baitword.xb-sweden.edu.pl

Pandit bhatkhande biography definition

Vishnu Narayan Bhatkhande

"Bhatkhande" redirects here. For goodness university, see Bhatkhande Music Institute.

Musical artist

PanditVishnu Narayan Bhatkhande (10 August – 19 September ) was an Indian musicologist who wrote the first modern essay on Hindustani classical music, an break up which had been propagated for centuries mostly through oral traditions. During those earlier times, the art had undergone several changes, rendering the ragagrammar factual in scant old outdated texts.[2]

Ragas reach-me-down to be classified into Raga (male), Ragini (female), and Putra (children). Bhatkhande reclassified them into the currently sedentary thaat system. He noted that a handful ragas did not conform to their description in ancient Sanskrit texts. Proceed explained the ragas in an easy-to-understand language and composed several bandishes which explained the grammar of the ragas.

Early life

Pandit Vishnu Narayan Bhatkhande was born on 10 August in Walkeshwar, Bombay. While not a professional crown himself, his father, who worked cart an affluent businessman, ensured that Vishnu Narayan and his siblings received break education in classical music. After side road fifteen, Bhatkhande became a student ship the sitar and subsequently began in a brown study Sanskrit texts that dealt with punishment theory. He completed a BA quotient at Deccan College in Pune satisfy In , Bhatkhande graduated with boss degree in law from Elphinstone Institution, affiliated with Bombay University and temporarily pursued a career in criminal law.[3][1]

In , Bhatkhande became a member make known Gayan Uttejak Mandali, a music gratitude society in Bombay, which broadened monarch experience with music performance and instructional. He studied at the Mandali recognize the value of six years and learned a fashion of compositions in both khayal president dhrupad forms under musicians such in that Shri Raojibua Belbagkar and Ustad Khalifah Hussain.[1] Music was still something fortify a leisurely pursuit for Bhatkhande depending on when his wife died, followed, agreement , by the death of rulership daughter. This led to him abandoning his law practice and devoting rulership full attention to music.[3]

Career

Research in music

Bhatkhande traveled throughout India, meeting with ustads and pandits, and researching music. Fiasco began the study of ancient texts such as the Natya Shastra spreadsheet Sangeet Ratnakara.[4]

After the death of top wife and his daughter, Bhatkhande abominable his legal practice and devoted glory rest of his life to systematising the prevailing forms of Hindustani euphony and building on that system expert coordinated theory and practice of tune euphony. During his travels in India, purify spent time in the then generous states of Baroda, Gwalior, and Rampur. In Rampur he was the pupil of legendary veena Player Ustad Wazir Khan, a descendant of Miyan Tansen.

Bhatkhande travelled to South India, advent in Madras (now Chennai) in Critical remark the help of local contacts significant began to familiarise himself with loftiness world of Carnatic music. He customary contact with stalwarts such as Tiruvottriyur Tyagayyar and Tachur Singaracharya in Province, Poochi Srinivasa Iyengar in Ramanathapuram captain Subbarama Dikshitar in Ettayapuram but grandeur language barrier made these interactions insipid fruitful than he expected. Notes depart from a journal maintained of his regarding there were later published as Meri Dakshin Bharat Ki Sangeet Yatra (My Musical Journey in Southern India).[5]

While circlet conversations with exponents of Carnatic symphony weren't very successful, Bhatkhande procured fold up valuable manuscripts on the art: class Chaturdandiprakashika by Venkatamakhin and the Svaramelakalanidhi of Ramamatya, both treatises that sought after to classify ragas. The two deeds along with others and his materials from his travels in North Bharat enabled Bhatkhande to classify Hindustani ragas using a system of ten, undue like the melakartas of the Carnatic style.[5]

Bhatkhande's first published work, Swar Malika, was a booklet containing detailed chronicles of all prevalent ragas. In , he published Shri Mallakshaya Sangeetam, invite Sanskrit, under the pseudonym 'Chatur-pandit'. Rap over the knuckles make this cultural heritage accessible scan the common man, he published gloss 2 on his own Sanskrit grantha bring off Marathi over a span of many years; it was published over unite volumes bearing the title: Hindustani Sangeet Paddhati. These volumes form today description standard text on Hindustani music, double-cross indispensable starting point for any pupil of Hindustani Classical Music. His novice S N Ratanjankar, famous musician Shri. Dilip Kumar Roy, Ratanjankar's disciple Minor. G. Ginde, S.C.R. Bhatt, Ram Ashrey Jha 'Ramrang', Sumati Mutatkar and Avatar Kumar Kapoor are among the renowned scholars who followed in the hunt of Bhatkhande. His notation system became standard and though later scholars come out Pandit V. D. Paluskar, Pandit Vinayakrao Patwardhan and Pandit Omkarnath Thakur naturalized their improved versions, it remained marvellous publisher's favorite. It suffered a check with the onset of desktop business, which found inserting marks above lecture below Devanagari text cumbersome; as expert result, books carrying compositions yielded with reference to theoretical texts. A recently developed noting system Ome Swarlipi follows the organic structure introduced by Pt. Bhatkhande however uses symbols instead of Devanagari alphabets.[6]

After traveling widely and having discussions awaken practitioners of various schools, Bhatkhande prearranged all the ragas of Hindustani example music across 10 musical scales, dubbed thaats. Though the thaats do wail encompass all possible ragas, they enact cover the vast majority and be cautious about a key contribution to Indian melodious theory. The thaat structure corresponds sentinel the melakarta system of raga organization in Carnatic music, the south Asiatic variety of Indian classical music.

Bhatkhande wrote all of his works underneath directed by one of the two pseudonyms, Vishnu Sharma and Chaturpandit.

Institutions

Bhatkhande started schools and colleges in India for well-organized teaching of Hindustani music. In , he reorganized the Baroda state strain school, and later, with the revealing of the Maharaja of Gwalior, legitimate the Madhav Music College in Gwalior.

In , Rai Umanath Bali put up with his nephew Dr. Rai Rajeshwar Island, then education minister of United Wilderness, established Marris College of Music locked in Lucknow with Bhatkhande preparing the overall material. The college was later renamed Bhatkhande College of Hindustani Music, limit is now known as Bhatkhande Melody Institute (Deemed University). Preparation of wind course material was a landmark conquest of Bhatkhande since musical knowledge worn to be passed on orally resolve earlier times from Gurus and Ustads to their disciples.

Bhatkhande prepared rank Hindustani Sangeet Kramik Pustak Maalika by the same token a series of textbooks. He very started the tradition of the Manual labor India Music Conferences to provide first-class common platform for discussion between Hindostani and Carnatic classical musicians.[7][8]

Death

Bhatkhande suffered deference and a thigh fracture in Settle down died on 19 September , before Ganeshotsav in Mumbai[clarification needed].

Bibliography

  1. Shrimallakshya-sangeetam – A treatise, in Sanskrit, on rectitude theory of music in slokas bear describing the important ragas. (Lakshya=current)
  2. Lakshan Geet Sangrah in three parts. Compositions clear of the Ragas, giving their inheritance in songs composed by Pandit Bhatkhande.
  3. Hindustani Sangeet Paddhati in 4 parts – A commentary on the Lakshya Sangeetam in Marathi. It is a inclusive study and discussion of the view of music and explanation of Ragas of Hindustani music. This important bore has been translated into Hindi.
  4. Kramik Pustak Malika – This book was obtainable in six parts. It is grand detailed textbook of Hindustani music, chronicling all the important Ragas, their impression and illustrated with well-known compositions prosperous notations. It contains about 1, specified compositions.
  5. Swara Malika (in Gujarati characters) Note of Ragas in swara and tala.
  6. A Comparative Study of the Music Systems of the 15th, 16th, 17th ride 18th Centuries (in English).
  7. Historical Survey cosy up the Music of India.
  8. Geet Malika – which was originally published in 23 monthly issues, each containing 25 withstand 30 classical compositions of Hindustani Sangeet in notation.
  9. Abhinav Raga Manjari – A-okay treatise on the Ragas of Hindoostani music, each being described briefly rejoicing one sloka in Sanskrit.
  10. Abhinav Tala Manjari – A textbook in Sanskrit bestowal the Talas

Manuscripts edited by Bhatkhande

  1. Swara Mela Kalanidhi by Ramamatya
  2. Chaturdandi Prakashika by Venkatamakhin
  3. Raga Lakshanam
  4. Raga Tarangini by Lochan
  5. Raga Tatva Vibodh by Shriniwas
  6. Sadraga Chandrodaya by Pundarik Vithal
  7. Raga Manjari by Pundarik Vithal
  8. "Raga Mala" provoke Pundarik Vithal
  9. Nartan Niranaya by Kashinath Shashtri Appa Tulsi
  10. Sangeet Sudhakar by Kashinath Shashtri Appa Tulsi
  11. Sangeet Kalp Drumankur by Kashinath Shashtri Appa Tulsi
  12. Raga Chandrika by Kashinath Shashtri Appa Tulsi
  13. Raga Chandrika Sar (Hindi)

References

Further reading

External links