa Mohan Bhatt (b Rajasthan, India, 1952 is an exponent of Hindustani music (North Indian classical music Sri Nalin Mazumdar can safely be called a guru or ustaad of the Hawaiian Guitar, also known as the Slide Guitar. Some of them are Allauddin Khan, Girija Devi, Vilayat Khan, Bade Ghulam Ali Khan, Faiyaz Khan, Sharafat Hussain Khan, Abdul Karim Khan, Vasantrao Deshpande, Amir Khan, Dr Pandit Gokulotsavji Maharaj, D.V. Paluskar, Salamat Ali Khan, Mallikarjun Mansur, Omkarnath Thakur, Bismillah Khan, Gangubai Hangal, Bhimsen Joshi, Kishori Amonkar, Kumar Gandharva, Gundecha Brothers, Jasraj, Ravi Shankar, Nikhil Banerjee, Ali Akbar Khan, Pannalal Ghosh, Vijay Raghav Rao, Hariprasad Chaurasia, Zakir Hussain, Shruti Sadolikar-Katkar, Rajan and Sajan Mishra, Ulhas Kashalkar, Malini Rajurkar, Prabha Atre, Shivkumar Sharma, and Annapurna Devi. Allauddin Khan ( Bangla: ওস্তাদ আলাউদ্দীন খান also known as Baba Allauddin Khan) (1862 &ndash 1972 was a Bengali Girija Devi (b May 8, 1929, Varanasi, Uttar Pradesh, India) is an Indian singer and represents the Banaras Gharana of Ustad Vilayat Khan ( Bangla: বিলায়েত খাঁ Bilaeet Khã) (August 8 1928 –March 13 2004 was one of India 's well known Ustad Bade Ghulam Ali Khan Devanagari: बड़े ग़ुलाम अली ख़ान; Shahmukhi: بذے غلام علی خان; b Ustad Faiyaz Khan is the most well known exponent of Agra Gharana in Hindustani classical music. Ustad Abdul Karim Khan ( Devanagari: अब्दुल करीम ख़ान ( November 11, 1872 - 1937, and the Kirana Gharana Vasantrao Deshpande (1920-1983 was a Hindustani classical vocalist who was also a brilliant performer of Natya-Sangeet Ustad Amir Khan ( Hindi: अमीर ख़ान was a well-known Indian classical Vocalist. Pandit Mallikarjun Mansur ( Kannada:ಮಲ್ಲಿಕಾರ್ಜುನ ಮನ್ಸೂರ್ Devanagari:मल्लिकार्जुन मन्सूर Ustad Bismillah Khan Sahib ( March 21, 1916 – August 21, 2006) was a Shehnai Maestro from India. Gangubai Hangal (ಗಂಗೂಬಾಯಿ ಹಾನಗಲ್ (born on March 5, 1913) is one of the greats of the Hindustani classical music. Pandit Bhimsen Gururaj Joshi (ಪಂಡಿತ ಭೀಮಸೇನ ಗುರುರಾಜ ಜೋಷಿ born February 4 1922 is a renowned Hindustani classical Vocalist Kishori Amonkar (िकशोरी आमोणकर (born April 10 1931 in Mumbai) is a noted Indian classical vocalist Kumar Gandharva (Kannadaಕುಮಾರ ಗಂಧರ್ವ Name ಶಿವಪುತ್ರ ಸಿದ್ಧರಾಮಯ್ಯ ಕೊಮಕಲಿ(Shivaputra Siddramayya Komkali) ( Recordings and Fellowships They have recorded many cassettes and CDs by H Pandit Jasraj ( January 28, 1930) is a famous Indian Classical Vocalist, and the foremost exponent of the Mewati Gharana in Pandit Ravi Shankar ( রবি শংকর Devanagari: रविशंकर "Pandit" ( Sanskrit, "learned" is honorific born April Pandit Nikhil Banerjee ( 14 October 1931 – 27 January 1986) was one of India's most prominent Sitar masters of the 20th Century Ustad Ali Akbar Khan (আলী আকবর খাঁ a master of the Sarod, His performances worldwide have established the modern sarod idiom and contributed Pannalal Ghosh (1911-1960 also known as Amal Jyoti Ghosh was a Bengali Indian flute ( bānsurī) player and composer Pt Vijay Raghav Rao - b 3rd November 1925 Madras (now known as Chennai India Pandit Hariprasad Chaurasia (born July 1, 1938) is known internationally as a player of the Bansuri, the North Indian Bamboo Ustad Zakir Hussain ( Hindi: ज़ाकिर हुसैन Urdu: زاکِر حسین born March 9, 1951, is a famous Tabla Rajan and Sajan Mishra ( Hindi: राजन और साजन मिश्रा are two brothers who are noted exponents of the Khayal form of Hindustani Pandit Ulhas N Kashalkar (b 1955 is a noted Hindustani classical vocalist Prabha Atre (b 1932 Pune) is an eminent Maharashtrian vocalist of Kirana Gharana classical Indian music Pandit Shivkumar Sharma (born January 13, 1938) is an Indian classical musician of Hindustani classical music tradition Annapurna Devi ( Devanāgarī:अन्नपूर्णा देवी (born Roshanara Khan, Maihar, India, 1926 is a reclusive

See also

• Indian classical music
• Carnatic music
• Music of Pakistan
• Raga
• Tala
• Gharana
• Sitar

References

1. ^ Excerpts from Bharatiya Sangeet Vadya - Swar in Sam Veda- Articles OMENAD
2. ^ A Study of Dattilam: A Treatise on the Sacred Music of Ancient India, 1978, p 283, Mukunda Lāṭha, Dattila
3. ^ The term sruti literally means "that which is heard". The origins of Indian classical music can be found from the oldest of Scriptures part of the Hindu tradition the Vedas. Carnatic music (also spelled Karnatak music or Karnatik music, and originally called Karṇāṭaka sangīta or Karṇāṭaka sangītam in India The music of Pakistan includes diverse elements ranging from music from other parts of South Asia as well as Central Asian folk music, Persian music Rāga ( Sanskrit, lit "colour" or "mood" or rāgam in Carnatic music) refers to melodic modes used In Indian classical music, Tala ( Sanskrit tāla literally a "clap" is a rhythmical pattern that determines the rhythmical structure of a composition In Hindustani music, a gharānā is a system of social organization linking musicians or dancers by lineage and/or apprenticeship and by adherence to a particular The sitar ( Hindi: सितार Urdu: ستار Persian: سی تار) is a Plucked stringed instrument. One of its senses refers to the "received" texts of the vedas, here it means notes of a scale
4. ^ MusicalNirvana - Amir Khusro Dehlavi
5. ^ Hindustani Sangeetha Padhathi (4 volumes, Marathi) (1909-1932). Marathi (mr मराठी Marāṭhī) is an Indo-Aryan language spoken by the Marathi people of what is considered western India. Vishnu Narayan Bhatkhande. Pandit Vishnu Narayan Bhatkhande ( August 10, 1860 &ndash September 19, 1936) was an Indian classical musician widely acclaimed to Sangeet Karyalaya (1990 reprint).  Originally in Marathi, this book has been widely translated. Marathi (mr मराठी Marāṭhī) is an Indo-Aryan language spoken by the Marathi people of what is considered western India.

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