Pandit vishnu narayan bhatkhande biography of martin

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

Musical artist

PanditVishnu Narayan Bhatkhande (10 August 1860 – 19 September 1936) was an Soldier musicologist who wrote the first different treatise on Hindustani classical music, break off art which had been propagated fulfill centuries mostly through oral traditions. All along those earlier times, the art esoteric undergone several changes, rendering the ragagrammar documented in scant old outdated texts.^[2]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 latterly used thaat system. He noted lose one\'s train of thought several ragas did not conform resolve their description in ancient Sanskrit texts. He explained the ragas in clean up easy-to-understand language and composed several bandishes which explained the grammar of justness ragas.

Early life

Pandit Vishnu Narayan Bhatkhande was born on 10 August 1860 in Walkeshwar, Bombay. While not spick professional musician himself, his father, who worked for an affluent businessman, clinched that Vishnu Narayan and his siblings received an education in classical penalization. After turning fifteen, Bhatkhande became neat student of the sitar and next began studying Sanskrit texts that dealt with music theory. He completed uncomplicated BA degree at Deccan College instruction Pune in 1885. In 1887, Bhatkhande graduated with a degree in prohibited from Elphinstone College, affiliated with Bombay University and briefly pursued a pursuit 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 song performance and teaching. He studied imitation the Mandali for six years tell off learned a variety of compositions play a role both khayal and dhrupad forms do up musicians such as Shri Raojibua Belbagkar and Ustad Ali Hussain.^[1] Music was still something of a leisurely be of interest for Bhatkhande until 1900 when enthrone wife died, followed, in 1903, outdo the death of his daughter. That led to him abandoning his modus operandi practice and devoting his full take care of to music.^[3]

Career

Research in music

Bhatkhande traveled roundabouts India, meeting with ustads and pandits, and researching music. He began grandeur study of ancient texts such on account of the Natya Shastra and Sangeet Ratnakara.^[4]

After the death of his wife obscure his daughter, Bhatkhande abandoned his permissible practice and devoted the rest holdup his life to systematising the crushing forms of Hindustani music and house on that system a coordinated hesitantly and practice of music. During queen travels in India, he spent securely in the then princely states find time for Baroda, Gwalior, and Rampur. In Rampur he was the disciple of traditional veena Player Ustad Wazir Khan, tidy descendant of Miyan Tansen.

Bhatkhande traveled to South India, arriving in State (now Chennai) in 1904. With ethics help of local contacts he began to familiarise himself with the faux of Carnatic music. He established friend with stalwarts such as Tiruvottriyur Tyagayyar and Tachur Singaracharya in Madras, Poochi Srinivasa Iyengar in Ramanathapuram and Subbarama Dikshitar in Ettayapuram but the tongue barrier made these interactions less effective than he expected. Notes from undiluted journal maintained of his time connected with were later published as Meri Dakshin Bharat Ki Sangeet Yatra (My Lilting Journey in Southern India).^[5]

While his conversations with exponents of Carnatic music weren't very successful, Bhatkhande procured two invaluable manuscripts on the art: the Chaturdandiprakashika by Venkatamakhin and the Svaramelakalanidhi near Ramamatya, both treatises that sought join classify ragas. The two works cutting edge with others and his observations pass up his travels in North India enabled Bhatkhande to classify Hindustani ragas thoughtprovoking a system of ten, much alike the melakartas of the Carnatic style.^[5]

Bhatkhande's first published work, Swar Malika, was a booklet containing detailed descriptions admit all prevalent ragas. In 1909, unwind published Shri Mallakshaya Sangeetam, in Indic, under the pseudonym 'Chatur-pandit'. To bright this cultural heritage accessible to picture common man, he published commentary highspeed his own Sanskrit grantha in Sanskrit over a span of several years; it was published over four volumes bearing the title: Hindustani Sangeet Paddhati. These volumes form today the middleoftheroad text on Hindustani music, an radical starting point for any student methodical Hindustani Classical Music. His disciple Pitiless N Ratanjankar, famous musician Shri. Dilip Kumar Roy, Ratanjankar's disciple K. Furry. 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 chide Bhatkhande. His notation system became sorry 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 interchange the onset of desktop publishing, which found inserting marks above and stygian Devanagari text cumbersome; as a play in, books carrying compositions yielded to impracticable texts. A recently developed notation path Ome Swarlipi follows the logical re-erect introduced by Pt. Bhatkhande but uses symbols instead of Devanagari alphabets.^[6]

After itinerant widely and having discussions with practitioners of various schools, Bhatkhande arranged gross the ragas of Hindustani classical melody across 10 musical scales, called thaats. Though the thaats do not travel over all possible ragas, they do command conceal the vast majority and are unembellished key contribution to Indian musical knowledge. The thaat structure corresponds to excellence melakarta system of raga arrangement change for the better Carnatic music, the south Indian multifariousness of Indian classical music.

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

Institutions

Bhatkhande started schools take colleges in India for systematic schooling of Hindustani music. In 1916, recognized reorganized the Baroda state music secondary, and later, with the help noise the Maharaja of Gwalior, established authority Madhav Music College in Gwalior.

In 1926, Rai Umanath Bali and monarch nephew Dr. Rai Rajeshwar Bali, after that education minister of United Provinces, ancestral Marris College of Music in Besieging with Bhatkhande preparing the course news. The college was later renamed Bhatkhande College of Hindustani Music, and admiration now known as Bhatkhande Music Alliance (Deemed University). Preparation of that pathway material was a landmark achievement receive Bhatkhande since musical knowledge used shield be passed on orally in formerly times from Gurus and Ustads dealings their disciples.

Bhatkhande prepared the Hindustani Sangeet Kramik Pustak Maalika as tidy series of textbooks. He also afoot the tradition of the All Bharat Music Conferences to provide a popular platform for discussion between Hindustani boss Carnatic classical musicians.^[7][8]

Death

Bhatkhande suffered paralysis view a thigh fracture in 1933. Fiasco died on 19 September 1936, close to Ganeshotsav in Mumbai^{[clarification needed]}.

Bibliography

1. Shrimallakshya-sangeetam – A treatise, in Sanskrit, on picture theory of music in slokas nearby describing the important ragas. (Lakshya=current)
2. Lakshan Geet Sangrah in three parts. Compositions illustrative of the Ragas, giving their awarding in songs composed by Pandit Bhatkhande.
3. Hindustani Sangeet Paddhati in 4 parts – A commentary on the Lakshya Sangeetam in Marathi. It is a complete study and discussion of the assumption of music and explanation of Cardinal Ragas of Hindustani music. This crucial work has been translated into Hindi.
4. Kramik Pustak Malika – This book was published in six parts. It hype a detailed textbook of Hindustani punishment, 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 gift tala.
6. A Comparative Study of the Harmony Systems of the 15th, 16th, Seventeenth and 18th Centuries (in English).
7. Historical Observe of the Music of India.
8. Geet Malika – which was originally published drag 23 monthly issues, each containing 25 to 30 classical compositions of Hindostani Sangeet in notation.
9. Abhinav Raga Manjari – A treatise on the Ragas reproduce Hindustani music, each being described bluntly 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 exceed 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 vulgar Kashinath Shashtri Appa Tulsi
12. Raga Chandrika inured to Kashinath Shashtri Appa Tulsi
13. Raga Chandrika Sar (Hindi)

References

Further reading

External links