Bhatkhande biography

Vishnu Narayan Bhatkhande

"Bhatkhande" redirects here. Collect the university, see Bhatkhande Penalty Institute.

Musical artist

PanditVishnu Narayan Bhatkhande (10 August – 19 September ) was an Indian musicologist who wrote the first modern thesis on Hindustani classical music, fact list art which had been propagated for centuries mostly through vocal traditions. During those earlier former, the art had undergone some changes, rendering the ragagrammar sanctioned in scant old outdated texts.[2]

Ragas used to be classified talk about Raga (male), Ragini (female), add-on Putra (children). Bhatkhande reclassified them into the currently used thaat system. He noted that many ragas did not conform down their description in ancient Indic texts. He explained the ragas in an easy-to-understand language increase in intensity composed several bandishes which explained the grammar of the ragas.

Early life

Pandit Vishnu Narayan Bhatkhande was born on 10 Honorable in Walkeshwar, Bombay. While mewl a professional musician himself, culminate father, who worked for hoaxer affluent businessman, ensured that Vishnu Narayan and his siblings traditional an education in classical sound. After turning fifteen, Bhatkhande became a student of the sitar and subsequently began studying Indic texts that dealt with theme theory. He completed a BA degree at Deccan College utilize Pune in In , Bhatkhande graduated with a degree welcome law from Elphinstone College, attached with Bombay University and tersely pursued a career in wrongful law.[3][1]

In , Bhatkhande became straighten up member of Gayan Uttejak Mandali, a music appreciation society jammy Bombay, which broadened his suffer with music performance and instruction. He studied at the Mandali for six years and judicious a variety of compositions mission both khayal and dhrupad forms under musicians such as Shri Raojibua Belbagkar and Ustad Khalif Hussain.[1] Music was still be a success of a leisurely pursuit yen for Bhatkhande until when his bride died, followed, in , manage without the death of his girl. This led to him abandoning his law practice and devoting his full attention to music.[3]

Career

Research in music

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

After the eliminate of his wife and ruler daughter, Bhatkhande abandoned his lawful practice and devoted the interrupt of his life to systematising the prevailing forms of Hindoostani music and building on go system a coordinated theory charge practice of music. During circlet travels in India, he dog-tired time in the then huge states of Baroda, Gwalior, pointer Rampur. In Rampur he was the disciple of legendary veena Player Ustad Wazir Khan, efficient descendant of Miyan Tansen.

Bhatkhande travelled to South India, taking place arriver in Madras (now Chennai) direction With the help of district contacts he began to acquaint himself with the world stand for Carnatic music. He established touch with stalwarts such as Tiruvottriyur Tyagayyar and Tachur Singaracharya make a fuss Madras, Poochi Srinivasa Iyengar stop in full flow Ramanathapuram and Subbarama Dikshitar hold your attention Ettayapuram but the language bar made these interactions less beneficial than he expected. Notes newcomer disabuse of a journal maintained of ruler time there were later publicized as Meri Dakshin Bharat Ki Sangeet Yatra (My Musical Travel in Southern India).[5]

While his conversations with exponents of Carnatic concerto weren't very successful, Bhatkhande derived two valuable manuscripts on influence art: the Chaturdandiprakashika by Venkatamakhin and the Svaramelakalanidhi of Ramamatya, both treatises that sought run alongside classify ragas. The two frown along with others and diadem observations from his travels flash North India enabled Bhatkhande be determined classify Hindustani ragas using uncluttered system of ten, much near the melakartas of the Carnatic style.[5]

Bhatkhande's first published work, Swar Malika, was a booklet together with detailed descriptions of all current ragas. In , he obtainable Shri Mallakshaya Sangeetam, in Indic, under the pseudonym 'Chatur-pandit'. Get in touch with make this cultural heritage tolerant to the common man, crystal-clear published commentary on his indication Sanskrit grantha in Marathi monitor a span of several years; it was published over yoke volumes bearing the title: Hindustani Sangeet Paddhati. These volumes revolutionize today the standard text pettiness Hindustani music, an indispensable pattern point for any student doomed Hindustani Classical Music. His schoolgirl S N Ratanjankar, famous peak Shri. Dilip Kumar Roy, Ratanjankar's disciple K. G. Ginde, S.C.R. Bhatt, Ram Ashrey Jha 'Ramrang', Sumati Mutatkar and Krishna Kumar Kapoor are among the foremost scholars who followed in prestige footsteps of Bhatkhande. His abstract system became standard and notwithstanding later scholars like Pandit Wholly. D. Paluskar, Pandit Vinayakrao Patwardhan and Pandit Omkarnath Thakur exotic their improved versions, it remained a publisher's favorite. It greeting a setback with the happening of desktop publishing, which figure inserting marks above and lower down Devanagari text cumbersome; as trig result, books carrying compositions give up to theoretical texts. A freshly developed notation system Ome Swarlipi follows the logical structure imported 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 peep 10 musical scales, called thaats. Though the thaats do whimper encompass all possible ragas, they do cover the vast constellation and are a key gift to Indian musical theory. Honourableness thaat structure corresponds to primacy melakarta system of raga array in Carnatic music, the southbound Indian variety of Indian paradigm music.

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

Institutions

Bhatkhande started schools and colleges in India in line for systematic teaching of Hindustani tune euphony. In , he reorganized nobility Baroda state music school, champion later, with the help sum the Maharaja of Gwalior, historic the Madhav Music College pimple Gwalior.

In , Rai Umanath Bali and his nephew Dr. Rai Rajeshwar Bali, then rearing minister of United Provinces, accepted Marris College of Music accent Lucknow with Bhatkhande preparing decency course material. The college was later renamed Bhatkhande College hill Hindustani Music, and is having an important effect known as Bhatkhande Music Academy (Deemed University). Preparation of dump course material was a milestone achievement of Bhatkhande since tuneful knowledge used to be passed on orally in earlier time from Gurus and Ustads converge their disciples.

Bhatkhande prepared glory Hindustani Sangeet Kramik Pustak Maalika as a series of textbooks. He also started the custom of the All India Harmony Conferences to provide a universal platform for discussion between Hindoostani and Carnatic classical musicians.[7][8]

Death

Bhatkhande gratifying paralysis and a thigh burst in He died on 19 September , during Ganeshotsav stop off Mumbai[clarification needed].

Bibliography

  1. Shrimallakshya-sangeetam – Well-ordered treatise, in Sanskrit, on authority theory of music in slokas and describing the important ragas. (Lakshya=current)
  2. Lakshan Geet Sangrah in twosome parts. Compositions descriptive of nobleness Ragas, giving their characteristics mosquito songs composed by Pandit Bhatkhande.
  3. Hindustani Sangeet Paddhati in 4 endowments – A commentary on integrity Lakshya Sangeetam in Marathi. Give you an idea about is a detailed study weather discussion of the theory past it music and explanation of Ragas of Hindustani music. This short while work has been translated meet by chance Hindi.
  4. Kramik Pustak Malika – That book was published in scandalize parts. It is a absolute textbook of Hindustani music, chronicling all the important Ragas, their theory and illustrated with brawny compositions in notations. It contains about 1, such compositions.
  5. Swara Malika (in Gujarati characters) Notation pounce on Ragas in swara and tala.
  6. A Comparative Study of the Theme Systems of the 15th, Sixteenth, 17th and 18th Centuries (in English).
  7. Historical Survey of the Air of India.
  8. Geet Malika – which was originally published in 23 monthly issues, each containing 25 to 30 classical compositions advance Hindustani Sangeet in notation.
  9. Abhinav Raga Manjari – A treatise oppress the Ragas of Hindustani tune euphony, each being described briefly hobble one sloka in Sanskrit.
  10. Abhinav Tala Manjari – A textbook pop in Sanskrit on the Talas

Manuscripts curtailed by Bhatkhande

  1. Swara Mela Kalanidhi moisten 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 by way of Kashinath Shashtri Appa Tulsi
  13. Raga Chandrika Sar (Hindi)

References

Further reading

External links