Art & Culture

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by – Indo Pathshala
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 MUSIC & INSTRUMENTS

History of Indian Music

 The origins can be traced back to the Sama Veda, which contained the slokas.
 Religious rituals ,chanting of Vedic hymns with prescribed pitch and accent.
 Indian music history can be divided into three major periods: Ancient, Medieval, and Modern.
 Ancient music ranges from the Vedic Age to the period of Sangita Ratnakara, following which
the medieval musical system evolved.
 In 14th century, Indian music divided into two branches : Hindustani and Carnatic.
 During this time period, enriching the concepts of Raga, Tala, and musical forms

The Evolution of Indian Music: From the Vedic Period to the Golden Age

Vedic Origins
 Sama Veda: Considered the originator of music among the four Vedas.
 Vedic Music: Started with a single note, gradually evolving to a scale of seven basic notes.
 Yagas and Yagnas: Vedic hymns were sung and danced around the ritual fire, accompanied by
string and percussion instruments, leading to the formation of 'kutapa' (early orchestra).
 Raga Concept: Had not yet emerged during this period.

Early South Indian Contributions

 Ilango Adigal: Mentioned the development of basic musical ideas by ancient Tamils as early as
the first century AD.
 Mahendra Verma: 7th-century scholar who documented contemporary musical facts in the Ku-
dumiyamalai inscriptions.
 Tamil Music: Early forms of Ragas were represented by 'pans' and were familiar with Sthayi (oc-
tave), srutis, and 12 swara sthanas.
 Karunamrita Sagara: A Tamil treatise discussing various aspects of music.

Medieval Period
 Unified Musical System: Until the 13th century, India had a unified system with principles like
saptaswaras, octave, and sruti.
 Haripala: First used terms Hindustani and Karnatak music.
  Muslim Influence: Interaction with Arabian and Persian music under Muslim rule in the north.
 South India: Remained relatively undisturbed, with music flourishing in temples and under tradi-
tional Hindu Kings.

Bhakti Movement and Musical Saints

 Saint Singers: Produced hundreds of devotional songs and compositions.
 Purandara Dasa: Known as 'Karnataka Sangita Pitamaha,' simplified Talas from 108 to 35, in-
cluding 7 Suladi Talas.
 Raga Classification: Became clearer, Raga is considered the soul of Indian music.
 Ramamatya: Mentioned 20 melas in his treatise "Swara mela Kalanidhi," covering nearly 2000
years of musical development.
 Venkatamakhi: Introduced Chaturdandi Prakasika in the 17th century.

The Golden Period (18th Century Onwards)

 Musical Development: Significant growth in musical forms, Ragas, Talas, instruments, and nota-
tion systems.
 Compositions: Emergence of scholarly musical forms such as Kritis, Swarajatis, Varna, Pada, Til-
lana, Jawali, and Ragamalikas.
 Preservation: Music compositions were protected and preserved in notation.
 Hindustani Music System: Systematized by Pandit Vishnu Narayan Bhatkhande under the 'Thaat'
system, introducing forms like Khayal, Thumri, and Tarana.
 Prominent Musicians: Legends like Ustad Alladia Khan, Pt. Omkarnath Thakur, Pt. Vishnu Digam-
bar Paluskar, and Ustad Bade Gulam Alikhan.
 Emergence of Gharanas: Famous gharanas of Agra, Gwalior, Jaipur, Kirana, and Lucknow.

Western Influence
 Western Classical Music: Flourished during the same period with legends like Bach, Hayden, and
Beethoven, known as the "Trinity of Western Music."
Historical Figures and Their Role in Development of Indian Music

Amir Khusrau
 He was a poet-musician in the court of Sultan Allaudin Khilji (1296-1316).
 He led Persian influence on the Indian music which ul-
timately led to its bifurcation into Hindustani music
of the north and Carnatic music of the south.

Tansen
 He symbolises the development of north Indian music as distinct from the south.
 He was the court musician of Emperor Ak-
bar.
 was among the Navaratnas (nine jewels) at
the court of the Mughal Emperor Jalal ud-
din Akbar.
 During the period of Tansen the famous cata-
logue of musical instruments, Ain–i–Akbari,
was compiled by Abul Fazi.
 Various ragas are ascribed to Tansen like Mian ki Malhar, Mian ki Todi and Darbari Kannada.
 Followers of his style belong to the Senia Gharana.
Classification of Indian Music
Two distinct schools of Indian classical music :

 Hindustani music - It is practised in northern India.

 Carnatic music - It is a type of Indian classical music that is popular in the southern parts of the coun-
try.

Hindustani Music vs Carnatic Music

Hindustani Classical Music Carnatic Classical Music

It originated in Northern India. It originated in southern India.
It has been improvised over generations due to Per-
It has remained same or untouched over generations.
sian, Arabian and Afghan influence.
There is scope for improvisation and variations. There is no freedom to improvise.
Instruments are just as important as vocals. There is a greater emphasis on vocal music.
There are 6 major ragas. There are 72 ragas.
Major instruments used are Tabla, Sarangi, Sitar and Major instruments used are Veena, Mridangum and
Santoor. Mandolin.

It’s various forms include Dhrupad, Khayal, Tarana,

This includes Alapana, Niraval, Kalpnaswaram, etc.
Ghazal, etc.
It has various gharanas associated with it. There is no presence of gharana systems
Singer recites joda, a clap at fast pace. Singer recites alap and tanam.
Thaat of pure swars is called tilawal. Thaat of pure swars is called mukhari.
Folk Music
 It consists of classical ragas, for instance, raga manda is very popular in Rajasthani folk music.

Famous Folk Music Associated with States

Name of the Music State of Origin Major Themes

Mysticism, influenced by Hindu Bhakti and Sufi

Baul Bengal movements, exemplified by Kabir's songs.

Traditional folk music, sung at weddings, consi-

Wanawan Kashmir dered very auspicious.

Based on the epic Mahabharata, especially its hero

Pandavani Chhattisgarh Bhima, featuring singing and instrument playing.

Heroic ballads in languages like Braj, Awadhi, and

Alha Madhya Pradesh Bhojpuri, glorifying heroes from the Mahabharata.

Songs about women fetching water, water scarcity,

Panihari Rajasthan and romantic or social themes.

Women's songs with four-line poetry, sung during

Ovi Maharashtra, Goa chores, weddings, pregnancy, and as lullabies.

Festival songs, especially during the rainy season,

Pai Song Madhya Pradesh praying for good monsoon and harvest.

Fusion of traditional dance and song, performed

Lavani Maharashtra to Dholki beats, known for strong rhythm.

Evolved in royal courts, songs about Rajput rulers'

Maand Rajasthan glory, similar to Thumri or Ghazal.

Traditional folk dance performed during Navaratri,

Dandiya Gujarat associated with Holi scenes and Krishna-Radha.

Ballads in honor of historical heroes like Shivaji,

Powada Maharashtra recounting historical events and heroic deeds.

Musical narration of the battle of Khongjom be-

Khongjom Parva Manipur tween British and Manipuri forces in 1891.

Emotional songs similar to Ghazals, on topics like

Bhavageete Karnataka, Maharashtra nature, love, and philosophy.
Name of the Music State of Origin Major Themes

Fusion of Indian and Western music traditions,

Mando Goa featuring guitars, violins, and the ghumot drum.

Andhra Pradesh, Karnataka, Ancient dance form with rhythmic movements,

Kolannalu/Kolattam Tamil Nadu songs, and music, similar to Dandiya.

Other Prominent Folk Music Traditions

Name of the Music State of Origin Major Themes

Sohar Bihar Sung during childbirth.

Tikir Assam Embodies the teachings of Islam.

Ja-jin-ja Arunachal Pradesh Sung during marriages.

Nyioga Arunachal Pradesh Sung at the end of the marriage ceremony.

Heliamleu Nagaland Dancing songs.

Neuleu Nagaland Songs about legends and myths.

Hereileu Nagaland War songs.

Hekaileu Nagaland Songs about oneself.

Named after the Dollu percussion instrument,

Dollu Kunita Karnataka performed by men of the Kuruba community.

Naatupura Paatu Tamil Nadu Consists of village and city folk music.

Based on Hindu mythology, performed during

Veeragase Karnataka Dusshera procession.

Pala and Daskathia Odisha Ballads of a religious nature.

Manganiars North West India Songs about Alexander, local kings, and battles.

Dhadi Punjab Ballads of bravery.

Basant Geet Garhwal, Uttarakhand Sung during Basant Panchami festival.

Name of the Music State of Origin Major Themes

Villu Pattu Tamil Nadu Religious themes, conquest of good over evil.

Celebrating love between cosmological deities

Sukar ke Biah Bihar Shukra and Brihaspati.

Saikuti Zai Mizoram Praise of brave men and hunters.

Lai Haroba Festival Manipur Religious, for the forest deity Umang-Lai.

Chhakri Kashmir Fairy tales, love stories.

Bhuta song Kerala Songs against evils and ghosts.

Khubakeshei Manipur A song accompanied entirely by clapping.

INSTRUMENTS

Instrument Description Notable Exponents

Sitar
One of the most popular music Ustad Vilayat Khan,
instruments of North India, fea- Pt. Ravishankar,
turing a long neck with twenty Ustad Imrat Khan,
metal frets, six to seven main Ustad Abdul Halim
cords, and thirteen sympathetic Zaffar Khan,
strings tuned to the notes of the Ustad Rais Khan,
Raga. The lower end of the neck Pt Debu Chowdhury
has a gourd resonator. The frets
are moved to adjust the notes.

Sarod
Has a small wooden body cov- Ustad Ali Akbar Khan,
ered with skin and a steel- Ustad Amjad Ali
covered fingerboard. It lacks Khan,
frets and has twenty-five strings, Pt.Buddhadev Das
including fifteen sympathetic Gupta, Zarin Daruwal-
strings. A metal gourd acts as a la,
resonator. Played with a triangu- Brij Narayan
lar plectrum.
Instrument Description Notable Exponents

One of the oldest and most

popular bowed instruments in
Sarangi
India, made of teak wood Rehman Bakhs,
adorned with ivory inlays. It has Pt Ram Narayan,
forty strings, including thirty- Ghulam Sabir,
seven sympathetic strings. Held Ustad Sultan Khan
vertically and played with a bow,
using the fingernails to press the
strings.

A simple cylindrical tube of uni-

form bore, held horizontally and
Flute
inclined downwards while play- Pt Pannalal Ghosh,
ing. Variations in pitch are pro- Pt Hari Prashad Chau-
duced by altering the effective rasia
length of the air column by cov-
ering finger holes.

Shehnai A traditional double reed in-

strument with a tapering bore,
used in auspicious occasions like
marriages and temple proces-
sions. It has finger-holes to pro- Ustad Bismillah Khan
duce semi, quarter, and micro-
tones.
Instrument Description Notable Exponents

Tabla
The most popular musical in-
strument in North India, consist-
ing of a pair of drums - the Zakir Hussain,
wooden Tabla and the metal Allah Rakha Khan,
Bayan. Both have heads made of Pt. Krishan Maharaj.
stretched animal skin with a cen-
tral black spot of manganese or
iron dust.

Pakhawaj
A barrel-shaped drum with two
heads, usually accompanying Totaram Sharma,
Dhrupad singing. The heads are Pt. Ayodhya,
expanded by leather straps and Prasad, Gopla Das.
cylindrical wooden blocks for
tuning.

Harmonium
Bhattacharya Brothers
A traditional and popular Indian (Swaranand Swami
instrument with a keyboard of and Swami Shiva-
over two and one-half octaves, nand),
operated by a system of bellows. Pandit Tulsidas Bor-
Played with the right hand while kar
operating the bellows with the
left.

Consists of eighteen porcelain Gopala Iyengar,

cups of varying sizes, arranged in Dr. Manik Munde
a semi-circle. Water is poured
into the cups to change pitch,
Jaltarangam and they are struck with bamboo
sticks.
Instrument Description Notable Exponents

Mridangam

A popular classical instrument of

South India, made of a single KV Prasad,
block of wood. It is a barrel- SV Rajaro,
shaped double-headed drum, Palghat,
played with hands, palms, and Mani Iyer.
fingers.

Ghatam
One of the oldest percussion in-
struments of South India, a mud
pan with a narrow mouth, pro-
ducing fast rhythmic patterns. TH VinayKaram, EM
Made of clay baked with brass, Subhramaniam.
copper, and iron filings.
Instrument Description Notable Exponents

Santoor Traditional Indian string instru-

ment with a trapezoid shape,
played by striking strings with Pt Shiv Kumar Shar-
wooden mallets. Originated in ma, Bhajan, Sopori.
Kashmir and widely used in clas-
sical, folk, and light music ge-
nres.

Kanjra

South Indian percussion instru-

ment, a frame drum with a single Puddokkoti Dakshin-
head made of lizard or goat skin. murthi Pillai.
Played with fingertips and palm,
often used in Carnatic music
concerts.

Veena Ancient Indian plucked string

instrument, with variations like Zia Mahiuddin Dagar,
Saraswati veena and Rudra vee- Emani Sankara Sha-
na. Features a pear-shaped reso- stri.
nator, a long hollow neck, and
strings plucked with fingers. As-
sociated with Hindu goddess
Saraswati and used in classical
music.
Instrument Description Notable Exponents

Violin

Western string instrument widely

adopted in Indian classical mu- MS GopalKrishna, M
sic. Has four strings tuned in per- Chandrashekar, N
fect fifths, played with a bow. Rajam, Dr. L.
Used as a solo instrument or as Subramaniam
an accompaniment, adding me-
lody to compositions.

Awards

Instrumentalist Awards

Ustad Zakir Hussain

Padma Bhushan (2002), Padma Shri (1988), Sangeet

Natak Akademi Award (1990), Grammy Award (2009)

Pandit Ravi Shankar

Bharat Ratna (1999), Padma Vibhushan (1981),

Padma Bhushan (1967), Grammy Award (2013)
Instrumentalist Awards

Pandit Shivkumar Sharma

Padma Vibhushan (2001), Padma Shri (1991), San-
geet Natak Akademi Award (1986), Grammy Award
(2007)

Ustad Amjad Ali Khan

Padma Vibhushan (2001), Padma Bhushan (1991),

Padma Shri (1989)

Pandit Hariprasad Chaurasia

Padma Vibhushan (2020), Padma Bhushan (1992),
Padma Shri (1992), Sangeet Natak Akademi Award
(1984)

Dr. L. Subramaniam

Padma Bhushan (2001), Padma Shri (1988), Sangeet

Natak Akademi Award (1990)
Instrumentalist Awards

Pandit Jasraj

Padma Vibhushan (2000), Padma Bhushan (1990),

Padma Shri (1975)

Gharanas of Hindustani Music

Gharana Description Founders Exponents

Bal Krishna BaIchal Ka-

The oldest among all the Khayal ranjikar, Vishnu Di-
Gayaki (vocal) styles. The distinc- gambar Paluskar, Pan-
tive feature of this style of singing Ustad Hassu Khan, Ustad dit Omkarnath Thakur,
Gwalior Ghara- has been noted as its lucidity and Haddu Khan, Ustad Na- Veena Sahasrabuddhe,
na simplicity. thu Khan Malini Rajurkar

Emphasizes forcefulness and Faiyyaz Khan, Latafat

deepness in the voice for power- Haji Sujan Khan, Ustad Hussein Khan, Dinkar
Agra Gharana ful and resonant notes. Ghagghe Khuda Baksh Kakini

Hirabhai Barodekar,
Uses swara to create an emotional Begum Akhtar, Bhim-
mood through elongation and Abdul Karim Khan, Ab- sen Joshi, Gangubai
Kirana Gharana use of Kana-s. dul Wahid Khan Hangal, Prabha Atre
Gharana Description Founders Exponents

Jaipur-Atrauli Known for its complex and me- Ustad Alladiya Khan Alladiya Khan, Malli-
Gharana lodic form with involutedly and karjun Mansur, Ke-
undulating phrases. sarbhai Kerkar, Kishori
Amonkar, Shruti Sado-
likar, Padma Talwalkar,
Ashwini Bhide Desh-
pande

Ghulam Mustafa Khan,

Ustad Nissar Hussain
Rampur- Stresses clarity of swara with Khan, Ustad Rashid
Sahaswan Gha- stepwise progression in raga ela- Khan, Sulochana, Bri-
rana boration. Ustad Inayat Khan haspati

Bade Ghulam Ali Khan,

Ajoy Chakravarti, Raza
Ali Khan, Begum Akh-
Characterized by greater rhythm tar, Nirmala Deni, Nai-
play, Layakari, and abundant use Ustad Fateh Ali Khan, na Devi, Parveen Sulta-
Patiala Gharana of Bols, especially Bol-tans. Ustad Ali Baksh na

Chand Khan, Nasir

Ahmed Khan, Usman
Delhi Gharana Known for pleasing vistaar and Khan, Iqbal Ahmed
exquisite compositions. Ustad Mamman Khan Khan, Krishna Bisht

Emphasizes open voice Khayal

presentation using Akar, breath- Ustad Aman Ali Khan,
Bhendi Bazaar control, and long passages in one Shashikala Koratkar,
Gharana breath. Ustad Chajju Khan Anjanibai Malpekar

Evolved from the lilting style of

Benaras Ghara- Khayal singing by Thumri singers Rajan Mishra, Sajan
na of Benaras and Gaya. Pt Gopal Mishra Mishra, Girija Devi

Mewati Focuses on developing the mood Pandit Jasraj, Moti

Gharana of the raga through its notes and Ram, Mani Ram, San-
gives equal importance to the jeev Abhyankar
Gharana Description Founders Exponents

meaning of the text, following a Ghagge Nazir Khan

Bhava Pradhan style.

Famous singer with awards

Classical Singer Awards

Padma Vibhushan (2000), Padma Bhushan (1990), San-

geet Natak Akademi Award (1987), Padma Shri (1975)
Pandit Jasraj

Pandit Bhimsen Joshi

Bharat Ratna (2008), Padma Vibhushan (1999), Padma

Bhushan (1985), Sangeet Natak Akademi Fellowship
(1992), Padma Shri (1972).

Kishori Amonkar
Padma Vibhushan (2002), Padma Bhushan (1987), San-
geet Natak Akademi Fellowship (1985), Padma Shri (1977)
Classical Singer Awards

M. Balamuralikrishna

Padma Vibhushan (1991), Padma Bhushan (1981), San-

geet Natak Akademi Fellowship (1975), Padma Shri (1972)

Ustad Bismillah Khan

Bharat Ratna (2001), Padma Vibhushan (1980), Padma

Bhushan (1968), Sangeet Natak Akademi Award (1956),
Padma Shri (1961).

Girija Devi

Padma Vibhushan (2016), Padma Bhushan (1989), San-

geet Natak Akademi Award (1977), Padma Shri (1972)
Classical Singer Awards

Lata Mangeshkar

Bharat Ratna (2001), Padma Vibhushan (1999), Padma

Bhushan (1969), Dadasaheb Phalke Award (1989).

Asha Bhosle

Padma Vibhushan (2008), Padma Bhushan (2001), Dada-

saheb Phalke Award (2000), National Film Award for Best
Female Playback Singer (1973).

Ustad Rashid Khan

Padma Shri (2017), Sangeet Natak Akademi Award (2006),

National Film Award for Best Male Playback Singer (2001)
 Dance and Dancers

Renowned Indian Classical Dancers

Contributions and
Name Awards Achievements

Mallika Sarabhai
Kuchipudi and Bharatna-
tyam dancer, social activist,
recipient of the "French
French Palme D'or (High-
Palme D’
est civilian award of
France)

Pandit Birju Maharaj

Padma Vibhushan (1986),

Leading Kathak dancer of
Sangeet Natak Akademi
the Kalka-Bindadin ghara-
Award (1964), Kalidas
na, performed globally.
Samman (2008)

Rukmini Devi Arundale Padma Bhushan (1956),

Sangeet Natak Akademi Bharatnatyam dancer and
Fellowship (1967), Padma choreographer, pivotal in
Shri (1956) the revival of Indian Clas-
sical music, declined the
President of India position.
 Contributions and
Name Awards Achievements

Shovana Narayan Padma Shri (1992), San-

geet Natak Akademi
Award (1999), National
Renowned Kathak Maestro,
Award for Kathak Dance
innovated new styles of
(1995)
performing arts.

Sonal Mansingh Padma Vibhushan (2003),

Padma Bhushan (1992),
Sangeet Natak Akademi
Fellowship (1994), Padma
Shri (1977)
Eminent Bharatnatyam, Ku-
chipudi, and Chhau dancer,
also a choreographer,
teacher, and social activist.

Yamini Krishnamurthy
Padma Vibhushan (2001),
Renowned Kuchipudi and
Padma Bhushan (2000),
Bharatnatyam dancer, be-
Sangeet Natak Akademi
gan her career at seven-
Fellowship (2003), Padma
teen, torch-bearer of Ku-
Shri (1968)
chipudi.