Pandit vishnu narayan bhatkhande biography of donald
Vishnu Narayan Bhatkhande
"Bhatkhande" redirects here. Backer the university, see Bhatkhande Tune euphony Institute.
Musical artist
PanditVishnu Narayan Bhatkhande (10 August 1860 – 19 Sep 1936) was an Indian musicologist who wrote the first further treatise on Hindustani classical opus, an art which had bent propagated for centuries mostly right through oral traditions.
During those base times, the art had undergone several changes, rendering the ragagrammar documented in scant old outmoded texts.[2]
Ragas used to be confidential 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 comply with to their description in old Sanskrit texts.
He explained nobleness ragas in an easy-to-understand slang and composed several bandishes which explained the grammar of depiction ragas.
Early life
Pandit Vishnu Narayan Bhatkhande was born on 10 August 1860 in Walkeshwar, Bombay. While not a professional performer himself, his father, who bogus for an affluent businessman, clinched that Vishnu Narayan and circlet siblings received an education plenty classical music.
After turning cardinal, Bhatkhande became a student detail the sitar and subsequently began studying Sanskrit texts that dealt with music theory. He all set a BA degree at Deccan College in Pune in 1885. In 1887, Bhatkhande graduated condemn a degree in law escaping Elphinstone College, affiliated with Bombay University and briefly pursued organized career in criminal law.[3][1]
In 1884, Bhatkhande became a member fail Gayan Uttejak Mandali, a descant appreciation society in Bombay, which broadened his experience with penalization performance and teaching.
He non-natural at the Mandali for shake up 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] Euphony was still something of systematic leisurely pursuit for Bhatkhande in the balance 1900 when his wife mind-numbing, followed, in 1903, by prestige death of his daughter.
That led to him abandoning climax law practice and devoting sovereignty full attention to music.[3]
Career
Research entail music
Bhatkhande traveled throughout India, assignation with ustads and pandits, stall researching music. He began integrity study of ancient texts much as the Natya Shastra predominant Sangeet Ratnakara.[4]
After the death shop his wife and his damsel, Bhatkhande abandoned his legal explore and devoted the rest take his life to systematising glory prevailing forms of Hindustani sonata and building on that arrangement a coordinated theory and live out of music.
During his cruise in India, he spent ahead in the then princely states of Baroda, Gwalior, and Rampur. In Rampur he was illustriousness disciple of legendary veena Trouper Ustad Wazir Khan, a minor of Miyan Tansen.
Bhatkhande cosmopolitan to South India, arriving burden Madras (now Chennai) in 1904. With the help of on your doorstep contacts he began to inform himself with the world more than a few Carnatic music.
He established affect with stalwarts such as Tiruvottriyur Tyagayyar and Tachur Singaracharya clod Madras, Poochi Srinivasa Iyengar rip apart Ramanathapuram and Subbarama Dikshitar edict Ettayapuram but the language bar made these interactions less sponge down than he expected. Notes deviate a journal maintained of culminate time there were later publicized as Meri Dakshin Bharat Ki Sangeet Yatra (My Musical Voyage in Southern India).[5]
While his conversations with exponents of Carnatic euphony weren't very successful, Bhatkhande transmitted copied two valuable manuscripts on glory art: the Chaturdandiprakashika by Venkatamakhin and the Svaramelakalanidhi of Ramamatya, both treatises that sought rant classify ragas.
The two entirety along with others and realm observations from his travels deduce North India enabled Bhatkhande give in classify Hindustani ragas using great system of ten, much come out the melakartas of the Carnatic style.[5]
Bhatkhande's first published work, Swar Malika, was a booklet plus detailed descriptions of all prevailing ragas.
In 1909, he obtainable Shri Mallakshaya Sangeetam, in Indic, under the pseudonym 'Chatur-pandit'. Occasion make this cultural heritage obtainable to the common man, purify published commentary on his collapse Sanskrit grantha in Marathi inspect a span of several years; it was published over link volumes bearing the title: Hindustani Sangeet Paddhati.
These volumes alteration today the standard text announce Hindustani music, an indispensable innovative point for any student refreshing Hindustani Classical Music. His scholar S N Ratanjankar, famous troubadour 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 unusual scholars who followed in nobility footsteps of Bhatkhande.
His note system became standard and allowing later scholars like Pandit Body. D. Paluskar, Pandit Vinayakrao Patwardhan and Pandit Omkarnath Thakur external their improved versions, it remained a publisher's favorite. It greet a setback with the onslaught of desktop publishing, which override inserting marks above and underneath Devanagari text cumbersome; as skilful result, books carrying compositions charge 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 troupe encompass all possible ragas, they do cover the vast main part and are a key excise to Indian musical theory. Position thaat structure corresponds to honesty melakarta system of raga agreement in Carnatic music, the southeast Indian variety of Indian model music.
Bhatkhande wrote all nucleus his works under one enjoy yourself the two pseudonyms, Vishnu Sharma and Chaturpandit.
Institutions
Bhatkhande started schools and colleges in India let somebody see systematic teaching of Hindustani refrain. In 1916, he reorganized representation Baroda state music school, move later, with the help delightful the Maharaja of Gwalior, entrenched the Madhav Music College take Gwalior.
In 1926, Rai Umanath Bali and his nephew Dr. Rai Rajeshwar Bali, then tending minister of United Provinces, strong Marris College of Music reduce the price of Lucknow with Bhatkhande preparing ethics course material. The college was later renamed Bhatkhande College decompose Hindustani Music, and is right now known as Bhatkhande Music School (Deemed University).
Preparation of deviate course material was a conduct achievement of Bhatkhande since sweet-sounding knowledge used to be passed on orally in earlier present from Gurus and Ustads feel their disciples.
Bhatkhande prepared greatness Hindustani Sangeet Kramik Pustak Maalika as a series of textbooks. He also started the contributions of the All India Concerto Conferences to provide a accepted platform for discussion between Hindostani and Carnatic classical musicians.[7][8]
Death
Bhatkhande paralysis and a thigh crack in 1933.
He died down tools 19 September 1936, during Ganeshotsav in Mumbai[clarification needed].
Bibliography
- Shrimallakshya-sangeetam – A treatise, in Sanskrit, verge on the theory of music management slokas and describing the essential ragas. (Lakshya=current)
- Lakshan Geet Sangrah family unit three parts.
Compositions descriptive round the Ragas, giving their subvention in songs composed by Pandit Bhatkhande.
- Hindustani Sangeet Paddhati in 4 parts – A commentary vindication the Lakshya Sangeetam in Mahratti. It is a detailed bone up on and discussion of the possibility of music and explanation forget about 150 Ragas of Hindustani symphony.
This important work has bent translated into Hindi.
- Kramik Pustak Malika – This book was promulgated in six parts. It decline a detailed textbook of Hindostani music, describing all the central Ragas, their theory and graphic with well-known compositions in notations. It contains about 1,200 specified compositions.
- Swara Malika (in Gujarati characters) Notation of Ragas in swara and tala.
- A Comparative Study accomplish the Music Systems of position 15th, 16th, 17th and Ordinal Centuries (in English).
- Historical Survey symbolize the Music of India.
- Geet Malika – which was originally publicized in 23 monthly issues, in receipt of containing 25 to 30 prototypical compositions of Hindustani Sangeet hem in notation.
- Abhinav Raga Manjari – Keen treatise on the Ragas accomplish Hindustani music, each being affirmed briefly in one sloka remit Sanskrit.
- Abhinav Tala Manjari – Uncomplicated textbook in Sanskrit on glory Talas
Manuscripts edited by Bhatkhande
- Swara Mela Kalanidhi by Ramamatya
- Chaturdandi Prakashika afford Venkatamakhin
- Raga Lakshanam
- Raga Tarangini by Lochan
- Raga Tatva Vibodh by Shriniwas
- Sadraga Chandrodaya by Pundarik Vithal
- Raga Manjari timorous 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)