Music in Epic Period

Valmiki Ramayana provides mention of bahari, dudubhuji, mridang, patah, dip, pavo, dindim, aadnavar, veena etc. instruments and caste system. Caste is the epitome of anger. In Mahabharata the mention of vows and Gandhara gram is mentioned. In the Mahaagara Jatak (about 200 B.C.), four ultimate words are mentioned. He used to give it to the scholar in the title of King.

In Tamil texts known as Purananuru and Pattupattu (100-200 AD), the importance of deprivation (leather-laden) instruments has been given great importance. There was a special place for such a musical instrument called "Murasuktil". The Tamil renditions (100-200 AD) contain vowels and seven plaques. "Pali" meets the folly. It also mentions the string instrument called "Yal". In one type of "yal" there were coils of up to one thousand.

A Buddhist drama in the South, Silpdigerar (300 AD) also contains some musical things. It is mentioned in the harp, yal, flute, band, etc. The raga of that time is also mentioned here. At the same time, in a Jain cell called "Tivakaram", some information has been given about music. There is a mention of the entire Shadow and Ovava Ragas and also the Shruthas and seven Vowels.

There is talk of music in Kalidas's plays. In Malvikaikimitra, the whole contest of two disciples has been shown in music.

Dramatics of Bharatuni

The earliest treatise of Indian music is Bharat's theatrical book. There is a dispute about the era of Bharat. This is a collection book. Therefore it is difficult to decide its time. The time of the scholar Lagaan is about E. P. 500 to 400 AD. In dramatics, Shruti, Vaar, Gram, Fain, caste and rhythm have been explored vividly. Bharat has done the ideas of the Shruti to establish the Vowel. He has kept a shield at the intervals of 4 disciples, Rishabh at the interval of 3 consecutive times, Gandhara at the interval of 2 times, Medium at intervals of 4 times, then at the interval of 4 times, 5 times the difference between darvait and 2 The execution has been kept at intervals. Thus, the total number of suitors is 22. Bharat has considered two villages like Shajjagram and Madhyamgram. The Shraddha Gram has given the interval of the above. It starts with the Village Shield. That's why it got the name of Shadjagram. The village that starts from the middle is called "middle village". In middle village, the middle tiger is: Shruti, Pancham Thishruti, Dhaywat Chaturruti, Nishad, Dishi Shruti, Shadj Chattu: Shruti, Rishabh Triishruti, and Gandhara Dishushuri. Gandhar gram Bharat is not valid.

Fool means the emergence or glow. The sequence of use of the seven vowels is absurd (pronounced Swara: Satkha Bhasupanva Bhavinismita: Bharata, V. S.A. 28 pp. 435). Bharat has accepted seven seven unconscious in both Shadej and medium villages. False "caste" was the basis of the song. Specific vowels were called "castes" in particular types of insignia. In which the cosmos, fraction, strings, winds, trusts, nepotism, hypocrisy, polytheism, class, and autonomy were adopted by the rules, it was called "race". Caste is an indicator of the very developed state of music. During the time of Bharata, caste is an indicator of the perfect state. During Bharat's time the caste was reached at perfect state. Caste is the mother of anger. Bharat has even counted seven gramragas and it has been told that they are descended from the caste.

In theatrical form, chachatputa, chachuput or chanchuput, sheptapitaputra or panchpanani, wealth, wealth, or emergent locks are mentioned. These were the rhythms of 8, 6, 12, 12 and 6 volumes respectively.

Infinite bharat

An engraved article has been found in Kudumiyalai place of Tamil Nadu, which is probably of 7th century AD. It mentions seven nations, seven voices, and some of the Shruthas and Inter Gandhara and Kakali Nishad. This proves that there was enough advancement of music till the seventh century in India and its main subjects were famous and accepted from north to south.

Some people consider Narada education as a book about the 7th century. It is revealed by the view of this book that it is more ancient than Bharata's NatyaSyastra. In it there is a mention of Shruti, Vaar, Gram, Vedic music and Gatvina too. There is no description of Vedic music in dramatics.

Bharat's interactive manga has given much light on the music. His period is around 850 AD. An important link between his great caste and raga, Gandharva and country music. He ran the "Dvashashasar Chhukcha" method, which dominated almost 200 years. Abhinav Gupta (circa 1000 AD) has denied contempt of speech in his book Abhinav Bharati.

In the 11th century, King Nanyadeva of Mithila composed the book "Saraswati Hardayalakar". This is a detailed and omnipresent commentary on Bharat's music. Only a handful of parts have been found in this book.

The descendants of the Western Chalukya were Maharaja Shomeshwar's composers of music. He has written a thousand one hundred and sixteen verses on the fourth episode of his "Abhilishtharth Chintamani". Examples of different types of arrangements are the specialty of this treatise. The reign of the incarnation is 1127-1134 AD.

Someshwar's son Pratapachakkravarti, whose second name was Jagdekamal. His reign dates from 1134 to 1143 AD. He composed a book called "Music Chowdamani". It was a very authentic treatise. Now it only gets in fractured form. The Baroda Oriental Institute has published this fragmented text in 1958. There are issues of voice, management, rhythm and raga. The description of the rhythm is very detailed in it.

Chalukyavanshi Saurashtiranesh Maharaj was famous scholar of Haripal music. Their period is 1175 AD. He has composed a book called "music Sudhakar" which is still unpublished. There is a description of about 70 ragas in it. There is a rendition of dance, instrumental and song three in it.

Somraj Dev composed the "Sangeetarartnavali" in 1180 His second name was Sombhupal. This emperor was Ajaypal's attendant. In his book, Vocal, Village, Management, Raga, Taal, everyone have a detailed description. He has also given the characteristics of a string and an alien spinach.

Jaidev composed "Geet Govinda" in 12th century AD. He was born in Kendula village near Bolpur. Jaydev has written various manuscripts and tales in management. He has used roles and allegory, yatis, Ekatala, etc. such as Malav, Gurjari, Vasant, Ramkari, Malvgaur, Karnat, Deshkhya, Janadaradi, Gondkari, Bhairavi, Varadi, Vibhas, etc. He has not given any comment on his arrangements, so it is difficult to say how he used to sing them. But it is very clear that till the 12th century, the singing style of management had gained fame and many raga and rhythm became popular.

Palkuriki Somnath wrote a book, "Panditaracharyitam" in Telugu in 1270 AD. It mentions about 32 types of harps and there is a discussion of equals and vestal in the desert. Apart from this, there is a detailed description of Gamk, Thay, Dance etc.

The most famous treatise under the "theatrical system" of Indian music is "Sangitatnakar" of Shringdev. The ancestors of Shanangdev came from Kashmir and were appointed here on the King of Devgiri, Uttar Pradesh. Hence, Shangdev was able to study the musical therapies of both North and South, and he gave detailed science of all Indian music in "Sangeetaratnakar". It has highlighted all the songs of Shruti, Vow, Village, Caste, Raga, Managing, Dance and Taal. There is no doubt that it is a treatise of Indian music. It was composed in the 13th century.

King Hammir of Shakambhrib composed "Shringarahar" in about 1300 AD. It describes the rhetoric and native ragas. There are also discussions of 120 rhythm and one string, nakula, kinari and alpinini etc. Jain Acharya Prabhadev composed "music-time-essence" in about 1300, in which there is very vivid description of the music of that time.

After the arrival of Muslims

In the 14th and 15th centuries, the influence of Iranian music began to be influenced by the dominance of Muslims on the music of northern India. In the court of Sultan Alauddin (AD 1295-1316), Amir Khusus was a good known musician. He preached qawwali values It is said that they did the same for the production of sitar instrument. But the "sympathetic" instrument was already in Iran. Maybe, by doing some variation of this, they have encouraged it in India. It is said that tabla too has been constructed. He started the Khayal singing too. He also made some new melodies by mixing Iranian tunes.

At the time of Sultan Ibrahim Sharki (1400-1440 CE) of Jaunpur, Malik Sultan was the ruler of Kadah (near Prayag). His son Bahadur Malik was very lover of music. He often collected all the musical texts and invited music scholars from all over India. He ordered them to study all texts and create a treatise in which music related differences are decided. These pundits composed a text under the name of many of their discussions, which they called "music concert". This was the first attempt in the history of Indian music when a coordinative treatise was written after considering various opinions. This book is very important in this sense. Unfortunately, only the first and fourth chapters are available at this time of this book. If there is a complete book, then there can be huge light on Indian music.

The Maharana Kumbh of Mewar (1431-1469 AD) was a hero, as was the most famous scholar of music. It was fully familiar with the Bharata method. He wrote a commentary on "Geet Govinda", named Raspakriya, and composed the book "Music Raj" on music. This book is completed in 16 thousand shlokas and full light has been thrown in it on all songs, instruments, dance.

Lalchan Kavya probably practiced Ragantangini in 15th century. Ragas have been classified in twelve chapters. With the influence of Chaitanya Mahaprabhu in the 15th century, there was more publicity of devotional music in Bengal and the popularization became very popular.

King Mansingh Tomar of Gwalior (15th century) developed the polarity style singing. Probably Nayak Baiju was in his court. He composed a book called "Manitudhulal" in Hindi. This is probably the first book on music in Hindi. There is enough light on the raga of that time.

In Mughal emperors Akbar (1556-1605 AD) gave music the most encouragement. During this period, Swami Haridas was a well-known teacher of music in Vrindavan. It is said that Tansen had got education in music. He composed hundreds of Dhruvapadas and Dhhama. Vaishnav poets of Surdas, Nanddas, Kumbhnandas, Govindaswamis etc. were composed of "Vishnupad" which were sung in the temples. These were bound in verses, but were sung in the style of Dhruvapad.

Tansen was in the court of Maharaj Ramchandra Baghel of Rivan earlier. Akbar summoned him from there and appointed his court singer. Tansen had the knowledge of the prevailing music system, he was also familiar with ancient music system. They built raros like Darbari Kanada, Miyan Ki Tadi, Miyappallar etc. He was an outstanding singer. His descendants kept singing of Dhruvapad Dhamar and Veena and Ravav Vandan till 20th century.

In the 16th century, Pandit Vithal has been a good scholar of music. He was born in a village called Shivanganga in Karnataka, but his time was spent in Burhanpur town of Khandesh province. When Akbar conquered Khandesh in 1599, he probably came to Delhi. He was a pundit of both North Indian and Karnataka music. From his article, it seems that Burhan Khan had ordered the coordination of both of them. He wrote four books namely ShradraGachandra, Rammati, Ragamjari and Nataranirai. In his texts the name of the self-vowel is found.

The composer of Karnataka music, Ramaamala composed about "Swamaxalanidhi" about 1550 AD. They classified ragas in 19 fairs. In his book, the name of Swayam vowel is mentioned.

In 1609 AD, Somnath wrote Raga Vibod. It was probably the residents of Rajamandri in the south. He has given a detailed description of Rudravina, Pure and Medium Mail Veena. He has classified ragas on the basis of parent and birth.

King Raghunath of Tanjore, with the help of his minister Govind Dikshit, recommended "Music Sudha" in 1620 AD. They have detailed description of fifteen main fairs and fifty main ragas. He has given an ordinary introduction of 264 ragas.

In 1630 AD, Vyankamkam wrote "Chaturdi Prakashta". It was in the shelter of Vijayaraghav, the son of King Raghunath of Tanjore. It was the son of Govind Dixit. He has classified ragas in 72 fairs and has described the pure and intermediate harp.

In about 1630 AD, Damodar Mishra wrote "Sangeeta Papparan", which puts a good light on the music of northern Bharat of that time. He has given a detailed description of songs, rhythm and nity three.

In the 17th century, Govind wrote the "collection of books". There is a detailed description of 72 mailers and lyra in it. Govind was a resident of the South. He probably wrote the above-mentioned texts between 1680 and 1700.

In the 17th century, Ahobl wrote the book "Musical Parijat". The significance of this treatise is that the intervals of vowels are explained by the length of the harp wire.

In the 18th century, Srinivas wrote "Bhagavatvavibodh". He has also given the place of pure and perverted vowels by the string of the harp. Between the 17th and the 18th century, Bhavbhata composed Anup Vilas, Anoop Sangitatnakar and Anupankush. He was a scholar of the court of Maharaja Anupsingh (1674-1709 AD) of Bikaner. His writings put a good light on the music of northern India. In his book, he also mentioned Dhruvadpad.

Although Khayal's singer Amir Khusra started with, but in the time of the Shanki kings of Jaunpur it flourished and flourished during the time of Muhammad Shah (1719). Adang and Sadarang were two famous actors and singers in this court. These people encouraged the most attention singing and composed hundreds of thoughts in different ragas.

In the 18th century, Maratha King Tulja ji of Tanjore composed the "music saramratam". These were good scholars of music. They list 21 matches.

In 1823, Muhammad Raza of Patna composed "Nagmate Asfi". He has classified ragas on the basis of main parallels and Bilalab is considered to be pure chic.

Maharaj Pratap Singh (1779-1804 AD) of Jaipur collected scholars from all over the country. In consultation with them, a book called "Musicar" was created. Billalab has also been considered as a pure chic.

In the 19th century, Tyagaraja composed many creations and kirtans in the south. He has glorified the compositions of Ragas in very beautiful manner in his writings. Muthuswami Dixit and Shyam Shastri were his contemporaries. He also composed many beautiful works and kirtanas.

In the last part of the 19th century, King Shoreendra Mohan Thakur of Bengal wrote a lot of encouragement to Indian music and wrote "Universal History of Music".

In the 20th century, Pandit Vishnu Digambar Paluskar made great efforts to promote classical music and published songs in about 35-40 books in syllabus.

Pandit Vishnu Narayan Bhatkhande published the book "Hindustani Music System" on music science in four parts and published six parts of the book, "Hindustani Music Kremak" by collecting collection of Dhruvad, Dhamar, and Khadya.

At present, Veena, Sitar, Israj and Sarod and Sarangi are currently being used in folk instruments in India. Among the instruments, bassuri, azoozha, clarinet, tur or trumpet, singi (horn) and conch shells, dried or uncharted instruments, mrdang (pakavaj), murdal (mudal or madilara) huduk, dundubhi (Nagada), dholak or drum, damaru, duff Clutter, cymbals and manjira are prevalent in, khangri, and money instruments.

Modern Era

Main article: Music-education in India

Vishnu Narayan Bhatkhande

In the 18th century, the house was a form of formal music education but in the event of the advent of the British rule, the outline of the houses started to soften, because the administrators of Western culture had greater recognition of scientific progress than art and compared to spirituality in this culture. Materialism was strong.

Under the spiritual background of Indian culture, which was the place of purity and faith in art, and which was sponsored by some Muslim rulers and regarding music as an instrument of entertainment, while not forgetting its sadhana party, the musicians and scientists are known to be in state or princely states Do not forget about the developmental side of music by giving assistance on behalf of. But the British state's organizers adopted a materialistic approach towards music art, although it considered it to be part of the development of personality, but this approach was not based on the spirit of spirituality. He accepted it as a subject in the same way as other subjects, but due to the effectiveness of scientific progress, this subject was almost neglected among other text subjects.