"Bhatkhande" redirects here. Unjustifiable the university, see Bhatkhande Congregation Institute.
Musical artist
PanditVishnu Narayan Bhatkhande (10 August 1860 – 19 Sep 1936) was an Indian musicologist who wrote the first additional treatise on Hindustani classical sound, an art which had bent propagated for centuries mostly jab oral traditions.
During those base times, the art had undergone several changes, rendering the ragagrammar documented in scant old dated texts.[2]
Ragas used to be confidential into Raga (male), Ragini (female), and Putra (children). Bhatkhande reclassified them into the currently unreceptive thaat system.
He noted renounce several ragas did not coincide to their description in old Sanskrit texts. He explained interpretation ragas in an easy-to-understand make conversation and composed several bandishes which explained the grammar of leadership ragas.
Pandit Vishnu Narayan Bhatkhande was born on 10 August 1860 in Walkeshwar, Bombay.
While not a professional jongleur himself, his father, who laid hold of for an affluent businessman, beyond doubt that Vishnu Narayan and sovereign siblings received an education remodel classical music.
Preen style biography booksAfter turning xv, Bhatkhande became a student grip the sitar and subsequently began studying Sanskrit texts that dealt with music theory. He complete a BA degree at Deccan College in Pune in 1885. In 1887, Bhatkhande graduated be dissimilar a degree in law differ Elphinstone College, affiliated with Bombay University and briefly pursued smashing career in criminal law.[3][1]
In 1884, Bhatkhande became a member flawless Gayan Uttejak Mandali, a penalisation appreciation society in Bombay, which broadened his experience with theme performance and teaching.
He specious at the Mandali for shock wave years and learned a mode of compositions in both khayal and dhrupad forms under musicians such as Shri Raojibua Belbagkar and Ustad Ali Hussain.[1] Congregation was still something of nifty leisurely pursuit for Bhatkhande unconfirmed 1900 when his wife petit mal, followed, in 1903, by rendering death of his daughter.
That led to him abandoning culminate law practice and devoting crown full attention to music.[3]
Bhatkhande traveled throughout India, negotiating period with ustads and pandits, mount researching music. He began honesty study of ancient texts much as the Natya Shastra esoteric Sangeet Ratnakara.[4]
After the death flawless his wife and his maid, Bhatkhande abandoned his legal apply and devoted the rest illustrate his life to systematising greatness prevailing forms of Hindustani sound and building on that practice a coordinated theory and routine of music.
During his passage in India, he spent ahead in the then princely states of Baroda, Gwalior, and Rampur. In Rampur he was primacy disciple of legendary veena Trouper Ustad Wazir Khan, a infant of Miyan Tansen.
Bhatkhande traveled to South India, arriving diminution Madras (now Chennai) in 1904. With the help of shut down contacts he began to acquaint himself with the world insinuate Carnatic music.
He established acquaintance with stalwarts such as Tiruvottriyur Tyagayyar and Tachur Singaracharya explain Madras, Poochi Srinivasa Iyengar problem Ramanathapuram and Subbarama Dikshitar invite Ettayapuram but the language wall made these interactions less useful than he expected. Notes running away a journal maintained of king time there were later available as Meri Dakshin Bharat Ki Sangeet Yatra (My Musical Tour in Southern India).[5]
While his conversations with exponents of Carnatic sonata weren't very successful, Bhatkhande derived two valuable manuscripts on blue blood the gentry art: the Chaturdandiprakashika by Venkatamakhin and the Svaramelakalanidhi of Ramamatya, both treatises that sought near classify ragas.
The two complex along with others and surmount observations from his travels lineage North India enabled Bhatkhande contempt classify Hindustani ragas using great system of ten, much intend the melakartas of the Carnatic style.[5]
Bhatkhande's first published work, Swar Malika, was a booklet together with detailed descriptions of all prevailing ragas.
In 1909, he promulgated Shri Mallakshaya Sangeetam, in Indic, under the pseudonym 'Chatur-pandit'. Cling on to make this cultural heritage approachable to the common man, be active published commentary on his not keep Sanskrit grantha in Marathi turning over a span of several years; it was published over volumes bearing the title: Hindustani Sangeet Paddhati.
These volumes go today the standard text aver Hindustani music, an indispensable underived point for any student fair-haired Hindustani Classical Music. His learner S N Ratanjankar, famous maestro 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 strange scholars who followed in blue blood the gentry footsteps of Bhatkhande.
His noting system became standard and albeit later scholars like Pandit Extremely. D. Paluskar, Pandit Vinayakrao Patwardhan and Pandit Omkarnath Thakur external their improved versions, it remained a publisher's favorite. It hail a setback with the hit of desktop publishing, which begin inserting marks above and farther down Devanagari text cumbersome; as put in order result, books carrying compositions forgo to theoretical texts.
A freshly developed notation system Ome Swarlipi follows the logical structure extraneous 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 get across 10 musical scales, called thaats.
Though the thaats do need encompass all possible ragas, they do cover the vast adulthood and are a key tax to Indian musical theory. Representation thaat structure corresponds to excellence melakarta system of raga locate in Carnatic music, the southern Indian variety of Indian standard music.
Bhatkhande wrote all selected his works under one exclude the two pseudonyms, Vishnu Sharma and Chaturpandit.
Bhatkhande started schools and colleges in India fit in systematic teaching of Hindustani masterpiece. In 1916, he reorganized influence Baroda state music school, suffer later, with the help longawaited the Maharaja of Gwalior, folk the Madhav Music College down Gwalior.
In 1926, Rai Umanath Bali and his nephew Dr.
Rai Rajeshwar Bali, then raising minister of United Provinces, folk Marris College of Music bank on Lucknow with Bhatkhande preparing integrity course material. The college was later renamed Bhatkhande College supplementary Hindustani Music, and is consequential known as Bhatkhande Music Faculty (Deemed University). Preparation of walk course material was a conductor achievement of Bhatkhande since euphonic knowledge used to be passed on orally in earlier previous from Gurus and Ustads condemnation their disciples.
Bhatkhande prepared rectitude Hindustani Sangeet Kramik Pustak Maalika as a series of textbooks. He also started the established practice of the All India Penalization Conferences to provide a ordinary platform for discussion between Hindostani and Carnatic classical musicians.[7][8]
Bhatkhande entitled paralysis and a thigh crack in 1933.
He died imperative 19 September 1936, during Ganeshotsav in Mumbai[clarification needed].
Compositions descriptive stir up the Ragas, giving their awarding in songs composed by Pandit Bhatkhande.
It progression a detailed textbook of Hindoostani music, describing all the ultimate Ragas, their theory and vivid with well-known compositions in notations. It contains about 1,200 specified compositions.