SOME INTERESTING FACTS ABOUT INDIAN MUSIC

 

SOME INTERESTING FACTS ABOUT INDIAN MUSIC

 

It is said that……..

 

At approximately 4500 BC Indian musical notes were only 3. They were called (sung) as “Aarchik” (आर्चिक), “Geetik” (गीतिक) or “Gaathik” (गाथिक) and “Saamik” (सामिक)

 

During 2500 -1400 BC this number increased and the added notes were named as “Swaraantar” स्वरान्तर, “Odava” ओडव, “Shaadav” षाडव  and “Sampoorna” सम्पूर्ण

 

“ Ma Ga Re Sa Ni Dha Pa” was the way of singnig. It was “Maargi Sangeet” based on “Saam Gayan”.

 

During 1500 – 500 BC “Graam Gana” was popular and the Ragas like “Haripriya”, “Kamboji” and “Bhairav” took their shape.

 

The musical path followed was based on “Naaradi Shiksha”.

 

Cronologically, after “Saam Gayan” the styles followed were -

“Gaandharva Gaan”

“Maargi Gaan” and then

“Desi”

 

The earlier authors were -

Bharat, Kohal, Dattil and Naarad.

(At different times there were different Naarads, since the texts owed to them are written at different periods.)

 

The earlier texts were –

Naatya Shastra, Sangeet Meru, Dattilam, Naaradi Shiksha, Naaradeeyam, Swararnava and Naarad Samhita.

It was during 9^th century AD, Matang established “SHADJA GRAAM” and “MADHYAM GRAAM” in the text Brihaddesi.  In 11^th century AD, the text Sangeet Makarand was written and 6 ‘male’ Ragas, their ‘spouses’, and their ‘children’ Ragas were elaborated in it. The author was Naarad 2, who found out 93 Ragas.

During 11^th to 13^th centuries some more important texts were published. They were –

Sangeet Samayasaar by Paarshvadeva, Sangeet Saar by Vidyaranya and Sangeet Ratnaakar by Sharangdeva.

In 1550 Rama Amatya wrote Swaramela Kalanidhi and he established “Mukhari” as Shudh Mela. During this period the texts published were –

Sangeet Darpan, Raga Tarangini, Raga Vibodh and Sangeet Sudha. Sangeet Sudha was written in 17^th century by Govind Dixit, the father of celebrated Pandit Venkatmakhi.

“Janak-Janya theory was established during this time. Venkatmakhi is known for his book Chaturdandi Prakashika and 10 main points he mentioned in that are –

Veena, Shruti, Swar, Mela, Raga, Aalap, Thaay, Geet, Prabandh and Taal. He also elaborated Shadja and Madhyama Graam.

The next important text during the 18^th century was Sangeet Saraamrit by Raja Tulajaji Bhosle (1729-35). He explained about Naad, Shruti, Swar, Graam, Jaati, Taan, Raga, Geeti, Vadya, Prabandh, Taal and Natya.

 

Graam-Moorchhana-Jaati was the system of elaboration during ancient times. Then Raga-Ragini was a popular way to describe the Ragas. There were four accepted principles known as Shiv Mat, Bharat Mat, Kallinath Mat and Hanumat Mat. Raga, Ragini, Putra and Putravadhu system was the most accepted theory of classification.

 

The trinity of Carnatic music is

Pandit Shyamashastri (1762-1827)

Pandit Thyagaraj (1767-1847)

Pandit Muthuswami Dixit (1776-1835)

 

How was Carnatic music before the trinity?

 “Graam Geya Gaan” (For the common people)

“Aranya Geya Gaan” (For the people in the hermitage, forest dwellers)

 “Utta Gaan (Deep music) (For the Yagnas)

 

Carnatic music from 8^th century

 The most notable personalities from this period are –

 Nayanmaar Alwars, Narayan Teerth, Sadashiv Brahmendra, Purandardas, Haridas,, Annammacharya (1408-1503), Bhadrachala Ramdas, Guru Shanta Kopayati (36000 poems), Haridasas – Narahari Teerth, Shripadraj, Vyasaraj, Vaadiraj

Kanakdas, Vijayadas, Gopaldas, Jagannathdas (1484-1564), Vyasaraya’s Shishya.

Kshetradnya (17^th century, Bhakti), (14200 Telugu composotions), Narayan Teerth (16^th or 17^th century Shrikrishna Leela Tarangini), Bhadrachala Ramdas (17^th century, impression of Kabir), Sadashiv Brahmendra (17^th century), Param Shivendra Saraswati, the Shishya of the Shankaracharya of Kanchi.

When we talk of modern musicians, theorists and scientists, there are some most important names to be mentioned.

Muthuswamy Dixit lived in Benares. Born and raised in the south, he learnt and then absorbed Hindustani Ragas Hamir Kalyani, Yamuna Kalyani, Vrindavan Sarang, Dvijavanti etc. into Carnatic style. Behag, Desh, Piloo, Madhuvanti, Darbari Kanhada, Dhanshri, Tilang Ragas got their place in Carnatic music from the north by his contribution.

Muthuthandavara (1560-1640), Marumutha Pillai (1712-1787), Arunachal Kaviyar (1711-1778), Otukadu Venkat Kavi (early 18^th century), Pichimiriyam Adiyappa (17^th or 18^th century), Pallavi Gopal Aiyar (17 or 18^th), Matrubhutayya (18^th century), Margadarshi Shesh Aiyangar (17^th century), Ghanam Simayya (1659-1682), Griraj Kavi (1684-1710), Ramaswamy Dixitar, Papavinas Mudliar (18^th century), Margadarshi Veerabhadrayya (1741-65), Vijaya Gopal Swami, Mertur Venkat Raman Sastri, Swathi Thirunal are some of the well known names.

 Recent noted composers were Vidwan Lalgudi Jairaman and 

Vidwan Bala Murali Krishna.