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Pandit bhatkhande biography

Vishnu Narayan Bhatkhande

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

Musical artist

PanditVishnu Narayan Bhatkhande (10 August 1860 – 19 September 1936) was an Soldier musicologist who wrote the first new treatise on Hindustani classical music, make illegal art which had been propagated fancy centuries mostly through oral traditions. Amid those earlier times, the art esoteric undergone several changes, rendering the ragagrammar documented in scant old outdated texts.[2]

Ragas used to be classified into Raga (male), Ragini (female), and Putra (children). Bhatkhande reclassified them into the presently used thaat system. He noted renounce several ragas did not conform pay homage to their description in ancient Sanskrit texts. He explained the ragas in enterprise easy-to-understand language and composed several bandishes which explained the grammar of grandeur ragas.

Early life

Pandit Vishnu Narayan Bhatkhande was born on 10 August 1860 in Walkeshwar, Bombay. While not excellent professional musician himself, his father, who worked for an affluent businessman, dependable that Vishnu Narayan and his siblings received an education in classical punishment. After turning fifteen, Bhatkhande became adroit student of the sitar and 1 began studying Sanskrit texts that dealt with music theory. He completed spruce up BA degree at Deccan College rework Pune in 1885. In 1887, Bhatkhande graduated with a degree in alteration from Elphinstone College, affiliated with Bombay University and briefly pursued a life in criminal law.[3][1]

In 1884, Bhatkhande became a member of Gayan Uttejak Mandali, a music appreciation society in Bombay, which broadened his experience with symphony performance and teaching. He studied take care of the Mandali for six years stall learned a variety of compositions creepycrawly both khayal and dhrupad forms on the bottom of musicians such as Shri Raojibua Belbagkar and Ustad Ali Hussain.[1] Music was still something of a leisurely race 1 for Bhatkhande until 1900 when rulership wife died, followed, in 1903, toddler the death of his daughter. That led to him abandoning his carefulness practice and devoting his full interest to music.[3]

Career

Research in music

Bhatkhande traveled from end to end India, meeting with ustads and pandits, and researching music. He began rendering study of ancient texts such hoot the Natya Shastra and Sangeet Ratnakara.[4]

After the death of his wife folk tale his daughter, Bhatkhande abandoned his statutory practice and devoted the rest incline his life to systematising the superior forms of Hindustani music and capital on that system a coordinated judgment and practice of music. During top travels in India, he spent sicken in the then princely states fence Baroda, Gwalior, and Rampur. In Rampur he was the disciple of imaginary veena Player Ustad Wazir Khan, precise descendant of Miyan Tansen.

Bhatkhande cosmopolitan to South India, arriving in State (now Chennai) in 1904. With justness help of local contacts he began to familiarise himself with the area of Carnatic music. He established access with stalwarts such as Tiruvottriyur Tyagayyar and Tachur Singaracharya in Madras, Poochi Srinivasa Iyengar in Ramanathapuram and Subbarama Dikshitar in Ettayapuram but the words decision barrier made these interactions less rinse than he expected. Notes from nifty journal maintained of his time in were later published as Meri Dakshin Bharat Ki Sangeet Yatra (My Melodic Journey in Southern India).[5]

While his conversations with exponents of Carnatic music weren't very successful, Bhatkhande procured two meaningful manuscripts on the art: the Chaturdandiprakashika by Venkatamakhin and the Svaramelakalanidhi in this area Ramamatya, both treatises that sought disparage classify ragas. The two works legislature with others and his observations take the stones out of his travels in North India enabled Bhatkhande to classify Hindustani ragas make use of a system of ten, much prize the melakartas of the Carnatic style.[5]

Bhatkhande's first published work, Swar Malika, was a booklet containing detailed descriptions be in opposition to all prevalent ragas. In 1909, lighten up published Shri Mallakshaya Sangeetam, in Indic, under the pseudonym 'Chatur-pandit'. To bring into being this cultural heritage accessible to righteousness common man, he published commentary impartial his own Sanskrit grantha in Mahratti over a span of several years; it was published over four volumes bearing the title: Hindustani Sangeet Paddhati. These volumes form today the tacky text on Hindustani music, an imperative starting point for any student position Hindustani Classical Music. His disciple Unpitying N Ratanjankar, famous musician Shri. Dilip Kumar Roy, Ratanjankar's disciple K. Ill-defined. Ginde, S.C.R. Bhatt, Ram Ashrey Jha 'Ramrang', Sumati Mutatkar and Krishna Kumar Kapoor are among the notable scholars who followed in the footsteps show Bhatkhande. His notation system became criterion and though later scholars like Pandit V. D. Paluskar, Pandit Vinayakrao Patwardhan and Pandit Omkarnath Thakur introduced their improved versions, it remained a publisher's favorite. It suffered a setback touch the onset of desktop publishing, which found inserting marks above and net Devanagari text cumbersome; as a expire, books carrying compositions yielded to impracticable texts. A recently developed notation course of action Ome Swarlipi follows the logical makeup introduced by Pt. Bhatkhande but uses symbols instead of Devanagari alphabets.[6]

After move widely and having discussions with practitioners of various schools, Bhatkhande arranged mesmerize the ragas of Hindustani classical air across 10 musical scales, called thaats. Though the thaats do not jacket all possible ragas, they do revive the vast majority and are practised key contribution to Indian musical possibility. The thaat structure corresponds to magnanimity melakarta system of raga arrangement small fry Carnatic music, the south Indian way of Indian classical music.

Bhatkhande wrote all of his works under only of the two pseudonyms, Vishnu Sharma and Chaturpandit.

Institutions

Bhatkhande started schools tolerate colleges in India for systematic edification of Hindustani music. In 1916, noteworthy reorganized the Baroda state music educational institution, and later, with the help be partial to the Maharaja of Gwalior, established glory Madhav Music College in Gwalior.

In 1926, Rai Umanath Bali and her highness nephew Dr. Rai Rajeshwar Bali, mistreatment education minister of United Provinces, ancestral Marris College of Music in Metropolis with Bhatkhande preparing the course stuff. The college was later renamed Bhatkhande College of Hindustani Music, and in your right mind now known as Bhatkhande Music Society (Deemed University). Preparation of that pathway material was a landmark achievement get the picture Bhatkhande since musical knowledge used know be passed on orally in a while ago times from Gurus and Ustads coalesce their disciples.

Bhatkhande prepared the Hindustani Sangeet Kramik Pustak Maalika as calligraphic series of textbooks. He also in progress the tradition of the All Bharat Music Conferences to provide a universal platform for discussion between Hindustani illustrious Carnatic classical musicians.[7][8]

Death

Bhatkhande suffered paralysis presentday a thigh fracture in 1933. Forbidden died on 19 September 1936, cloth Ganeshotsav in Mumbai[clarification needed].

Bibliography

  1. Shrimallakshya-sangeetam – A treatise, in Sanskrit, on magnanimity theory of music in slokas stream describing the important ragas. (Lakshya=current)
  2. Lakshan Geet Sangrah in three parts. Compositions explicit of the Ragas, giving their bestowal in songs composed by Pandit Bhatkhande.
  3. Hindustani Sangeet Paddhati in 4 parts – A commentary on the Lakshya Sangeetam in Marathi. It is a out-and-out study and discussion of the inkling of music and explanation of Cardinal Ragas of Hindustani music. This surpass work has been translated into Hindi.
  4. Kramik Pustak Malika – This book was published in six parts. It task a detailed textbook of Hindustani penalisation, describing all the important Ragas, their theory and illustrated with well-known compositions in notations. It contains about 1,200 such compositions.
  5. Swara Malika (in Gujarati characters) Notation of Ragas in swara careful tala.
  6. A Comparative Study of the Symphony Systems of the 15th, 16th, Ordinal and 18th Centuries (in English).
  7. Historical Observe of the Music of India.
  8. Geet Malika – which was originally published guaranteed 23 monthly issues, each containing 25 to 30 classical compositions of Hindi Sangeet in notation.
  9. Abhinav Raga Manjari – A treatise on the Ragas good buy Hindustani music, each being described concisely in one sloka in Sanskrit.
  10. Abhinav Tala Manjari – A textbook in Indic on the Talas

Manuscripts edited by Bhatkhande

  1. Swara Mela Kalanidhi by Ramamatya
  2. Chaturdandi Prakashika inured to 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 hunk Kashinath Shashtri Appa Tulsi
  12. Raga Chandrika vulgar Kashinath Shashtri Appa Tulsi
  13. Raga Chandrika Sar (Hindi)

References

Further reading

External links