Q1

Q1. Write in detail about Vaidic Sangeet.
Ans. Vedic Age covered upto around 2000 B.C. Vedic literature says that
during those times the sages used to sing and their wives used to play
instruments like Veena. Amongst the four Vedic scriptures, “Samved” was
primarily music based. The ‘matras‘ in Samved were recited in vocal form
and were known as “Samgan“. In Samgan three types of swar i.e tone used
were, Anudatta(low pitch), Udatya (high pitch) and Swarit ( between low
and high pitches).
The Indus Valley civilization declined around the first half of the 2nd
millennium BC, giving way to Vedic civilization. An important aspect of
Vedic religious life was the bardpriest who composed hymns, in praise of
the gods, to be sung or chanted at sacrifices. This tradition continued until a
sizable body of oral religious poetry had been composed.
Vedic religion was based on performing sacrifices in order to propitiate the
gods. Music formed an important part of the rituals, which structured the
sacrifice. In fact, singing, instrumental music and dance were described as
divine in Vedic literature; it was believed that they propitiated deities.
Vedic music is the earliest instance of the deep relationship between religion
and music in India. Many features of this music later percolated in various
ways and in different proportions into different kinds of Indian music,
including Hindustani Art music. The Rigveda relied on recited hymns
(richa). The musical chanting of the Samaveda employed more notes (finally
settling on seven notes), and is said to be the source of the later secular and
classical music. In fact, the word sama itself is a compound expression and
includes two entities: the first component 'sa' refers to hymns, i.e. richa, and
the second component, 'ma' refers to the musical notes.
Vedic music also included instrumental music of various types. Music was
used mainly for two functions: to propitiate deities and to accompany
sacrificial offerings. Both solo and choral music were in vogue. Four major
forms of music were prevalent in Samagayan, taken as a whole. Each kind
of music effected different changes in Vedic mantras as were perceived to be
necessary by the concerned musician. The veena, tunav, dundubhi, bhoomi
dundubhi and talav were the prominent instruments representing the four
major instrumental categories, autophones, membranophones, aerophones
and chordophones.
The singing of sama was accompanied by the veena in accordance with a
procedure that connected bodymovements, gestures and correct intonation
in singing. Seated properly, the singer was to touch the middle phalanx of
the fingers of the right palm with the right thumb according to the pitch of
the note intended. A disciple learnt this procedure by imitating his preceptor
in pitch, intonation as well as in finger movements.
Soma
No Vedic ritual was complete without the drinking of a sacred intoxicating
liquor called soma. Soma was an integral part of Vedic sacrifices After first
being offered as a libation to the gods, the remainder of the soma was
consumed by the officiating priests (Brahmins). Somaras (soma juice)
raised to the status of a deity in Rigveda, was endowed with hallucinatory
effects and extraordinary powers to heal diseases. Soma drinking was held
legitimate only after attaining a certain status in social and spiritual matters.
OR
Vedic Period is believed to be dated from 4500 BC to 2500 BC. Four Vedas
(the scriptures of Hinduism) RigVeda, SaamVeda, YajurVeda,
AtharvaVeda, were written by sages during this period. This was a
monumental work in the cultural and the musical history of India. Roots of
current Hindustani Music are found in Vedas.
RigVeda is the collection of Richas, the knowledge of singing these richas is
found in SaamVeda. Richas sung for the Yagyas were written in YajurVeda.
AtharvaVeada was mostly about community living.
Music in Rigveda
RigVeda is the oldest Veda. It is a collection of Sanskrit hymns and
versus( Richas) dedicated to deities. Although they had a rhythmic pattern
(Chhanda) they are written in prose.
These Richas when given a Chhand (musical pattern), they were called
Stotras. Stotras were classified as :
1. Shastra : They were used in Puronuvakya Yagya.
2. Stotra or Stoam : These were three line songs like today's bandish.
The words that defined music in Rigveda :
Gatha : means traditional song
Gayatra : a word for song
Saam : means music which developed as a separate Veda in SaamVeda. The
knowledge of singing these richas in RigVeda became the root of Hindustani
Sangeet.
Musical instruments mentioned in RigVeda :
Dundubhi, Vaan, Venu, Karkari
The names of Rishis such as Vasishthha, Bharadwaj, and Angiras are
mentioned in RigVeda as the poets of some of the Richas
Music in YajurVeda
YajurVeda waa all about different Yagyas and its rule. Although Yagya was
always performed with SaamGayan, there wasn't much mention of music in
YajurVeda. Rather it mentions of the Saam that was to be sung for a
particular Yagya. Some of the Yagyas mentioned in YajurVeda are
Rajsooya, Ashvmegh, Vajpeya. These were all accompanied with
SaamGayan.
The word Veena was mentioned in YajurVeda for the first time. The other
instruments that were mentioned were : ShatTantra, Pichhola, KarkTika
Music in AtharvaVeda
AtharvaVeda talks about the safety and wellbeing of the community. It also
speaks very highly of SaamVeda. It has the description of SaamGayan and
also of the music and dance sungor performed at social events and
processions. The musical instruments mentioned were : Aaghaat, Karkari,
Dundubhi
Music in SaamVeda
Saam is the essence of Vedas. Saam means singing a Swara. It always began
with Omm, making the swara or the music a way of praying to the Gods.
The deities and the Gods could only be invited and worshiped through
singing Saam. A Richa had no meaning unless it was sung in Swara. It is
also known as GaanSanhita or GaanGrantha.
When the hymns written in RigVeda were sung to invite the deities at holy
Yagya, they were called Saam. Later these singable hymns were put
together in Saam Sanhita. The knowledge of singing of theses hymns from
RigVeda is SaamVeda. SaamVeda is considered to be the most precious
Veda of all Vedas.
RigVeda was sung in three notes, Udaatta, Anudaatta, Swarit. Udaata means
high note, Anudaatta is the low note and Swarit is inbetween note. By
SaamVeda period all seven notes were developed.
Roots of contemporary Hindustani Sangeet are traced back to Vedic period,
especially to SaamVeda.
Saptak in SaamVeda
According to Naardiya Shiksha the Swara Saptak in SaamVeda was in
descending order (Avrohi). The first note was called Krishta and it was
Madhyam note based.
First : Ma
Second : Ga
Third : Re
Fourth : Sa
Fifth : Dha
Sixth : Ni
Seventh : Pa
Re and Dha in Naardiya Shiksha are Shudh notes and Ga and Ni are flat
notes. Some scriptures suggest that the sequence Ma Ga Re Sa Ni Dha Pa
was also in use.
SaamGayan
Usually a SaamGaan was based on three Ruchas (Mantras). They used either
5 or 6 or 7 notes. Some experts believe that this is the origin of Odav,
Shadav, Sampurna types of ragas.
For each Yagya there used to be a main singer (Purohit) and supporting
singers (UpGaan Purohit). The main Purohit was called Udgatha and the
supporters were called Prastota, Pratiharta, and Subrmanyam. These
supporters were guided by using GaatraVeena symbols.
GaatrVeena is a symbolic representation of notes on a palm of right hand.
The thumb is used to point and indicate a note to be sung at SaamGaan.
There are shlokas in SaamVeda regarding the rules for this singing, sitting
positions of the singers and the use of GaatraVeena while singing.

Music thrived in Vedic period. SaamGaayan is believed to have had a
thousand different branches. Three of them are believed to be still in
practice. They are Rananiya, Yaiminiya, Kouthumi. The roots of
contemporary Hindustani Music are found in Vedic Period. Although the
main purpose of SaamGayan was to accompany Yagya with SaamGaan, it
became the origin of Hindustani Sangeet and all the cultural lineage that
came with it.
Q.2. Write detail information about Samgayan.
Or
Write about Samagayan, also describe its salient features.
Ans. SaamGayan
Usually a SaamGaan was based on three Ruchas (Mantras). They used either
Shadav, Sampurna types of ragas.
For each Yagya there used to be a main singer (Purohit) and supporting
singers (UpGaan Purohit). The main Purohit was called Udgatha and the
supporters were called Prastota, Pratiharta, and Subrmanyam. These
supporters were guided by using GaatraVeena symbols.
GaatrVeena is a symbolic representation of notes on a palm of right hand.
The thumb is used to point and indicate a note to be sung at SaamGaan.
There are shlokas in SaamVeda regarding the rules for this singing, sitting
positions of the singers and the use of GaatraVeena while singing.
SaamGaan Structure
SaamGaan always began with Omkaar.
A Rucha a Saam is based on is called Yoni. A Saam is divided into five
units :
1)Prastav : This was the beginning part of a Saam. It was sung by Prastota
(singer). It began with 'Huum' which was a type of a 'Hinkaar'.
2)Udgeeth : It was the main portion of a Saam. It always began with Omm.
This was the most important part of a Saam and was always sung by the
main singer called Udgatha.
3)Pratihaar : This was the connecting part which was sung by Pratiharta
(singer).
4)Updrav : This was part of Pratihaar which was again sung by the main
singer.
5)Nidhan : This part connected a Saam to the next one through an Omm
sound.
This structure was given a notation to sing in. They were called PanchPadi.
Some experts (Dhundiraaj Shastri Bapat) believe that is the origin of Nom
Thom, Sthaayi, Antara, Sanchari, and Abhog which came later in Hindustani
Sangeet.
Variations and its rules in SaamGayan
As one Bandish can be sung in many different ways, similarly, same Rucha
could be sung with many different variations. The name of a Saam was
given according to the sage who created the melody line for it. Sometimes
the name was also given by the content in the Rucha.
There were eight types of variations that were allowed in singing a Saam.
They were based on extending a note, adding Meend, repeating a part of
shloka, combining or adding a letter to shloka etc. The rules to compose a
Saam as well the rules to avoid certain things while singing them are
mentioned in Laatyaayan Sutra. It’s mention is found in Paaniniya Shiksha
as well as in Naardiya Shiksha.
Musial Notation in SaamVeda
In RigVeda there are three notes that were mentioned. They are Udatta (high
pitched), Anudatta (lower pitched) and Swarit (in between pitched). These
notes were represented by numbers in SaamVeda. They were : Udatta was
1, Anudatta was 3, and Swarit was 2. These numbers were written bellow
the shloka to represent the corresponding swara.
Later all seven numbers were used to write a shloka notation. Usually, the
first letter had a number (between 1 to 5) written on its head. That’s the
beginning note for that Saam. That note was
considered to be the Sa for that Saam. The rest of the shloka was sung based
on that Sa.
Other musical instruments and dance in SaamVeda
SaamGaan was accompanied by musicians and also by dancers in some
occasions. The mention of Nrut (physical movement) and Nritya (dance with
expressions) is found in Vedic Period. Veena was the most developed and
practiced musical instrument in Vedic Period. Daivi Veena and Manushi
veena have been mentioned in Aitareya Aranyaka. The mention of Scale
Change or Murchhana named Uttarmandra is also found in Vedic Period.
There used to be an instrument named Vaan which is believed to have had
100 strings. The specifications of these strings are mentioned in Sutra
literature. The other instruments mentioned in SaamVeda are as follows :
Percussion : Dundubhi, BhuDundubhi, Aadambar, AAghadi
String : KaandVeena, KarkariVeena
Wind : Tunav, Bakur
Q.4. Describe the terms ‘Prastav’, ‘Udgith’, ‘Pratihar’, ‘Upadrav’ and
‘Nidhan’ in detail.
Ans. The terms ‘Prastav’, ‘Udgith’, ‘Pratihar’, ‘Upadrav’ and ‘Nidhan’
relate to the ancient music of the Vedic period.
Usually a Samgayan was based on three Ruchas (Mantras). They used either
Shadav, Sampurna types of ragas. SaamGaan always began with Omkaar. A
Rucha a Saam is based on is called Yoni. A Saam is divided into five units :
1)Prastav : This was the beginning part of a Saam. It was sung by Prastota
(singer). It began with 'Huum' which was a type of a 'Hinkaar'.
2)Udgeeth : It was the main portion of a Saam. It always began with Omm.
This was the most important part of a Saam and was always sung by the
main singer called Udgatha.
3)Pratihaar : This was the connecting part which was sung by Pratiharta
(singer).
4)Updrav : This was part of Pratihaar which was again sung by the main
singer.
5)Nidhan : This part connected a Saam to the next one through an Omm
sound.
Q.5. Write about three diferrent instruments used in Samgayan period. Also
write their uses.
Ans. The Samgayan was suitable to be sung to the accompaniment of
instruments,
both tonal and percussion. The three instruments, Veena, Venu and
Mridangam have been mentioned, even from the Vedic times (more than
four thousand years before). The other
instruments of the three categories are all of later origin. There are about
hundreds of instruments in each of the three categories.
Veena:
Veena is called the King of instruments, since it is believed to be the perfect
instrument, which is capable of producing music almost equal to that of
Vocal rendering. From time immemorial, Veena of all musical instruments,
is the most honoured and respected one. This may be the reason why the
Goddess of Learning, Saraswathi is depicted adorned with a Veena. She is
also called Veenapani.
Right from Vedic ages, Veena has been glorified to such an extent that it is
deemed as an incarnation of God. It rightly occupies the first place amongst
the celebrated 'Vadhya Trayam' Veena, Venu and Mridangam. All the
delicate quartertones, the subtle nuances and the fine touches can be played
with accuracy on this instrument. The instrument is also mentioned in the
Sutras and Aranyakas. The Veena of the Vedic period had:
Siras (head or neck)
Udara (bowl)
Ambhana (Sounding board or the belly)
Tantu or tantra (string) and
Vadana Kona (plectrum)
During Yajnas (holy sacrifice), the priest and the performer chanted, and the
latter's wife played the Veena called 'Audumbari', that is made of 74
Audumbara wood. In another place, it is said that 'Picchola' was the Veena
played upon by the wife of the performer of the Yajna.
The word Veena seems to have been first used in the Vedas. In the
Ashwamedha sacrifice, the Veena was used as an accompaniment to chant
the mantras. The Vedas extol the Veena as "This, the Veena is verily the
embodiment of beauty and prosperity". Evidently, it was also played
particularly at dawn, for there is an anecdote in the Rig Veda, which goes
thus: Once the demons imprisoned the Sage Kanva in a dark room and
blindfolded him. The condition for his release was that, without using his
eyes in any manner, he should be able to tell the coming of dawn. Hours
passed and then the Sage heard the gentle sound of the Veena and he knew
that day had dawned. He told his captors of course without revealing the
source of his information and he was set free.
Q. 6. Explain the system of Jaati Gayan and its 10 principals.
Ans. Jaati are a group of songs which have similar characteristics and follow
certain rules. Jatis have a well knit structure. Padakshara, Layaghat and
Swara are bound to each other in one to one proportion. This type of
composition is also seen in the DhrupadDhamar and Khayals in Jhaptaal,
Rupak in the modern period. A jati consists of four parts known as ‘Vidari’.
Thus the idea of dividing a composition into different parts of musical
purpose is seen in Jati. Like the Samgayan, a song of Jati is sung with
different varities making use of Padageeti. With the help of Padageeti,
different patterns if swara, laya and pada can be created. Different types of
‘Tihai’ are shown in the padgeeti. Thus the style of Jati Gayan resembles the
style of Dhrupad gayan in the modern period.
The 10 features of Jaati Gayan are explained in Natyashastra as
गगरहहह शश तहरमह दरग श च नयहससपनयहस एव च ।
अलपतवह च बहहतवह च षहडवशडववतत तथह ॥२७‚७०॥
Thus the ten features are – Graha, Ansh, Taar, Mandra, Nyaas, Upanyaas,
Alpatva, Bahutva, Shadatva and Odatva.
Graha Swar – According to Natyashastra in all Jaatis Graha swar was
always the Ansh Swar as well. Graha is the Ansh note on which Jaati gayan
used to commence. During the period of Bharat more than once note used to
be used as the Ansh Swar, out of these notes, the note on which the gayan
commenced was the Graha.
In Shuddha jaati the Graha and Ansh swar are the same and these are also
the Nyaas or resting notes. In Vikrut jaati out of all the Ansh Swar one used
to be the Graha Swar, but that same note need not be the Ansh Swar for the
whole jaati. The Ansh Swars used in the gayan could be Vaadi, Samvaadi or
Anuvaadi etc. but the Graha swar is always the vaadi note.
Ansh Swar – This is considered the most important feature of Jaati Gaayan.
Ansh Swar has the following attributes
The raag resides in it
It should contain the raag Avirbhava
It should be distributive of the Taar (higher) octave
It should be repeatedly used in various combination of notes
Through the medium of Graha, Upanyas, Vinyaas, Sanyaas and Nyaas it
delineates the entire Jaati
The raag word used above it to indicate the element of interest (रवकतगह ण)
and not Jaati Raag or Graam raag. In short Ansh Swar are the key notes of
the Jaati that provide the immersive aspect of the Jaati.
Taar – These are certain specifc intervals defines for each jaati. For a vocal
Ansh note the Taar commences from the 4th or 5th note and continues till
the 7th notes. Thus if the Ansh note is the middle octave Sa, then Taar
commenced from middle octave Ma or Pa and continues till Higher octave
“Sa”.
Mandra – The mandra has three possible intervals
Till the Ansh note
Till the Nyaas note
Till the Upanyas note

Both Taar and Mandra are notes which are higher and lower respectively to
the Kanthya note (कणठय). Per Natyashasta the Ansh note should be the
vocal most comfortable and audible note.
The Mandra Madhya and Taar in this reference should not be confused with
the octaves, but they are rather relative position of the notes within a single
octave.
Nyaas and Upanyaas have been defined in Dattilam as –
Nyaas – This is known as the resting note of a geet.
Upanyaas – It is the resting note for the middle section of the geet.
The difference between nyaas and upanyaas is that while nyaas is the ending
note of the entire geet, upnyaas is the resting note in the middle of the geet.
In shuddha jaati the ansh swar in the nyaas swar. In vikrut jaati they need not
be the same. In a total of 18 jaati there are 21 nyaas notes and 56 upanyaas
notes
Alpatva and Bahutva – The most commonly used notes are comprise of the
term bahutva which translates to notes which are most often used. Other
notes which are used comprise the term alpatva which translates to notes that
are sparingly used. Jaati gayan is not possible only on the basis of Ansh
swar, hence the other notes play a very crucial part in the delineating the
structure of the jaati. This prominent and sparing use of various notes is
termed as “Antarmarg”.
Shaadatva and Odatva – These indicate the jaati which have 6 and 5 notes
respectively. According to Bharat Muni out of the 18 jaati 4 would always
be sampoorna (complete) 14 could be Shaadav and 10 could be Odav. This
does not mean that those jaati will always have only 6 or 5 notes, but rather
that they can be sung with only 6 or 5 notes.
Q.7. What is the definition of Raga at the time of Matang Muni? Explain in
detail.
Ans.
Q.8. Write on the system of singing mentioned in Naradiya Shiksha in
detail.
Ans. Naradiya Shiksha, composed, for the most part, in the Anustubh
Chhandas; and based, mainly in the theories and practices of singing Sama
Veda, is an ancient text that deals mainly with the musical notes and the
pronunciation of the words in the Vedic language. It is regarded as an
authentic source of references on the development of Indian Music from the
Vedic times to the period of the Shiksha literature. The Naradiya Shiksha, is
believed to predate Bharatha’s Natyashastra (second century BCE). Some
scholars also believe that Bharat might have been familiar with Naradiya
Shiksha.
Apart from discussing the system of music (Svaramandala) of his times, in
terms of Svara, Grama, Gramaragas, Murchanas, Tanas, sthana (registers),
Jatisrutis etc , Narada in his Shiksha gives information about the ten
different methods of singing (gunavrittis) according to different Vedic
recessions; and, ten desired qualities of a good singing (dashavidha
gunavram). Narada also introduces number of interesting concepts and
notions with regard to music, such as: associating each Svara with a color or
with a god or with other beings. The text attempts to derive each Svara from
the sounds made by a bird or an animal. It visualizes the origination and the
placement of Svaras in different parts of the human body. The text suggests,
based on Sama Gana, the ways to intonate the Svaras with the help of fingers
of the righthand. The text also offers some details about the string
instruments (Veena) like Daravi and Gatra, which were used in the
Samagana and Gandharva gana.
Further, apart from specifying the charecteristics of correct and melodious
singing, the text also suggests the ways and the disciplines needed to
improve the singer’s voiceculture.
But, its most significant contribution that has vitalized Indian Music is that
of aligning the Vaidika (Sama) and the Laukika – Flute (Venu) Svaras; and,
rearranging the Sama svaras of the descending order into ascending order of
the Laukika svaras as we know it today.
Narada has mentioned about the ten different methods of singing
(gunavrittis) according to different Vedic recensions. He also enumerates ten
factors that enhance the quality of rendering of the songs (Gitis ) – (dasha
vidha gunavram); and, emblish the compositions (sahitya) as well as the
melodies of the songs – both Vaidika and Laukika – like raktam, purnam,
alamkritam, prasannam, vyaktam, vikrusfiam, shlaknam, samam,
sukumaram and madhuram,
Raktham, purnam, alamkritam, prasannam, vyktam, vikrustam, shlaknam,
saman, skumaram, madhuram iti gunah //
These are the ten good qualities with regard to the performance of a song
(gitaguna), namely: harmonious (surakta), complete (purna), ornate
(alamkrit), clear (Prasanna), distinct (vyakta), evocative (vikrusta ) ,
smooth (slaksna) , even (sama), lovely and delicate ( sukumara), and
charming (madhura) .
Narada also offers explantions for each of the said ten qualities of good
rendering of a song.
Raktham: This is called Rakta (harmonious) because of the harmony of
notes (svaras) of both flute (Venu) and lute (Veena) with the singer –
“tatra raktam nama venu veena svaranam ekhibhave raktam ity ucyate”
Purnam: Purnam stands for completeness. That is called Purna; because, it
contains in itself all the notes (Svaras), Srutis and combines with the
Chhandas (meters) , lines of the verse (Pada) and syllables ( akshara); and ,
all these are clearly and completely pronounced – “Purnam nama svar sruti
purna chandah pada aksharam yogyat purnam ity ucyate”
Alamkrit: It is Alamkarta, when the song is ornate (alamkrtam) with the
beauty of the three voiceregisters (sthana) emanating from singes’s chest,
head and the throat; appropriately producing the high, low and mid notes as
required – “alankrtam namorasi sirsi kanthayuktam ity alamkrtam”
Prasanna: Prasannam is that which is uttered without stammering and
understood with clarity (prakatartham) – “Prasannam nama vagat agadagada
nirvitiankam prasannam ity ucyate”
Vyakta: it is Vyakta (distinct) , when the text (patya) with its syllables,
grammer, tense, gender, vibhakti etc are clearly pronounced; and, the
listener understands it properly – “Vyaktam jneyam ativyaktaih
prakripratyayaksaaih”
Vikrusta: It is evocative. The lyrics sung in fast, medium and slow speeds,
should be pronounced loudly and clearly – “vikrustam ucchairuccarad drute
Madhya vilambite”
Slaksnam: The term Salkhana means a collection of high and low plutas
(elongated syllables of three matras or timeunits) in a quick and not in slow
speed with hela ( a sort of dramatic grace)and upanayana ( introduction) etc
which are effective. This is called Slaksana – “salaksana nama drutam
avilambitam uccanicapluta samaharam helalaupanayanddibhir
upapadanabhih slakshanam ity uchyate”
Sama: The term Sama means even, where there is no disparity or conflict (a
vaisamya). Saman also means combination of the positions of the hand
indicating the rhythym, avapa nirvapa pradesa and pratyantara – This is
called Sama – “Saman nama vaapanirva pradesha pratyantara sthananam ity
saman uchyate”
Sukumara: It is called Sukumaram, when the music is delicate (sukumara);
is full of lovliness (Lavanya guna purnam); and, when the voice (gatra), flute
(Venu) and the Veena are in harmony – “sukumaram syad venu veena
gatra dhvaniyaika yuktam”
Madhura: The term madhuram means that which is abundantly endowed
with natural, graceful and pleasing (manoharam) words, syllables and merit
(guna) – “Madhuram nama svabhavopanita Lalita pada akshara guna
samruddham madhuram ity ucyate”
Q.9. Give information about the chapters written on Music by Bharata in
Natyashastra.
Ans: The Natyasastra discusses Vedic songs, and also dedicates over 130
verses to nonVedic songs.[75] Chapter 17 of the text is entirely dedicated to
poetry and the structure of a song, which it states is also the template for
composing plays.[76] Its chapter 31 asserts that there are seven types of
songs, and these are Mandraka, Aparantaka, Rovindaka, Prakari, Ullopyaka,
Ovedaka and Uttara.[77] It also elaborates on 33 melodic alankaras in songs.
[78] These are melodic tools of art for any song, and they are essential.
Without these melodic intonations, states the text, a song becomes like "a
night without the moon, a river without water, a creeper with a flower and a
woman without an ornament".[79][80] A song also has four basic
architectural varna to empower its meaning, and these tone patterns are
ascending line, steady line, descending line and the unsteady line.[79]
The ideal poem produces bliss in the reader, or listener. It transports the
audience into an imaginative world, transforms his inner state, and delivers
him to a higher level of consciousness, suggests Natyashastra.[81] Great
songs do not instruct or lecture, they delight and liberate from within to a
state of godlike ecstasy.[81] According to Susan Schwartz, these sentiments
and ideas of Natyashastra likely influenced the devotional songs and musical
trends of the Bhakti movement that emerged in Hinduism during the second
half of the 1st millennium CE.[81]
Indian dance (nritta, नन त) traditions, states Daniel MeyerDinkgräfe, have
roots in the aesthetics of Natyashastra.[1][82] The text defines the basic
dance unit to be a karana, which is a specific combination of the hands and
feet integrated with specific body posture and gait (sthana and chari
respectively).[83][84] Chapter 4 describes 108 karanas as the building
blocks to the art of dance.[83][85] The text states the various movements of
major and minor limbs with facial states as means of articulating ideas and
expressing emotions.
The Natyashastra is, states Emmie Te Nijenhuis, the oldest surviving text
that systematically treats "the theory and instruments of Indian music".[87]
Music has been an integral part of performance arts in the Hindu tradition
since its Vedic times,[88] and the theories of music found in the Natyasastra
are also found in many Puranas, such as the Markandeya Purana.[7]
The ancient Indian tradition, before the Natyashastra was finalized,
classified musical instruments into four groups based on their acoustic
principle (how they work, rather than the material they are made of).[90]
The Natyashastra accepts these four categories as given, and dedicates four
separate chapters to them, one each on stringed instruments (chordophones),
hollow instruments (aerophones), solid instruments (idiophones), and
covered instruments (membranophones).[90]
Chapters 15 and 16 of the text discuss Sanskrit prosody in a manner similar
to those found in more ancient Vedanga texts such as the Pingala Sutras.[91]
[92] Chapters 28 through 34 are dedicated to music, both vocal and
instrument based.[93] Chapter 28, discusses the harmonic scale, calling the
unit of tonal measurement or audible unit as Śruti,[94] with verse 28.21
introducing the musical scale as follows,[95]
ततगर सवरहर –
षडग‍जशग‍च ऋषभशग‍चचव गहनधहरस मधयमसतथह ।
पञग‍चमस धच वतशग‍चचव सपतमसऽथ वनषहदवहनग ॥ २१॥
— Natya Shastra, 28.21[96][97]
Musical scale in Natya Shastra[98][99]
Svara
(Long) Sadja
(षडगज) Rsabha
(ऋषभ) Gandhara
(गहनधहर) Madhyama
(मधयम) Pañcama
(पञचम) Dhaivata
(धच वत) Nisada
(वनषहद) Sadja
(षडगज)
Svara
(Short) Sa
(सह) Ri
(रर) Ga
(ग) Ma
(म) Pa
(प) Dha
(ध) Ni
(वन) Sa
(सह)
Musical notes.svg
(sagrama) C 11.png Note D.svg Note eeb flat.svgNote E.svg Note
F.svg Note G.svg Note AA.svg Note bb flat.svgNote BB.svg Note
CC.svg
Varieties C D♭, D E♭, E F, F♯ G A♭, A B♭, B CC
The music theory in the Natyashastra, states Maurice Winternitz, centers
around three themes – sound, rhythm and prosody applied to musical texts.
[100] The text asserts that the octave has 22 srutis or microintervals of
musical tones or 1200 cents.[94] This is very close to the ancient Greek
system, states Emmie Te Nijenhuis, with the difference that each sruti
computes to 54.5 cents, while the Greek enharmonic quartertone system
computes to 55 cents.[94] The text discusses gramas (scales) and murchanas
(modes), mentioning three scales of seven modes (21 total), some of which
are the same as the Greek modes.[101] However, the Gandharagrama is just
mentioned in Natyashastra, while its discussion largely focuses on two
scales, fourteen modes and eight four tanas (notes).[102][103][104] The text
also discusses which scales are best for different forms of performance arts.
[101]
The Natyashastra describes from chapter 28 onwards, four types of regular
musical instruments, grouping them as stringed giving the example of veena,
covered giving the example of drums, solid giving the example of cymbals,
and hollow stating flutes as example.[89] Chapter 33 asserts team
performance, calling it kutapa (orchestra) which it states to have one male
and one female singer with nine to eleven musical instruments accompanied
by players.
Q.10. Write in detail about ‘Sarana Chatushti’ experiment for fixing up the
number of shtutis of each of the Octave.
Ans. Sarana Chatushtai is an experiment to obtain the correct physical
configuration of Śruti swara arrangement to Shadja Grama Notes on veena
(Sa, Ri, Ga, Ma, Pa, Dha, Ni corresponding to 4324432 totalling 22
Srutis in a Saptak). The experiment is described in Abhinavabharati, a
commentary to Natya Shastra, as an explanation after verse 28.26 of
Natyashastra. The 22 Srutis are the only notes which can be useful for music
in an “octave”, in this view.
Sarana Chatushtai experiment on two similar sitars:
The two veenas having the same qualities in all respect can be used to
perform the Sarana Chatushtai experiment . Establish the Shadjagrama on
both the similar sitars as per the methodology explained in Natya Shastra
chapter 28 to keep shruties distance wise for the respective notes of the
shadjagrama. Now we can measure the sruti value and hence provide 22
frets starting from the 5th sruti of second note "Re". The assumption here
which needs to be made to realize Bharata Muni's shruti of first datum note
being the sound of free string Sa, requires the assumption of 4
virtual shruties of Sa which are actually obtained in the higher octave after
Ni. This assumption though not explicitly stated in the Natya Shastra needs
to be made as was discovered by Avinash Balkrishna Patwardhan and is
required to prove the Sarana Chatushtai experiment. The shruti distances as
per the compression factors are calculated for all the 34" length of the string.
18 frets are required to reach up to the end note Ni of the saptak in both the
instruments. When finally both the instruments are set in the Shadjagrama,
one sitar is to be kept as "Achala" (Achala means that which does not
change) i.e. the string tuning of this instrument remains unchanged during
the entire experiment, whereas the other sitar is named as "Chala" i.e. the
changes in tuning strings during the experiment are to be performed on this
sitar (Chala means that which could change). The Panchama note of this
Chala sitar is to be lowered by one "PramanaShruti" that is to bring this
sitar in the Madhyamagrama. The procedure of Bharata states that the
Achala sitar Re note is first played as Sa note and the Pa note of the Chala
sitar is lowered down in sound to be played as Ma note of the Achala sitar's
Re note(assumed as Sa note).
Sarana 1
Setting the Chala sitar in the Madhyamagrama by lowering the Pa note by
one Pramana Shruti is the first part of the first Sarana. The next part is to
sound the Chala sitar to Shadjagrama tune. Here all notes on the Chala sitar
will sound less by one Pramana shruti than the notes on the permanently set
Achala sitar in the Shadjagrama.
Sarana 2
Repeat the abovementioned procedure to further lower down the Chala sitar
by one more Pramana Sruti. Here we find when asked to play both the
instruments, then the Ga note of Achala sitar will exactly match in tune or
rather merge with the Re note of the Chala sitar, and the Ni note of Achala
instrument merges with the Dha note of the Chala sitar. Here we get the pair
of 2 shruti values.
Sarana 3
Repeat the above procedure once again and further lower down the Chala
sitar by one more sruti in shadjagrama. Now the difference in both the
instruments set in Shadjagrama is of 3 Pramana Shruti values. Here we see
the notes Sa and Pa of Achala sitar will merge in Re & Dha notes of Chala
sitar.
Sarana 4
Repeat this procedure once again to finally bring down the Chala sitar lower
by 4 sruties than the Achala sitar initially set in Shadjagrama. Here we find
the notes Ni, Ga, Ma of Achala sitar are found merging in the notes Sa, Ma
and Pa of the Chala sitar.
Only when all 4 sarana’s are successfully tuned and the sound notes cross
checked as mentioned by Bharata, then only one can know the 22 shrutis of
Shadjagrama as required by the Natya Shastra.
Q.11. What was the RasBhav Vichar at the time of Bharata? Explain in
detail.
Ans. In the Indian tradition, aesthetic experience is explained in terms of the
concept of Rasa. Rasa can be explained as the aesthetic relish of the
emotional tone in the suitably cultivated audience member. Bharata
compiled the meaning of the multifaceted word Rasa into one sentence.
rasyate anena iti rasah.
i.e. that which is relished is Rasa.
Bhāva, literally, means ‘existence’ and ‘mental state’. In aesthetic contexts,
it has been translated as ‘feelings’, ‘psychological states’ and ‘emotions’.
Bhāvas, in the context of performance, are the emotions represented in the
performance. According to the Natyaśāstra, , the oldest surviving
compendium on the knowledge of performing arts:
“Bhāvas are so called, because through Words, Gestures and Representation
of the Sattva, they infuse (bhāvayanti) the meaning of the play (into the
spectators).”
In Bharat Muni’s ‘Natyaśāstra’, we find the concepts of ‘Rasa’ and ‘Bhava’
in detail, which imparts us the knowledge of rasBhava Vichar during his
time. According to the Natyaśāstra:
Vibhānubhāva vyabhicāri samyogada rasanispattih, i.e. Sentiments (Rasa) is
produced from a combination of Determinants (vibhāva), Consequents
(anubhāva) and Complementary Psychological States ( vyabhicāri bhāva).
The ‘vibhāvas’ or Determinants are the conditions and objects which give
rise to the emotions. For example, in Shakespeare’s Hamlet, the
determinants of the emotions within the play are Hamlet’s mother’s hasty
remarriage to Claudius, the brother of her murdered husband and the visit
paid to Hamlet by the ghost of his murdered father, among others. These
factors arouse Hamlet’s suspicion against his uncle and mother.
The ‘anubhāvas’ include the performer’s gestures and other means to
express the emotional states. These may be involuntary such as sweating,
shivering and trembling or voluntary such as deliberate actions and gestures.
Hamlet’s madness, pale countenance, unexpected behaviour, irrelevant
remarks in conversation, his accusation of his mother and killing of Polonius
are the consequents of the emotional state caused in him by the suspicions
he harbours about the murder of his father.
The ‘vyabhicāri bhāvas’ are the Complementary

Psychological States which exist temporarily in a
performance but contribute to the overall emotional tone of
the play. In Hamlet, Hamlet’s fear of his father’s ghost, angry
outburst at his mother, sarcastic attitude towards the king,
his feigned insanity, despair at the death of Ophelia are
some of the fleeting emotions which contribute to the major
theme of the play. The Vyabhicāri Bhāvas are 33 in number.
The overarching emotional tone of the play is known as the ‘Sthayibhāva’ or
Durable Psychological State. The Natyaśāstra ascribes a kingly position to
the Sthayibhāvas as ‘they have a large suit’ i.e. they have a larger sphere of
influence that the bhāvas which come and go (Vyabhicāri Bhāvas). For
example, the Sthayibhāva in Hamlet is that of Hamlet’s avenging anger.
These are 8 in number and correspond to the Rasa as follows:
Durable Psychological
State Rasa
Love
(rati)
The Erotic (śŗngara)
Laughter
(hāsya)
The Comic (hāsya)
Durable Psychological
State Rasa
Sorrow
(śoka)
The Pathetic (karuna)
Anger
(krodha)
The Furious (raudra)
Energy
(utsāha)
The Heroic (vīra)
Fear
(bhaya)
The Terrible (bhayānaka)
Disgust
(jugupsā)
The Odious (bībhatsa)
Astonishment
(vismaya)
The Marvellous (adbhuta)
Thus, the transformation that precipitates aesthetic
experience is the conversion of the Sthayibhāva into Rasa by
the addition of Vibhāvas (Determinants), Anubhāvas
(Consequents) and Vyabhicāri bhāvas (Complementary
Psychological States).
Pramod Kale in his book “The Theatric Universe” explains
that the Natyaśāstra is a practical guide to effective
communication addressed to the performer in theatre. He
explains the concept of Bhāvas and Rasa saying that Bhāva
enables the performer to “recreate the images contained in a
dramatic text, so as to bring about the proper effect” and
Rasa is the “framework of rules and regulations, to explain
and achieve an effective communication, a rapport between
the performers and the spectators. He gives us a table of the
Sthayibhavas (Constant Modes) and their corresponding
Vibhāvas (Indicators) and Anubhāvas (Sensors).
Constant Modes Indicators Sensors

The season; decorating
the body with garlands;
Smiling face; sweet
anointing it (with
talk; play of the eyes
Pleasure (Rati) colours and perfumes);
and eyebrows; sidelong
ornaments; feasting;
glances etc.
being in beautiful
house etc.
Mimicking others’
Laughter and other
actions; nonsensical
Mirth (Hāsya) expressive emotions as
speech; forwardness;
already mentioned.
foolishness etc.
Weeping profusely;
moaning; crying; loss
Separation from dear
of colour; breaking of
ones; loss of wealth;
voice; weakness of
execution;
Sorrow (Sokā) limbs; falling down on
imprisonment and
the ground;
other sad experiences
lamentation;
etc.
screaming; deep
sighing etc.
Constant Modes Indicators Sensors
Wrath (Krodha) Manhandling; Dilation of nostrils and
dragging; quarrel; eyes; biting of lips;
debate; antagonism etc. throbbing at temples
etc.
High spirits; strength; Poise; courage;
Vigour (Utsāha)
courage; bravery etc. sacrifice; learning etc.
Offence against the
Hands and feet
king or teacher; a view
trembling; palpitation
of wild beasts; deserted
of the heart;
house, forests,
immobility; drying of
mountains, elephants; a
Fear (Bhaya) the mouth and the
stormy day, dark night;
tongue; perspiration;
hearing the cry of owls
shivering; seeking
and other nocturnal
refuge; running; getting
beings; getting berated
dragged etc.
etc.
The whole body
Hearing, seeing or
drawing in; face
Disgust (Jugupsā) telling of things
pinched; head jumping;
unpleasant.
spitting.
Illusions, delusions Widening the eyes;
caused by magic and starting without batting
supernatural powers; an eyelid; raised
Wonder (Vismaya)
excellence of man’s art eyebrows; hairraising;
in painting, sculpture head shaking; saying
etc. ‘well done’ etc.
Q.12. Describe music at the time of Mahabharata.
Ans. The age of Ramayana and Mahabharata is considered to be the golden
age of Gandarbha music. Possibly during this era, the seven swars known as
Sa, Re, Ga, Ma, Pa, Dha, Ni came into being.
Krishnadvaipayana Vyasa composed the epic Mahabharata in 24000
shlokas. There is less about music in the Mahabharata than in the Ramayana.
Possibly human life had become more complex and problemridden during
the time of the Mahabharata, leaving less time for music.
Mahabharata used the term gandharva instead of sangeet. The epic therefore
referred to a more specific kind of music. Musicology, or the science of
music was called gandharvashastra. Superhuman beings called Gandharvas
were the expert practitioners of this music. Both gandharvas and their
consorts, the apsaras‚ were experts in singing, playing musical instruments
and dancing.
Arjuna, one of the heroes in the Mahabharata had learnt these musical arts
from Chitrasen gandharva. Kings maintained their own music schools to
train princesses and their maidsinwaiting in the performing arts.
The names of the seven basic musical notes (shadja) have been clearly
mentioned in the Mahabharata, which was composed around 400 BC. The
epic therefore bears testimony to the long living tradition of Indian Classical
music.
The use of music in festivals and other social occasions brings out the
importance given to music in human life. There were, in fact, many classes
of professional musicians like the gandharvas who catered to various
musical and cultural needs.
There are sufficient evidences in Mahabharata to show that music occupied a
very important place in the life of the people. All the three dimensions of
Music (vocal, instrumental and dance) were on
the charm. Music was played in the ceremonies to welcome and see off the
guests. Panav, Vansa and Kansya Tal etc. were being used with Geet (vocal
music). Veena and some other musical instruments were played to
accompany vocal music. The term ‘Vaditra’ was used for four fold classified
instruments including Tata, Vitat, Ghana and Sushir Vadyas. Veena was
played for the rituals of religious ceremonies like Yagyas and for the simple
music, which was a part of people’s daily life. Vyas Muni, the writer of
Mahabharata, has mentioned Veena and Tar Vadya multiple times in
literature which signifies that Veena was the most important and popular
instrument during the period. The terms used in literature for musical
instruments like Ghan Tantri, Vanshi etc evidentially proves that the
classification of instruments was in trend in that period also.
The Veena which had been mentioned in the literature of that period was
‘SaptaTantriVeena’ as ‘Saptatantunvitanvana Yamupasanti Yagyika’.
Bharat had called this SaptaTantriVeena as ‘Chitra’, which was played
only by the forefingers of the hand without the use of kona. The skin of ox
was
used for the making of Avnaddha Vadyas like Bheri, Mridanga and Muraja
etc.
Shankha was also one of the most important instruments in the Mahabharata
period. Lord Krishna and Pandava used to keep their own Shankhas
pertaining to
their nature.
We can find independent references of Veena and Vallaki, in the
Mahabharta epic as Veenana Vallkina Ch: Nupurana Ch: Shinjitae’.
In the Veena’s gravity description, we find that veena was in great use and
it was the most popular ‘TantriVadya’ (string instrument). While, we don’t
get
any firm evidence for Vallaki, yet, it is not wrong to say that Vallaki was
‘MinotTantri’
natured (semistring instrument).
Dr. Pranjpay has imagined Vallaki as the ‘NonTantri Veena’. In
Dronaparva,
we find a reference for musical instruments like Mridanga, Jharjhara,
Bheri, Panava, Anaka, Gomukha, Sankha, and Dundubhi. In Shantiparva,
there
is reference for Veena and Venu. In Virataparva, there is reference of
Kansya.
Some of these instruments have been referred at many places. Of these,
Veena
was a string instrument, Mridanga, Jharjhara or Jharjhari, Bheri, Panava,
Anaka,
Adambara and Dundubhi were instruments of membranophone class (drum
class);
Sankha and Venu were wind instruments. Gomukh was possibly a cow
faced horn
or trumpet. Kanya was the cybal. Training in music was considered to be an
important part of the upbringing of a person. Arjuna had learnt the art of
singing,
dancing and playing an instrument. When he was in disguise in Virata
Nagara, he
taught these arts to Uttara, the daughter of the king of the Virata Nagara.13
Lord Krishna used a Conch called ‘Panchajanya’ on the battlefield.
Arjuna’s Conch is called ‘Devadatta’. Krishna is constantly associated with
the
Venu (flute) whose music charmed the Gopis of Brindaban. We therefore,
find
that classical music was constantly practiced during the Mahabharata age
and it
had an important place in the daily life of the people. Famous Musical
Instruments of Mahabharata Period according to Indian classification are
given
below:
Tata Vadya
Sushir
Vadya
Avnaddha
Vadya Ghana Vadya
1. Yantra
2. Vallaki
3. Veena
4. Tumba Veena
5. Kachapi Veena
6. Mahati Veena
1.Venu
2.Gomukh
3.Govishan
4.Shankha
1. Panav
2. Mridanga
3. Bheri
4. Pesi
5. Turya
6. Adambra
7. Dignidam
8. Mardal
9. Muraj
10. Pushkara
11. Alingya
12. Jharjhar
1. Ghanta
2. Mani
3. Kiddiki
4. Kanchi
5. Parivhatak
6. Bhekhla
7. Kalaap
8. Nupur
Table 2.1: Classification of Famous Musical Instruments of Mahabharata
Period
In Mahabharata, there is comparatively less information about music than
in Ramayana. Instead of the word Sangita, we usually find the word
Gandharva in
Mahabharata. The Gandharvas excelled in Music (Gita), Nritya and Vadyas
as is
evident from the fact that the three terms are often mentioned together (e.g.
Vaditra, Nritgeetam, Sabha Parva 8.36).
Arjuna himself was described as scholar of Gana, Vadan and Nritya from
Gandharva Chitrasen which he later taught to Uttara, tha daughter of King
Virata.
Q.13. Sangeet Ratnakar
Ans. Sarangadeva’s Sangitaratnakara (first half of 13th century) is of
particular importance, because it was written just before influence of the
Muslim conquest began to assert itself on Indian culture. The Music
discussed in Sangitaratnakara is free from Persian influence. Sangita
ratnakara therefore marks the stage at which the ‘integrated’ Music of India
was before it branched into NorthSouth Music traditions.
It is clear that by the time of Sarangadeva, the Music of India had moved far
away from Marga or Gandharva, as also from the system based on Jatis
(class of melodies) and two parent scales. By his time, many new
conventions had entered into the main stream; and the concept of Ragas
that had taken firm roots was wielding considerable authority. Sarangadeva
brought together various strands of the past music traditions, defined almost
267 Ragas, established a sound theoretical basis for music and provided a
model for the later musicology (Samgita Shastra).
Sarangadeva’s emphasis was on the ever changing nature of music, the
expanding role of regional (Desi) influences on it, and the increasing
complexity of musical material that needed to be systemised time and again.
Yet; Sarangadeva was rooted in the prevalent musical practices of his time.
His stress was consistently on the Lakshya the music as practiced than on
ancient theories which though he respects them highly.
Thus, Sangitaratnakara not only provides materials for the study of the
ancient music , but it also gives an insight into the then current practices. In
his writing, Sarangadeva draws a clear distinction between the well
established ancient (purva prasiddha) and the contemporary popular
(adhuna prasiddha) Ragas. He also gives descriptions of the structures and
temperaments of musical instruments such as Veena and Vamsa (flute )
according to the practices of his times.
Sarangadeva gives some information about himself in the beginning of the
work. Sarangadeva introduces himself as belonging to a family which hailed
from Kashmir. His grandfather Bhaskara, an Ayurveda physician, moved
from Kashmir into the newly found Yadava capital Devagiri (Maharashtra)
in the Deccan region at the invitation of King Bhillanna V (11731192).
After the death of Bhillanna, his son Jaitrapala or Jaitugi ascended the throne
and ruled for a short period. He was succeeded in 1200 by Singhana (1200
1247). He was a very powerful king and also a great patron of arts, literature,
and science. It is during his reign that Sarangadeva was appointed in his
father’s (Sodhala’s) post as the Royal Accountant (Srikaranaagrani). Along
with his work at the King’s offices, Sarangadeva continued to practice the
family profession of Ayurveda. He is also said to have written an Vedanta
work entitled Adhyatmaviveka. That work is not available now.
During his spare hours Sarangadeva was busy composing his monumental
work on Indian music the Sangita Ratnakara, the Ocean of Music. It turned
out to be one of the important and comprehensive Sanskrit texts on Music of
India.
The Samgita Ratnakara of Sarangadeva is a great compilation, not an
original work, that ably brings together various strands of the past music
tradition found in earlier works like Nāţyashastra, Dattilam, Bŗhaddēśī,
Sarasvatīhŗdayālańkārahāra and one that is greatly influenced by the
commentary of Abhinavagupta the Abhinavabharathi . But for Samgita
Ratnakara, it may have been more difficult to understand Natyasastra and
Brhaddesi and other ancient texts. And, Samgita Ratnakara also established
a sound theoretical basis for music related issues and practices. It also
provided a model for the subsequent treatises to elaborate on musictheories
and practices (Samgita Shastra).
Samgita Shastra as envisaged by Sarangadeva was a composite art
consisting Gita (melodic forms), Vadya (instruments) and Nrtta (dance or
limb movements). By the time of Samgitaratnakara, three Angas (limbs) of
Samgita were well developed. Of these, the Vocal music was regarded as the
essential, fundamental music through which all other forms of music were to
be understood and interpreted. Here again, Sarangadeva focuses on Desi
Sangita, though he comments on aspects of Marga Sangita. On Dance
(Nrttya) he offers clear picture of both Marga and Desi traditions, although
in a concise manner.
Sangita Ratnakara is a standard and an authoritative text; and it hugely
impacted almost all the writers in the subsequent period. It is also a reliable
source book on ancient music traditions and their authors. Sarangadeva,
gives an elaborate resume of the general system of Indian music in theory
and practice as had been developed in the centuries previous to the
thirteenth. He gives detailed exposition of th jatis, and the gramaragas,
accompanied by actual notations.
But the most valuable information that this text conveys to us is as to the
ancestry of several of the ragas, whose names occur for the first time in the
Sangita Makaranda and which ragas must have acquired those names some
time before, say about the eighth century. The text of Sarangadeva affords
the only evidences as to the sources from which these wellknown ragas
derive their character and existence. But for Samgita Ratnakara, it may have
been more difficult to understand Natyasastra, Brhaddesi and the other
texts .
The text of Sangita Ratnakara has 1678 verses spread over seven chapters
(Saptaadhyayi) covering the aspects Gita, Vadya and Nritta: Svaragat
adhyaya; Ragavivekadhyaya; Prakirnakaadhyaya; Prabandhadhyaya,
Taalaadhyaya; Vadyaadhyaya and Nartanaadhyaya. The first six
chapters deal with various facets of music and musicinstruments; and the
last chapter deals with Dance.
The first chapter has eight sections. It opens with reverential verses to the
Hindu god Shiva, who is called the "embodiment of sound, sung about by
the entire world" and the one delighting according to the Vedas.[20] The
author pays homage to his ancestors, then to ancient scholars such as
Bharata, Matanga, Dattila and Narada, as well as major gods and goddesses
of Hinduism in first section of the first chapter. In the second section, there
is hardly any mention of music or dance, rather Sarngadeva presents his
metaphysical and physiological beliefs, as well as credits the origin of music
to the Samaveda.[20]
[21] He presents musical topics and definitions of
musical concepts starting with section three of the first chapter, with
frequent mentions of Shiva and the Hindu goddess Saraswati.[20]
According to Sarngadeva's verses 2730 of the section 1.1, song is
everywhere, in the cry of a baby, in the beats of nature, in the pulse of life, in
every human act of Dharma, Artha, Kama and Moksha.[20] [22] The sections
3 through 8 of the first chapter
describe nada(sound), svara (tone), śruti (microinterval), gramas (primary
scales), murcchanas (derivative
scales), varna (color), jati (mode), alankara (embellishment), giti (singing
styles), meters and other basic musical concepts.[21]
[23]
The suddha (pristine) svaras are those in the Sama Veda, states the text.[24]
Svara and sruti[25]
Gandha Madhy Pañca
Dhaiva
Svara Sadja Rsabha ra ama ma Nisada
ta
(Long) (षडगज) (ऋषभ) (गहनधह (मधयम (पञचम (वनषहद)
(धच वत)
र) ) )
Svara
Sa(सह) Re(रत ) Ga(ग) Ma(म) Pa(प) Dha(ध) Ni(वन)
(Short)
Vajrika
Tivra,
Srutis Dayava , Kshiti,
Kumad Madant
in Sangi ti, Prasari Rakta, Ugra,
vanti, Rudri, i,
ta Ranjini ni, Sandipi Kshobi
Manda, Krodhi Rohini,
Ratnaka , Priti, ni, ni
Chango Ramya
ra[3] Raktika Marjan Alapini
vati
i
The mammoth text describes 253 ragas in chapter 2,[26] while chapter 5
presents all classical (marga) and 120 regional Talas.[27]
[28] Chapter 3
opens with a summary of sangita practice in the Vedic literature, then
presents the postVedic developments and recommendations for practice. It
includes a description of theatre design, make up and decoration of the
artists, performance standards for instrumentalists and singers, as well as
methods for improvising on a musical theme.[29] [30]
In the 6th chapter, Sarang Deva describes the ancient and pre13th century
musical instruments of India into four class of musical
instruments: chordophones, aerophones, membranophones and idiophones.
He mentions physical description of the instruments, how to play them and
the repertoire that best flows with each musical instrument.[30]
[31] In the
7th chapter of this massive text is a relatively brief description of classical
and regional dance forms of India, including Kathak.[32] Its dance chapter
describes expressive styles, posture and body language as a form of silent
communication of ideas, the rasa theory categorized through nine emotions,
and the art of individual movements of a dancer.[30]
According to Peter Fletcher – a professor of Music and Drama, the Sangita
Ratnakara states that "the composer was expected to be a competent
performer, but he also made clear that the composer was expected to know
his audience, and how their minds work, rising above his own likes and
dislikes, in order to bring delight to everyone".[33] Sarangadeva's views on
music, states Fletcher, exemplified ideas in the Bhagavad Gita relating to
nonattachment.
Importance[edit]
Sańgītaratnākara is a very important text and this is evident from the many
commentaries written on it.[2] It remains as a reference text in the
contemporary times among the Indian musicologists and music schools.[34]
The text attracted secondary literature called bhasya in the Indian tradition.
Two of the many commentaries on the text have been translated into
English. These are Sańgītasudhākara of Simbabhūpāla and Kalānidhi of
Kallinātha. Sańgītaratnākara compiles information found in earlier works
like Nāţyaśāstra, Dattilam, Bŗhaddēśī, Sarasvatīhŗdayālańkārahāra, ideas of
Abhinavagupta on Nāţyaśāstra, as well as others.[20]
[35] Sarangdeva
expanded the more ancient and medieval ideas as well, such as with his
ideas on lasyas.[36] The text forms a useful bridge between the ancient,
medieval and the post13th century periods of music history in India.
Q 14. How Sharangdeva explained the difference between Shruti and Swara.
Ans.
Q 15. Compare the Sarana Chatushti experiment by Bharata and
Sharangdeva.
Ans.
Q.16. Explain Gram and Murchhana.
Ans. Bharat in the Natyashastra has described 22 shruti’s or microtones in an
octave. From Shadja to Tar Shadja there are twenty two Shrutis in
the order, three, two, four, three, two, four. The collection of these octaves is
known as Gram.
It was further prescribed that all the 7 notes in the octave would lie within
these 22 shruti’s. Based on the interval between subsequent notes 2 graam
were prescribed – Shadja and Madhyam.
Shadja Graam
1 1 1 1 1 1 1 1 1 1 2 2 2
1 2 3 4 5 6 7 8 9
0 1 2 3 4 5 6 7 8 9 0 1 2
D
S R G M P N
* * * * * * * * * * * * * * h *
a e a a a i
a

Madhyam Graam
1 1 1 1 1 1 1 1 1 1 2 2 2
1 2 3 4 5 6 7 8 9
0 1 2 3 4 5 6 7 8 9 0 1 2
D
S R G M P N
* * * * * * * * * * * * * * h *
a e a a a i
a

Sadjagrama: 4 S, 3 R, 2 G, 4 M, 4 P, 3 D, 2 N = 22 SRUTIS
MadhyamaGrama: 4 M, 3 P, 4 D, 2 N, 4 S, 3 R, 2 G = 22 SRUTIS
Hence notes situated nine or thirteen Shrutis apart are mutually consonant
(Viditva),
In Shadja Graam,
Notes ShadjaPancham, RishabhDhaivat and GandharNishad are
consonant to each other (13 shruti apart)
Notes ShadjaMadhyam, MadhyamNishad and DhaivatRishabh are
consonant to each other (9 Shruti apart)

In Madhyam Graam,
Notes RishabhPancham, MadhyamNishad and DhaivatRishabh are
consonant to each other (9 shruti)
Notes RishabhDhaivat and GandharNishad are consonant to each other (13
shruti apart)

This makes it clear that the difference between the two graam is the position
of Pancham. Shadja graam places it on the 17th note while madhyam gram
places it on the 16th note.

Thus is evident that Graam concept helped us in identifying the consonant
(Samvaadi) and dissonant (Vivaadi) notes within an octave. Consonance
helped further evolve the appeal of music since it could scientifically
postulate which notes would make a more pleasing combination to the
listener’s ear
This was critical in further development of Jaati and Prabandha gayan
ultimately leading to the concept of raag and the notes which constitute the
construction of a raag in order to make them appealing (Ranjak).
Moorchana
The study of the 22 shruti’s further paved the way for the concept of
Moorchana.
The chronological establishment of the seven notes in Moorchana. A total of
14 Moorchana were established based on the Shadja Graam and Madhyam
Graam.
Seven for Shadja Graam – Uttarmandraa, Rajani, Uttarayataa,
ShuddhaShadja, Matsikruta, Ashwakrantaa and Abhirudgataa
Seven for Madhya Graam – Sauveeri, Harinaashwa, Kalopanataa,
Shudhamadhyaa, Maargvi, Pauravi and Hrushyakaa.
Shadja Graam murchana begin with Sa, Ni, Dha, Pa, Ma, Ga, Re
Madhyam Gram murchana being with Ma, Ga, Re, Sa, Ni, Dha, Pa
It can be inferred that Moorchana mentioned according to Bharata are in the
ascending order. This could be in accordance to Saam Gayan where notes
were established to be descending. Although Mattanga’s Brihaddeshi
established Moorchana in ascending order as well currently we would
consider them in descending order only.
Moorchana established for in each graam are in the major (Suddha) notes.
During the period of Bharata the 22 shrutis were used to establish the notes
on the veena. This process was termed as Moorchana. There were 2 veena’s
in vogue during this period – Chitra (7 strings) and Vipanchi (9 string). On
either of the veena a moorchana used to be established, by starting with the
first string tuned to the first notes of a corresponding moorchana. For
example if uttarmandraa was established then the Veena would be tuned to
Sa, Ni, Dha, Pa, Ma, Ga, Re. The either Ma or Pa was considered as the
Ansh Swar and a tune was played. This ensured that the entire range of the
Jaati gayan was covered in the range of the veena. This process could be
termed as establishing the pitch of the Veena.
When the moorchana is spaced using Gandhar (moved 2 shruti up) and
Kaakali Nishaad (moved 2 shruti up) then the total number becomes 14 (this
process is known as Sadhaarankruta – सहधहरणकनतह). Moorchana can further
be defined with 6 notes (Shaadav) and 5 notes (Odav) this increasing the
total number to an additional 28. Thus the total number now comes up as 14
+ 14 +14 + 14 = 56.
Moorchana are significant in the following way –
1.They help establish the scale of Veena to be able to perform a Jaati Gayan
at the relevant pitch.
2.They help in establishing the consonant position of notes for every pitch
(Viditva and Vivaadi) For example in Raag bageshri the tanpura
sounds more appealing when tuned to madhyam as opposed to
pancham. Why this occurs is can be explained by Moorchana.
Bageshri is derived out of the Shadjagraam moorchana
“Uttarmandra”, where as Bhimpalas is derived out of Madhyagraam
Saadharanikruta moorchana Rushabhadi “Kalopanata” (कलसपनतह).
Hence the madhyam tuned tanpura has a natural consonance with the komal
nishaad and at the same time it has the same shruti distance with dhaivat as
Shadja has with the gandhar. This gives a very pleasing auditory experience
to the listerner.
1.They provide useful information about RaagRasa and SwarBhaav – Even
prior to the modernization of Indian Classical Music from the
thirteenth century onwards the great sages and philosophers were able
to postulate the “scales” through the mean of Moorchana. For
example the western scale “C D E F G AB” can be compared to the
bilawal thaat and correspondingly to the Shadjagraam Saantra
(सहनतरह) “म प ध वनग सह रत ग”
Some of the ancient raag which predate the Parda system of Persia have an
explanation of the rasa associated through the raag as a result of moorchana.
For example
• Bhairav – According to moorchana nishad is the ansh swar which dictates
that this raag be karuna rasa pradhaan.
• Todi – Gandhar is the ansh swar which again dictates the karuna rasa
pradhaan raga.
Q.17. Write in detail about ‘How Bharata discovered Shrutis’?
Q.18. Explain the system of use of music at Bharata’s time in the drama.
Ans. Music was an inseparable part of drama at the time of Bharat Muni.

During the “Natyavehsam” blessing were sought from gods of music such as
Narada, Tumbaru and Vishwasu. Natyashastra dictates that during the
Shilanyaas (वशलहनयहस) (foundation or beginning) of the Natyavesham,
instruments such as Shankha, Dundubhi, Mrudang and Panav should be
played. The same instruments are said to be auspicious during the worship
of Rang-Devata.
A Song type by the name of “Dhruva” has a very important place in drama.
There are four types of songs (गरवतयहह ) mentioned – Magadhi (महगधर),
Ardha-Magadhi (अधरमहगधर), Sambhavita (सह भहववतह) and Pruthula (पन थहलह).
Natyashastra prescribes music not only for mere entertainment but for the
development of the story line of the drama. It describes the use of music
for aspects such as the temperament of a character, state of mind and to
enhance and express the mood of the situation being acted. It was used
where only dialogues were not enough to depict the scene effectively.
Specific musical instruments were used to depict specific emotions. This
was done by using careful psychological analysis. Natyashastra believed that
without music drama would become dull and boring.
Natyashastra depicts two parts to a drama –
1. Outward (बहह) – The part which is devoid of any music or song but only
consist of dialogues and actions
2. Core (आभयह तर) – The part which consists of songs, music instruments,
tempo, beat cycles and acting
The purpose of music was to grab the attention of the audience and help
them focus on the drama and hence it was important to be in the right
quantity.
In the above aspect it was important in a drama to have soulful music and
singing. The director of the play was supposed to be knowledgeable in set
decoration as well as in singing and music. To help in deciding the
appropriateness and timing of music a singer should be appointed as a
consultant (पगरहवशनक).
As stated before natyashastra places immense importance to music and
orchestra (वहदवन नद) and attributes it to the success of the drama. This
instrumentation was known as “Kutap” (कहतप). Natyshastra also pays careful
attention to the acoustics of the auditorium and mentioned it be designed
in a way that it does not hinder or interfere with the sound projections of
the singer or the musical instrument.
There are three kinds of roles mentioned
1. Anuroop – Man acts and man and women acts as a woman
2. Viroop – Young act as old and old act as young
3. Roopanusaarini – Man acts as woman and woman acts as a man
According to Bharat adolescent and young roles (Sukumar) should be
played by women only who should be adept in both acting and singing. The
woman acting in drama was termed as “Natakiya” (नहटकरयह)and it was
important that she was well versed with singing. Dancers were expected to
know the 4 arts of singing, musical instruments, dancing and acting. The
presentations done by female dancers was termed as “Kaushiki”.
The music and singing done behind the curtain (यववनकह) was known a
Bahirgeet(बवहगररत) or Nirgeet(वनगररत). It was an music ensemble which was
not directly related to the content of the drama.
Bahirgeet incorporated the following 9 processes –
1. Pratyahar पगरतयहहहर – This incorporated the assembly and tuning of
music instruments
2. Avtaran अवतरण – This was the placement of the instruments,
musicians and singers
3. Arambh आरह भ – This was the introductory playing and singing of the
instruments and singers resp.
4. Aashravana आशगरहवणह – This was the rhythmic playing of percussion
instruments together
5. Vaktrapaani वकतगरपहवण – This was the rhythmic playing of Veena
6. Parighattana पवरघटग टनह – This was the playing of specific music
patterns on string instruments
7. Sanghotana सह घसटनह – This was the playing of veena with rhythmic
variations done on percussion instruement like mrudang.
8. Margotsarit महगसरतसहवरत – This comprised of Veena, percussion and
singing
9. Aasarit आसहवरत – This primarily focused on singing.
Once the curtain was raised the following processes were done –
1. Utthapan उतथहपन
2. Parivart पवरवतर
3. Naandi नहहदर – This was performed by the compere of the event. This
was to be sung in a suitable tone which would be the middle octave. Nandi
could only encompass song type of Avakrushta (अवकनषटह), Adadita
(अडगवडतह) and Dhruva (धगरवह). These in turn were only to use Shushkakshar
(शह षकहकशर) and Stobhakshar (सतसभहकशर)
4. Shushkapakrushta शह षकहपकग रनषटह
5. Rangadwaar रह गदहर
6. Chaari चहरर
7. Mahachaari महहचहरर
8. Trik वतगरक
9. Prarochana पगररसचनह
The possible purpose of Bahirgeet could have been to make the musicians,
singers and audience aware that the drama was about to begin.
Q.19. Write your views on the system of chanting Richas explained in
Naradiya Shiksha.
Ans. Naradiya Shikha is a treatise developed for the scientific study and
recitation of the vedic literature. It deals with 6 topics (षडह ग) namely –
Varna (tonal movement), Swar (notes), Matra (beat divisions), Bal (बल)
(emphasis), Saam (music) and Santaan
The following Sikha Granthas are for each veda
Rik – Panineeya (पहवणनरय)
Yaju – Yaagnavalkya (यहदगनयवलकय)
Saam – Naradiya (नहरदरय)
Arhatva – Mandooki (महणडड कर)
Naradiya shiksha states that only after careful study of notes can one
understand the difference between Aarchik, Gaathik and Saamik note
inflections. The enunciation of the notes carries great significance in music
and literature (सवरसचचहरण). There are 3 positions of enunciation – Uras
(Chest), Kantha (throat) and Shiras (Mouth or head) (उरसग, कणठ, वशरसग)
producing Mandra (lower), Madhya (middle) and Taar (High) notes.
Trutiya Khandika of Naradiya Shiksha describes in detail the 10
characteristics of good singing –
1. Rakt (रकत) – The note of the singer should be in complete unison
with the note produced on the flute or Veena
2. Poorna (पडणर) – The Swar, Shruti, Chand, Paad and Akshar are clearly
and completely pronounced
3. Alankrut (अलह कनत) – Appropriately producing the high, low and mid
notes as indicated
4. Prasanna (पगरसनन) – There should be no strain or throat issues while
singing (कणठदसष) and there should be no fear or tentativeness while singing
(वनववरशहक)
5. Vyakta (वयकत) – The composition of the ved should be clearly and
precisely recitated such that the audience clearly hears the words and
understands the meaning. This includes proper grammer such as tense,
gender, vibhakti etc.
6. Vikrushta (ववकनषट) – Words sung in high notes should be pronounced
correctly
7. Shlakshan (शलकण) – Singing in proper tempo such as Fast, medium
and slow (drut, Madhya and vilambit) and understanding laghu, guru
intervals
8. Sum (सम) – Every note should be sung with the appropriate time
interval. Unnecessarily extending or shortening a note should not be done
9. Sukumar – The notes should be pronounced softly as required.
Unnecessary force should not be applied to notes
10. Madhur – The verses should be sung with ease and natural/soft voice
Q.20. Write your views on the music of epic period.
Ans. The first Indian epic, Ramayana, was composed by the sage Valmiki. It
was written in shloka form. The word shloka refers to a particular kind of
metrical composition known for its brevity, easy tempo and lilting rhyme.
From the lavish use of musical metaphors in the epic, it is evident that the
precise concept of music or sangeet had been adequately established and
appreciated. For example, when Rama describes Kishkindha, Sugreeva's
kingdom, to Laxmana, he refers to the lutelike resonance of the bees, the
rhythmic croaking of frogs and the mridanglike sounds of clouds. Rama
was an expert in gandharva, the 'classical' music of the time.
The term Marga sangeet is also used in the epic to denote the accepted and
prestigious mode of music. There were three important features of Marga
Sangeet. It was created and propagated by Brahma and other deities. It was
not meant for entertainment. It was presented before the Gods to please
them.
The epic tells us that musical instruments were collectively mentioned as
atodya. Four major types of instruments were identified. A wide variety of
instruments were used such as the Veena, Venu, Vansha, Shankha,
Dundubhi, Bheri, Mridang, Panav and Pataha.
The knowledge of music was widespread. Ravana the demonleader was
proficient in music. So was Sugreeva, the monkeyleader. Occasions of
festival music were known as samaj. There were professional classes of
musicians such as Bandi, Soota, Magadha and others, whose repertoire
included songs in praise of heroes, their deeds, their clans or dynasties.
Ramayana, as an oral epic, was also propagated according to the musical
norms perfected in the oral tradition. This was the pathya mode of music
making, ideal for narration. This was the form employed by Rama's sons
Kush and Lava, when they sang a narrative song in Rama's praise at his
court accompanied by only a lute. Even today, the story of Rama, when
traditionally narrated in India in different languages and regions, follows the
norms laid down by the ancient Sage.
The use of technical terms in popular literature signifies that knowledge in
the concerned field of study is widespread in society. Musical terms such as
pramana, laya, tala, samatala , kala , matra and shamya regularly feature in
the epic.
Krishnadvaipayana Vyasa composed the epic Mahabharata in 24000
shlokas. There is less about music in the Mahabharata than in the Ramayana.
Possibly human life had become more complex and problemridden during
the time of the Mahabharata, leaving less time for music.
Mahabharata used the term gandharva instead of sangeet. The epic therefore
referred to a more specific kind of music. Musicology, or the science of
music was called gandharvashastra. Superhuman beings called Gandharvas
were the expert practitioners of this music. Both gandharvas and their
consorts, the apsaras‚ were experts in singing, playing musical instruments
and dancing.
Arjuna, one of the heroes in the Mahabharata had learnt these musical arts
from Chitrasen gandharva. Kings maintained their own music schools to
train princesses and their maidsinwaiting in the performing arts.
The names of the seven basic musical notes (shadja) have been clearly
mentioned in the Mahabharata, which was composed around 400 BC. The
epic therefore bears testimony to the long living tradition of Indian Classical
music.
The use of music in festivals and other social occasions brings out the
importance given to music in human life. There were, in fact, many classes
of professional musicians like the gandharvas who catered to various
musical and cultural needs.
Q.21. Explain the classification system of instruments in ancient time.
Ans. Musical Instruments of all kinds and categories were invented by the
exponents of the different times and places, but for the technical purposes a
systematicclassification of these instruments was deemed necessary from
the ancient time. The classification prevalent those days was formulated in
India at least two thousands years ago. The first reference is in the
Natyashastra of Bharata. He classified them as ‘Ghana Vadya’, ‘Avanaddha
Vadya’, ‘Sushira Vadya’ and ‘Tata Vadya’.1 Bharata used word ‘Atodhya
Vadya’ for musical instruments. The term Atodhya is explained earlier than
in Amarkosa and Bharata might have adopted it. References: Some
references with respect to classification of Indian Musical Instruments are
listed below: 1. Bharata refers Musical Instrument as ‘Atodhya Vadya’.
Vishnudharmotta Purana describes Atodhya (Ch. XIX) of four types – Tata,
Avnaddha, Ghana and Sushira. Later, the term ‘Vitata’ began to be used by
some writers in place of Avnaddha. 2. According to Sangita Damodara, Tata
Vadyas are favorite of the God, Sushira Vadyas favourite of the Gandharvas,
whereas Avnaddha Vadyas of the Rakshasas, while Ghana Vadyas are
played by Kinnars. 3. Bharata, Sarangdeva (Ch. VI) and others have
classified the musical instruments under four heads: 1 Fundamentals of
Indian Music, Dr. Swatantra Sharma , p86 54 i. Tata (String Instruments) ii.
Avanaddha (Instruments covered with membrane) iii. Sushira (Wind
Instruments) iv. Ghana (Solid, or the Musical Instruments which are stuck
against one another, such as Cymbals). 4. As pointed out by Dr. Shringy and
Dr. Prem Lata Sharma, Sarangadeva’s treatment of all vadyas in a single
(separate) chapter is a distinct departure from Bharata’s scheme where Tata
and Sushira are taken along with the chapters pertaining to Swara and others
treated separately. 5. Sangita Ratnakara gives another classification based on
the function of the instruments: Sushkam (solo playing), Gitanugam
(accompaniment to vocal music), Nrittanugam (accompaniment to dance)
and Dvayanugam (accompaniment to both dance and vocal music). 6.
Someshvara in Mansollasa (twelfth century) says that the instruments
enhance the beauty and grace of dance and music, and for this reason, they
have a preeminent place in both dance and music. Vadyen rajte geetam ch
nrityam vadyavarjitam!! Tasmadvadyam pradhanam
syadvitnrityakriyavidho! According to him the instruments can be classified
on the basis of number or kinds of strings (tantri bheda) and the manner of
their performance. 7. In Abu Raja’s, GhunyatulMunya (1374 A.D.), we
find the use of the term Vitata in place of Avanaddha.10 According to
Lalmani Misra, Vitata became popular during the medieval period. Later, it
gave way to the classic term Avanaddha. But, Maharana Kumbha (143368
A.D.) in Pathyaratnakosha follows the earlier classification. 55 8. Sangita
Damodara (Fifteenth century) classifies the instruments as Tata, Sushira,
Avanaddha and Ghana which shows that writers of music treatises in
Sanskrit continued to use the term Avanaddha instead of Vitata. The work
explains that instruments in which wires or strings were used are Tata
Vadyas, instruments made of bamboo etc. are Sushira Vadyas, the
instruments covered by leather are Avanaddha Vadyas and those which
resemble to cymbals, produce musical sound in tala, are Ghana Vadyas.
Tatam ch shushiram chath ghanam chaivavandhakam! ullahasa: kramsho
vadya ratnkoshe prakirtita:!!2 9. Shubhankara mentioned, tata vadyas are of
the Gods, sushira the favourite of the Gandharvas, avanaddha of the
Rakshasas while Ghana vadyas are played by the Kinnaras. In some of the
dhrupadas attributed to Tansen, the instruments have been classified as Tata,
Vitata, Ghana and Sushira.3 10. In AiniAkbari, we find classification as
Tata (string), Vitata (over which skin is stretched), Ghana, and Sushira or
Sukhira (wind) instruments12. According to him, Ghana vadyas produce
‘resonance by the conclusion of two solid bodies’. This classification
continued to be accepted as we find it in Faquirullah’s Raga Darpana and in
TofatulHind of Mirza KhanibnFakhruddin Muhammad.4 11. Narada
gave three classes, Charma (leather), Tantrika (string) and Ghana (solid).
Kohala has four groups: Sushira, Ghana, Charma, Baddha (covered with
membrane), and Tantri. While the classes as given by Bharata have
remained same through the centuries, some minor alterations in names have
done. For instance, Anaddha is substituted for Avnaddha. Similarly, the
word Vitata (without strings) is also used instead of Avnaddha. Haripaala in
his Sangeeta Sudhakar mentioned four types of instruments: SushiraFlute,
TataVeena, Vitata 2 Indian Music, Dr. Prem Lata Sharma,
Pathyaratnakoasha, p.17 3 Ibid 4 Ibid 56 Mridanga and GhanaCymbals. The
oldest Dravidian term for ‘Instruments’ as found in the Sargam literature is
‘Karuvi’ which literally means a tool and in a musical context an instrument.
There were five types recognised: Torkaruvi, Tulaikkarvi, Naramukkaruvi,
Mitattrukaruvi and Kanchakkaruvi.
Q.22. What was the Tala system in ancient time?
Ans. Literature from the Nardiyasiksa and the Natyasastra that was written
around 100 B.C.E. provides a great deal of knowledge regarding
music. Naradiysiksa describes Vedic and Ghandharva music. It states that
semidivine Ghandharva music is composed of three elements: svara, tala,
and pada. Narad describes the essentials of vocal and instrumental music. In
the 31st and 32nd chapters, the Natyasastra gives descriptions of tala, the
fundamental aspects of India rhythm. According to Bharata, tala was known
as 'ghana' and time as 'kala'. Laya, called kalapata, was subdivided into
vilamvita (slow), madhya (medium), and druta (fast). Kala was divided into
three parts, citra (two matras), vartika (four mantras) and daksima (eight
mantras). Bharata stated that tala, or time unit, was known as the
measurement of kala, ('kala kala pramanena tala ityabhdhiyate' 31.7). Two
kinds of talas existed: n'sabda (soundless or beatless), and sa'sabda (with
sound or beat). The soundless tala was again subdivided into 4 kinds: samya,
tala, dhruva, and sannipata. Other terminology regarding rhythm included:
yati (a method of applying a tempo of a tala – of which they had several
kinds: sama, srotogata, gopuccha, damaru, pipilika), prakarana (to make a
song ready for singing), satala (with any rhythm) and atala (without rhythm).
With such terminology they clearly developed a complicated rhythmic
system. This originated before the classical music age (600 to 500 B.C.E.) as
Ghandharva music became obsolete before the Bharata period. Ghandharva
music provides the link between vedic music and postvedic marga type of
music (which evolved around 700 B.C.E. and provides insight to the
classical period as well.)
Q.23. What is meant by Gandharvgaan and Geeti?
Ans.
Q.24. Compare and explain the octave by Bharata and Sharangdev.
Ans.
Q.25. What is Prabandh? What are its different parts?
Ans. Natyashastra explains: one that is governed by Chhandas and Taala
signifies Nibaddha. And similarly, the absence of these is Anibaddha (NS.
32.2829).
Sarangadeva (13th century) in the fourth Canto of his Sangitaratnakara
says: the Gayana (singing) is twofold – Nibaddha and Anibadda. That which
is composed of Angas (limbs or parts) and Dhatus (elements or sections) is
Nibaddha Samgita. He clarifies Anibaddha as Aalapi which is free from
such structures, which is not bound or which lacks rules (bandhahinatva) –
Alapir bandhahinatvad Anibaddham itirita (Sangitaratnakara: 4.5).
Thus, Anibaddha Gita is free flowing music that is not restricted by Taala;
it is also free from disciplines of Chhandas (meter) and Matra (syllables) ;
and, it does not also need the support of compositions woven with
meaningful words (Pada or Sahitya) . In fact, none of these – neither Taala,
nor Grammar, nor lyrics – has a role to play in the Anibaddha Samgita.
The Nibaddha Gita, in comparison, is rendering of a precomposed
structured musical composition that is governed by Chhandas and Taala; and
has words (meaningful or otherwise); as also has a definite beginning and an
end. In short; it is a composition (like Prabandha, Giti, and Kriti etc)
Sarangadeva says that Nibaddha has three names: Prabandha, Vastu and
Rupaka.
The best and the most well established form of Nibaddha Samgita is
Prabandha. During the 57th centuries they were described as a form of Desi
composition of varied nature and forms (Desikara Prabandho yam), such as:
kanda, vritta, gadya, dandaka, varnaka, karshitagatha, dvipathaka, vardhati,
kaivata, dvipadi, vardhani, dhenki, ekatali, etc
However, in the context of Music, Prabandha is a comprehensive term which
refers to a wellknit composition. And, within in the gamut of Music itself,
the Prabandha stands for a particular, specified form of songs constructed
according to a prescribed format.
Prabandha as a class of Music was, perhaps, first mentioned in the final
Canto of Matanga’s Brihaddeshi (Ca.5th century). Here, he described
Prabandha simply as Prabhadyate iti Prabandhah (that which is composed is
a Prabandha); and, classified it under Desi Samgita (a collection of many
song types then popular in various regions). Matanga explains Desi Samgita
with the aid of about fortyeight Prabandha songs. However, Matanga
remarks that the Prabandhas are indeed countless; and ‘their complexities
are beyond the understanding of weaker minds’.
Prabandha received a detailed treatment in the fourth Chapter Prabandha
adhyaya of Sarangadeva’s SamgitaRatnakara. Sarangadeva explained
Prabandha as that which is pleasant; and that which is governed by rules
regarding Raga, Taala, Chhandas, Vritta (Sanskrit verses) and Anga. In his
work, Sarangadeva described about 260 types of Prabandhas with their
variations.
Prabandha was the dominant songform for about thousand years or a little
more till about the 1718th century.
Parshvadeva (Ca.1011th century), a Jainmusicologist Acharya, in his
Sangitasamayasara divided the Prabandha into three classes: Suda,
Alikrama and Viprakirna. And, later in the 13th century, Sarangadeva split
the Suda into Shuddha Suda and Chayalaga (the Apabhramsa or colloquial
form of Chayalaga is Salaga Suda). With this, the major types of Prabandha
were counted as four: Shuddha Suda, Salaga Suda, Alikrama and Viprakirna.
Among these, the Shuddha Suda was considered pure but rather rigid. It had
to contain by six Angas or limbs (Svara, Birudu, Pada, Tena, Paata and,
Taala) and four sections, Dhatus (Udgraha, Melapaka, Dhruva and
Abhoga). In contrast, Salaga Suda set to Desi Ragas (Desiragadi
samabandat Salagatvam api smrtam) was a more popular form of Prabandha.
It was simpler in structure. It belonged to Taravali Jaati (class) of Prabandha
and needed only two Angas : Pada and Taala. It also had only three Dhatus:
Udgraha, Dhruva and Abhoga (but not Melapaka), and an Antara if needed.
Hence, the Salaga Suda came to be known as Tridhatuka Prabandha; and,
was considered pseudoclassical. Yet, the Salaga Suda ranks high among the
ancient type of refined songs.
Different parts of Prabandha:
Among the six Angas ( limbs or elements ) of Prabandha : Svara signifies
the notes (solfa passages); Birudu stands for words of praise, extolling the
subject of the song and also including the name of the singer or the patron;
Pada the meaningful words; Tena or Tenaka are vocal syllables ,
meaningless and musical in sound with many repetitions of the syllables
like Te and Tna conveying a sense of auspiciousness (mangalaartha
prakashaka); Pata vocalized drum syllables or beats of the percussion and
other musical instruments; and, Taala is musical meter or the cyclic time
units.
Although, Prabandha, as a genre, has disappeared, its influence has been
longlasting, pervading most parts, elements and idioms of Indian Music –
both of the North and of the South. The structures, internal divisions, the
elements of Meter (Chhandas), Raga, Taala and Rasa , as also the musical
terms that are prevalent in the Music of today are all derived from Prabandha
and its traditions. Many wellknown musical forms have emerged from
Prabandha. Thus, Prabandha is, truly, the ancestor of the entire gamut of
varieties of patterns of sacredsongs, artsongs, Dancesongs and other
musical forms created since 1718th century till this day.
Q.26.Write in detail about Prabandha’s Dhatu.
Ans. The best and the most well established form of Nibaddha Samgita is
Prabandha. During the 57th centuries they were described as a form of Desi
composition of varied nature and forms (Desikara Prabandho yam), such as:
kanda, vritta, gadya, dandaka, varnaka, karshitagatha, dvipathaka, vardhati,
kaivata, dvipadi, vardhani, dhenki, ekatali, etc
However, in the context of Music, Prabandha is a comprehensive term which
refers to a wellknit composition. And, within in the gamut of Music itself,
the Prabandha stands for a particular, specified form of songs constructed
according to a prescribed format.
Dhatus are the sections (divisions) of a song. Four Dhatus are described.
: – Udgraha is the commencing section of the song. Here the song is first
grasped (udgrahyate), hence the name Udgraha.
Udgraha is said to consist a pair of rhymed lines, followed by an ornamental
passage; and, then by a passage of text describing the subject of the song.
Thus there should be pair of lines in the Udgraha and also in the third
section.
: – Melapaka is the bridge, the uniting link between the two Udgraha and
Dhruva.
The Melapaka should be rendered adorned with ornamentation (Alamkara).
: – Dhruva is the main body of the song and that which is repeated. Dhruva
is so called because it is rendered again and again(refrain); and, because it is
obligatory or constant (dhruvatvat). [It is also said ’the Dhruva is in the
Udgraha itself – Udgraha eva yatra syad Dhruvah]
: – and, Abogha is the conclusion of the song. Abogha gets its name because
it completes (Abogha) the Dhruva. It should mention the name of the singer.
Once the Abogha has been sung, Dhruva should be repeated (refrain).
[Note: Here, If there is no Antara, Dhruva is followed by the Abogha, sung
once. This is followed by the Dhruva on which the song rests.
If there is an Antara, it is sung in any order at the pleasure of the singer; but,
it should be followed by Dhruva, Abogha and Dhruva each rendered once in
the same order.]
Seven types of Salaga Suda songs are mentioned by Sarangadeva in his
Sangita –ratnakara: Dhruva, Mantha, Pratimantha, Nihsaru, Addatala,
Rasaka and Ekatali. A similar classification is mentioned in Sangita
siromani and in Kumbha’s Sangitaraja.
Here, excepting Dhruva, all the other songtypes are named after their Taala.
Of these seven varieties of the Salaga Suda compositions, the Dhruva type
was the prominent one. And, the Dhruva was different from the others in its
construction.
Some explanation on the term Dhruva:
Dhruva, in the context of Natyashastra, initially meant stagesongs, which
formed an important ingredient of the play. And, Natyashastra says: without
songs the Drama is incapable of providing joy (NS. 32. 482). Therefore,
much importance was assigned to Dhruva Gana. Natyashastra devotes one
entire and a lengthy chapter (Chapter 32) for discussing the Dhruva songs.It
is said; these were called Dhruvas because they are steadfast (Dhruva) in
the principles of Pada (words), Varna (syllables) and Chhandas (meter); and,
are all regularly (Dhruvam) connected with one another. Dhruva is explained
as Nityatva and Nischalatva having a character of stability.
Abhinavagupta explains that the type of these songs was called Dhruva ( =
standpoint; locus of reference) because in it, the Vakya (sentence), Varna
(syllables) , Alamkara ( grace notes),Yatis ( succession of rhythm patterns) ,
Panyah ( use or nonuse of drums) and Laya ( beats) were harmoniously
fixed ( Dhruva) in relation to each other (anyonya sambandha) .
Vakya –Varna–Alamkara yatyaha panayolayah I Dhruvamanyonya
sambandha yasmath smada Dhruva smrutah II
He further says, the composition (pada samuha) structured as per a rule
(niyatah) and that which supports (adhara) singing could be called Dhruva
(Dhruvah Gityaadhara niyatah pada –samuha).
At another place, Abhinavagupta explains Dhruva as the basis or the support
(adhara) on which the song rests. Abhinavagupta soya: just as the painting is
supported by wall, the Dhruva song is supported by Pada (word). And, Pada
in turn is supported by, the Chhandas (meter) – (Abhinavagupta: NS.32.8).
Thus, in the Dhruva Gana the words of the song are regulated by Chhandas.
And, the words are then set to appropriate tunes and Taalas.
Abhinavagupta explains that the Dhruva songs help to enhance the artistic
sense of the important themes that occur in various situations in a play.
Srimad Bhagavata Purana (Chapter 33 of the Tenth Book) mentions of
Gopis of the Vraja singing in chorus, but in a way that ‘the notes did not
harmonize’. Yet Krishna showed his appreciation. And, when another Gopi
sang the melody measured to a beat (Dhruva) Krishna was much pleased
(Tad eva Dhruvam unninye tasyai maanam ca bahvadat– SBP.10.33.10).
This reference is taken to mean that Gopi sang a melody set (Dhruva) to
Chhandas. ]
But, in Prabandha, the Dhruva Prabandha refers to a rigid and tightly knit
structure consisting three sections or Dhatus (Udgraha, Dhruva and Abogha)
and an additional section Antara, if needed.
Q.27.Write the merits and demerits of singers.
Ans. The merits and demerits of the voice are expounded in Siksas,
Sweetness, Clarity in pronouncing words, Fearless and Ability in time
measures These are
considered as merit of recites.
Merits of Voice
In Yagnavalka Siksa and Paniniya Siksa Narada Siksa gives the following
ten merits for
ganam which means the chanting.
Raktam (harmonious)
Purnamalankrtam (properly embellished)
Prasannam (well composed)
Vyaktam (clear and expressive voice with sweetness in producing high
notes)
Vikrstam (fullness in expression in bothpper and lower in slow and fast
rhythm)
Slaasanam samam (evenness )
Sukumaram (beauty) and
Madhuram (sweetness)
These Ten qualities are considered as merit of ―ganam‖ or a vocalist.71
These qualities are
very important for a vocalist and singing. In modern period also these
qualities are considered
as merit of a vocalist.Taittereya prathisakhaya also says that the tension,
hardness and
constriction of the aperture causes the high note while the low note is
effected by laxness, softness and widening of the aperture.
Ayamo dharunyamanuta khasyaityuccaih karani sabhdhasya
Anvavasargo mardhavamuruta kasyeti niceyh karani
Resonance in Ancient Indian Text
Taitterya prathisakhya denote the resonators as pratisrutkani and urad
(chest), sirah (head),
mukham (face) and nasika (nose) are given resonators
Demerits or “Dosah” of Voice
Regarding the dosah or demerits of the voice or reciters,
Yagnavalkya Siksa advocates the following 14 (fourteen) factors as demerits
Saikaitam (shyness)
Bhitam (fear)
Udghustam (very loud tone)
Avyaktam ( indistinctness)
Saunasikam ( nasality)
Kakasvaram ( throastiness )
Sirsagatam (thin voice)
Sthan vivarjitam (tone production in incorrect svarasthanas)
Visvaram (harshness)
Virasam (ugly)
Vislistam (unevenness)
Visamahatam ( undue separation of words)
Vyakulam (hastiness) and
Taluhinam (lack of rhythmical ability).
Narada Siksa follow the views expounded in Yagnavalka Siksa and gives the
gives the same
14 (fourteen ) as advocates the following as demerits Recitation in an
undertone, Indistinct
articulation, Use of very quick ,Very slow tempo, Hoarseness, Recitation in
a sing – song
manner, Shouty voice, Omission of words and syllables
Very thin voice and Nasality
Rig Veda prathisakya includes sandasta and anunasika apart from thre dosas
of
pronunciaciation.
Including Yagnavalkya Siksa everyone has described and emphasized the
demerits of the
voice
The merits and demerits of the voice which are expounded, in Sikshas are
closely followed
by the Sangita Laksanakar. Chanting or speech song is the preliminary stage
for singing.
In India, the present day classical music with complexity of intervals,
ornaments and wide
range has developed from the hymns of Vedas.
Samavedadidam gitam sanjagrah pitamah
Merits and demerits of ―sariram‖ by Sangita Laksankar Hence there is
semblance in the
exposition of the merits and demerits of sariram by Sangita Laksankara with
the Siksakaras.
Guna Dosa according to “Natyashastra”
Bharata and Sarandeva are the two great luminaries who have dealt with the
Guna Dosa of
Sarira, and the others have more or less followed Bharata and Sarandeva.
Guna (Merits)
Bhrata includes in his list of Sarira Gunas the attributes
Sweetness (Narada Siksa and Paniniya Siksa also include),
Steadiness ( Narada Siksa) ,
Richness (Narada Siksa, Yagnavalka Siksa and Rig Veda Prathisakhya)
and brilliance (nNarada Siksa) .
Dosa (Demerits)
Regarding the demerits of the voice Bharata gives these qualities
Kaki (Narada Siksa and Yagnavalkys Siksa),
Thumbi ( Narada Siksa, Yagnavalkyas Siksa, Rig veda Prathisakhaya),
Sandastakam (Rig veda Prathisakhaya and Paniniya Siksa) and
Kapilah (Narada Siksa and Yagnavalkys Siksa)
Guna Dosa according to “Sangita Ratnakara”
Sarandev gives the merits and demerits of the voice or ―Sariram‖
Visvarta (Narada Siksa and Yagnavalkys Siksa)
Kakitvam (Narada Siksa and Yagnavalkys Siksa) and
Sthanaviccuitih (Narada Siksa and Yagnavalkys Siksa)
The Icai Marapu, a Tamil Musical work advocates the following as demerits
of the voice and
also closely follow Siksakaras:
Perukkural Kattai naluval vilankalorukki
Yotukkam puraittal viruppilakkakuli kakacura
Mannumavettumakavena connarayntu
The Tamil perukkural, kattai, naluval, vilankalorukki, yotukkam, puraitral,
kakuli and
kakacura may refer to the Sanskrit terms udghustam, visvaram,
sthanvictyutih visamahatam,
avyaktam, virasam kakitvam and kakasura respectively.
Apart from the musical works, the Sanskrit literary works Carudatta, Linga
Purna, Sthananga
Sutra and Tamil literary works Tiruvilaiyadapuranam,75 Jivakachintamani
and kalladam
speak about the “Sariragunadosah” in singing.
The Different opinion about merits and demerits of voice or “Sarira’s Guna
Dosas”
Bharata is the first laksankara to deal with the merits and demerits of the
voice. He advocates
in his valuable work Natya Shastra that a good voice should posses the
following six
qualities,
Sravaka
Ghana
Snigdha
Madhura
avadanavan and
Tristhanasobhi
 Sravaka is explained as loudness or carry of the voice which can be heard
from a long
distance:
Durattu sruyate yasmat tasmacchravaka uccyate
O.Goswami remarks that the distance is 32 cubit which is equivalent to 60
feet (2 A).
 The voice which is loud and pleasing without any wobble is called
Ghana:
Sarvako susvaro yastu na viksipto ghanah smrtah
 The voice which does not sound harsh though loud is described as
Snigdha:
Susravah sa tvaparusah snighdha tajnaih prakrititah
 The voice which is pleasant even at the production of high is called
Madhura:
Mahasthanepya – vaisvaryam sa vai madhura uccyate
 Avadhanavan is explained as a voice neither too loud nor too soft:
Svaredhike ca hine ca hyavirakto avadhanavan
Sirah kanthesvabihitam tat sthana madhurasvaraih
Manmohan Ghosh interprets, ―The voice which does not lapse into excess
or deficiency, is
called careful (avadhanavan)
 Tristhanasopha is that voice which is pleasant in producing the notes of
all the three
Sthnas
Mandra, Madhya and Tara
Tristhanepi hi madhurayam yasyanityam vidhiyate
Tristhanasobhityevam tu sa hi tajnaih prakirititah
Parasdeva, another great Sangitalaksankara considers the following five
qualities as merits of
the voice:
 Madhuryam (sweetness)
 Sravakartvam (loudness or carry of the voice)
 Snigdha (not harsh even the high octave)
 Ghanata (richness) and
 sthanakatriasobha (pleasant in all the three Sthana).
He defines the five qualities as follows :
Madhuryam guna samyukte kanthe syanmadhuro dhvanih
The sound which comes out from the throart must be sweet and this quality
is described as
madhura.The audibility of the voice depends upon the carrying power of
loudness and this is
known as ―Sravakar‖
Snigdhakanthe dhvanisthaoapvaruksah saraso bavet
Snigdha, is defined as that which is not unpleasant even in singing the high
notes and fluency
in producing the notes of the high octave:
Susvarascaiva sandrasca Ghana kantha bhavet dhvanih
The voice which is pleasant and full is called rich voice :
Kanthe tristhanasobhesyat tristhane Madura dhvanih
The voice should be sthanakatroyasobha Excellent in all ther three Sthanas
Mandra, Madya,
and Tara.
Sarandeva the other great luminary gives the following qualities as merits of
the voice in his
immortal work Sangita Ratnakar:
 Tara (sweetness in the high octave notes)
 Anudhvani ( rich on account of harmonics)
 Madhuryam (sweetness)
 Raktih (attractive)
 Gambhiryam (full or loud)
 Mardavaih (beautiful)
 ganata (rich)
 kanthih (smooth and bright )
These are the features of a good voice. Haripriya, another laksankara opines
that a good voice
should have the above qualities:
Raja Someswara in his work Manasollasa prescribes the following five
qualities to be
possessed by a good voice, Madhurah (sweetness) : He explains Madhura as
follow:
Venuvinasamo nado yuktosou Avanirisyate
Kokilasavam sankasou madhuradva nirucyate 86
The sound which is melodious as that of Vina and Flute and equals the
sweetness of
Cuckoo‘s sound is described as Madhura.
The sound which is pleasant even in the high octave is called ―snigdha‖
Uccaisthannepi yah sravyah snigdhadhavni rasou matah
The tone which is rich and full is called Ghana;
Aksaso nibido yasthui ghanasou dhavaniriritah
Sravaka (carry of the voice loudness); He has explained this quality as the
tone which can be
heard from a long distance with sweetness or Madhura:
Durastah sruyate yastu sandhra madhyesthithopi va
Madhuryadigunopeto Sravako dhvaniriritah
Swanaka: This quality is considered as a very important and best among
thev qualities
(dhvaninamuttamh). The sound which is very melodious in the high octave
and possess all
the beautiful features is described as ―Swanaka‖
Uccasvanepi yah Sravyah sobhano laknanvitah
Dhvaninamuamah prokto dhvanisvanakasobhanah 89
From the above survey, it is learnt that the laksamkaras consider the
loudness or carry of the
vioice,steadiness, richness smooth blending of registers, pleasantness in
singing high notes,
and ability to sing all the three Sthanas Mandra, Madhya and Tara with
fluency are the three
Sthanas Mandra, Madhya and Tara with fluency are the necessary qualities
for a good voice.
Sangita Laksankaras have included two vocal attributes in expounding the
Gayaka Gunas(ayaktakanthah,
and svadhinadhvanih) voice under control and (Sarvasthanotta gamakesu
anayas alasadghtih ) ability to produce the Gamakas from all the sthanas
with fluency. It is
wellknown that good control over the voice and ability to excute the
different type of
ornaments related to the particular style of music with fluency and accuracy
cannot be had
without cultivation. Voice –culture means the process of bringing the voice
under
control.Voice production is mainly based upon motor act. Therefore
excution of different
ornaments with fluency and accuracy cannot be without practice. Therefore,
one can very
well say that the Sangita Laksankaras have laid great emphasis upon voice
cultivation.
The voice should have all these good qualities and must be also devoid of
the following
demerits (Natyashastra, Sangita Samaysara, Sangita Ratnakar, )
Kaki
Tumbaki
Kapila
Avyavasthita,
Sandasta
Kheti
Kheni
Bhagna
Sabda
Anusvanavihinatvam
Ruksatvam
Tyaktarakrita
Nissarata
Visvarata
Kakitua
Sthanaviccuti
Karsyam and
Karkasyam
Bharat explains the Kapila, Avyavasthita, Sandasta ,Kaki and Tumbaki as
follows:
The unpleasant and gurgling tone or the sound produced with phlegm in the
throatphlegmy
voice is called Kapila. Unsteady voice owing to excess of loudness or lack
of volume and
very thin voice is known as Avyavasthita. Undue use of teeth by biting while
producing a
tone is called Sandasta. The voice which does not touch the proper Sthana or
place while
singing and which is harsh is called Kaki. Nasality or the tone produced with
excessive nasal
resonance is known as Tumbaki.
Parsvadeva in his Sangita Samayasara defines the demerits Kheti, Kheni and
Bhagnasaba as
the phlegm,immobile or inflexible voice to producewhat he intends, and
broken voice
withoutany continuity like the voice possessed by monkeys and carnels.
Saragdeva says that the voice which lacks harmonics (anudhvanavihinavah),
unpleasant
(nissarata) ,ugly (visvaram), throaty (kakitvam), unblending with thev
svarasthanas
(sthanaviccyuith), very thin (karsyam) and excessively loud (karkasyam) is
described as
Kusarira or bad voice.
Apart from these demerits, Sangita Laksankaras have given a few more fault
of singing in
expounding Gayaka Dosas, Sarandeva Ratnakar lists twenty – five faults as
Gayaka Dosas in
his Sangita Ratnakar .Singing with biting the teeth, excessive loudness,
making the inhalation
sound loud, singing with frequent inhalation, fear, shyness, unsteady gaping,
singing notes I
out of ipitch,throatiness, singingin out rhythm, raising the neck too high or
lowering in too
low, puffing of the cheeks, swelling of the veins in the neck, facial
distortions, closing the
eyes, ugly, unpleasant, indistinct, facial distortion, closing the eyes, ugly,
unpleasant,
indistinct, inability to sing the notes properly in the three sthanas mandra,
Madhya and tara,
unsteady, mixing one ―Raga‖ with theother, lack of attention while singing
and singing with
nasal tone are the twenty five faults of a singer.
Maharana Kumbha speaks about the gayakadosas in his Sangita Raja and
closely follows the
views of Sarandeva. These faults invariably leads to improper resonance and
incorrect
breathing. If the singer makes use of the clavicular type of breathing the
upper chest cavity is
filled with more air but does not provide the singer to have adequate in
breath flow and cause
exercessive tension in the throat region. The sound of inhalation also
becomes prominent
because of frequent inhalation. Swelling of the veins causes excessive
tention in the neck
asnd tongue muscles and there by affects the correct use of resonators. The
tone becomes
poor in quality. Gaping is due to stiffened jaw and tensed neck muscles.
Singing with closed
eyes, ugly contortions of the face, raising the neck too hiogh or bringing it
down too low,
affect the resonant quality of the voice as they include unnecessary tension
upon the muscles
of the face and neck. Fear ansd shyness are phychological defects which in
turn affect the
physiological side of voice production. It spoils the voice quality either by
making it shaky or
choked.
Q.28. What is Haveli Sangeet? Also explain its singing style.
Ans. 'Haveli sangeet' was the temple music practised by the 'Pushti
Margi Sampradaya'. Nathadwara in Rajasthan was the main seat
of this Vaishnava devotional cult. The cult has created a rich
historical tradition of templebased music described as 'Haveli
sangeet'. 'Haveli' is a temple visualised as a palace that the deity
chooses to live in.
Gosaiji Shree Vitthalnathji introduced the art of devotional music to appraise
the
leelas of Lord Shree Krishna. Shree Vitthalnathji appointed his eight sevakas
of different
culture and tradition to preform devotional music to appraise Shreenathji
that made the great
combination of Indian Art. The Haveli Sangeet is based on Drupad Dhamar
tradition of
Indian classical music. The various instruments used in Haveli Sangeet,
includes pakhawaj,
sarangi, dilruba, tanpura, vina, flute, jhanz, tal. Above all selection of
instruments are based
on the seasonal manorathas and timings. Since 500 years Haveli Sangeet is
one of the
essential part of pustimarg. Kirtan (Haveli music) is more or less similar to
any other Indian
music except for one major difference that other music is mainly meant for
public
entertainment while kirtan is meant & sung for the joy of the deity in front of
the deity or in
absentia, it being bhakti. The devotee by singing kirtans in this manner gets
his mind more &
more absorbed in the swaroop & the sport of God. However, there are some
other minor
differences in the composition of raga, which we have underlined in our link
of” Pushti
Bhakti Sangeet (Raga) “Kirtans can be divided mainly in two categories:
Related to the super
qualities of God and describing the swaroop & the sport. The first one can be
sung at any
time but the best period for that is the time when worship (seva) is not being
performed or in
absentia. The second one can be sung in front of the deity at the time of
worship according to
the incident of the worship. They are sung in various proper ragas according
to the season &
according to the time & incident of the worship for e.g. at the time of
awakening in the
morning, bathing, offering shreengar & Bhog etc.
Q.29. Discuss in detail the Makam System explained by Aamir Khusro.
Ans.
Q.30. Explain the contribution of Tansen to Indian Music.
Ans. Tansen (1493 or 1506 – 1586 or 1589) is considered to be one of the
greatest musicians of India that ever lived. Normally referred to as just
Tansen, he is said to have played a pivotal role in crating the classical genre
of north Indian music we know today. He first served as a court musician of
the King Ramchandra of Mewa and then of the emperor Akbar. He was
among the Navaratnas (nine jewels) at the court of the Mughal Emperor
Akbar. He was conferred the title of Miyan, by emperor Akbar and since
came to be knonw as Miyan Tansen.
As a very famous singer and Dhrupad composer, the name of Sangeet
Samrat Tansen
is legendary in the history of development and reincarnation of Indian
classical music.
Not only his fame as a singer was exceptional but as a composer he also had
earned
prestige by creating many Dhrupadas.
Due to their devotional nature, Dhrupad compositions created by Tansen
were
adopted by Vishnupad temples and become popular in the entire country via
devotional media. They flourished in various Muslim dynasties due to their
mesmerized beauty quotient.
They became popular amongst people due to their simple meaningful use
ofcommon
language. Thus, numerous Dhrupads made by Tansen and Dhrupad style
became
famous and prevalent not only in Gwalior but in almost all regions of the
country.
They became popular from music maestros to common people.
Collection of Dhrupads composed by Tansen was first made available by
‘Krishnanand Vyas’ in 1898 in his publication ‘Raga Kalpdrum.’ Apart from
rare
compositions by other music composers the volume of ‘Raga Kalpadrum’
had also
published many Dhrupadas of Tansen. Other music publications also contain
few
Dhrupads composed by Tansen, but none of them contains as many
Dhrupads of
Tansen as in ‘Raga Kalpdrum’ of ‘Krishnanand Vyas’. About 250
compositions are
there in it. ‘Shri Narmadeshwar Chaturvedi’ has taken the collection of
Tansen’s
Dhrupadas from ‘Raga Kalpdrum’ and published them in his own books
named as
‘Sangitagya Kaviyon Ki Hindi Rachnayen’ (Hindi composition of musician
poets) and
‘Kavi Tansen Aur Unka Kavya (poet Tansen and his poetry). ‘Shri
Prabhudayal Mital’
has also published 288 available Dhrupads along with the collection of
‘Raga
Kalpdrum’ in subtle form in his book ‘Sangeet Samrat Tansen Jeevni Aur
Rachnayen’ (Life and compositions of music maestro Tansen).
Hence, it can be clearly stated that by created compositions of Dhrupadas,
Tansen has
enriched Indian Classical Music. In the present time also, various singers of
Dhrupad
style can be seen singing his (Tansen’s) creations at different podiums,
conventions
etc. In his compositions, the use of emotions of literature comes alive with
the
assistance of Swaras.
Ragaas, Instruments and Volumes (Granthas) invented by Tansen:
The one and only music maestro Tansen’s contributions to Indian music is
Unique. From many aspects, his contribution is outstanding in the field of
music. Just like ‘Amir Khusro’, who established many new traditions in
Indian Classical Music, Tansen has also given birth to new styles of music.
He invented new Ragaas, created new instruments as well as gave valuable
contribution to Indian Classical Music via compilation of three volumes
(Granthas) of music. His musical contribution is so enormous and unique
that any style of music seems incomplete without his name. Take classical
compositions of music or artistic compositions, his musical contribution
maintain its own importance in both ways. Hence, it can be summarized here
that Tansen gave a new direction to Indian music and definite form to the
art.
Ragaas invented by Tansen:
New Ragaas invented by Tansen are mentioned by many classical musicians
and
historians in their volumes. Major Ragaas invented by Tansen are mentioned
as
‘Miyan ki Malhar’, ‘Miyan ki Sarang’,‘Miyan ki Todi, ‘Darbari Kanhda,’
‘Megh’,
‘Miyan ki Sarang’ etc.
According to ‘Fakirullah’, ‘Miyan Tansen’ mixed (fusion) ‘Malhar’ and
‘Kanda’ as
well as ‘Kanhda’ and ‘Kalyan’. He mixed (fusion)‘Aasawari’ in
‘Devgandhari,’
named ‘Kanhda’ to ‘Darbari Kanhda’ and erased other names in other
words, all
these Ragaas are famous as’ ‘Darbari.’ The names of ‘Darbari Kalyan’
and‘Darbari
Aasawari’ became famous from the time when Tansen was accommodated
in King
Akbar’s assembly (Darbar) and started singing these Ragaas in ‘Darbari
Thaat.’1
According to ‘Sahasras’, Tansen’s voice was ultimate melodious and
matured. He
was wellversed with ‘Murchhana’ and ‘Mukaam’ Paddati (methods). His
creations
of Darbari compositions by mixing Indian and Irani music was exceptional
gift to
Indian Music.
As per ‘Aacharya Brahaspati’, Tansen is the inventor of Raga ‘Miyan ki
Todi’. In
Raga ‘Miyan ki Sarang’ and ‘Miyan ki Malhar, pleasing use of ‘Komal
Nishad’ and
‘Shudh Nishad’ is Tansen’s contribution.2 ‘Shri Prabhudayal Mital’ has
written that
Tansen altered old Ragaas to make them famous as new Ragaas. Due to this,
his
music became fascinating as well as popular, but India’s traditional music
style
opposed him, albeit unsuccessfully.3
Special edition of music periodically ‘Tansen
Ank’ 1936 mentions Ragaas created by Tansen as follows: ‘Vasant, Paraj,
Shree,
Aasawari, Tilak Kamod, Jaijaivanti, Kedar, Megh, Nat, and Vihag.
Instruments Invented by Tansen.
Tansen is also believed as an inventor of instruments like ‘Rudraveena’ and
‘Rabab’.
As per ‘Dr. Asad Ali,’ “Rabab is an instrument similar to Sarangi and Sitar.
Credit of
its invention goes to Tansen.”4
Famous expert ‘H. A. Pople’ has written in his book ‘The music of India’
that “The
new instrument Rabab invented by Tansen.”
In his book ‘Hindustani Sangeet Main
Tansen Ka Sthan’, ‘Shri Virendra Kishore Ray Chaudhari’ had mentioned
that “Apart
from being a singer himself, Tansen’s contributions in the field of musical
instruments is not ordinary. Rabab or Rudraveena is an example of his
talent. With
his unique nature, a new stream of musical instruments began in Tansen’s
family that
is uncommon even in ancient Indian Veena players. Tansen himself was a
champion
of Rabab.”
With the opinions stated by above experts, it is clearly prove that Tansen
was the inventor of Rabab and Rudra Veena.
‘Mishri Singh’ a member of Akbar’s assembly was highly ranked Veena
player of his
time. He used to accompany Tansen’s Dhrupad singing with his Veena.
Going
forward he became son – in – low of Tansen and changed his name to
Nawab Khan.
In this Tansen’s daughter’s family tradition of Veena was preserved and the
family is
popular with the name of ‘Veenakar’.
Above mentioned both type instruments are prevalent in present time also.
Rabab is
not only famous in India but very popular in foreign countries also. This
shows
popularity and people’s acceptance of these instruments. With his attitude of
inventing something new, ‘Sangeet Samrat Tansen’ invented these
instruments and
made invaluable contribution in the development of Indian music.
Q.31. Write about the Prabandh Gayan System of Gopal Nayak.
Ans.
Q.32. Write information on Dhrupad and Dhamar style. Also write about
their characteristics.
Ans. Dhrupad
Dhrupad (or Dhruvapad) is an ancient form of classical music and it is
described in the Hindu text Natyashastra.[3] It is one of the core forms of
classical music found all over the Indian subcontinent. The word comes
from Dhruva which means immovable and permanent. It is spiritual, heroic,
thoughtful, virtuous, embedding moral wisdom or solemn form of song
music combination.[6]
[7]
The Yugala Shataka of Shri Shribhatta in the Nimbarka Sampradaya,
written in 1294 CE, contains Dhrupad lyrics. The Bhakti saint and poet
musician Swami Haridas (also in the Nimbarka Sampradaya), was a well
known dhrupad singer with songs dedicated to Krishna. Swami Haridas was
the guru of Tansen, the latter is famous, among other things, for his Dhrupad
compositions.[9]
The earliest mention in Persian texts of Dhrupad is in AiniAkbari of Abu
Fazl (1593).[10] He defines the dhrupad verse form in his AineAkbari as
four rhyming lines, each of indefinite prosodic length.
Dhrupad is ancient, and another genre of music called Khyal evolved from
it.[7] Dhrupad is solemn music, uplifting and heroic, pure and spiritual.
Khyal adds ornamental notes, shorter, moody and celebratory.
Usage of Svaras in Dhrupad: The most distinctive quality of Dhrupad lies
in the beauty and the elegance with which it uses the Svaras. The Raaga is
rendered here in its purest form. No mixing of other Raagas is permitted in
Dhrupad as is the case with other more recent styles
like Khayal, Thumri, Tappa etc. Tala or rhythm in Dhrupad: Another
characteristic feature typical to the Dhrupad is its Tala or rhythm. A
Dhrupad singer is required, to have perfect control over the Tala. In earlier
times, there were Dhrupads in which a singer had to follow a different Tala
in each line. The first line for instance may be in Cautala which contained
twelve Matras (beats) while the very next line may be in Jhapatala which
contains ten Matras. Rendition of such a composition was obviously
extremely difficult. Thus, it is seen that most of present day's Dhrupad
singers select only those Dhrupads for demonstration which have a uniform
Tala in all the lines. Poetic and Literary Content in Dhrupad: An
outstanding characteristic of the Dhrupad is its poetic and literary content.
This is perhaps the only musical form where the poetic qualities are held to
be just as important as the melody. In Khayal, the poetic quality and the
literary content are not nearly as important as in Dhrupad. The Dhrupad thus
represents a unique balance of Svara, Tala and Pada. Laya in
Dhrupad: Another attribute of Dhrupad lies in the complexity of
its Laya (tempo) which requires the singer to demonstrate a high degree of
sophistication in changing the tempo. This feature of Dhrupad can be said to
be its essence. It comes as a legacy from the Gitis of even more ancient
times.
Dhamar
Dhamar is one of the talas used in Hindustani classical music. It is
associated with the dhrupad style and typically played on the pakhawaj.
Dhamar tala has 14 beats (matras) grouped asymmetrically into a 5234
pattern.
A song in dhrupad style set to dhamar tala is also called a dhamar. The text
of a dhamar concerns the antics of Krishna teasing the milkmaids during
the Holi (hori) Spring Festival of colours. It is considered a relatively light
and romantic musical form.
The theka or syllabic pattern of dhamar tala is:
1 2 3 4 5 6 7 8 9 10 11 12 13 14
क वधध ट वध ट धह ऽ ग वत ट वत ट तह ऽ
ka ddhi Ta dhi Ta dhaa Ga Ti Ta Ti Ta taa
Dhamar is seen as a light musical form, and associated with
the Holi(hori) Spring Festival of colours. Dhamar theka has 14 matra in
length divided in 4 vibhag (3 Tali, 1 Khali), Pattern 5234 Gurbani Shabad
sung in Dhamar Taal & in Raag Mali Dhamar Taal is played over
Pakhawaj(A Classical Indian Instrument).Sounds are made over beats in two
ways namely ekgun and dugunEKGUN : 1 2 3 4 5 6 7 8 9 10 11 12 13 14 क
वध ट वध ट धह S ग वत ट वत ट तह SDUGUN : 1 2 3 4 5 6 7 8 9 10 11 12 13 14
कवध टवध टधह S ग वतट वतट तहS कवध टवध Dhamar
Q. 33. Write information on Khayal style. Also write about its
characteristics.
Ans. Khyal or Khayal is the modern genre of classical singing in North
India. Its name comes from an Arabic word meaning "imagination". It is
thought to have developed out of Dhrupad introducing
frequent taans and alankars in it. It appeared more recently than Dhrupad, is
a more free and flexible form, and it provides greater scope
for improvisation. Like all Indian classical music, khyal is modal, with a
single melodic line and no harmonic parts. The modes are called raga, and
each raga is a complicated framework of melodic rules.
Characteristics[edit]
Khyal bases itself on a repertoire of short songs (two to eight lines); a khyal
song is called a bandish. Every singer generally renders the
same bandish differently, with only the text and the raga remaining the
same. Khyal bandishes are typically composed in a variant of Urdu/Hindi or
occasionally the Dari variant of Farsi, Bhojpuri, Punjabi, Rajasthani, or
Marathi. These compositions cover diverse topics, such as romantic or
divine love, praise of kings or gods, the seasons, dawn and dusk, and the
pranks of Krishna, and they can have symbolism and imagery.
[1] The bandish is divided into two parts — the sthayi (or asthayi) and
the antara, with the former considered more important as it shows the
melodic contours of the raga. The sthayi often uses notes from the lower
octave and the lower half of the middle octave, while the antara ascends to
the tonic of the upper octave and beyond before descending and linking back
to the sthayi.[1] The singer uses the composition as raw material for
improvisation, accompanied by a harmonium or bowed string
instrument such as the sarangi or violin playing off the singer's melody line,
a set of two hand drums (the tabla), and a drone in the background. The role
of the accompanist playing the melodyproducing instrument is to provide
continuity when the singer pauses for breath, using small variations of the
singer's phrases or parts thereof. While there is a wide variety of rhythmic
patterns that could be used by the percussionist, khyal performances
typically use Ektaal, Jhoomra, Jhaptaal, Tilwada, Tintal, Rupak, and
Adachautaal.[2]
A typical khyal performance uses two songs — the bada khyal or great
khyal, in slow tempo (vilambit laya), comprises most of the performance,
while the chhota khyal (small khyal), in fast tempo (drut laya), is used as a
finale and is usually in the same raga but a different taal.[1] The speed
gradually increases over the time of the performance. The songs are
sometimes preceded by improvised alap to sketch the basic raga structure
without drum accompaniment; unmetered alap is given much less room in
khyal than in dhrupad.
As the songs are short, and performances long (half an hour or more), the
lyrics lose some of their importance and abstract musical values are
emphasized. Improvisation is added to the songs in a number of ways: for
example improvising new melodies to the words, using the syllables of the
songs to improvise material (bolbaant, boltaans), singing the names of the
scale degrees — sa, re, ga, ma, pa, dha and ni (sargam) — or simply
interspersing phrases sung on vowels, usually the vowel A, akaar
taans. Taans are one of the major distinguishing features of the khyal.
[1] Now and then, the singer returns to the song, especially its first line, as a
point of reference. This repetition of the first line of the composition gives
khyal an advantage over dhrupad in that the singer can temporarily hide the
raga structure and then return and bring it forth again. Besides the vilambit
(slow) and drut (fast) tempos, a performance may include ativilambit (ultra
slow), madhya (medium speed) and atidrut (superfast) tempos. Song forms
such as taranas, thumris or tappas are sometimes used to round off a khyal
performance.
Or
Khayal literally means imagination, thought or fancy. Khayal is that vocal
genre of all North Indian vocal styles which gives its performers the greatest
opportunity and also the greatest challenge to display the depth and breadth
of their musical knowledge and skills. Khayal has dominated the performing
art for past 150 years. Khayal is the genre of improvisational music, and
hence it is the study of artist’s creative individuality and ability to render a
unique khayal at each performance. Despite the presumed freedom in khayal
singing, it is structured upon three main characteristics: (i) the raga (melodic
mode), the taal (meter) and the cheez (composition), (ii) the types of
improvisation which are acceptable for khayal such as alap, taan, boltaan,
sargam and nomtom, and (iii) the placement of these material for creation
of aesthetically and technically balanced performance. Khayal is not only a
distinguished, richly evolved improvisational music genre, but also a study
of cultural history of India since thirteenth century onwards.
Legend, scattered commentary, and speculations suggest that khayal
originated with Amir Khusrau (12511326). Born in North India, Amir
Khusrau was a poet as well as a composer and a great musician of his time.
He enjoyed importance at the courts of the Khilji rulers in Delhi. Khayal’s
origin may have been attributed to Khusrau because of the rapid fusion of
PersoArabic and Indic musical systems during his lifetime. After Khusrau,
the next prominent figures in the history of khayal are the sultans of Jaunpur
– Muhammad Sharqui (140140) and Hussain Sharqui (ruled 145899), who
were contemporaries of Babur, the first Mughal ruler in India. The precise
role of the Sharqui sultans with respect to khayal is unclear; some scholars
suggest a patronage role for them. Most historians are of the opinion that
neither Amir Khusrau nor any of the Sharqui sultans was the innovator of
khayal, but that khayal was an outcome of the gradual process of evolution
that was at work during an era of IndoPersian amalgamation.
For khayal, the first musical evidence of court support is noted at the Delhi
darbar (court) of the eighteenth century Mughal emperor Muhammad Shah
Rangile (ruled 172048), where the musicians Nyamat Khan (Sadarang) and
Firoz Khan (Adarang) composed songs that have been transmitted to the
present time. It is believed that Sadarang and Adarang also formalized the
structure of modern day khayal. As khayal continued to evolve in the courts
throughout North India, distinct performing styles emerged into different
gharanas. Three major khayal gharanas carrying the names of the princely
states in which they were originally fostered, are Gwalior, Rampur
(Sahaswan) and Patiala. Later Agra, Kirana and Jaipur gharanas also became
prominent centers of khayal singing. Today this style of classical vocal
music is even adopted by some of the instrumental gharanas such as Ithawa.
Throughout most of its existence khayal has always been the music of elite
patrons. Only in the twentieth century has any other group attained
significant involvement in khayal.
The rendition of a khayal recital is typically divided into two parts: Bara
(great) khayal and Chhota (small) khayal. During bara khayal, the artist is
expected to cover a range of subjects, ideally giving importance to all
musical elements such as melody, rhythm and technique, with a slow and
contemplative beginning to invoke the very mood of the raga. The lyrical as
well as melodic content of bara khayal compositions are devotional or
romantic, and they are set in vilambit laya (slow tempo). Bara khayal is
followed by a madhya or drut laya (fast tempo) in chhota khayal. Here the
artist carries the mood created during the earlier part of the recital to its
crescendo. The acceleration is maintained during the performance with
increasing complexity of taans and interplay with rhythm. The compositions
written for chhota khayal have syllabic text settings appropriate for the faster
tempo. The performing ensemble for khayal consists of a lead soloist, an
accompanist on a melody producing instrument such as harmonium or
sarangi (bowed lute), a tabla (drum) player and one or two tanpura players to
provide continuous drone. A possible addition to the basic ensemble would
be a supporting singer. The role of the accompanists is to complement the
lead vocals by repeating ends of phrases during short breaks.
Q.34. Write information on different Banis of Dhrupad.
Ans. The concept of Gharana is equivalent to the Banis of the
Dhrupadtradition. There are four different types of Banis, Gohar, Nauhar,
Khandahar and Dagur. The characteristics of the Banis at present have
become incorporated into the Khayal Gharana. It is for this reason that
currently the Banis lack a distinguishing characteristic of its own. The
concept of Gharana in Dhrupad operates like a crystallization of ideas about
the ways of combining musical and stylistic gestures. These Gharanas have
been named as Banis. The dhrupad singers were called as the Kalawant.
Later they were named according to the style of singing i.e. Bani. During the
regime of King Akbar four Banis of Dhrupad became popular. These are
described below.
Govahar Bani
Tansen is regarded as the originator of the Govahar Bani. As Tansen was a
Gaud Brahmin the Bani came to be known as Gaudiya or Govahar Bani.
This Bani is characterized by smooth glides almost linera in character. Its
rhythm is slow and renders the feeling of relaxation and peace.
Khandahar Bani
Raja Samokhan Singh is considered as the famous Beenkar. He belonged to
Khandar. Thus the style of his dhrupad singing became popular as
Khandahar Bani. This Bani is rich is variety. Its gait is majestic and it uses
heavy and vigorous Gamakas, expensive of valour.
Dagur Bani
Dagur Bani is considered to be founded by Braj Chand. He belonged to a
place called Dagur. Hence this style became famous by the name of Dagur
Bani. Presently only the Dagur Bani has retained its style while other Banis
have almost lost their existence. Dagur Bani focuses on delicately executed
meendas with gamakas. It is marked by correct intonation, simplicity of
execution, purity of design, and massiveness of structure. It is chiefly sung
in medium speed with a judicious blending of Khandahar style.
Nauhar Bani
Nauhar Bani became popular after the name of its founder's place of
residence. Rajput Sri Chand belonged to Nauhar as such this style became
popular by the name of Nauhar Bani. This Bani is characterized quick jerky
passages employing a variety of gamakas. It usually moves in quick
successions, moving as it were in slow curved lines accompanied by the
judicious use of soft gamakas from the first line to its third or fourth note.
Thus the Nauhar Bani with its jumpy Chhoots surprises the listeners at each
of its movements.
Representatives of today's gharanas are said to manifest stylistic elements
traceable to one of these four Banis. The style of the Agra Gharana for
example is derived from the otherwise extinct Nauhar Bani and the family of
Dhrupad singers and Beenkars known as Dagur, takes it name from the
Dagur Bani. In most cases however the details of possible connections to
particular Banis is less important than the fact that Banis at one time existed
and thereby provided a conceptual link to verify the idea of stylistic
ancestry.
Q.35. Write about the contribution of Sultan Hussain Sharki, Sadarang,
Adarang and Natthan Pirbaksh in the propagation of Khayal.

Ans. Contribution of Sultan Hussain Sharki, Sadarang, Adarang and
Natthan Pirbaksh in the propagation of Khayal.
Sultan Husain Sharque:
Captain Willard in his book Treatise on the Music of Hindustan has said
That Sultan
Hussain Sharque of Jaunpur was the innovator of Khayal. A.H. Fox
Srangways
in his bookThe Music of Hindostan has said that the mst common type of
Khayal was a
later form of Dhruvapada and was supposed to be evolved from Muhammad
(Sultan)
Sharque in 14011440 A.D3. Some believe that it was Sultan Hussain
Sharque who
developed Khayal on the basis of an older form of folk song that was
prevalent in North
India in the early part of the mediaeval times. Husain Sharque was not only a
matchless
musician, but also a great inventor. He was one of the greatest exponents of
the Khayal. In
many books he has been credited to be the founder of Khayal. Ironically
while Dhrupad
was growing in stature, an antiDharupad movement was underway in
Jaunpur. The ruler
here at that time was Hussain Shah Sharqi (14581528 A.D.) who was also a
good
musician. For a long time people felt that the Dharupad style was too formal
and what
Indian music required was a less formal and more imaginative style. So
Hussain Shah
Sharque and his fellow musicians invented the Khayal Style. The Khayal
offered wide
scope for technical Brilliance, invention & imaginative treatment of secular
& religious
themes. Even this form of Khayal was not acceptable to the classical
musicians of the
period as they were not prepared to accept the liberties taken by this form
over the
Prabandha. Therefore sultan Sharque's Khayal although comparatively
strongly based on classical foundations did not come up to the exacting
standards of the classical musicians
of his time.
Sadarang and Adarang:
Khayal singing got proper recognition and support in the Court of Mughal
King
Mohammad Shah Rangile through Adarang and Sadarang. Due to this it
took a firm
position in Indian Music. Nyamat Khan (Sadarang) and Firoz Khan
(Adarang) composed songs that have been transmitted to the present time. It
is believed that Sadarang and Adarang also formalized the structure of
modern day khayal. Sadarang (1670–1748) was the pen name of the
Hindustani musical composer and artist Niyamat Khan. Sadarang was active
in the eighteenth century. He and his nephew Adarang changed the Khayal
style of Hindustani music into the form performed today.Naimat Khan
composed Khyal for his disciples and he never performed Khyal. Sadarang
served in the court of Mughal Emperor Muhammad Shah (ruled 17191748).
Sadarang and Adarang remain influential in Hindustani classical music,
mainly through their compositions. Salar Jung Nawwab Dargah Quli Khan,
a young noble deccani who lived in Delhi between 1737 and 1741, had the
opportunity to hear Na’mat Khan play the bin. He wrote in Risala Salar Jung
later translated as Muraqqa i Dehli: "When he begins to play the bin, when
the notes of the bin throw a spell on the world, the party enters a strange
state: people begin to flutter like fish out of water (...). Na’mat Khan is
acquainted with all aspects of music. Na’mat Khan is considered unequalled
and is the pride of the people of Delhi. Niyamat khan was the descendant of
Naubat Khan. Another Famous descendant of Sadarang was Wazir Khan of
Rampur.
Nathan Pir Baksh:
Ustad Nathan Pir Baksh can rightfully be called the inventor of the Gwalior
Khayal style. The Gwalior gharana first rose to prominence during the reign
of Jalaluddin Mohammad Akbar, a passionate patron of the arts who was
much responsible for providing talent with opportunity in his time.
Generally considered to be the founders of the gharana are Ustad Nathan
Khan and Khadir Pir Baksh. Ustad Nathan Khan left for Gwalior from
Lucknow with his grandsons, Hassu and Haddu Khan to practice and
perform under the patronage of Maharaja Jhinkuji Rao Scindhia. His young
grandsons would go on to further define the gharana, under the influence of
Bade Mohammad Khan, another ‘maharathi’ of the gharana.
Steeped in the style of ‘Khyal’ gayaki, the gharana has a practice of
selecting relatively wellknown ragas. This is because it is at its centre
listenerfriendly and makes an effort to make the listener feel comfortable
and involved. Choosing prevalent ragas relieves the audience from the task
of trying to recognize the raga. Another, and perhaps the most defining
feature of the gharana, is its unyielding stress on simplicity. This too follows
from the ideology of refraining from bombarding the listener with too many
questions and too much activity. It was also held by the early innovators of
the style that simplicity alone can reveal the true colour and impact of the
raga. Ustad nathan Pir Baksh is the person for whom we have the rich
tradition of Gwalior Khayals.
Q.36. Different Gharanas of Khayal singing and their features.
Ans. Different Gharanas of Khayal:
Large areas of India were under the control of various kings and Nawabs.
These states were
generally had enough resources to support artists and musicians in their
courts, which was
very conducive to growth of arts and music. They ued to appoint musicians
innthier courts1
.
For this Research work it was very necessary to have basic knowledge about
every
Gharana, its specifications and main artists. Gharana system deeply
influenced Hindustani
music. Study of Gharans system revealed lot of information about the artists,
their
perception regarding Hindutani music and the position of Khayal. Every
Gharana has their
own style of rendering a Khayal and critical analysis of every Gharana
which will help in
deciding the ideal structure and presentation of Khayal today. Study of
Gharana also give
future guidelines and help in deciding the modifications in presentation of
Khayal in future.
REFER TO https://en.wikipedia.org/wiki/Gharana#Khyal_gharanas
(chart
not fitting here)
Q.37. ‘Origin and development of gharana in Khayal singing in modern era
becomes an important feature’Explain.
Ans. Whenever we talk about Hindustani Classical music, the term Gharana
always comes up.
The importance and contributions of the Gharana system to the field of
music cannot be
ignored in any way. This is all because of the effort, concentration and the
guidance of
various gurus who are a part of the Gharana system. The Gharana system
has played a great role in the creation and maintenance of our musical
tradition. The history of Hindustani classical music is actually the history of
various musical Gharanas that existed at different times throughout the
history. Gharanas existed all over India just the terminology used was
different. In north, they were called as Gharanas. In south, they were called
Sampardays. Some examples are Shivmat and Bharatmat.
The Gharana system aided in the preservation of Hindustani Classical
Music. Due to rigorous practice and limitless Guru Worship the formal
education always remained connected to music. Had Gharanas not been
there, the Music tradition would not have survived the middle ages and the
British rule. It is because of Gharanas that our musical art and heritage has
been preserved to this day
In a way Gharanas have acted as flag bearers for the development and
protection of our music heritage and tradition.
Gharanas produced lot of eminent artists. Under one guru for years produced
great artists of Indian Classical Music.
In Gharanas Guru had the responsibility of his pupils due to which he do his
best to give
his students what they needed to become good artists.
Generally Gurus/Ustads used to take their studentswith them to events and
concerts
which provide them experience and pratical tips for good performance also
they get
opportunity to listen to eminent artists there.
Good Gurus/Ustads introduce their students from stages so as to provide
them stage. They gove chance to their able students to perform on stages.
Finally, it can be said that ‘Origin and development of gharana in Khayal
singing in modern era becomes an important feature’, since by critical
analysis of singing styles of various
Gharanas it is seen that Khayal is under continuous process of change.
Eminent artists of
various Gharanas contributed a lot in developing Khayal and its structure.
Lot of things
were added time to time in structure as well as presentation of Khayal.
Khayal always had
scope for new innovations and modifications. Khayal, in accordance with its
meaning
Imagination, goes according to the thinking process of the artist. One can’t
draw fixed lines
for Khayal. No doubt Khayal structure and its presentation must follow all
the rules and
regulations of Hindustani Classical Music but still it has full scope for
further innovations.
Responsibilty to develop an ideal structure and ideal way of presenting
Khayal is on our
shoulders. Taking good aspects of all the Gharanas and discarding the other
aspects we can
think of an ideal structure of Khayal which will be suitable for majority of
listeners. In this
modern world, when the whole world is coming to one place, Arts and
culture is mingling
with one another, Science and technology is making world very small place,
it is neede to
see the Khayal from modern perrspectives so that Khayal can be made
popular in the
masses.
Q.38. Current position of Gharanas in Khayal singing.
Ans.
Q.39. Why gharanas originated in Khayal style and its importance in
restoring Khayal singing.
Ans. The Hindi word 'Ghar' is derived from 'Gruh', literally means house.
Gharana is an
abstract noun of 'Ghar' meaning 'of the house'. Many crafts in India, were
carried on as a
family traditions, passed on from father to son for many generations. It was
rare that an
outsider was allowed entry unless he became a part of the family. So has
been the case in
musical traditions since the Vedic period. There is a mention of Kauthumiya,
Ranayaniya, Kauthumiya schools of Sama gaana among many others which
disappeared
by time. Right from earliest times, there have always been various schools of
music in
our country. Perhaps these have been more broadbased, such as Jati gayan,
Gram Raga
system, Margiya and Desi Sangeet. The Banis of Dhrupad are already
mentioned earlier,
which are the gharanas of Dhrupad genre.
A gharana also indicates a comprehensive musicological ideology. This
ideology
sometimes changes substantially from one gharana to another. It directly
affects the
thinking, teaching, performance and appreciation of music.
The gharana concept gained currency only in the eighteenth century in the
sunset of
Moghul empire, when the royal patronage enjoyed by performers weakened.
Performers
were then compelled to move to urban centers. To retain their respective
identities, they
fell back on the names of the regions they hailed from. Therefore, even
today, the names
of many gharanas refer to places. Some of the gharanas well known for
singing khayals
are : Agra, Gwalior, Patiala, Kirana, Indore, Mewat, Sahaswan and Jaipur.
Today,
gharanas are mentioned, discussed and proclaimed as indicators of certain
musical ideas
as well allegiances. Today, persons with no musical background of any sort
have begun
taking to music seriously and their affiliations are at the level of ideology
and ideas of
music.
Eminent artists of various Gharanas contributed a lot in developing Khayal
and its structure. Lot of things were added time to time in structure as well
as presentation of Khayal. Khayal always had
scope for new innovations and modifications. Khayal, in accordance with its
meaning
Imagination, goes according to the thinking process of the artist. One can’t
draw fixed lines
for Khayal. No doubt Khayal structure and its presentation must follow all
the rules and
regulations of Hindustani Classical Music but still it has full scope for
further innovations.
Responsibilty to develop an ideal structure and ideal way of presenting
Khayal is on our
shoulders. Taking good aspects of all the Gharanas and discarding the other
aspects we can
think of an ideal structure of Khayal which will be suitable for majority of
listeners. In this
modern world, when the whole world is coming to one place, Arts and
culture is mingling
with one another, Science and technology is making world very small place,
it is neede to
see the Khayal from modern perrspectives so that Khayal can be made
popular in the
maases.
Q.40. Changes occurred in music due to modern techniques in modern era.
Ans. Music in India, and especially art music, went through a
metamorphosis for four centuries from the sixteenth, to result in
the Hindustani music of today. This modern period saw an
increasing number of musicological works in Persian, Urdu, Hindi and other
regional languages, instead of Sanskrit. All these tell
us the story of how Hindustani Art Music, as we know it today,
evolved and took shape. The modern period saw the birth of
many of the musical forms dominant today, like Khayal and
thumri.
The central Mughal power in Delhi weakened after Aurangzeb's
death and there was a quick succession of emperors. One of
them was the legendary “Muhammadshah Rangeele (17161748
AD)”. He was a Loving and generous patron to many musicians.
The Mughal court at his time had musicians such as Niyamat
Khan, also known as Sadarang, and his nephew Firoz Khan
(Adarang), whose compositions popularized the musical form of
khyal. This key component of Indian classical music evolved,
ascended and received princely patronage at the court of
Muhammad Shah.
The presentations of Krishnalore sowed the seeds of Modern
hindustani Theater. The Thumri form of romantic and devotional
music also became popular in the 19th century. The prototype of
the thumri is traced to the 'Chhalikya' presentation in the
Harivamsha (400 AD). The Chhalikya genre combined song and
dance with dramatic gestures. Ramnidhi Gupta, or
nidhubabu(17411839) , gave us bengali tappa, a new genre. this
assimilated the features of the tappa in Hindustani Music and the
lifting lilting rhythm of Bengali music. Another musical stalwart of
the 19th century was Sourendra Mohan Tagore, (18401915 AD).
The mission of his life was to make Hindustani music
international in its appeal and reach.
The Modern Era has been a period of massive technological and

socio-political change, sparked largely by the increasingly rapid
transit of people and information (via automobiles, airplanes,
spacecraft and telephone, radio, television, satellite transmission, the
Internet, etc.). There have been more wars and outbreaks of social
violence in the past century than in all previous ages combined,
including two major World Wars that dramatically affected all aspects
of life in Europe and America between 1914-18 (WWI) and 1939-45
(WWII). This era has seen the gradual decline of the worldwide
British Commonwealth (which once included India, Hong Kong and
other parts of the Far East, much of Africa, Canada, and the British
Isles), the establishment of the United States as the major force of
the Free World, and the rise and fall of Soviet Communism. The ever-
changing delicate balance of economic and political power is now--
more than ever--of urgent global significance.

Important Musical Considerations in the Modern Art Music
Era

The Modern Era has been a period of turbulent change in
musical style and taste. Many modern "art-music" composers
have explored untraditional sounds and have based their
music on rhythm, texture and tone color, instead of the more
traditional aspects of melody and harmony. During first half of
the 20th century, the two World Wars led to political isolation
that impeded the sharing of musical ideas; however, since c.
1950, there has been a multi-national fusion of styles, driven
largely by many great European composers, performers,
scholars and teachers who sought political asylum in the US.
Modern technological advances (especially mass media)
have caused rapid changes in musical style, and expanded our
knowledge of music from other cultures, further accelerating
changes in musical taste while providing a wider range of music
to listeners, composers and performers. Today, new musical
ideas and styles can be introduced almost instantly, allowing
large-scale trends to change in months or years, instead of
decades. Computer-based technologies, synthesized sounds,
and new recording techniques continually add new dimensions
to today's music. The commercial music industry, which began
in the 1930s, is now the dominant musical force across the
world, leaving today's art-musicians scrambling to preserve an
audience.

Important Developments in Modern Art Music

The Breakdown of TONALITY
As a result of the gradual disintegration of tonality (key-
centered music), various non-traditional modern approaches
to harmony have emerged:

- EXTENDED TONALITY (Pan-Diatonicism)The free
use of tonal harmonic/melodic sounds, without their
usual functional reference to a central key.

- POLYTONALITYTwo or more tonal centers
functioning at the same time within a musical
composition.

- ATONALITYMusic with NO TONAL CENTER

- SERIALISMThe process of putting pitches into
a numerically-ordered SERIES that becomes the basis
for all melodic/harmonic material in an atonal work.

- MULTI-SERIALISM (and TOTAL SERIALISM)An
approach in which several (or all) aspects of
an atonal work are serialistically controlled (rhythm,
dynamics, melody, harmony, articulation,
instrumentation, etc.).

Experimentation with NEW SOUNDS
Modern composers have taken a closer look at rhythm,
instrumentation, tone color, form, performance
techniques (etc.). Harmony and melody are no longer the
sole basis of musical structure. Increased use
of percussion, and use of standard instruments in non-
standardways were important developments in this era.

The Influence of MULTI-NATIONAL STYLES
Since 1945, the sharing of musical styles and approaches
from around the world has accelerated dramatically, due to
technological advances affecting mass media and
transportation.

The Influence of POPULAR MUSIC
JAZZ, BLUES and other popular styles and technologies
have also affected modern art music.
Q.41. Contribution of Pt. Bhatkhande and Pt. Paluskar.
Ans. In the early 20th century, two people revolutionized Indian music:
Pandit Vishnu Digambar Paluskar and Pandit Vishnu Narayana
Bhatkhande.
V. D. Paluskar (18721931 AD)
He belonged to a family of Haridasis, a
community engaged in Harikatha
reciting the Hindu epics, giving
religious discourses, and singing
Bhajans. He introduced the first
music colleges. Gandharva
Mahavidyalaya, a chain of music
schools, which is now a fullfledged
university, and a major force in
ensuring a place for classical music in the mainstream culture.
The institution was launched from Lahore, and spread speedily to
Bombay, Pune, Nagpur, and several other cities He gave an
entirely new perspective to the education and propagation of
music. It was his efforts that elevated music and musicians in the
social hierarchy.
V.N.Bhatkhande (18601931 AD)
pioneered the introduction of an
organised musical system reflecting
current performance practices. The
historical tradition of music in India
was completely disrupted during the
medieval times. Since then, music in
India has changed so considerably
that no correlation or correspondence was possible between
Sanskrit musicological texts and the music practised in modern
times. It was Bhatkhande who bridged this enormous gulf. He
successfully undertook the arduous task of restating the
musicological framework underlying contemporary musical
performance.
He did extensive musicological fieldwork across the length and
breadth of the country. He meticulously collected data on music, and
documented and analysed performing traditions. His literature on
music remains unparallelled even today and is essential for a
systematic study of Hindustani Art Music. It elucidates his views on
grammatical structures, historical evolution, performance norms and
aesthetic criteria relevant to Hindustani music. He classified a total
number of 1800 compositions from the major gharanas accessible to
him, dividing them in ten thaats according to his codification. The
Ten Thaats Suggested by him are Bilawal , Marwa , Bhairav, Poorvi,
Bhairavi, Todi, Asavari, Kalyan, Khamaj and Kafi.
Q.42. Give information on medieval period of music.
Ans. Medieval period[edit]
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 their turn, started taking increasing interest in local music forms.
While the initial generations may have been rooted in cultural traditions
outside India, they gradually adopted many aspects from their kingdoms
which retained the traditional Hindu culture. 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, 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 the qawwali genre, which fuses
Persian melody and beat on a dhrupad like structure. A number of
instruments (such as 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 do 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 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 the Mughal Empire came into closer contact with Hindus, especially
under Jalal udDin 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, and that he could light fires by singing the raga "Deepak", which is
supposed to be composed of notes in high octaves.
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 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 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.
Or
Medieval period
From 7th to the 13th century AD, Indian music played a key role in India
and outside. In 7th century AD, Indian music was used to popularize the
Hindu philosophy and religious ideas. Many scholarly books on music were
written; mention should be made of Jaidev’s “Gitogobindo” and sarangdev’s
“Sangeet Ratnakar“.
Between the 9th and 12th centuries, Indian classical music saw marked
qualitative improvement. From the 11th century onwards when India saw
many advances by the Muslims from middleeast, it influenced Indian music
greatly. Gradually North Indian Music evolved as a separate stream under
their influence.
During Alauddin Khiljee’s time (12961316) the famed Amir Khusro
reigned supreme as a musical genius. It is said that he was the first to use
Tabla and Sitar as percussion instruments and created new Ragas and
introduced vocal music like Kawali and Tarana. Raja Man Singh(1486
1518) reigned the kingdom of Gwalior and his patronage gave birth to
“Gwalior Gharana” as a distinct style of Indian music. With the help of the
then musicologists, he is said to have penned “Mankuthul“. During that era,
devotional songs in India music reached its peak with the marvelous songs
of Kabir(1405AD), Sri Chaitanya Mahaprabhu(1486 AD) and Mirabai(1500
AD).
King Akbar(155561605AD) was a keen lover of music and patronized
maestros like Nayak Bakru, Tansen, Tantarang Gopal etc in his court.
Tansen before conversion to Islamic religion was known as Tanna Mishra.
His siblings and pupils were clubbed under a gharana ( a seperate style of
Indian music) known as “Saini gaharana”, synonymous with their legendary
guru Tansen. He is claimed to have created Ragas in Indian Music like
Tansen darbari Kanar, Miakisarang, Miamalhar etc.
During Akbar’s time, Tulsidas(1584 AD) penned the famous Ramcharit
Manas. Musical genius like Bilash Khan, Chattar Khan, Makku Khan
delighted the court of Jahangir(16051627 AD). King Shahjahan(16271658
AD) patronized musicians like Dirang Khan, Tal Khan, Bilas Khan(son of
Tansen) etc.
One cannot deny that the Mughal rulers contributed substantially to the
development of Indian Classical music in their own way. In fact, Kheyal and
also Toppa originated during their regime.
Q.43. Contribution of Raja Mansingh Tomar in the development of Dhrupad
style.
Ans. Raja Mansingh Tomar
Raja Mansingh Tomar of
Gwalior (14861516 AD) was
the driving force behind
introducing and consolidating
Dhrupad, a genre of
Hindustani music that enjoys
esteem even today.
Dhruvapada, a combination of Dhruva = structured or rigid and
Pada = word. He replaced traditional Sanskrit songs by Hindi
songs. He is also credited with composing three volumes of
songs: (i) Vishnupadas (songs in praise of lord Vishnu), (ii)
Dhrupads, and (iii) Hori and Dhamar songs associated with Holi.
Mansingh's support gave pride of place to these genres. He also
thus related music to the lives and language of the laymen.
He was a generous patron of the arts. Both Hindu and Muslim
musicians were employed in his court. With the talent available in
his court he initiated a major project to systematise the prevalent
music. It was this project that resulted in the creation of that
comprehensive treatise on music in Hindi, 'Mankutuhal'.
In 15th century Raja Man singh of Tomar dynasty of Gwalior has been
attributed giviing popularity to music in Gwalior. He invented Dhrupad style
and established Vidyapeeth first of all in Gwalior and by establishing many
creation of Dhrupads extended his great contribution to which has no
parallel.
In another study in the first chapter of “FRISHTA KA ITHAS” there is an
interesting mention of development and progress of music. in this it is
mentioned that Malchand. Whose poetry is famous in Malwa, brought music
from south to Gwalior Here in it is mentioned that music was propagated by
him in India.
Malchand remained in Gwalior for quite sometime and dynasty of Talingi in
Gwalior music tradition is quite old and is for many centuries Tomar
dynasty gave their helping hand in the develpment of music : this has
historic background in. TabateAkbari written by khwaja Nazimudin
Ahmed in wich there is mention of exchange of music books of Doongar
Singh Tomar and Jainul Abedin of Kashmir.
Raja Man Singh was a great adjudge of art of music Rani Mrignaini was
helpful to Raja Mansingh in his music recitals; Mrignaini has become ever
lasting in music grafted in the name of Gujri, Bhahul Gujri, Maal Gujri and
Mangal Gujri.
Raja Man Singh has credit for writing “MANKUTUHAL” a music book
which was later translated by Fakirulla. Its pandulipi is available in Raja
Library Rampur (U.P). This book contains the version of assemblance of
Sangeet Samelan by Raja Man singh. This fact is corroborated by Abul
Fajal. Bakhshu, Charju, Karan and Bhanu were the four artists of Mansingh.
They had assembled such songs which were liked by all sections of society.
Q.44. Thumri.
Ans. Thumrī is a common genre of semiclassical Indian music. The term
"thumri" is derived from the Hindi verb thumakna, which means "to walk
with dancing steps so as to make the anklebells tinkle." The form is, thus,
connected with dance, dramatic gestures, mild eroticism, evocative love
poetry and folk songs of Uttar Pradesh, though there are regional variations.
[1]
The text is romantic or devotional in nature, and usually revolves around a
girl's love for Krishna. The lyrics are usually in Uttar
Pradesh dialects of Hindi called Awadhi and Brij Bhasha. Thumri is
characterized by its sensuality, and by a greater flexibility with the raag.
Thumrī is also used as a generic name for some other, even lighter, forms
such as Dadra, Hori, Kajari, Saavan, Jhoola, and Chaiti, even though each of
them has its own structure and content — either lyrical or musical or both —
and so the exposition of these forms vary. Like Indian classical music itself,
some of these forms have their origin in folk literature and music..
Structure[edit]
As in khayal, thumri has two parts, the sthayi and the antara. It favours tala
s such as Deepchandi, Roopak, Addha, and Punjabi. These talas are
characterized by a special lilt, nearly absent in the talas used
in khayal. Thumri compositions are mostly in ragas such
as Kafi, Khamaj, Jogiya, Bhairavi, Pilu and Pahadi. A common feature of
these and other such ragas is the free movement they allow the artist, since
they do not depend for their identity on rigidly formulated tonal sequences,
irrespective of the compositions involved. In fact, one may say that they
have a builtin provision for mixing ragas or for moving out of
the raga actually presented in order to add colour to the proceedings.[2
Origins[edit]
The exact origins of thumri are not very clear, given that there are no
historical references to such a form until the 15th century. The first mention
of Thumri goes back to the 19th century, with a link to the classical dance
form Kathak. This was the bandish ki thumri or bolbaant and it evolved
mostly in Lucknow in the court of nawab Wajid Ali Shah. At that time, it
was a song sung by tawaifs or courtesans. According to historical records, a
new version of thumri arose in the late 19th century, which was independent
of dance, and much more slowpaced. This form was called bolbanav and it
evolved in Varanasi.
Thumri and Khayal[edit]
Unlike the khayal, which pays meticulous attention to unfolding a raga,
thumri restricts itself to expressing the countless hues of shringar by
combining melody and words. The contours of a khayal are most definitely
broader and fluid. Thus, a khayal singer is capable of encompassing and
expressing a wide range of complex emotions. A thumri singer goes straight
to the emotional core of a composition and evokes each yarn of amorous
feeling, each strand of sensuous sentiment, with great discretion. Khayal
aims at achieving poise and splendour; thumri is quicksilver in tone and
ardently romantic in spirit. It needs a delicate heart, and a supple and soulful
voice capable of expressing several shadings and colours of tones to bring
out its beauty. To draw an analogy from the world of painting, khayal is
closer, in form and spirit, to the unrestrained and energetic world of
Renaissance masters like Michelangelo, Raphael and Titian forcefully
executed brush strokes are seen on a broad canvas; whereas thumri, with its
affinity for finer points and shades of feeling, emotion and mood, is closer to
the finelydetailed stilllife paintings of the Dutch masters of the 17th
century.
Noted Thumri artists[edit]
Purab Ang[edit]
Well known artists of the 'Purab Ang' thumri' of the Benaras gharana or
Banaras gayaki include Badi Motibai, Rasoolan Bai, Siddheshwari
Devi, Girija Devi and Chhannulal Mishra.
Some other singers of thumri are Gauhar Jan, Begum Akhtar, Shobha
Gurtu, Noor Jehan and Prabha Atre. The bol banao style has a slow tempo
and is concluded by a laggi, a faster phase where the tabla player has some
freedom of improvisation.
Another stalwart in the genre of thumri was Naina Devi, who was married to
a royal family but later devoted her life to the singing of the song of
Tawaifs. For a member of the royal family to take such a step in those days
meant fighting countless social stigmas that had enough power to totally
alienate someone from the society, but she had the support of her husband.
[3]
Classical Thumri[edit]
Some khyal singers took an interest in thumrī and sang it their own way, as
in the case of Abdul Karim Khan, Faiyaz Khan, Bade Ghulam Ali Khan,
NazakatSalamat Ali Khan, Barkat Ali Khan, Bhimsen Joshi, Pandit Jagdish
Prasad and Prabha Atre.
Today thumrī is sometimes sung at the end of khyal concerts as a concluding
item. Besides the tabla and the tanpura, other typical instruments in thumri
are sarangi and swarmandal.
Lyrics[edit]
Thumrī singers pay considerable attention to the lyrics, though they may be
difficult to follow in the ornamented enunciation. This is especially where
the focus is on love, and many lyrics deal with separation or viraha.
Krishna's ras leela or love play with Radha and other gopis
of Vrindavan appear frequently
Q. Write information about music mentioned in Naradiya Shiksha.
Ans. Naradiya Shiksha, composed, for the most part, in the Anustubh
Chhandas; and based, mainly in the theories and practices of singing Sama
Veda, is an ancient text that deals mainly with the musical notes and the
pronunciation of the words in the Vedic language. It is regarded as an
authentic source of references on the development of Indian Music from the
Vedic times to the period of the Shiksha literature. The Naradiya Shiksha, is
believed to predate Bharatha’s Natyashastra (second century BCE). Some
scholars also believe that Bharat might have been familiar with Naradiya
Shiksha.
One of the reasons for that inference is that the Naradiya Shiksha discusses
the Gāndhāra Grāma, its Mūrchanas and Tānas; but, by the time of Bharata’s
Natyashastra, the Gandhara Grama had become obsolete. Further, it is
believed that a verse of the Natyashastra seems to reflect verse (1.3.13) of
Nāradiyaśhíkṣhā, which, in effect, says:
Those well versed in musical art, appreciate melodious and tuneful singing
(sama); the scholars look for clear pronunciation of the words (pada) of the
song; the women love the sweetness of voice of the singers; and, the rest
demand a loud, fullthroated singing. (33. 227)
It is also said; one couplet in Patanjali’s Mahabhashya (dated around 200
BCE) closely resembles the one in Nāradiyaśhíkṣhā:
mantro hīnah svarato varṇato vā mithyā prayukto na tam artham āha sa
vāgvajro yajamānaṁ hinasti yathendraśatruh svarato ‘parādhāt //
A mantra which is uttered with a defective accent or bad pronunciation does
not carry the proper meaning. It is a thunderbolt of speech and kills the
yajamāna (sponsor of the Yajna) just as it was done by the wrong accent of
(the compound) ‘indraśatruh’.
The opening phrase of the relevant verse in Patanjali appears as ‘dṛṣṭah
śabdah ‘in place of ‘mantro hīnah’ in the Naradiya Shiksha
For these and other reasons, the Naradiya Shiksha is considered to be a text
that is not later than 200 B.C. Some scholars assign this Shikshatext a
much earlier period.
Q.46. Write information on haveli Sangeet
Ans. Refer to Q.28.
Q.47. Write your views on the changing form Khayal style.
Ans.
Q.48. Write your views on Gharanas in Music. Are you in favour of
Gharanas?
Ans. The gharana concept gained currency only in the nineteenth century
when the royal patronage enjoyed by performers weakened. Performers were
then compelled to move to urban centres. To retain their respective
identities, they fell back on the names of the regions they hailed from.
Therefore, even today, the names of many gharanas refer to places. Some of
the gharanas well known for singing khayals are : Agra, Gwalior, Patiala,
Kirana, Indore, Mewati, Sahaswan, Bhendibazar and Jaipur.
Gharanas in Dhrupad singing too came into existence several centuries after
their birth. It moved from the temples to concentrate in the royal courts of
the north, and finally, in the 18th century, when its popularity began to
wane, dhrupad singers dispersed to places like Mathura, Rampur, Jaipur,
Varanasi, Darbhanga, Betia, Vishnupur etc. There are also gharanas for
thumris – like Banaras. Lucknow, Patiala though another school of thought
opines that thumris are devoid of gharana divisions and are only to be
associated with certain styles or Baj.
The concept of hereditary musicians was not confined to vocal music alone.
Hence there are also gharanas in instrumental music – sitar, sarode, tabla etc.
A gharana also indicates a comprehensive musicological ideology. This
ideology sometimes changes substantially from one gharana to another. It
directly affects the thinking, teaching, performance and appreciation of
music.
Musicologists and musicians have accepted a gharana if it has existed for at
least three generations either within the family or through the gurushishya
mode. The key factor is the style of a musician, which should follow at least
one authentic gharana. On the other hand, there may be brilliant musicians
with a distinctive style of their own, which need not represent any one
gharana. In other words, a musician may form a distinctive style by
assimilating a variety of styles. When his sons or disciples continue this
style for three or more generations, a new gharana is born.
The Gharana system has its own merits and demerits. But I favour the
Gharana system, since
1. The Gharana system aided in the preservation of Hindustani Classical
Music. Due to
rigorous practice and limitless Guru Worship the formal education always
remained
connected to music. Had Gharanas not been there, the Music tradition would
not have
survived the middle ages and the British rule. It is because of Gharanas that
our musical
art and heritage has been preserved to this day.
.
2. In a way Gharanas have acted as flag bearers for the development and
protection of our
music heritage and tradition.
3. Gharanas produced lot of eminent artists. Under one guru for years
produced great artists
of Indian Classical Music.
4. In Gharanas Guru had the responsibility of his pupils due to which he do
his best to give
his students what they needed to become good artists.
5. Generally Gurus/Ustads used to take their studentswith them to events and
concerts
which provide them experience and pratical tips for good performance also
they get
opportunity to listen to eminent artists there.
6. Good Gurus/Ustads introduce their students from stages so as to provide
them stage.
They gove chance to their able students to perform on stages.
Q.50. Write notes on
1. Amir Khusro:
Ans. Khusro was born in 1253 A.D. in Patiyala, India, His paternal ancestors
belonged to the nomadic tribe of Hazaras from Transoxiana, who crossed the
river Indus and migrated to India in the thirteenth century. Khusro's father
served the Sultan of Delhi, Shamsuddin Iltutmish, in a high position, and
Amir Khusro was educated in theology, Persian and the Quran. From his
mother who was of Hindustani origin and from his maternal grandfather he
acquired both, an intimacy with the local languages as well as a rooting in
the immediate cultural ambience. When his father died when Khusro was
only eight he came under the care of his maternal grandfather.
He is traditionally considered to be the founder of qawwali and lyrical
poetry in Hindustani (Urdu), credited with enriching Hindustani classical
music by introducing Persian and Arabic elements in it. The invention of
the sitar and the musical styles known as khyal and tarana are also
attributed to him. His poetical composition, the amalgamation of Persian and
Hindi in particular, was aimed at cementing the bonds of culture and
friendship between the Hindus and Muslims of India.
He was an intellectual giant of many languages, with knowledge of Turkish,
Arabic, Persian and the vernaculars of northern India the Khariboli, (Urdu
and Hindi both being developed forms of it), Braj Bhasha and Awadhi. It
was during his stay in Awadh, Delhi and Punjab that he learned these
northern languages. He also learned Sanskrit which he placed before all
other languages, except Arabic, the language of his religion.
Above all, he was a most dutiful and devoted mureed of Hazrat Nizamuddin
Auliya, the spiritual monarch of his day in the subcontinent.
2. Sharang Deo:
Ans.
3. Music at the time of Buddha:
Ans. Bouddha once said in his sermon to common people,“Life is like the
sound of Veena, it originates and then it disappears. Experts are wasting
their time figuring out where does it come from and where does it go.” This
suggests two things, first, even common people in Bouddha Period could
relate to this analogy, and second, the Enlightened Soul Buddha related the
whole existence of life itself to the sound of Veena.
Music was much further developed in Budddha period than in Ramayan and
Mahabharat Period. Music was offered patronage by the kings. The concepts
of ragas, swara, gram and Murchchanas were further developed.
Buddha was a trained musician and so was his mother, Maya Devi. Bouddha
literature was written in Jaatak, Peetak, and Avdaan scriptures which gives
some glimpses of life in Bouddha period. There are discussions about music
in Jaatak which was written in Pali language.
In TherGaatha scriptures, there are Gaatha and Padas which were sung by
Bouddha Bhikshuks and Bhkshunis travelling from place to place.
Music was taught in the great universities of the time, Takshshila, Nalanda,
Vikramshila as GandharvaVeda along with other disciplines. In those
universities Geet, Vaaditva, Nritta, and Akhkhyanam were taught. Women
were taught music. Mahati Veena,SaptaTantri Veena, Kachchapi, Tumba
Veena, Mrudung, Turya, Venuhankha, Shringa, Jhallari, Ghanta were the
musical instruments of the time.
Music was played in orchestra in front of Pekhkha in Kutapa, the musical
competitions were also held. The competition between Guttil and Mussil
mentioned in Bouddha literature has been reiterated by many writers and so
is the shloka about Ravan meeting Bouddha with his Veena on his shoulder.
Bouddha and his followers appreciated music that was meditative and
spiritual. In Bouddha Period music was called Shilpa. The sculpturing art
was at its peak. Many of the sculptures at Bharhut, Amrawati, Saanchi show
the instruments of the time and assures that music, orchestra, Nritya were
well established art forms of Buddha period.
4. Margi and Desi Sangeet:
Ans. Normally we are taught that desi is folk and Margi is classical, maybe
we need to relook at things. Particularly after studying iconography Bharata
is not the end all and be all of art, there are people who have gone beyond
him.
Shrangadeva deva in his sangeetaratnakara says that which guides to
salvation is Margi
This requires tremendous discipline and structured practise to say that makes
it one of the path ways that help in self realization.
While deshi is more regional.
Deshadeshe jananam yd ruchiya hrdayanjakan
Gitam cha vaadam nrtyamtad deshityabhidyate
In a conversation between matanga andnarda mataga tells Narada
Nana videshu deshshu jantunam sukhado bhavet
Tat pratbhriti likanam narendranamydruchayat
Desha desha pravratsau dwanirdeshiti sanjjnatah
The regional development of any art becomes deshi.
Maybe Margi is a standard perception, which is the base formula. Deshi is
what is developed by regions on basis of these Margi. This would change
with the outlook and focus of the listeners. While janapada is free flowing.
The tattwabuhtsoh katavada deals with something along this line. The
delineation here is
Margi: spiritual collective and motivated by spiritual growth (group
rendering of hymns and bhajans could also be included)
Deshi: structured parameter, sung to entertain self and public (more raja sic
in nature)
Atideshi – free of structuring.
5. Gopal Nayak:
Ans.
6. Matang Muni:
Ans.
7. Ancient Raag Vichar:
Ans. In the ancient period, Raagas were classified on the basis of following
criteria
Classification of Raagas on the basis of Jaati
Classification of Raagas on the basis of Gram Raaga
Classification of Raagas on the basis of the 10 Category Rule
Classification of Raagas as Shudhh, Chhayalag and Sankeern
Classification of Raagas on the basis of Jaati

There were 3 grams and these grams gave birth to 18
Jaatis. Each raaga has a Nyaas Sur (on which the singer
sustains his voice), Ansh Sur (over which the singer just
glides over) and some Grah Sur (on which the singer returns
to after each taan). Now, each raaga was classified upon
these 3 basic swaras in that period. If any of these swaras
were changed then the whole raaga changes and a new form
of raaga is formed, which is quite different from the raaga
which was being sung or played initially. Nowadays, Raaga
singing is famous, similarly in those days Jaati singing was
famous wherein the singer used to sing the Jaati based on
the characteristics of the Jaati. This is was one method of
classifying raagas.
Classification of Raagas on the basis of Gram Raaga

he concept of Gram gives rise to another interesting concept
of Moorchhana which in turn gives rise to Jaatis. Jaatis
further, gives rise to Gram Raagas. The 18 jaatis which are
told above give rise to 30 Gram Raagas. These Gram Raagas
are sung according to their characteristics and are further
divided in to 5 categories which are- Shudhh, Bhinn, Gaud,
Besar and Sadharan Reeti. Gram Raaga are the ones which
nowadays known as raagas and are very popular in singing
and in instruments.
Classification of Raagas on the basis of the 10

Category Rule
The famous book Sangeet Ratnakar by Pt. Sharangdev
clearly mentions the categorisation of raagas on the basis of
the following 10 points-
1. Classification of Raagas as Gram Raaga, Raag and

Upraag
2. Classification of Raagas as Bhaasha, Vibhaasha and

Antarbhaasha
3. Classification of Raagas as Bhaashang, Raagang,

Kriyang and Upaang
Gram Raaga, Raaga and Upraaga

Graam Raagas as told above are derived from Jaatis. Further
these, Gram Raagas are also classified as Raaga and
Upraaga. As per Sangeet Ratnakar there are 30 Gram
Raagas, 20 Raagas and 8 Upraagas.
Bhaasha, Vibhaasha and Antarbhaasha
The gram raaga are further divided into different on the

basis of Bhaasha, Vibhaasha and Antarbhaasha. The raagas
in ancient times was sung without any words but only in
Aakars. But after this distribution words were introduced into
raagas and raagas then the raaga vistaar was done with the
help of words. But this categorisation was slowly discarded
as gradually, words were introduced in each raaga.
Bhaash-ang, Raag-ang, Kriyang and Upaang
Raagas having some characteristics of Gram Raagas are

known as Raagang, those having characteristics of Bhaasha
Raaga are Bhaashang, those having very few features of any
single but having features of many raagas are Upaang and
those who are known to be very cheerful in nature or those
which give a pleasant feeling to the listener are known as
Kriyang.
Classification of Raagas as Shudhh, Chhayalag and

Sankeern
This categorisation was only practised for some time on the

ancient times; nowadays it is not practised and is not known
to many also. Raagas which are complete and pure in
themselves and do not show any feature of any other raaga
while being sung or played are Shudhh Raagas. Raagas
showing features of any other (but one) raaga while being
played or sung are Chhayalag raagas and raagas showing
features of more than one other raaga is a Sankeern Raaga.
For e.g. Yaman and Todi are Shudhh, Chhayanat and Tilak
Kamod are Chhayalang and Pilu and Bhairavi are Sankeern
Raagas.
8. Chatarang:
Ans. Chatarang is a very unique type of composition based in a particular
raga. “Chata” means four & “rang” means colours or shades. Therefore, this
type of composition has four different facets in its content:
Lyric
Swaras or notes, which can either be the ascent and descent of the raga or
simply the pakad of the raga
Tarana words or syllables like dirdir, tanom, tadare
Tabla or pakhwaj bol like dhirkit, tirkit
Chatarang compositions are set to any tala & and are sung like any other
compositions in madhya laya or drut laya.
9. Bharatkalin RasaBhav Vichar:
Ans.
10. Tarana:
Ans. Tarana or Taranah is a type of composition in Hindustani
classical vocal music in which certain words and syllables (e.g. "odani",
"todani", "tadeem" and "yalali") based
on Persian and Arabic phonemes[1] are rendered at a medium (madhya) or
fast (drut) pace (laya). It was invented by Amir Khusro (12531325 CE),
[2] and is similar to the Qalbana form of Sufi poetry. In modern times, the
tarana is most commonly associated with the singer Amir Khan, who helped
popularize it and researched its origins and the syllables used. Tarana was
also used by Sikh tenth Guru Gobind Singh in his compositions.
The story refers to the era of AllaudinKhilji. It mentions two names as
opponents one was Gopal Nayak and the other Amir Khusro. Gopal was
conscious that his opponent was difficult to defeat. Therefore, he sang a very
rapid Sanskrit song, knowing that Amir Khusro couldn’t know the
language. Yet, Amir Khusro sang the same song, note for note, replacing
Persian words for the Sanskrit. The resulting presentation was breathtaking
even though it was incomprehensible to the listeners. Thus Amir Khusro
won the contest and invented Tarana.
Tarana, is a vocal form in Indian classical music, perhaps best symbolizes
the singer’s recommend to distance from songtext and into the kingdom of
instrumental music. As mentioned above, the meaningless syllables in
Tarana are used as a musical words fastened with pieces of music and
rhythm, permitting musicians to be free from the limits lyrics.
Probably the use of these syllables was stimulated by those used in Aalaap
or the musical creativeness of a Raga devoid of a percussion instrument.
However, if the above mentioned myth is to be believed, Persian language
influenced the Tarana. This is clear from the Persian poetry integrated in the
next part of traditional Tarana compositions. Some consider that the
syllables in the Tarana have their base in Persian, with their links lost over
the years.
Taranas have been arranged in a range of Taals and in diverse Tempi.Tarana
pieces of music have frequently been used in a concert arrangements with
Karnatic and Indian musicians. The above mentioned ‘Tillana’, which is a
Karnatic equivalent to the north Indian Tarana, does not consist of Persian
words.
The Tarana has a usually short core melody, which is repeated many times,
with variation and expansion, with a second, usually higher notes
complementary melody, sung once before coming back to the main melody.
‘Khayalnuma’ is an alternative of the ‘Tarana’, which is sung at a leisurely
speed. At present, this form of ‘Tarana’ music is heard once in a blue moon.
13. Brihaddeshi:
Ans. Brihaddeshi is a Classical Sanskrit (dated ca. 6th to 8th century) text
on Indian classical music, attributed to Matanga Muni. It is the first text that
speaks directly of the raga and distinguishes the (marga) and the (desi). It
also introduced sargam notation. In Matanga's discussion of musical scales
and microtonal intervals he clarifies Bharata Muni's Natya Shastra on which
the author based his work. It clarifies many issues related to shruti that were
presented tersely by Bharata.
The text uses a twodimensional prastāra (matrix) to explain how the 7
notes of the octave map into 22 śrutis, where the separation between the
notes has varying distance. It also says that a finer subdivision in micronotes
has 66 śrutis, and, in principle, the number of śrutis is infinite.
The text also speaks of the division of the octave into 12 svaras. According
to Prem Lata Sharma, this is the first known text to speak of 12 notes.[1]
14. Prachin taal paddhati:
Ans.
19. Ashtachhap kavi:
Ans. ‘Ashtachhap’ was the name of the group of santpoets in Hindi
established by Vitthalnath around 1600. The poets are Surdas, Kundandas,
Parmananddas, Krishnadas, Chitswami, Govindaswami, Chaturbhujdas and
Nandadas. The first four were disciples of Vitthalnath, the latter of
Vallabhacharya.
Raga is one of the main kinds of service offered to one’s deity in the
devotional path. Raga may be interpreted as “love,” or as “music.” In the
16th century devotional renaissance in India, poems were sung when recited,
and the great mystic poets of those times were often great musicians.
Therefore, the poetry composed by the eight Ashta Chhap poets is meant to
be sung to music. Its essence is rhythmic invocation, and its real meaning is
best expressed when performed as part of devotional service.
Poets of the past were not only usually musicians, but also seers. They were
seers both in the sense of one who sees and as prophets. Seeing the Essence
makes one a seer, an enlightened being. Seeing only the mundane world
keeps one in the mode of eternally returning to that world, the only one
known to the unenlightened.
In the midst of this bhakti revival, the Ashta Chhap poets constituted a
unique lineage of devotional expression that flowed from their personal
experience with Shri Krishna. Their main vehicle for attainment was
‘bhava’. Bhava arises when Krishna is realized. Bhava is bliss; bhava is
nectar. Bhava arises according to the relationship between the Blessed Lord
and the blessed soul. Bhava, regardless of circumstance, is always perfect; it
is the condition of exact devotional view. And so the poets have said,
O, friend!
Worship with bhava
the Lord of bhava.
The poems of the Astha Chhap are in a samadhi language. To grasp their
substance one must be susceptible to ‘Lila,’ those lovely movements and
forms of Shri Krishna. If you mistake Shri Krishna’s lilas to be only
mundane, something born of imagination, there will be no ‘bhava,’ or
comprehension of their attainment. The Ashta Chhap poets’ Krishna,
although pure Brahman, was mundane to the extent that He allowed them to
experience His transcendental realm within the mundane world. They
considered this to be the fruit of having senses: to see Shri Nathji, to touch
Shri Nathji, to sing to Shri Nathji, to be His friend and lover.
Shri Krishna brought Suradas water when he was thirsty, threw pebbles at
Govindadas, stole dairy products with Chatrabhujadas, and engaged in a
cooking contest with Kumbhanadas. Through these and other lilas, the Ashta
Chhap’s worldly existence became thoroughly divine.
These poets’ love for Krishna was not conditioned by fear. Nor did their
devotion, in this stage of fulfillment, depend upon knowing Krishna’s
greatness. They were not concerned with any philosophical debates
concerning the nature of the Supreme reality: it was experienced. There was
no dualism, monism, nor anything besides Krishna. All philosophical
contradictions were resolved in the abode of sweetness. Everything was
purely Krishna.
Only Shri Krishna can contain the endless contradictions of the world, yet
remain perfect. Taking refuge in that birthless One, they became liberated
into eternal bondage to Krishna.
20. Swami haridas:
Ans. Swami Haridas was a spiritual poet and classical musician. Credited
with a large body of devotional compositions, especially in
the Dhrupad style, he is also the founder of the Haridasi school of
mysticism, still found today in North India. His work influenced both the
classical music and the Bhakti movements of North India, especially those
devoted to Krishna's consort Radha. Hit Harivansh Mahaprabhu, Hariram
Vyas, Rupa Goswami, Sanatana Goswami, Mahaprabhu Vallabhacharya,
Vitthalnath (Gusainji), were his contemporaries.
He had many pupils, Tansen being one of them.
Biography[edit]
Details of Swami Haridas's life are not well known. According to one school
of thought he was born in 1512 near Khair in what is now Uttar Pradesh. His
father's name was Shri Ashudheer and his mother's name was Chitra Devi.
In this version of his life story Haridas is said to have died in 1575. A
second school holds that Haridas's father was
a Saraswat Brahmin from Multan and that his mother's name was Ganga
Devi.[2] The family migrated to a village called Khair wali Sarak,
near Aligarh in Uttar Pradesh. Haridas was born there in 1512 and the
village is now called Haridaspur in his honor. This school holds that he died
in 1607. He was disciple of Shri Ashudheer Maharaj, also his Father who
followed the Nimbarka Sampadaya , He is Said to be the Avatar of Shri
Lalita Sakhi.He was a disciple of Bhai Mardana ji(a master who played
Rabab with Guru Nanak Dev ji). He was deeply learned and widely
acquainted with the music of his time. Mention is found in his works of
stringed instruments such as the kinnari and aghouti, and of drums such as
the mridang and daff. He mentions the ragas of Kedar, Gauri
(raga), Malhar and Basant. Swami Haridas is said to have been the teacher
of Tansen, one of the 'nine gems` of Akbar's court, and the renowned
dhrupad singer and composer Baiju.
He later shifted his residence to Vrindavan, the playground of the immortal
cowherd Krishna and Radha. There he built his ashram (hermitage) in
Nidhivan and sang his songs of the love of RadhaKrishna. Following the
example of Swami Shribhatta, Haridas continued to praise the Lord until the
Lord manifested himself as Sri Banke Bihariji. Swami Haridas' spiritual
disciples included Vitthal and Krishna Das who fostered his tradition of
devotional music. Groups (samaj, like the sankeertan of Bengal and
the bhajana goshti of South India) of devotees came together and sang of the
Lord of Vrindavan.
His samadhi (tomb) is in Nidhivan, Vrindavan.
Songs of Swami Haridas[edit]
Haridas's compositions may be classed as Vishnupadas. Even
his prabandhas that do not refer to Krishna have come to be known
as Vishnupadas, perhaps because of the mystic source of his music but also
because they are musically constructed in a manner similar to dhrupads. He
is also said to have written tirvats, ragamalas and other forms. There are
around 128 compositions attributed to him, of which eighteen
are philosophical (siddhanta pada) and a hundred and ten devotional (keli
mala).
He describes Radha and Krishna's sporting:
Two beams of light are playing Unique their dance and music.
Ragas and raginis of heavenly beauty are born,The two have sunk
themselves in the ocean of raga.
Swami Haridas belonged to the tradition of madhura bhakti Adoration
expressed in conjugal imagery.
Haridas's theology embraces not merely the Love of Krishna and Radha but
also the witnessing of the Love, a state of mind called rasa. In an ecstatic
condition of trance he sings of the play of Krishna among the bowers of
Vrindavan. More than Krishna, Radha was the central personality of all his
poems.
He says:
Who knows of the quality of things more than Radha?If anyone
has any knowledge at all, it is by her grace.None knows the beauty
of raga, tala and dance as Radha does.

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Q1. Write in detail about Vaidic Sangeet.

गगरहहह शश तहरमह दरग श च नयहससपनयहस एव च ।

अलपतवह च बहहतवह च षहडवशडववतत तथह ॥२७‚७०॥

The ‘vyabhicāri bhāvas’ are the Complementary

Constant Modes Indicators Sensors

Ans. Music was an inseparable part of drama at the time of Bharat Muni.

The Modern Era has been a period of massive technological and

Classification of Raagas on the basis of Jaati

Classification of Raagas on the basis of Gram Raaga

Classification of Raagas on the basis of the 10

1. Classification of Raagas as Gram Raaga, Raag and

2. Classification of Raagas as Bhaasha, Vibhaasha and

3. Classification of Raagas as Bhaashang, Raagang,

Gram Raaga, Raaga and Upraaga

Bhaasha, Vibhaasha and Antarbhaasha

The gram raaga are further divided into different on the

Bhaash-ang, Raag-ang, Kriyang and Upaang

Raagas having some characteristics of Gram Raagas are

Classification of Raagas as Shudhh, Chhayalag and

This categorisation was only practised for some time on the

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