Music of India

Owing to India's vastness and diversity, Indian Music encompass

numerous genres, multiple varieties and forms which include classical
Music of India
music, folk (Bollywood), rock, and pop. It has a history spanning
several millennia and developed over several geo-locations spanning
the sub-continent. Music in India began as an integral part of socio-
religious life.

Contents
History
Pre-history
Paleolithic
Neolithic A lady playing the Tanpura, c. 1735
Indus River valley Civilization (Rajasthan)
Vedic and ancient era Genres
Medieval era Traditional
Twentieth century Classical (Carnatic · Odissi ·
Classical music Hindustani) · Folk · Borgeet · Baul ·
Carnatic music Bhajan · Shyama Sangeet ·
Hindustani music Ramprasadi · Rabindra Sangeet ·
Light classical music Nazrul Geeti · Dwijendrageeti ·
Atulprasadi · Prabhat Samgiita ·
Folk music
Thumri · Dadra · Chaiti · Kajari · Sufi
Tamang Selo
(Ghazal · Qawwali)
Bhangra and Giddha
Bihu and Borgeet Modern
Dandiya
Gaana Bhangra (Bhangragga) · Blues ·
Haryanvi Filmi (Bollywood · Ghazal ·
Himachali Qawwali) · Chakwood · Goa trance ·
Dance · Indi-pop (Asian
Jhumair and Domkach
Underground) · Jazz · Rock
Lavani
(Bengali · Raga)
Manipuri
Marfa music Media and performance
Mizo Music Filmfare Awards ·
Odissi awards Sangeet Natak Akademi
Rabindra Sangeet (music of Bengal) Award
Rajasthani Music Saptak Festival of Music
Sufi folk rock / Sufi rock festivals · Chennai Music Season
Uttarakhandi · Dover Lane music
festival · Purandaradasa
Popular music in India
 Dance music Aradhana · Tyagaraja
Movie music Aradhana · Harivallabh
Pop music Sangeet Sammelan
Patriotic music Music Sruti · The Record
Western music adoption in India media
Goa trance Nationalistic and patriotic songs
Jazz and blues
National Jana Gana Mana
Rock and metal music
anthem
Indian rock
Raga rock Regional music

Western classical music Andaman and Nicobar Islands ·

Andhra Pradesh · Arunachal
Globalization of Indian music Pradesh · Assam · Bihar ·
Influence on other genres
Chhattisgarh · Goa · Gujarat ·
Ancient influence on Southeast Asian music genre
Haryana · Himachal Pradesh ·
Indonesian and Malay music
Jammu and Kashmir · Ladakh ·
Thai music
Jharkhand · Karnataka · Kerala ·
Philippines
Madhya Pradesh · Maharashtra ·
Fusion with traditional music of other nations Manipur · Meghalaya · Mizoram ·
Western world music Nagaland · Odisha · Punjab ·
Film music Rajasthan · Sikkim · Tamil Nadu
Hip hop and reggae (Ancient) · Tripura · Uttar Pradesh ·
Jazz Uttarakhand · West Bengal
Musical film
Psychedelic and trance music
Rock and roll
Technopop
Western classical music
Influence on national music scene
Africa
Americas
Caribbean
Latin America
North America
Asia
South Asia
Southeast Asia
West Asia
Europe
Germany
UK
Oceania
Organisations promoting Indian music
See also
References
Further reading
External links

History

Pre-history

Paleolithic

The 30,000 years old paleolithic and neolithic cave paintings at the
UNESCO world heritage site at Bhimbetka rock shelters in Madhya
Pradesh shows a type of dance.[1] Mesolithic and chalcolithic cave art
of Bhimbhetka illustrates very simple musical instruments such as
rock drums, and other simple instruments.[2]

Neolithic

Chalcolithic era (4000 BCE onward) narrow bar shaped polished

stone celts like music instruments, one of the earlier musical
instrument in India, were excavated at Sankarjang in the Angul
district of Odisha.[3] There is historical evidence in the form of Dancing Girl sculpture from the Indus
sculptural evidence, i.e. musical instruments, singing and dancing Valley Civilization (c. 4,500 years
postures of damsels in the Ranigumpha Caves in Khandagiri and ago)
Udayagiri at Bhubaneswar.

Indus River valley Civilization

Dancing Girl sculpture (2500 BCE) was found from the Indus Valley Civilization (IVC) site.[4][5][6][7] There
are IVC-era paintings on pottery of a man with a dhol hanging from his neck and a woman holding a drum
under her left arm.[8]

Vedic and ancient era

Vedas (c. 1500 – c. 800 BCE Vedic period)[9][10][11][12] document rituals with performing arts and
play.[13][14] For example, Shatapatha Brahmana (~800–700 BCE) has verses in chapter 13.2 written in the
form of a play between two actors.[13] Tala or taal is an ancient music concept traceable to Vedic era texts of
Hinduism, such as the Samaveda and methods for singing the Vedic hymns.[15][16][17] Smriti (500 BCE to
100 BCE ) post-vedic Hindu texts[18][19][20] include Valmiki's Ramayana (500 BCE to 100 BCE) which
mentions dance and music (dance by Apsaras such as Urvashi, Rambha, Menaka, Tilottama Panchāpsaras,
and Ravana's wives excelling in nrityageeta or "singing and dancing" and nritavaditra or "playing musical
instruments"), music and singing by Gandharvas, several string instruments (vina, tantri, vipanci and vallaki
similar to veena), wind instruments (shankha, venu and venugana – likely a mouth organ made by tying
several flutes together), raga (including kaushika such as raag kaushik dhwani), vocal registers (seven svara or
sur, ana or ekashurti drag note, murchana the regulated rise and fall of voice in matra and tripramana three-
fold teen taal laya such as drut or quick, madhya or middle, and vilambit or slow), poetry recitation in Bala
Kanda and also in Uttara Kanda by Luv and Kusha in marga style.[21]
Starting from the earliest known work Tholkappiyam (500 BCE), there are several references to music and
Panns in the ancient pre-Sangam and Sangam literature starting from the earliest known work Tholkappiyam
(500 BCE). Among Sangam literature, Mathuraikkanci refers to women singing sevvazhi pann to invoke the
mercy of God during childbirth. In Tolkappiyam, the five landscapes of the Sangam literature had each an
associated Pann, each describing the mood of the song associated with that landscape. Among the numerous
panns that find mention in the ancient Tamil literature are, Ambal Pann, which is suitable to be played on the
flute, sevvazhi pann on the Yazh (lute), Nottiram and Sevvazhi expressing pathos, the captivating Kurinji pann
and the invigorating Murudappann. Pann(Tamil: ப ) is the melodic mode used by the Tamil people in their
music since the ancient times. The ancient panns over centuries evolved first into a pentatonic scale and later
into the seven note Carnatic Sargam. But from the earliest times, Tamil Music is heptatonic and known as
Ezhisai (ஏழிைச).[22]

sanskrit saint-poet Jayadeva, who was the great composer and illustrious master of classical music, shaped
Odra-Magadhi style music and had great influence on Odissi Sangita.[23][24]

Śārṅgadeva composed Sangita-Ratnakara, one of the most important Sanskrit musicological texts from
India,[25][26] which is regarded as the definitive text in both Hindustani music and Carnatic music traditions of
Indian classical music.[27][28]

Assamese poet Madhava Kandali, writer of Saptakanda Ramayana, lists several instruments in his version of
"Ramayana", such as mardala, khumuchi, bhemachi, dagar, gratal, ramtal, tabal, jhajhar, jinjiri, bheri mahari,
tokari, dosari, kendara, dotara, vina, rudra-vipanchi, etc. (meaning that these instruments existed since his time
in 14th century or earlier).[29] The Indian system of notation is perhaps the world's oldest and most
elaborate.[30]

Medieval era

In early 14th century under the Khiljis, there were concerts and competitions between Hindustani and Carnatic
musicians.[31]

From the 16th century onwards, treatises written on music[23][24] were Sangitamava Chandrika, Gita
Prakasha, Sangita Kalalata and Natya Manorama.

Twentieth century

In the early 1960s Jazz pioneers such as John Coltrane and George Harrison collaborated with Indian
instrumentalists and started to use Indian instruments such as sitar in their songs. In the late 1970s and early
1980s, rock and roll fusions with Indian music were well known throughout Europe and North America. In
the late 1980s, Indian-British artists fused Indian and Western traditions to make the Asian Underground. In
the new millennium, American hip-hop has featured Indian filmi and bhangra. Mainstream hip-hop artists have
sampled songs from Bollywood movies and have collaborated with Indian artists, such as Timbaland's "Indian
Flute"

In 2010, Laura Marling and Mumford and Sons collaborated with the Dharohar Project.[32]

Classical music
The two main traditions of Indian classical music are Carnatic music, which is practised predominantly in the
peninsular (southern) regions, and Hindustani music, which is found in the northern, eastern and central
regions. The basic concepts of this music includes Shruti (microtones), Swaras (notes), Alankar
(ornamentations), Raga (melodies improvised from basic grammars), and Tala (rhythmic patterns used in
percussion). Its tonal system divides the octave into 22 segments called Shrutis, not all equal but each roughly
equal to a quarter of a whole tone of the Western music. Both the classical music are standing on the
fundamentals of The seven notes of Indian Classical music. These seven notes are also called as Sapta svara or
Sapta Sur. These seven svaras are Sa, Re, Ga, Ma, Pa, Dha and Ni respectively. These Sapta Svaras are spelt
as Sa, Re, Ga, Ma, Pa, Dha and Ni, but these are shortforms of Shadja (षड् ज), Rishabha (ऋषभ), Gandhara
(गा ार), Madhyama (म यम), Panchama (पंचम), Dhaivata (धैवत) and Nishada ( नषाद) respectively.[33] These
are also equivalent to Do, Re, Mi, Fa, So, La, Ti. Only these seven svaras built up the Hindustani classical
music and the Carnatic classical music. These seven svaras are the fundamentals of a raga. This seven svaras
without any variations in them, are called as Shuddha svaras. Variations in these svaras cause them to be
Komal and Tivra svaras. All the other svaras except Sadja(Sa) and Pancham (Pa) can be Komal or Tivra
svaras but Sa and Pa are always Shuddha svaras. And hence svaras Sa and Pa are called Achal Svaras, since
these svaras don't move from their original position while svaras Ra, Ga, Ma, Dha, Ni are called Chal Svaras,
since these svaras move from their original position.

Sa, Re, Ga, Ma, Pa, Dha, Ni - Shuddha Svaras

Re, Ga, Dha, Ni - Komal Svaras

Ma - Tivra Svaras

Sangeet Natak Academy recognizes eight classical dance and music forms, namely Bharatanatyam, Kathak,
Kuchipudi, Odissi, Kathakali, Sattriya, Manipuri and Mohiniyattam.[34] Additionally, India's Ministry of
Culture also includes Chhau in its classical list.

Carnatic music

Carnatic music can be traced to the 14th - 15th centuries AD and thereafter. It originated in South India during
the rule of Vijayanagar Empire through the Keerthanas composed by Purandara Dasa. Like Hindustani music,
it is melodic, with improvised variations, but tends to have more fixed compositions. It consists of a
composition with improvised embellishments added to the piece in the forms of Raga Alapana,
Kalpanaswaram, Neraval and, in the case of more advanced students, Ragam Thanam Pallavi. The main
emphasis is on the vocals as most compositions are written to be sung, and even when played on instruments,
they are meant to be performed in a singing style (known as gāyaki). Around 300 ragams are in use today.
Annamayya is the first known composer in Carnatic music. He is widely regarded as the Andhra Pada kavitā
Pitāmaha (Godfather of Telugu song-writing). Purandara Dasa is considered the father of Carnatic music,
while the later musicians Tyagaraja, Shyama Shastry and Muthuswami Dikshitar are considered the trinity of
Carnatic music.

Noted artists of Carnatic music include Tiger Varadachariyar, M D Ramanathan, Ariyakudi Ramanuja Iyengar
(the father of the current concert format), Palghat Mani Iyer, Madurai Mani Iyer, Semmangudi Srinivasa Iyer,
Nedunuri Krishnamurthy Alathur Brothers, MS Subbulakshmi, Lalgudi Jayaraman, Balamuralikrishna, TN
Seshagopalan, K J Yesudas, N. Ramani, Umayalpuram K. Sivaraman, Sanjay Subrahmanyan, TM Krishna,
Bombay Jayashri, T S Nandakumar, Aruna Sairam, Mysore Manjunath,

Every December, the city of Chennai in India has its eight-week-long Music Season, which is the world's
largest cultural event.[35]

Carnatic music has served as the foundation for most music in South India, including folk music, festival music
and has also extended its influence to film music in the past 100–150 years or so.

Hindustani music
The tradition of Hindustani music dates back to Vedic times where the hymns in the Sama Veda, an ancient
religious text, were sung as Samagana and not chanted. It diverged from Carnatic music around the 13th–14th
centuries CE, primarily due to Islamic influences. Developing a strong and diverse tradition over several
centuries, it has contemporary traditions established primarily in India but also in Pakistan and Bangladesh. In
contrast to Carnatic music, the other main Indian classical music tradition originating from the South,
Hindustani music was not only influenced by ancient Hindu musical traditions, historical Vedic philosophy
and native Indian sounds but also enriched by the Persian performance practices of the Mughals. Classical
genres are dhrupad, dhamar, khyal, tarana and sadra, and there are also several semi-classical forms.

The root of the name C(K)arnatic music is derived from Sanskrit. Karnam means ears and Atakam means that
which is sweet or that which lingers on.

Light classical music

There are many types of music which comes under the category of light classical or semi-classical. Some of
the forms are Thumri, Dadra, Bhajan, Ghazal, Chaiti, Kajri, Tappa, Natya Sangeet and Qawwali. These forms
place emphasis on explicitly seeking emotion from the audience, as opposed to the classical forms.

Folk music

Tamang Selo

This is a musical genre of the Tamang people and popular amongst

the Nepali speaking community in West Bengal, Sikkim, India and
around the world. It is accompanied by Tamang instruments, the
Madal, Damphu and Tungna, although nowadays musicians have
taken to modern instruments. A Tamang Selo can be catchy and lively
or slow and melodious, and is usually sung to convey sorrow, love,
happiness or day-to-day incidents and stories of folklore.[36]

Hira Devi Waiba is hailed as the pioneer of Nepali folk songs and
Tamang Selo. Her song 'Chura ta Hoina Astura' (चुरा त होइन अ तुरा) is
said to be the first Tamang Selo ever recorded. She has sung nearly Hira Devi Waiba, pioneer of Nepali
300 songs through her musical career spanning 40 years.[37][38] After folk songs in India
Waiba's death in 2011, her son Satya Aditya Waiba
(producer/manager) and Navneet Aditya Waiba (singer) collaborated
and re-recorded her most iconic songs and released an album titled Ama Lai Shraddhanjali (आमालाई
ा ली-Tribute to Mother).[39][40][41] The duo are the only individuals in the Nepali folk music genre who
produce authentic traditional Nepali folk songs without adulteration or modernisation.[42][43]

Bhangra and Giddha

Bhangra (Punjabi: ਭੰਗੜਾ) is a form of dance-oriented folk music of Punjab. The present musical

style is derived from non-traditional musical accompaniment to the riffs of Punjab called by the same name.
The female dance of Punjab region is known as Giddha (Punjabi: ਿਗੱਧਾ).

Bihu and Borgeet

Bihu (Assamese: িব ) is the festival of New Year of Assam falling on
mid-April. This is a festival of nature and mother earth where the first
day is for the cows and buffaloes. The second day of the festival is for
the man. Bihu dances and songs accompanied by traditional drums
and wind instruments are an essential part of this festival. Bihu songs
are energetic and with beats to welcome the festive spring. Assamese
drums (dhol), Pepa(usually made from buffalo horn), Gogona are
major instruments used.[44][45]
Tamak' (r.) and Tumdak' (l.) - typical
Borgeets (Assamese: বৰগীত) are lyrical songs that are set to specific
drums of the Santhal people,
ragas but not necessarily to any tala. These songs, composed by
photographed in a village in Dinajpur
Srimanta Sankardeva and Madhavdeva in the 15th–16th centuries, are
district, Bangladesh.
used to begin prayer services in monasteries, e.g. Satra and Namghar
associated with the Ekasarana Dharma; and they also belong to the
repertoire of Music of Assam outside the religious context. They are a
lyrical strain that express the religious sentiments of the poets reacting
to different situations, and differ from other lyrics associated with the
Ekasarana Dharma.

Prominent instruments used in borgeets are Negera,Taal, Khols

etc.[46]

Dandiya Assamese youth performing Bihu.

Dandiya or Raas is a form of Gujarati cultural dance that is performed

with sticks. The present musical style is derived from the traditional
musical accompaniment to the folk dance. It is practiced mainly in the
state of Gujarat. There is also another type of dance and music
associated with Dandiya/Raas called Garba.

Gaana

Gaana is a rap-like "collection of rhythms, beats and sensibilities

native to the Dalits of Chennai."[47][48][47] It evolved over the past Group of Dharohar folk musicians
two centuries, combining influences from the siddhars (tantric adepts) performing in Mehrangarh Fort,
of ancient Tamilakam, Tamil Sufi saints, and more. [47] Gaana songs Jodhpur, India
are performed at weddings, stage shows, political rallies, and funerals.
Performers sing about a wide range of topics, but the essence of gaana
is said to be "angst and melancholy" based in life's struggles.[47] In the past few decades, the genre has entered
the music of the mainstream Tamil film industry and gained popularity.[47][49] Contemporary gaana bands like
The Casteless Collective are bringing the genre to new audiences while using it for social activism, especially
against caste discrimination.[47]

Haryanvi

Haryana folk music has two main forms: classical folk music of Haryana and desi folk music of Haryana
(country music of Haryana).[50] They take the form of ballads and pangs of parting of lovers, valor and
bravery, harvest and happiness.[51] Haryana is rich in musical tradition and even places have been named after
ragas, for example Charkhi Dadri district has many villages named as Nandyam, Sarangpur, Bilawala,
Brindabana, Todi, Asaveri, Jaisri, Malakoshna, Hindola, Bhairvi and Gopi Kalyana.[50][52]
Himachali

Himachal's folk music varies according to the event or the

festival. One of the most popular style of music is Nati
Music, where nati being the traditional dance that is done on
the song. Nati Music is usually celebratory, and done in fairs
or other occasions such as marriages.

Jhumair and Domkach Play media

Jhumair and Domkach are Nagpuri folk music. The musical
instruments used in folk music and dance are Dhol, Mandar,
Bansi, Nagara, Dhak, Shehnai, Khartal, Narsinga etc.[53][54]
Video of Dhol, string instrument (Ektara) and
Been musicians at Surajkund International
Crafts Mela (c. 12 Feb 2012).

Lavani

Lavani comes from the word Lavanya which means "beauty". This is one of the most popular forms of dance
and music that is practiced all over Maharashtra. It has, in fact, become a necessary part of the Maharashtrian
folk dance performances. Traditionally, the songs are sung by female artists, but male artists may occasionally
sing Lavanis. The dance format associated with Lavani is known as Tamasha. Lavani is a combination of
traditional song and dance, which particularly performed to the enchanting beats of 'Dholaki', a drum-like
instrument. The dance is performed by attractive women wearing nine-yard saris. They are sung in a quick
tempo. Lavani originated in the arid region of Maharashtra and Madhya Pradesh.

Manipuri

Music of Manipur and Manipuri dance are heritage of Manipuri

people. According to tradition of the Manipuri people in the
Himalayan foothills and valleys connecting India to Burma, they are
the Gandharvas (celestial musicians and dancers) in the Vedic
texts,[55] and historic texts of Manipuri people calls the region as
Gandharva-desa.[56] The Vedic Usha, the goddess of the dawn, is a
cultural motif for Manipuri women, and in the Indian tradition, it was
Usha who created and taught the art of feminine dance to girls.[56]
This oral tradition of women's dance is celebrated as Chingkheirol in
Gandharva as dancers are found
the Manipuri tradition.[56] sculpted in early medieval era
temples of Southeast Asia, East
The ancient Sanskrit texts such as the Mahabharata epic mentions Asia, Siberia, Micronesia and
Manipur, where Arjuna meets and falls in love with Chitragada.[55] Polynesia. The Meiteis believe that
Dance is called Jagoi in a major Meitei language of the region and it they are the Gandharvas.[55]
traces a long tradition in Manipur. Lai Haraoba dance likely has
ancient roots and shares many similarities with dance postures of
Nataraja and his legendary disciple called Tandu (locally called Tangkhu).[56][55] Similarly, as does the dance
related to commoner Khamba and princess Thoibi – who perform as pan-Indian Shiva and Parvati, in the
legendary tragic love story of Khamba-Thoibi found in the Manipuri epic Moirang Parba.[55][56][57]

Marfa music
Hadrani Marfa, or simply Marfa music, introduced during 18th century in Hyderabad State by the East African
Siddi community from Afro-Arab music of Hadhramawt in Yemen, is a form of celebratory rhythmic music
and dance among the Hyderabadi Muslims, played with high tempo using Marfa instrument, daff, Dhol,
sticks,[58][59] steel pots and wooden strips called thapi.[60]

Mizo

Mizo Music originated when couplets were developed during the settlement of Thantlang in Burma between
1300 and 1400 CE, and folk songs developed during this period were dar hla (songs on gong); Bawh hla (War
chants), Hlado (Chants of hunting); Nauawih hla (Cradle songs) A greater development of songs can be seen
from the settlement of Lentlang in Burma, estimated between late 15th to 17th Century CE.[61] The Mizo
occupied the present Mizoram from the late 17th century. The pre-colonial period, that is from the 18th to 19th
century was another important era in the history of Mizo folk literature. Prior to the annexation by the British
Government, the Mizo occupied the present Mizoram for two centuries. In comparison with the folk songs of
Thantlang and Lentlang settlement, the songs of this period are more developed in its number, form and
contents. The languages are more polished and the flows also better. Most of the songs of this period are
named after the composers.

Odissi

0:00 / 0:00
Sample of Odissi performance art
with the 17th Canto from the 17th
century Odia poet Upendra Bhanja's
'Baidehisha Bilasa' being sung.
Odissi and Kathakali drama
traditions have had an important
influence on India's narrative
traditions.
Jayadeva, the 12th century sanskrit saint-poet, the great composer and
illustrious master of classical music, has immense contribution to
Odissi music. During his time Odra-Magadhi style music got shaped
and achieved its classical status. He indicated the classical ragas
prevailing at that time in which these were to be sung. Prior to that
there was the tradition of Chhanda which was simple in musical
outline. From the 16th century onwards, treatises on music[23][24]
were Sangitamava Chandrika, Gita Prakasha, Sangita Kalalata
and Natya Manorama. A couple of treatise namely, Sangita Sarani
and Sangi Narayana, were also written in the early path of the 19th
century.

Odissi Sangita comprises four classes of music namely Dhruvapada,

Chitrapada, Chitrakala and Panchal, described in the ancient oriya music texts. The chief Odissi and
Shokabaradi. Odissi Sangita (music) is a synthesis of four classes of music, i.e. Dhruvapada, Chitrapada,
Chitrakala and Panchal, described in the above-mentioned texts.

The great exponents[23][24] of Odissi music in modern times are the Late Singhari Shyamasundara Kar,
Markandeya Mahapatra, Kashinath Pujapanda, Balakrushna Das, Gopal Chandra Panda, Ramhari Das,
Bhubaneswari Misra, Shymamani Devi and Sunanda Patnaik, who have achieved eminence in classical music.

Rabindra Sangeet (music of Bengal)

Rabindra Sangeet (Bengali: রবী স ীত Robindro Shonggit, Bengali pronunciation: [ɾobindɾo ʃoŋɡit]), also
known as Tagore songs, are songs written and composed by Rabindranath Tagore. They have distinctive
characteristics in the music of Bengal, popular in India and Bangladesh.[62] "Sangeet" means music,
"Rabindra Sangeet" means music (or more aptly songs) of Rabindra.

Tagore wrote some 2,230 songs in Bengali, now known as Rabindra Sangeet, using classical music and
traditional folk music as sources.[63][64]
Rajasthani

Rajasthan has a very diverse cultural collection of musician castes, including

Langas, Sapera, Bhopa, Jogi and Manganiyar (lit. "the ones who ask/beg").
Rajasthan Diary quotes it as a soulful, full-throated music with harmonious
diversity. The melodies of Rajasthan come from a variety of instruments. The
stringed variety includes the Sarangi, Ravanahatha, Kamayacha, Morsing and
Ektara. Percussion instruments come in all shapes and sizes from the huge
Nagaras and Dhols to the tiny Damrus. The Daf and Chang are a favorite of
Holi (the festival of colours) revelers. Flutes and bagpipers come in local
flavors such as Shehnai, Poongi, Algoza, Tarpi, Been and Bankia.

Rajasthani music is derived from a combination of string instruments,

percussion instruments and wind instruments accompanied by renditions of
folk singers. It enjoys a respectable presence in Bollywood music as well.
Rabindranath Tagore's
Bengali-language initials are
Sufi folk rock / Sufi rock worked into this "Ro-Tho"
wooden seal, stylistically
Sufi folk rock contains elements of modern hard rock and traditional folk similar to designs used in
music with Sufi poetry. While it was pioneered by bands like Junoon in traditional Haida carvings.
Pakistan it became very popular, especially in north India. In 2005, Rabbi Tagore embellished his
Shergill released a Sufi rock song called "Bulla Ki Jaana", which became a manuscripts with such art.
chart-topper in India and Pakistan. More recently, the Sufi folk rock song
"Bulleya" from the 2016 film Ae Dil Hai Mushkil became a mammoth
hit.

Uttarakhandi

Uttarakhandi folk music had its root in the lap of nature and the hilly
terrain of the region. Common themes in the folk music of
Uttarakhand are the beauty of nature, various seasons, festivals,
religious traditions, cultural practices, folk stories, historical Dance accompanied by Rabindra
characters, and the bravery of ancestors. The folk songs of Sangeet
Uttarakhand are a reflection of the cultural heritage and the way
people live their lives in the Himalayas. Musical instruments used in
Uttarakhand music include the Dhol, Damoun, Hudka, Turri,
Ransingha, Dholki, Daur, Thali, Bhankora and Masakbhaja. Tabla
and Harmonium are also sometimes used, especially in recorded folk
music from the 1960s onwards. Generic Indian and global musical
instruments have been incorporated in modern popular folks by
singers like Mohan Upreti, Narendra Singh Negi, Gopal Babu
Goswami, and Chandra Singh Rahi.

Popular music in India N. Ramani and N Rajam

accompanied by T S Nandakumar

Dance music
Dance music, more popularly called "DJ music", is mostly played at nightclubs, parties, weddings and other
celebrations. It is more popular among youths. It is mostly based on the Indian movie music as well as the
Indian pop music, both of which tend to borrow and modernise the classical and folk dance songs with
modern instruments and other innovations.

Movie music

The biggest form of Indian popular music is filmi, or songs from Indian films, it makes up 72% of the music
sales in India.[65] The film industry of India supported music by according reverence to classical music while
utilising the western orchestration to support Indian melodies. Music composers, like R. D. Burman, Shankar
Jaikishan, S. D. Burman, Laxmikant–Pyarelal, Madan Mohan, Bhupen Hazarika, Naushad Ali, O. P. Nayyar,
Hemant Kumar, C. Ramchandra, Salil Chowdhury, Kalyanji Anandji, Ilaiyaraaja, A. R. Rahman, Jatin Lalit,
Anu Malik, Nadeem-Shravan, Harris Jayaraj, Himesh Reshammiya, Vidyasagar, Shankar Ehsaan Loy, Salim-
Sulaiman, Pritam, M.S. Viswanathan, K. V. Mahadevan, Ghantasala and S. D. Batish employed the principles
of harmony while retaining classical and folk flavor. Reputed names in the domain of Indian classical music
like Ravi Shankar, Vilayat Khan, Ali Akbar Khan and Ram Narayan have also composed music for films.
Traditionally, in Indian films, the voice for the songs is not provided by the actors, they are provided by the
professional playback singers, to sound more developed, melodious and soulful, while actors lipsynch on the
screen. In the past, only a handful of singers provided the voice in films. These include Kishore Kumar, K. J.
Yesudas, Mohammed Rafi, Mukesh, S.P. Balasubrahmanyam, T.M. Soundararajan, Hemant Kumar, Manna
Dey, P. Susheela, Lata Mangeshkar, Asha Bhonsle, K.S. Chitra, Geeta Dutt, S. Janaki, Shamshad Begum,
Suraiya, Noorjahan and Suman Kalyanpur. Recent playback singers include Udit Narayan, Kumar Sanu,
Kailash Kher, Alisha Chinai, KK, Shaan, SPB Charan, Madhushree, Shreya Ghoshal, Nihira Joshi, Kavita
Krishnamurthy, Hariharan (singer), Ilaiyaraaja, A.R. Rahman, Sonu Nigam, Sukhwinder Singh, Kunal
Ganjawala, Anu Malik, Sunidhi Chauhan, Anushka Manchanda, Raja Hasan, Arijit Singh and Alka Yagnik.
Rock bands like Indus Creed, Indian Ocean, Silk Route and Euphoria have gained mass appeal with the
advent of cable music television.

Pop music

Indian pop music is based on an amalgamation of Indian folk and classical music, and modern beats from
different parts of the world. Pop music really started in the South Asian region with the playback singer
Ahmed Rushdi's song ‘Ko Ko Korina’ in 1966, followed initially by Mohammad Rafi in the late 1960s and
then by Kishore Kumar in the early 1970s.[66]

After that, much of Indian Pop music comes from the Indian Film Industry, and until the 1990s, few singers
like Usha Uthup, Sharon Prabhakar, and Peenaz Masani outside it were popular. Since then, pop singers in the
latter group have included Daler Mehndi, Baba Sehgal, Alisha Chinai, KK, Shantanu Mukherjee a.k.a. Shaan,
Sagarika, Colonial Cousins (Hariharan, Lesle Lewis), Lucky Ali, and Sonu Nigam, and music composers like
Zila Khan or Jawahar Wattal, who made top selling albums with, Daler Mehndi, Shubha Mudgal, Baba
Sehgal, Shweta Shetty and Hans Raj Hans.[67]

Besides those listed above, popular Indi-pop singers include Sanam[68] (Band), Gurdas Maan, Sukhwinder
Singh, Papon, Zubeen Garg, Raghav Sachar Rageshwari, Vandana Vishwas, Devika Chawla, Bombay
Vikings, Asha Bhosle, Sunidhi Chauhan, Anushka Manchanda, Bombay Rockers, Anu Malik, Jazzy B,
Malkit Singh, Raghav, Jay Sean, Juggy D, Rishi Rich, Udit Swaraj, Sheila Chandra, Bally Sagoo, Punjabi
MC, Beno, Bhangra Knights, Mehnaz, Sanober and Vaishali Samant.

Recently, Indian pop has taken an interesting turn with the "remixing" of songs from past Indian movie songs,
new beats being added to them.
Patriotic music

Patriotic feelings have been instigated within Indians through music since the era of the freedom struggle. Jana
Gana Mana, the national anthem of India by Rabindranath Tagore, is largely credited[69][70] for uniting India
through music and Vande Mataram by Bankim Chandra Chattopadhyay as the national song of India. Patriotic
songs were also written in many regional languages such as Biswo Bizoyi No Zuwan in Assamese. Post-
independence songs such as Aye mere watan ke logo, Mile Sur Mera Tumhara, Ab Tumhare Hawale Watan
Saathiyo, Maa Tujhe Salaam by A.R.Rahman have been responsible for consolidating feelings of national
integration and unity in diversity.

Western music adoption in India

Western world's music has been adopted in India, by creating fusion music in India which in turn have
enriched and created global genres of western music.

Goa trance

Goa trance, an electronic music style that originated during the late 1980s in Goa in India,[71] has funky,
drone-like basslines, similar to the techno minimalism of 21st century psytrance. Psychedelic trance developed
from Goa trance.[72] In late 1960s and early 1970s, Goa became popular as a hippie capital, which resulted in
evolution of Goa trance throughout the 1980s by mixing the spiritual culture of India with western musical
elements of industrial music, new beat and electronic body music (EBM), and the actual Goa trance style
became established by the early 1990s.[71][73]

Jazz and blues

Jazz in India was first performed regularly in the metropoles Calcutta and Bombay in the early or middle
1920s.[74][75] From the 1930s to the 1950s is called as the golden age of jazz in India, when jazz musicians
like Leon Abbey, Crickett Smith, Creighton Thompson, Ken Mac, Roy Butler, Teddy Weatherford (who
recorded with Louis Armstrong), and Rudy Jackson who toured India to avoid the racial discrimination they
faced in the United States.[76][77] In the 1930s, jazz musicians played in the nightclubs of Bombay, such as at
the Taj Mahal hotel ballroom, many of these musicians were Goans most whom also worked in the Bollywood
film industry and were responsible for the introduction of genres like jazz and swing to Hindi film music.[78]

Indian blues is less prevalent in India than jazz. Interest in the blues in India has only been incidental due to the
shared ancestry with jazz.

Rock and metal music

Indian rock

The rock music scene in India is small compared to the filmi or fusion musicality scenes. Rock music in India
has its origins in the 1960s when international stars such as the Beatles visited India and brought their music
with them. These artists' collaboration with Indian musicians such as Ravi Shankar and Zakir Hussain have led
to the development of raga rock. International shortwave radio stations such as The Voice of America, BBC,
and Radio Ceylon played a major part in bringing Western pop, folk, and rock music to the masses. Indian
rock bands began to gain prominence only much later, around the late 1980s.
It was around this time that the rock band Indus Creed formerly
known as The Rock Machine got itself noticed on the international
stage with hits like Rock N Roll Renegade. Other bands quickly
followed. With the introduction of MTV in the early 1990s, Indians
began to be exposed to various forms of rock such as grunge and
speed metal, impacting the national scene. The cities of the North
Eastern Region, mainly Guwahati and Shillong, Kolkata, Delhi,
Mumbai and Bangalore have emerged as major melting pots for rock
and metal enthusiasts. Bangalore has been the hub for rock and metal
movement in India. Some prominent bands include Nicotine, Voodoo Nicotine playing at 'Pedal to the
Child, Indian Ocean, Kryptos, Thermal and a Quarter, Demonic Metal', TDS, Indore, India in 2014.
Resurrection, Motherjane, Avial, and Parikrama. Rock-specific labels The band is known for being the
such as DogmaTone Records and Eastern Fare Music Foundation pioneer of metal music in Central
India.
have since emerged, supporting Indian rock acts.

From Central India, Nicotine, an Indore-based metal band, has been

credited with pioneering metal music in the region.[79][80][81][82][83][84][85][86][87][88][89]

Raga rock

Raga rock is rock or pop music with a heavy Indian influence, either in its construction, its timbre, or its use of
instrumentation, such as the sitar and tabla. Raga and other forms of classical Indian music began to influence
many rock groups during the 1960s; most famously the Beatles. The first traces of "raga rock" can be heard on
songs such as "See My Friends" by the Kinks and the Yardbirds' "Heart Full of Soul", released the previous
month, featured a sitar-like riff by guitarist Jeff Beck.[90][91] The Beatles song "Norwegian Wood (This Bird
Has Flown)", which first appeared on the band's 1965 album Rubber Soul, was the first western pop song to
actually incorporate the sitar (played by lead guitarist George Harrison).[91][92] The Byrds' March 1966 single
"Eight Miles High" and its B-side "Why" were also influential in originating the musical subgenre. Indeed, the
term "raga rock" was coined by The Byrds' publicist in the press releases for the single and was first used in
print by journalist Sally Kempton in her review of "Eight Miles High" for The Village Voice.[93][94] George
Harrison's interest in Indian music, popularised the genre in the mid-1960s with songs such as "Love You To",
"Tomorrow Never Knows" (credited to Lennon-McCartney), "Within You Without You" and "The Inner
Light".[95][96][97] The rock acts of the sixties both in turn influenced British and American groups and Indian
acts to develop a later form of Indian rock.

Western classical music

The following of Western classical music in India is almost entirely non-existent. It is mainly patronised by the
Indian Zoroastrian community, Protestant Christian community in Chennai and Bangalore and small esoteric
groups with historical exposure to Western classical music. Western Music education is also rare in India.
Western keyboard, drums and guitar instruction being an exception as it has found some interest; mainly in an
effort to create musicians to service contemporary popular Indian music. Despite more than a century of
exposure to Western classical music and two centuries of British colonialism, classical music in India has never
gained more than 'fringe' popularity..

However, Western classical music education has improved with the help of certain institutions in India,
including KM Music Conservatory (founded by Oscar-winning Composer A.R.Rahman), Calcutta School of
Music, Eastern Fare Music Foundation,[98] In 1930, Mehli Mehta set up the Bombay Symphony
Orchestra.[99] His son Zubin Mehta has enjoyed a long international conducting career. The Bombay Chamber
Orchestra[100] (BCO) was founded in 1962. Delhi School of Music, Delhi Music Academy, Guitarmonk and
others supporting Western classical music.. In 2006, the Symphony Orchestra of India was founded, housed at
the NCPA in Mumbai. It is today the only professional symphony orchestra in India and presents two concert
seasons per year, with world-renowned conductors and soloists.

Globalization of Indian music

As per UN, the Indian diaspora is world's largest overseas diaspora with 17.5 million Indian-origin
international migrants across the world,[101] who help spread the global soft power of India.[102]

Influence on other genres

Ancient influence on Southeast Asian music genre

With expansion of Indosphere cultural influence of

Greater India,[104] through transmission of Hinduism in
Southeast Asia[105][106][107] and the Silk Road
transmission of Buddhism[108][109] leading to
Indianization of Southeast Asia through formation of
non-Indian southeast Asian native Indianized
kingdoms[110] which adopted sanskritized language[111]
and other Indian elements[112] such as the honorific titles,
Historic Indosphere cultural influence zone of
naming of people, naming of places, mottos of
Greater India for transmission of elements of
organisations and educational institutes as well as
Indian elements such as the honorific titles,
adoption of Indian architecture, martial arts, Indian music
naming of people, naming of places, mottos of
and dance, traditional Indian clothing, and Indian cuisine, organisations and educational institutes as well as
a process which has also been aided by the ongoing adoption of Hinduism, Buddhism, Indian
historic expansion of Indian diaspora.[102] architecture, martial arts, Indian music and dance,
traditional Indian clothing, and Indian cuisine, a
process which has also been aided by the ongoing
Indonesian and Malay music
historic expansion of Indian diaspora.[103]

In Indonesian and Malaysian music, the Dangdut a genre

of folk music is partly derived and fused from Hindustani
music. It is a very popular because of its melodious instrumentation and vocals. Dangdut features a tabla and
gendang beat.[113][114] Indonesians dance in somewhat similar to the ghoomar while listening to dangdut
music, but in a much slower version.

Thai music

Thai literature and drama draws great inspiration from Indian arts and Hindu legends. Epic of Ramayana is as
popular in Thailand as the Ramakien. Two of the most popular classical thai dances the Khon, performed by
men wearing ferocious masks, and the Lakhon (Lakhon nai, Lakhon chatri and Lakhon nok), performed by
women who play both male and female roles draws inspiration primarily from the Ramakien. Percussion
instruments and Piphat, a type of woodwind accompany the dance.[115] Nang talung, a Thai shadow play
inspired by South Indian Bommalattam, has shadows made from the pieces of cow or water buffalo hide cut to
represent human figures with movable arms and legs are thrown on a screen for the entertainment of
spectators.
Philippines
Filipino epics and chants inspired by the Indian Hindu religious epics Ramayana and
Mahabharta.
Alim and Hudhud Oral traditions of Ifugao of Ifugao people of the Cordillera Administrative
Region in Luzon island of Philippines, 11 Masterpieces of the Oral and Intangible Heritage
of Humanity in 2001 and formally inscribed as a UNESCO Intangible Cultural Heritage in
2008. See also Hudhud – the Ifugao epic.
Biag ni Lam-ang (English: "The Life of Lam-ang") is an epic poem of the Ilocano people
from the Ilocos region.
Ibalong epic of Bikol region of southeast Luzon.
"Aginid, Bayok sa atong Tawarik", a Bisayan epic of Cebu.
Bayok, an epic of Marano people of northwestern Mindanao .
Music instrument
Kudyapi, native Filipino guitar of Maranao, Manobo and Maguindanao people, is influenced
by the Indian classical music concepts of melody and scale.

Fusion with traditional music of other nations

Sometimes, the music of India is fuse with the native traditional music of other countries. For example, Delhi 2
Dublin, a band based in Canada, is known for fusing Indian and Irish music, and Bhangraton is a fusion of
Bhangra music with reggaeton.[116]

Western world music

Film music

Indian film composer A. R. Rahman wrote the music for Andrew Lloyd Webber's Bombay Dreams, and a
musical version of Hum Aapke Hain Koun was staged in London's West End. The Bollywood sports film
Lagaan (2001) was nominated for the Academy Award for Best Foreign Language Film, and two other
Bollywood films (2002's Devdas and 2006's Rang De Basanti) were nominated for the BAFTA Award for
Best Film Not in the English Language.

Danny Boyle's Slumdog Millionaire (2008) was inspired by Bollywood films.[117][118]

Hip hop and reggae

Bhangraton is a fusion of Bhangra music with reggaeton, which itself is a fusion of hip hop, reggae, and
traditional Latin American music.[116]

Jazz

In early 1960s Jazz pioneers such as John Coltrane—who recorded a composition entitled 'India' during the
November 1961 sessions for his album Live at the Village Vanguard (the track was not released until 1963 on
Coltrane's album Impressions)—also embraced this fusion. George Harrison (of the Beatles) played the sitar
on the song "Norwegian Wood (This Bird Has Flown)" in 1965, which sparked interest from Shankar, who
subsequently took Harrison as his apprentice. Jazz innovator Miles Davis recorded and performed with
musicians like Khalil Balakrishna, Bihari Sharma, and Badal Roy in his post-1968 electric ensembles.
Virtuoso jazz guitarist John McLaughlin spent several years in Madurai learning Carnatic music and
incorporated it into many of his acts including Shakti which featured prominent Indian musicians. Other
Western artists such as the Grateful Dead, Incredible String Band, the Rolling Stones, the Move and Traffic
soon incorporated Indian influences and instruments, and added Indian performers. Legendary Grateful Dead
frontman Jerry Garcia joined guitarist Sanjay Mishra on his classic CD "Blue Incantation" (1995). Mishra also
wrote an original score for French Director Eric Heumann for his film Port Djema (1996) which won best
score at Hamptons film festival and The Golden Bear at Berlin. in 2000 he recorded Rescue with drummer
Dennis Chambers (Carlos Santana, John McLaughlin et al.) and in 2006 Chateau Benares with guests DJ
Logic and Keller Williams (guitar and bass).

Musical film

Since early 2000s, Bollywood began influencing musical films in the Western world and was instrumental role
in reviving the American musical film. Baz Luhrmann said that his musical film, Moulin Rouge! (2001), was
inspired by Bollywood musicals;[119] the film incorporated a Bollywood-style dance scene with a song from
the film China Gate. The critical and financial success of Moulin Rouge! began a renaissance of Western
musical films such as Chicago, Rent, and Dreamgirls.[120]

Psychedelic and trance music

Psychedelic trance developed from Goa trance.[72]

Rock and roll

In the late 1970s and early 1980s, rock and roll fusions with Indian music were well known throughout
Europe and North America. Ali Akbar Khan's 1955 performance in the United States was perhaps the
beginning of this trend. In 1985, a beat-oriented, Raga Rock hybrid called Sitar Power by Ashwin Batish
reintroduced sitar in western nations. Sitar Power drew the attention of a number of record labels and was
snapped up by Shanachie Records of New Jersey to head their World Beat Ethno Pop division.

Technopop

The influence of filmi may be seen in popular music worldwide. Technopop pioneers Haruomi Hosono and
Ryuichi Sakamoto of the Yellow Magic Orchestra produced a 1978 electronic album, Cochin Moon, based on
an experimental fusion of electronic music and Bollywood-inspired Indian music.[121] Truth Hurts' 2002 song
"Addictive", produced by DJ Quik and Dr. Dre, was taken from Lata Mangeshkar's "Thoda Resham Lagta
Hai" in Jyoti (1981).[122] The Black Eyed Peas' Grammy Award winning 2005 song "Don't Phunk with My
Heart" was inspired by two 1970s Bollywood songs: "Ye Mera Dil Yaar Ka Diwana" from Don (1978) and
"Ae Nujawan Hai Sub" from Apradh (1972).[123] Both songs were composed by Kalyanji Anandji, sung by
Asha Bhosle, and featured the dancer Helen.[124]

Western classical music

Some prominent Indians in Western classical music are:

Andre de Quadros- conductor and music educator,

Zubin Mehta, conductor
Mehli Mehta, father of Zubin, violinist and founding conductor of the Bombay Symphony
Orchestra
 Anil Srinivasan, pianist
Ilaiyaraaja, the first Indian to compose a full symphony performed by the Royal Philharmonic
Orchestra in London's Walthamstow Town Hall
Naresh Sohal, British Indian-born composer
Param Vir, British Indian-born composer
Beno, Indian-born composer

Influence on national music scene

Bollywood has been a significant form of soft power for India, increasing its influence and changing overseas
perceptions of India.[125][126] According to author Roopa Swaminathan, "Bollywood cinema is one of the
strongest global cultural ambassadors of a new India."[126][127] Its role in expanding India's global influence is
comparable to Hollywood's similar role with American influence.[128]

Africa

Kishore Kumar is popular in Egypt and Somalia.[129]

Hindi films were originally distributed to some parts of Africa by Lebanese businessmen, and Mother India
(1957) continued to be screened in Nigeria decades after its release. Indian movies have influenced Hausa
clothing, songs have been covered by Hausa singers, and stories have influenced Nigerian novelists. Stickers
of Indian films and stars decorate taxis and buses in Nigeria's Northern Region, and posters of Indian films
hang on the walls of tailoring shops and mechanics' garages.[130]

In South Africa, film imports from India were watched by black and Indian audiences.[131] Several
Bollywood figures have travelled to Africa for films and off-camera projects. Padmashree Laloo Prasad
Yadav (2005) was filmed in South Africa.[132] Dil Jo Bhi Kahey... (2005) was also filmed almost entirely in
Mauritius, which has a large ethnic-Indian population.

In Egypt, Bollywood films were popular during the 1970s and 1980s.[133][134] Amitabh Bachchan has
remained popular in the country[135] and Indian tourists visiting Egypt are asked, "Do you know Amitabh
Bachchan?"[136]

Americas

Caribbean

Indo-Caribbean music of Indo-Caribbean people in Caribbean is most common in Trinidad and Tobago,
Guyana, Jamaica, and Suriname, which reflects their Bhojpuri heritage. Main instrumentation are dhantal,
metal rod, claper, dholak, two-headed barrel drum. Women sing Hindu bhajans and folk songs from the music
of Bhojpur on various important life events, rituals, celebrations, festivals like phagwah and holi. Indo-
Caribbean contributions to popular music are very important. The most well-known is the Indo-Trinidadian
chutney music tradition. Chutney is a form of popular dance music that developed in the mid-to late 20th
century. Baithak Gana is a similar popular form originating in Suriname.[137][138]

Latin America
There is significant Indian diaspora communities in Suriname[139] and Guyana, Indian music and Hindi-
language movies are popular.[140] In 2006, Dhoom 2 became the first Bollywood film to be shot in Rio de
Janeiro.[141]

North America

In the new millennium, American hip-hop has featured Indian filmi and bhangra. Mainstream hip-hop artists
have sampled songs from Bollywood movies and have collaborated with Indian artists. Examples include
Timbaland's "Indian Flute", Erick Sermon and Redman's "React", Slum Village's "Disco", and Truth Hurts' hit
song "Addictive", which sampled a Lata Mangeshkar song, and The Black Eyed Peas sampled Asha Bhosle's
song "Yeh Mera Dil" in their hit single "Don't Phunk With My Heart". In 1997, the British band Cornershop
paid tribute to Asha Bhosle with their song Brimful of Asha, which became an international hit. British-born
Indian artist Panjabi MC also had a Bhangra hit in the US with "Mundian To Bach Ke" which featured rapper
Jay-Z. Asian Dub Foundation are not huge mainstream stars, but their politically charged rap and punk rock
influenced sound has a multi-racial audience in their native UK. In 2008, international star Snoop Dogg
appeared in a song in the film Singh Is Kinng. In 2007, hip-hop producer Madlib released Beat Konducta Vol
3–4: Beat Konducta in India; an album which heavily samples and is inspired by the music of India.

Asia

South Asia

Due to shared cultural heritage and language, Indian music and Bollywood films are also popular in
Afghanistan, Pakistan, Bangladesh, and Nepal, where Hindustani is widely understood.[142][143]

Southeast Asia

Already covered in earlier section Ancient influence on Southeast Asian music genre.

West Asia

West Asia has large Indian diaspora population, who mainly consume Indian music. Indian music is also
popular with native middle eastern people. 85% of Qatar's and 75% of UAE's total population are Indian
citizens.[144] Hindi films and music have become popular in Arab countries,[145] and imported Indian films are
usually subtitled in Arabic when they are released. Bollywood has progressed in Israel since the early 2000s,
with channels dedicated to Indian films on cable television;[146]

Europe

Germany

In Germany, Indian stereotypes included bullock carts, beggars, sacred cows, corrupt politicians, and
catastrophes before Bollywood and the IT industry transformed global perceptions of India.[147]

UK
In the late 1980s, Indian-British artists fused Indian and Western traditions to make the Asian Underground.
Since the 1990s, Canadian born musician Nadaka who has spent most of his life in India, has been creating
music that is an acoustic fusion of Indian classical music with western styles. One such singer who has merged
the Bhakti sangeet tradition of India with the western non-Indian music is Krishna Das and sells music records
of his musical sadhana. Another example is the Indo-Canadian musician Vandana Vishwas who has
experimented with western music in her 2013 album Monologues.

In a more recent example of Indian-British fusion, Laura Marling along with Mumford and Sons collaborated
in 2010 with the Dharohar Project on a four-song EP.[32] The British band Bombay Bicycle Club also
sampled the song "Man Dole Mera Tan Dole" for their single "Feel".[148] Laxmikant-Pyarelal

Oceania

Due to large Indian diaspora population, Indian music and movies are very popular in Fiji especially among
Indo-Fijians.[149]

Australia and New Zealand have 2 percent Indian population, as well as other a large South Asian diaspora,
and Bollywood music and movies are popular amongst non-Asians in the country as well.[149]

Organisations promoting Indian music

Sangeet Natak Akademi is the national level academy for performing arts set up by the Government of India in
1952, which bestows Sangeet Natak Akademi Award as the highest official Indian government's recognition
given to practicing artists,[150] It has established several institutions including the Manipur Dance Academy in
Imphal,[151] Ravindra Rangshala Centers,[152] Sattriya Centre, Kathak Kendra (National Institute of Kathak
Dance) at New Delhi, Centre for Kutiyattam at Thiruvananthapuram, Chhau Centre at Baripada in
Jamshedpur, Banaras Music Akademi,

Oldest medicina family. and the Northeast Centre.

See also
Indian classical music
Indian classical dance
Indian musical instruments
Indian Music Industry
Military Music Wing
Music of South Asia
List of regional genres of music

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Further reading
Day; Joshi, O. P. (1982). "The changing social structure of music in India". International Social
Science Journal. 34 (94): 625.
Day, Charles Russell (1891). The Music and Musical instruments of Southern India and the
Deccan (https://archive.org/stream/musicmusicalinst00dayc#page/n7/mode/2up). Adam
Charles Black, London.
Clements, Sir Ernest (1913). Introduction to the Study of Indian Music (https://archive.org/strea
m/cu31924018413900#page/n5/mode/2up.). Longmans, Green & Co., London.
Strangways, A.H. Fox (1914). The Music of Hindostan (https://archive.org/stream/musicofhindo
stan00foxs#page/n7/mode/2up). Oxford at The Clarendon Press, London.
Strangways, A.H. Fox (1914). The Music of Hindostan (https://archive.org/stream/musicofhindo
stan00foxs#page/n7/mode/2up). Oxford at The Clarendon Press, London.
Popley, Herbert Arthur (1921). The Music of India (https://en.wikipedia.org/w/index.php?title=M
usic_of_India&action=edit&section=28). Association Press, Calcutta.
Killius, Rolf. Ritual Music and Hindu Rituals of Kerala. New Delhi: B.R. Rhythms, 2006.
 Moutal, Patrick (2012). Hindustāni Gata-s Compilation: Instrumental themes in north Indian
classical music. Rouen: Patrick Moutal Publisher. ISBN 978-2-9541244-1-4.
Moutal, Patrick (1991). A Comparative Study of Selected Hindustāni Rāga-s. New Delhi:
Munshiram Manoharlal Publishers Pvt Ltd. ISBN 978-81-215-0526-0.
Moutal, Patrick (1991). Hindustāni Rāga-s Index. New Delhi: Munshiram Manoharlal
Publishers Pvt Ltd.
Manuel, Peter. Thumri in Historical and Stylistic Perspectives. New Delhi: Motilal Banarsidass,
1989.
Manuel, Peter (May 1993). Cassette Culture: Popular Music and Technology in North India.
University of Chicago Press, 1993 (https://archive.org/details/cassetteculturep00manu).
ISBN 978-0-226-50401-8.
Wade, Bonnie C. (1987). Music in India: the Classical Traditions. New Dehi, India: Manohar,
1987, t.p. 1994. xix, [1], 252 p., amply ill., including with examples in musical notation. ISBN 81-
85054-25-8
Maycock, Robert and Hunt, Ken. "How to Listen - a Routemap of India". 2000. In Broughton,
Simon and Ellingham, Mark with McConnachie, James and Duane, Orla (Ed.), World Music,
Vol. 2: Latin & North America, Caribbean, India, Asia and Pacific, pp. 63–69. Rough Guides
Ltd, Penguin Books. ISBN 1-85828-636-0
Hunt, Ken. "Ragas and Riches". 2000. In Broughton, Simon and Ellingham, Mark with
McConnachie, James and Duane, Orla (Ed.), World Music, Vol. 2: Latin & North America,
Caribbean, India, Asia and Pacific, pp. 70–78. Rough Guides Ltd, Penguin Books. ISBN 1-
85828-636-0.
"Hindu music." (2011). Columbia Electronic Encyclopedia, 6th Edition, 1.
Emmie te Nijenhuis (1977), A History of Indian Literature: Musicological Literature (https://book
s.google.com/books?id=kFkVJDlg-4IC&printsec=frontcover&source=gbs_ge_summary_r&cad
=0#v=onepage&q&f=false), Otto Harrassowitz Verlag, ISBN 978-3447018319,
OCLC 299648131 (https://www.worldcat.org/oclc/299648131)
Natya Sastra (https://archive.org/stream/NatyaShastra/natya_shastra_translation_volume_2_-_
bharat_muni#page/n7/mode/2up) Ancient Indian Theory and Practice of Music (translated by
M. Ghosh)

External links
BBC Radio 3 Audio (45 minutes): The Nizamuddin shrine in Delhi. (http://www.bbc.co.uk/progr
ammes/p005xm48) Accessed 25 November 2010.
BBC Radio 3 Audio (45 minutes): A mahfil Sufi gathering in Karachi. (http://www.bbc.co.uk/prog
rammes/p005xm4c) Accessed 25 November 2010.
BBC Radio 3 Audio (60 minutes): The Misra brothers perform Vedic chant. (http://www.bbc.co.u
k/programmes/p005xjq8) Accessed 25 November 2010.
BBC Radio 3 Audio (60 minutes): Rikhi Ram and sons, Nizami brothers. (http://www.bbc.co.uk/
programmes/p005xjqc) Accessed 25 November 2010.
BBC Radio 3 Audio (60 minutes): Rajasthan, Bombay and Trilok Gurtu. (http://www.bbc.co.uk/p
rogrammes/p005xjqk) Accessed 25 November 2010.
BBC Radio 3 Audio (45 minutes): Gujarat - Praful Dave. (http://www.bbc.co.uk/programmes/p00
5xl8n) Accessed 25 November 2010.
BBC Radio 3 Audio (45 minutes): Courtesan songs and music of the Bauls. (http://www.bbc.co.
uk/programmes/p005xl8s) Accessed 25 November 2010.
BBC Radio 3 Audio (60 minutes): Music from the Golden Temple of Amritsar. (http://www.bbc.c
o.uk/programmes/p005xm4k) Accessed 25 November 2010.
 (in English and French) Hindustani Rag Sangeet Online – A rare collection of more than 800
audio and video archives from 1902 (http://www.moutal.eu/indian-music.html)

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