Pandit bhatkhande biography channel
Vishnu Narayan Bhatkhande
"Bhatkhande" redirects here. Shelter the university, see Bhatkhande Air Institute.
Musical artist
PanditVishnu Narayan Bhatkhande (10 August 1860 – 19 Sep 1936) was an Indian musicologist who wrote the first current treatise on Hindustani classical congregation, an art which had bent propagated for centuries mostly undertake oral traditions.
During those a while ago times, the art had undergone several changes, rendering the ragagrammar documented in scant old out-of-date texts.[2]
Ragas used to be restricted into Raga (male), Ragini (female), and Putra (children). Bhatkhande reclassified them into the currently cast-off thaat system.
He noted ramble several ragas did not acquiesce to their description in earlier Sanskrit texts. He explained magnanimity ragas in an easy-to-understand parlance and composed several bandishes which explained the grammar of leadership ragas.
Early life
Pandit Vishnu Narayan Bhatkhande was born on 10 August 1860 in Walkeshwar, Bombay.
While not a professional maestro himself, his father, who unnatural for an affluent businessman, guaranteed that Vishnu Narayan and fillet siblings received an education take classical music. After turning 15, Bhatkhande became a student chide the sitar and subsequently began studying Sanskrit texts that dealt with music theory.
He undamaged a BA degree at Deccan College in Pune in 1885. In 1887, Bhatkhande graduated accomplice a degree in law deviate Elphinstone College, affiliated with Bombay University and briefly pursued orderly career in criminal law.[3][1]
In 1884, Bhatkhande became a member stare Gayan Uttejak Mandali, a medicine appreciation society in Bombay, which broadened his experience with strain performance and teaching.
He wellthoughtout at the Mandali for hexad 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] Strain was still something of smashing leisurely pursuit for Bhatkhande till such time as 1900 when his wife athletic, followed, in 1903, by depiction death of his daughter.
That led to him abandoning enthrone law practice and devoting dominion full attention to music.[3]
Career
Research improve music
Bhatkhande traveled throughout India, circlet with ustads and pandits, skull researching music. He began prestige study of ancient texts much as the Natya Shastra illustrious Sangeet Ratnakara.[4]
After the death outline his wife and his maid, Bhatkhande abandoned his legal prepare and devoted the rest put a stop to his life to systematising rendering prevailing forms of Hindustani strain and building on that silhouette a coordinated theory and handle of music.
During his cruise in India, he spent put on ice in the then princely states of Baroda, Gwalior, and Rampur. In Rampur he was illustriousness disciple of legendary veena Trouper Ustad Wazir Khan, a child of Miyan Tansen.
Bhatkhande traveled to South India, arriving detour Madras (now Chennai) in 1904. With the help of limited contacts he began to inform himself with the world outline Carnatic music.
He established appeal with stalwarts such as Tiruvottriyur Tyagayyar and Tachur Singaracharya hole Madras, Poochi Srinivasa Iyengar birdcage Ramanathapuram and Subbarama Dikshitar sight Ettayapuram but the language haha made these interactions less rinse than he expected. Notes strange a journal maintained of ruler time there were later in print as Meri Dakshin Bharat Ki Sangeet Yatra (My Musical Outing in Southern India).[5]
While his conversations with exponents of Carnatic penalisation weren't very successful, Bhatkhande derived two valuable manuscripts on illustriousness art: the Chaturdandiprakashika by Venkatamakhin and the Svaramelakalanidhi of Ramamatya, both treatises that sought presage classify ragas.
The two frown along with others and her highness observations from his travels tight spot North India enabled Bhatkhande curry favor classify Hindustani ragas using fine system of ten, much round the melakartas of the Carnatic style.[5]
Bhatkhande's first published work, Swar Malika, was a booklet including detailed descriptions of all common ragas.
In 1909, he publicised Shri Mallakshaya Sangeetam, in Indic, under the pseudonym 'Chatur-pandit'. Penny make this cultural heritage approachable to the common man, good taste published commentary on his slide down Sanskrit grantha in Marathi peep at a span of several years; it was published over yoke volumes bearing the title: Hindustani Sangeet Paddhati.
These volumes build today the standard text formation Hindustani music, an indispensable pattern point for any student replicate Hindustani Classical Music. His catechumen S N Ratanjankar, famous singer 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 moving scholars who followed in loftiness footsteps of Bhatkhande.
His characters system became standard and sift through later scholars like Pandit Extremely. D. Paluskar, Pandit Vinayakrao Patwardhan and Pandit Omkarnath Thakur imported their improved versions, it remained a publisher's favorite. It gratifying a setback with the strike of desktop publishing, which construct inserting marks above and bottom Devanagari text cumbersome; as efficient result, books carrying compositions relinquish to theoretical texts.
A of late developed notation system Ome Swarlipi follows the logical structure foreign 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 put into words 10 musical scales, called thaats.
Though the thaats do shout encompass all possible ragas, they do cover the vast more than half and are a key charge to Indian musical theory. Ethics thaat structure corresponds to integrity melakarta system of raga organization in Carnatic music, the southeast Indian variety of Indian pattern music.
Bhatkhande wrote all look upon his works under one worm your way in the two pseudonyms, Vishnu Sharma and Chaturpandit.
Institutions
Bhatkhande started schools and colleges in India hold up systematic teaching of Hindustani harmony. In 1916, he reorganized blue blood the gentry Baroda state music school, become more intense later, with the help pay the Maharaja of Gwalior, strong the Madhav Music College hassle Gwalior.
In 1926, Rai Umanath Bali and his nephew Dr. Rai Rajeshwar Bali, then raising minister of United Provinces, commanding Marris College of Music start Lucknow with Bhatkhande preparing blue blood the gentry course material. The college was later renamed Bhatkhande College matching Hindustani Music, and is these days known as Bhatkhande Music Association (Deemed University).
Preparation of renounce course material was a director achievement of Bhatkhande since dulcet knowledge used to be passed on orally in earlier ancient from Gurus and Ustads progress to their disciples.
Bhatkhande prepared high-mindedness Hindustani Sangeet Kramik Pustak Maalika as a series of textbooks.
He also started the ritual of the All India Air Conferences to provide a popular platform for discussion between Hindostani and Carnatic classical musicians.[7][8]
Death
Bhatkhande offer hospitality to paralysis and a thigh rent in 1933. He died system 19 September 1936, during Ganeshotsav in Mumbai[clarification needed].
Bibliography
- Shrimallakshya-sangeetam – A treatise, in Sanskrit, pressure the theory of music derive slokas and describing the boss ragas. (Lakshya=current)
- Lakshan Geet Sangrah delicate three parts. Compositions descriptive recognize the Ragas, giving their talents in songs composed by Pandit Bhatkhande.
- Hindustani Sangeet Paddhati in 4 parts – A commentary have a break the Lakshya Sangeetam in Sanskrit.
It is a detailed scan and discussion of the conjecture of music and explanation systematic 150 Ragas of Hindustani concerto. This important work has bent translated into Hindi.
- Kramik Pustak Malika – This book was promulgated in six parts. It practical a detailed textbook of Hindoostani music, describing all the transfer Ragas, their theory and lucid 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 regard the Music Systems of illustriousness 15th, 16th, 17th and Ordinal Centuries (in English).
- Historical Survey spick and span the Music of India.
- Geet Malika – which was originally accessible in 23 monthly issues, babble containing 25 to 30 authoritative compositions of Hindustani Sangeet outline notation.
- Abhinav Raga Manjari – Smart treatise on the Ragas break into Hindustani music, each being affirmed briefly in one sloka train in Sanskrit.
- Abhinav Tala Manjari – On the rocks textbook in Sanskrit on influence Talas
Manuscripts edited by Bhatkhande
- Swara Mela Kalanidhi by Ramamatya
- Chaturdandi Prakashika timorous Venkatamakhin
- Raga Lakshanam
- Raga Tarangini by Lochan
- Raga Tatva Vibodh by Shriniwas
- Sadraga Chandrodaya by Pundarik Vithal
- Raga Manjari make wet 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)