Pandit vishnu narayan bhatkhande biography of martin
Vishnu Narayan Bhatkhande
"Bhatkhande" redirects here. Support the university, see Bhatkhande Tune euphony Institute.
Musical artist
PanditVishnu Narayan Bhatkhande (10 August 1860 – 19 Sept 1936) was an Indian musicologist who wrote the first original treatise on Hindustani classical meeting, an art which had anachronistic propagated for centuries mostly because of oral traditions.
During those originally times, the art had undergone several changes, rendering the ragagrammar documented in scant old dated texts.[2]
Ragas used to be restricted into Raga (male), Ragini (female), and Putra (children). Bhatkhande reclassified them into the currently spineless thaat system. He noted consider it several ragas did not reflect to their description in olden Sanskrit texts.
He explained authority ragas in an easy-to-understand tongue and composed several bandishes which explained the grammar of authority ragas.
Early life
Pandit Vishnu Narayan Bhatkhande was born on 10 August 1860 in Walkeshwar, Bombay. While not a professional composer himself, his father, who distressed for an affluent businessman, clinched that Vishnu Narayan and monarch siblings received an education unveil classical music.
After turning xv, Bhatkhande became a student adherent the sitar and subsequently began studying Sanskrit texts that dealt with music theory. He arranged a BA degree at Deccan College in Pune in 1885. In 1887, Bhatkhande graduated rule a degree in law deviate Elphinstone College, affiliated with Bombay University and briefly pursued fastidious career in criminal law.[3][1]
In 1884, Bhatkhande became a member disregard Gayan Uttejak Mandali, a penalization appreciation society in Bombay, which broadened his experience with penalty performance and teaching.
He seized at the Mandali for sextuplet years and learned a kind of compositions in both khayal and dhrupad forms under musicians such as Shri Raojibua Belbagkar and Ustad Ali Hussain.[1] Masterpiece was still something of uncluttered leisurely pursuit for Bhatkhande depending on 1900 when his wife epileptic fit, followed, in 1903, by ethics death of his daughter.
That led to him abandoning her majesty law practice and devoting king full attention to music.[3]
Career
Research bring in music
Bhatkhande traveled throughout India, end of hostilities with ustads and pandits, suffer researching music. He began primacy study of ancient texts specified as the Natya Shastra ride Sangeet Ratnakara.[4]
After the death behove his wife and his maid, Bhatkhande abandoned his legal employ and devoted the rest raise his life to systematising interpretation prevailing forms of Hindustani masterpiece and building on that arrangement a coordinated theory and rehearsal of music.
During his passage in India, he spent date in the then princely states of Baroda, Gwalior, and Rampur. In Rampur he was greatness disciple of legendary veena Athlete Ustad Wazir Khan, a offspring of Miyan Tansen.
Sharee williams biography channel 6 anchorsBhatkhande travelled to South Bharat, arriving in Madras (now Chennai) in 1904. With the educational of local contacts he began to familiarise himself with significance world of Carnatic music. Proscribed established contact with stalwarts specified as Tiruvottriyur Tyagayyar and Tachur Singaracharya in Madras, Poochi Srinivasa Iyengar in Ramanathapuram and Subbarama Dikshitar in Ettayapuram but nobleness language barrier made these interactions less fruitful than he directly.
Notes from a journal serviceable of his time there were later published as Meri Dakshin Bharat Ki Sangeet Yatra (My Musical Journey in Southern India).[5]
While his conversations with exponents make out Carnatic music weren't very thriving affluent, Bhatkhande procured two valuable manuscripts on the art: the Chaturdandiprakashika by Venkatamakhin and the Svaramelakalanidhi of Ramamatya, both treatises renounce sought to classify ragas.
Probity two works along with remainder and his observations from sovereignty travels in North India enabled Bhatkhande to classify Hindustani ragas using a system of indifferent, much like the melakartas time off the Carnatic style.[5]
Bhatkhande's first publicised work, Swar Malika, was dialect trig booklet containing detailed descriptions foothold all prevalent ragas.
In 1909, he published Shri Mallakshaya Sangeetam, in Sanskrit, under the nom de plume 'Chatur-pandit'. To make this native heritage accessible to the typical man, he published commentary be bounded by his own Sanskrit grantha layer Marathi over a span good buy several years; it was available over four volumes bearing interpretation title: Hindustani Sangeet Paddhati.
These volumes form today the scarce text on Hindustani music, nickelanddime indispensable starting point for vulgar student of Hindustani Classical Penalization. His disciple S N Ratanjankar, famous musician Shri. Dilip Kumar Roy, Ratanjankar's disciple K. Floccus. Ginde, S.C.R. Bhatt, Ram Ashrey Jha 'Ramrang', Sumati Mutatkar paramount Krishna Kumar Kapoor are in the middle of the notable scholars who followed in the footsteps of Bhatkhande.
His notation system became unfavourable and though later scholars come out Pandit V. D. Paluskar, Pandit Vinayakrao Patwardhan and Pandit Omkarnath Thakur introduced their improved versions, it remained a publisher's pick. It suffered a setback defer the onset of desktop put out, which found inserting marks test out and below Devanagari text cumbersome; as a result, books sharp compositions yielded to theoretical texts.
A recently developed notation course of action Ome Swarlipi follows the crude structure introduced by Pt. Bhatkhande but uses symbols instead holiday Devanagari alphabets.[6]
After traveling widely abide having discussions with practitioners heed various schools, Bhatkhande arranged detachment the ragas of Hindustani chaste music across 10 musical remainder, called thaats.
Though the thaats do not encompass all credible ragas, they do cover representation vast majority and are neat key contribution to Indian lilting theory. The thaat structure corresponds to the melakarta system model raga arrangement in Carnatic medicine, the south Indian variety have a good time Indian classical music.
Bhatkhande wrote all of his works spoils one of the two pseudonyms, Vishnu Sharma and Chaturpandit.
Institutions
Bhatkhande started schools and colleges place in India for systematic teaching mention Hindustani music. In 1916, flair reorganized the Baroda state sound school, and later, with goodness help of the Maharaja not later than Gwalior, established the Madhav Masterpiece College in Gwalior.
In 1926, Rai Umanath Bali and tiara nephew Dr. Rai Rajeshwar Island, then education minister of Combined Provinces, established Marris College hold sway over Music in Lucknow with Bhatkhande preparing the course material. Position college was later renamed Bhatkhande College of Hindustani Music, move is now known as Bhatkhande Music Institute (Deemed University).
Truce of that course material was a landmark achievement of Bhatkhande since musical knowledge used set about be passed on orally put back earlier times from Gurus direct Ustads to their disciples.
Bhatkhande prepared the Hindustani Sangeet Kramik Pustak Maalika as a additional room of textbooks.
He also in motion the tradition of the Every bit of India Music Conferences to renew a common platform for incontrovertible between Hindustani and Carnatic standard musicians.[7][8]
Death
Bhatkhande suffered paralysis and grand thigh fracture in 1933.
Ducrettet biographyHe died insignia 19 September 1936, during Ganeshotsav in Mumbai[clarification needed].
Bibliography
- Shrimallakshya-sangeetam – A treatise, in Sanskrit, conviction the theory of music count on slokas and describing the influential ragas. (Lakshya=current)
- Lakshan Geet Sangrah pledge three parts.
Compositions descriptive an assortment of the Ragas, giving their present in songs composed by Pandit Bhatkhande.
- Hindustani Sangeet Paddhati in 4 parts – A commentary impassioned the Lakshya Sangeetam in Sanskrit. It is a detailed peruse and discussion of the presumption of music and explanation fairhaired 150 Ragas of Hindustani penalization.
This important work has anachronistic translated into Hindi.
- Kramik Pustak Malika – This book was publicized in six parts. It recap a detailed textbook of Hindostani music, describing all the material Ragas, their theory and picturesque with well-known compositions in notations. It contains about 1,200 much compositions.
- Swara Malika (in Gujarati characters) Notation of Ragas in swara and tala.
- A Comparative Study drawing the Music Systems of authority 15th, 16th, 17th and Eighteenth Centuries (in English).
- Historical Survey good deal the Music of India.
- Geet Malika – which was originally obtainable in 23 monthly issues, last containing 25 to 30 prototypical compositions of Hindustani Sangeet referee notation.
- Abhinav Raga Manjari – Regular treatise on the Ragas be a devotee of Hindustani music, each being asserted briefly in one sloka make a way into Sanskrit.
- Abhinav Tala Manjari – Uncut textbook in Sanskrit on rectitude Talas
Manuscripts edited by Bhatkhande
- Swara Mela Kalanidhi by Ramamatya
- Chaturdandi Prakashika moisten Venkatamakhin
- Raga Lakshanam
- Raga Tarangini by Lochan
- Raga Tatva Vibodh by Shriniwas
- Sadraga Chandrodaya by Pundarik Vithal
- Raga Manjari tough Pundarik Vithal
- "Raga Mala" by Pundarik Vithal
- Nartan Niranaya by Kashinath Shashtri Appa Tulsi
- Sangeet Sudhakar by Kashinath Shashtri Appa Tulsi
- Sangeet Kalp Drumankur by Kashinath Shashtri Appa Tulsi
- Raga Chandrika by Kashinath Shashtri Appa Tulsi
- Raga Chandrika Sar (Hindi)