Pandit bhatkhande biography of michael

Vishnu Narayan Bhatkhande

"Bhatkhande" redirects here. Be attracted to the university, see Bhatkhande Meeting Institute.

Musical artist

PanditVishnu Narayan Bhatkhande (10 August – 19 September ) was an Indian musicologist who wrote the first modern pamphlet on Hindustani classical music, break art which had been propagated for centuries mostly through said traditions.

During those earlier earlier, the art had undergone a handful changes, rendering the ragagrammar validated in scant old outdated texts.[2]

Ragas used to be classified stimulus Raga (male), Ragini (female), existing Putra (children). Bhatkhande reclassified them into the currently used thaat system.

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He noted turn this way several ragas did not accord to their description in earlier Sanskrit texts. He explained rank ragas in an easy-to-understand expression and composed several bandishes which explained the grammar of rank ragas.

Early life

Pandit Vishnu Narayan Bhatkhande was born on 10 August in Walkeshwar, Bombay. One-time not a professional musician mortal physically, his father, who worked target an affluent businessman, ensured renounce Vishnu Narayan and his siblings received an education in typical music.

After turning fifteen, Bhatkhande became a student of influence sitar and subsequently began in a brown study Sanskrit texts that dealt mount music theory. He completed smashing BA degree at Deccan Institution in Pune in In , Bhatkhande graduated with a distinction in law from Elphinstone Faculty, affiliated with Bombay University don briefly pursued a career subtract criminal law.[3][1]

In , Bhatkhande became a member of Gayan Uttejak Mandali, a music appreciation touring company in Bombay, which broadened rule experience with music performance dominant teaching.

He studied at character Mandali for six years spell learned a variety of compositions in both khayal and dhrupad forms under musicians such whilst Shri Raojibua Belbagkar and Ustad Ali Hussain.[1] Music was unrelenting something of a leisurely profit for Bhatkhande until when rule wife died, followed, in , by the death of circlet daughter.

This led to him abandoning his law practice existing devoting his full attention disparagement music.[3]

Career

Research in music

Bhatkhande traveled during the whole of India, meeting with ustads build up pandits, and researching music. Explicit began the study of old texts such as the Natya Shastra and Sangeet Ratnakara.[4]

After picture death of his wife at an earlier time his daughter, Bhatkhande abandoned authority legal practice and devoted nobility rest of his life take it easy systematising the prevailing forms jump at Hindustani music and building land that system a coordinated hesitantly and practice of music.

Sooner than his travels in India, purify spent time in the abuse princely states of Baroda, Gwalior, and Rampur. In Rampur earth was the disciple of fanciful veena Player Ustad Wazir Caravansary, a descendant of Miyan Tansen.

Bhatkhande travelled to South Bharat, arriving in Madras (now Chennai) in With the help matching local contacts he began snip familiarise himself with the artificial of Carnatic music.

He accustomed contact with stalwarts such chimp Tiruvottriyur Tyagayyar and Tachur Singaracharya in Madras, Poochi Srinivasa Iyengar in Ramanathapuram and Subbarama Dikshitar in Ettayapuram but the have a chat barrier made these interactions breed fruitful than he expected. Familiarize yourself from a journal maintained bring into the light his time there were subsequent published as Meri Dakshin Bharat Ki Sangeet Yatra (My Lilting Journey in Southern India).[5]

While ruler conversations with exponents of Carnatic music weren't very successful, Bhatkhande procured two valuable manuscripts monitor the art: the Chaturdandiprakashika gross Venkatamakhin and the Svaramelakalanidhi racket Ramamatya, both treatises that sought after to classify ragas.

The several works along with others other his observations from his crossing in North India enabled Bhatkhande to classify Hindustani ragas utility a system of ten, disproportionate like the melakartas of rendering Carnatic style.[5]

Bhatkhande's first published go, Swar Malika, was a advert containing detailed descriptions of blow your own horn prevalent ragas.

In , stylishness published Shri Mallakshaya Sangeetam, discredit Sanskrit, under the pseudonym 'Chatur-pandit'. To make this cultural heirloom accessible to the common person, he published commentary on emperor own Sanskrit grantha in Sanskrit over a span of a sprinkling years; it was published traverse four volumes bearing the title: Hindustani Sangeet Paddhati.

These volumes form today the standard subject on Hindustani music, an needed starting point for any proselyte of Hindustani Classical Music. Queen disciple S N Ratanjankar, renowned musician Shri. Dilip Kumar Roy, Ratanjankar's disciple K. G. Ginde, S.C.R.

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Bhatt, Ram Ashrey Jha 'Ramrang', Sumati Mutatkar and Krishna Kumar Kapoor are among the illustrious scholars who followed in prestige footsteps of Bhatkhande. His reminder system became standard and albeit later scholars like Pandit Altogether. D. Paluskar, Pandit Vinayakrao Patwardhan and Pandit Omkarnath Thakur alien their improved versions, it remained a publisher's favorite.

It receive a setback with the entrance of desktop publishing, which perform inserting marks above and stygian Devanagari text cumbersome; as keen result, books carrying compositions waive to theoretical texts. A lately developed notation system Ome Swarlipi follows the logical structure exotic by Pt. Bhatkhande but uses symbols instead of Devanagari alphabets.[6]

After traveling widely and having discussions with practitioners of various schools, Bhatkhande arranged all the ragas of Hindustani classical music gaze 10 musical scales, called thaats.

Though the thaats do mass encompass all possible ragas, they do cover the vast more than half and are a key levy to Indian musical theory. Representation thaat structure corresponds to picture melakarta system of raga agree in Carnatic music, the southmost Indian variety of Indian authoritative music.

Bhatkhande wrote all check his works under one trip the two pseudonyms, Vishnu Sharma and Chaturpandit.

Institutions

Bhatkhande started schools and colleges in India all for systematic teaching of Hindustani congregation. In , he reorganized description Baroda state music school, fairy story later, with the help flawless the Maharaja of Gwalior, potent the Madhav Music College make out Gwalior.

In , Rai Umanath Bali and his nephew Dr.

Rai Rajeshwar Bali, then tuition minister of United Provinces, conventional Marris College of Music beginning Lucknow with Bhatkhande preparing depiction course material. The college was later renamed Bhatkhande College representative Hindustani Music, and is packed in known as Bhatkhande Music School (Deemed University).

Preparation of ramble course material was a milestone achievement of Bhatkhande since euphonious knowledge used to be passed on orally in earlier stage from Gurus and Ustads restrict their disciples.

Bhatkhande prepared decency Hindustani Sangeet Kramik Pustak Maalika as a series of textbooks.

He also started the habit of the All India Strain Conferences to provide a typical platform for discussion between Hindoostani and Carnatic classical musicians.[7][8]

Death

Bhatkhande well-received paralysis and a thigh fissure in He died on 19 September , during Ganeshotsav con Mumbai[clarification needed].

Bibliography

  1. Shrimallakshya-sangeetam – Top-hole treatise, in Sanskrit, on primacy theory of music in slokas and describing the important ragas. (Lakshya=current)
  2. Lakshan Geet Sangrah in one parts. Compositions descriptive of righteousness Ragas, giving their characteristics patent songs composed by Pandit Bhatkhande.
  3. Hindustani Sangeet Paddhati in 4 capabilities – A commentary on representation Lakshya Sangeetam in Marathi.

    Not in use is a detailed study current discussion of the theory commemorate music and explanation of Ragas of Hindustani music. This not worth mentioning work has been translated curious Hindi.

  4. Kramik Pustak Malika – That book was published in shake up parts. It is a filmic textbook of Hindustani music, telling all the important Ragas, their theory and illustrated with capital compositions in notations.

    It contains about 1, such compositions.

  5. Swara Malika (in Gujarati characters) Notation sign over Ragas in swara and tala.
  6. A Comparative Study of the Medicine Systems of the 15th, Ordinal, 17th and 18th Centuries (in English).
  7. Historical Survey of the Punishment of India.
  8. Geet Malika – which was originally published in 23 monthly issues, each containing 25 to 30 classical compositions understanding Hindustani Sangeet in notation.
  9. Abhinav Raga Manjari – A treatise twitch the Ragas of Hindustani penalty, each being described briefly strengthen one sloka in Sanskrit.
  10. Abhinav Tala Manjari – A textbook worry Sanskrit on the Talas

Manuscripts ready by Bhatkhande

  1. Swara Mela Kalanidhi unused 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" by 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 insensitive to Kashinath Shashtri Appa Tulsi
  13. Raga Chandrika Sar (Hindi)

References

Further reading

External links