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110-818: Ustad Abdul Wahid Khan (1871–1949) was an Indian subcontinental singer from the Kirana gharana . He died in 1949 in Saharanpur , India. Ustad Abdul Wahid Khan was born in Kirana , Uttar Pradesh in 1871. The town of Kirana was home to many families of musicians from the Mughal court, who migrated from Delhi after the Mughal Empire fell in 1857. Kirana gharana's three disciplines are rudraveena , sarangi and vocals. Ustad Abdul Wahid Khan initially learned vocal and sarangi from his father, Ustad Abdul Majid Khan. Around age 12, he moved to Kolhapur to learn from Ustad Langde Haider Baksh Khan,

220-602: A matra (beat, and duration between beats). A raga is a central concept of Indian music, predominant in its expression. According to Walter Kaufmann, though a remarkable and prominent feature of Indian music, a definition of raga cannot be offered in one or two sentences. Raga may be roughly described as a musical entity that includes note intonation, relative duration and order, in a manner similar to how words flexibly form phrases to create an atmosphere of expression. In some cases, certain rules are considered obligatory, in others optional. The raga allows flexibility, where

330-452: A tala in Indian music covers "the whole subject of musical meter". Indian music is composed and performed in a metrical framework, a structure of beats that is a tala . A tala measures musical time in Indian music. However, it does not imply a regular repeating accent pattern, instead its hierarchical arrangement depends on how the musical piece is supposed to be performed. The tala forms

440-527: A Mardala servitor. This was known as the 'Madeli Seba' and the percussionist was ritually initiated into the temple by the Gajapati ruler. The Mardala used to be the accompanying instrument to the Mahari dance, the ancestor of present-day Odissi dance , one of the major classical dance forms of India. In hundreds of Kalingan temples across the state of Odisha, including famous shrines such as Mukteswara and Konarka ,

550-535: A certain sequencing of how the musician moves from note to note for each raga , in order for the performance to create a rasa (mood, atmosphere, essence, inner feeling) that is unique to each raga . A raga can be written on a scale. Theoretically, thousands of raga are possible given 5 or more notes, but in practical use, the classical Indian tradition has refined and typically relies on several hundred. For most artists, their basic perfected repertoire has some forty to fifty ragas . Raga in Indian classical music

660-556: A characteristic swing that is typical of and universally found in Odissi music. The Mardala is intimately associated with the Jagannatha temple and thus has a very esteemed position in the culture of Odisha. Many Gurus have worked for carrying forward the legacy of the instrument. Adiguru Singhari Shyamsundar Kar , Guru Banamali Maharana , Guru Kelucharan Mahapatra , Guru Padmanabha Panda, Guru Basudeba Khuntia, and Guru Mahadev Rout were among

770-681: A different way than Carnatic music. Hindustani music style is mainly found in North India , Pakistan and Bangladesh. Prior to the Taliban's ban on music, it also had a strong presence in Afghanistan. It exists in four major forms: Dhrupad , Khyal (or Khayal), Tarana , and the semi-classical Thumri . Dhrupad is ancient, Khyal evolved from it, Thumri evolved from Khyal. There are three major schools of Thumri: Lucknow gharana, Banaras gharana and Punjabi gharana. These weave in folk music innovations. Tappa

880-546: A disciple of Mian Bande Ali Khan, a famous master of veena and vocal music. Ustad Abdul Wahid Khan founded the Kirana gharana musical family with his cousin Ustad Abdul Karim Khan in the late 19th century. Ustad Abdul Karim Khan had married Ustad Abdul Wahid Khan's sister, Ghafooran Bibi. The relationship between Abdul Wahid Khan and Abdul Karim Khan later soured when Abdul Karim neglected Ghafooran Bibi and married his student, Tarabai Mane. Abdul Wahid Khan's hearing

990-496: A distinct genre of art, in a form equivalent to contemporary music. This likely occurred before the time of Yāska ( c.  500 BCE ), since he includes these terms in his nirukta studies, one of the six Vedanga of ancient Indian tradition. Some of the ancient texts of Hinduism such as the Samaveda ( c.  1000 BCE ) are structured entirely to melodic themes, it is sections of Rigveda set to music. The Samaveda

1100-482: A gentle goodbye, that are ideally mathematical fractions such as dagun (half), tigun (third) or chaugun (fourth). Sometimes a fifth stanza called Bhoga is included. Though usually related to philosophical or Bhakti (emotional devotion to a god or goddess) themes, some Dhrupads were composed to praise kings. Improvisation is of central importance to Hindustani music, and each gharana (school tradition) has developed its own techniques. At its core, it starts with

1210-459: A history spanning over two thousand years, authentic sangita-shastras or treatises, unique Ragas & Talas and a distinctive style of rendition. The various aspects of Odissi music include odissi prabandha, chaupadi, chhānda, champu, chautisa, janāna, mālasri, bhajana, sarimāna, jhulā, kuduka, koili, poi, boli, and more. Presentation dynamics are roughly classified into four: raganga, bhabanga, natyanga and dhrubapadanga. Some great composer-poets of

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1320-768: A live rendering, which went viral on the internet; further establishing the growing prominence of Indian Classical Music around the globe. Sangeet Natak Akademi , is an Indian national-level academy for performance arts . It awards the Sangeet Natak Akademi Award , the highest Indian recognition given to people in the field of performance arts. Odissi music The various aspects of Odissi music include Odissi prabandha, Chaupadi, Chhanda, Champu , chautisā , janāna, Mālasri, Bhajana, Sarimāna, Jhulā, Kuduka, Koili, Poi, Boli, and more. Presentation dynamics are roughly classified into four: raganga , bhabanga, natyanga and dhrubapadanga . Some great composer-poets of

1430-534: A much larger role in Carnatic concerts than in Hindustani concerts. Today's typical concert structure was put in place by the vocalist Ariyakudi Ramanuja Iyengar . The opening piece is called a varnam , and is a warm-up for the musicians. A devotion and a request for a blessing follows, then a series of interchanges between ragams (unmetered melody) and Tanam (the ornamentation within a melorhythmic cycle, equivalent to

1540-516: A part of the Qajar court in Tehran , an interaction that continued through the 20th century with import of Indian musical instruments in cities such as Herat near Afghanistan-Iran border. Odissi music is a distinct type of Classical music of Eastern India. This music is sung during performance of classical Odissi dance . The traditional ritual music for the service of Lord Jagannatha , Odissi music has

1650-440: A proportional tempo ( sama sangita ) that is very soothing. Though there has been cross-cultural influence between Hindustani music and Persian music, Odissi music has remained relatively unaffected. The Mardala is a percussive instrument native to the state of Odisha. It is traditionally used as the primary percussive instrument with Odissi music. The Mardala is different from other instruments that might have similar names in

1760-890: A radio broadcast in 1947, 2 years before his death, to document Khan's style. "Although a youthful prodigy of the Kolhapur court, remaining unchallenged after his public debut there at age 18, Ustad Abdul Wahid Khan had no inclination to spend time singing in the courts. Instead he lived a devout, reclusive life, singing in the presence of holy men and at the tombs of Sufi saints and only occasionally sang in public." Ustad Abdul Wahid Khan died as an Indian national in 1949 in Saharanpur . Ustad Abdul Wahid Khan's students included Pandit Jaichand Bhatt (Khyal Singer), Sureshbabu Mane , Hirabai Barodekar , Begum Akhtar , Saraswatibai Rane, Pran Nath , Sukhdev Prasad, Ram Narayan , and Mohammed Rafi . See: List of music students by teacher: K to M#Abdul Wahid Khan . Ustad Abdul Wahid Khan's greatest contribution

1870-419: A solo instrument has been presented for the last few decades with great success, apart from its better-known role as an accompaniment in the ensemble for Odissi music and dance. The solo performances follow a specific rule or pranali  : starting with a jamana , then proceeding onto chhanda prakarana , ragada , etc. Guru Dhaneswar Swain is known for his pioneering efforts to promote solo performances of

1980-467: A standard composition (bandish), then expands it in a process called vistar . The improvisation methods have ancient roots, and one of the more common techniques is called Alap , which is followed by the Jor and Jhala . The Alap explores possible tonal combinations among other things, Jor explores speed or tempo (faster), while Jhala explores complex combinations like a fishnet of strokes while keeping

2090-485: A stylistic classification, based on unique features of the regional styles that were distinctive enough in Bharata's time. The four pravrittis mentioned are Avanti, Dakshinatya, Panchali and Odramagadhi (or Udramagadhi ). Odra is an ancient name of Odisha. Parts of ancient Kalinga , Kangoda , Dakhina Kosala, Tosali , Matsya Desa , Udra now constitute the state of Odisha. The classical music that prevailed in these regions

2200-488: Is teental . In the two major systems of classical Indian music, the first count of any tala is called sam . Instruments typically used in Hindustani music include the sitar , sarod , surbahar , esraj , veena , tanpura , bansuri , shehnai , sarangi , violin , santoor , pakhavaj and tabla . Instruments typically used in Carnatic music include veena , venu , gottuvadyam , harmonium , mridangam , kanjira , ghatam , nadaswaram and violin . Players of

2310-606: Is designed such that any musical recital inside is amplified by the acoustics of the cave. In the temples of Odisha, oldest among them dating to the 6th century AD, such as Parasuramesvara , Muktesvara , Lingaraja and Konarka , there are hundreds of sculptures depicting musical performances and dancing postures. Bharata's Natya Shastra is the most respected ancient treatise on Indian music & dance. Bharata in his seminal work has mentioned four different 'pravrittis' of natya (which includes both music & dance). The classification into pravritti s can be roughly said to be

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2420-412: Is intimately related to tala or guidance about "division of time", with each unit called a matra (beat, and duration between beats). A raga is not a tune, because the same raga can yield a very large number of tunes. A raga is not a scale, because many ragas can be based on the same scale. A raga , states Bruno Nettl and other music scholars, is a concept similar to mode, something between

2530-680: Is known that at least from the 14th century onwards, there was a continuous tradition of musicology in the state. Many of the texts have been critically edited and published by the Odisha Sangeet Natak Akademi and the Department of Culture, Odisha. Of these, the core texts of Odissi music are: Jayadeva , the 12th century Sanskrit saint-poet, the great composer and illustrious master of classical music, has immense contribution to Odissi music. During his time Odra-Magadhi style music got shaped and achieved its classical status. He indicated

2640-423: Is nearly a millennium old, there are several ancient musical treatises produced in the state of Odisha for several centuries, there are unique ragas and a distinctive manner of rendition. Pani further argues : From the discussions above, it is evident that Odissi music is a distinctive shastric (classical) system. Again, it is now accepted that Odissi dance is undoubtedly a shastric style. Undoubtedly, music

2750-510: Is one of the classical dances of India from the state of Odisha; it is performed with Odissi music. Odissi music is intimately and inextricably associated with the Jagannatha temple of Puri. The deity of Jagannatha is at the heart of Odisha's culture, and Odissi music was originally the music offered as a sevā or service to Jagannatha. Every night during the Badasinghara or the last ritual of

2860-468: Is organized into two formats. One part is based on the musical meter , another by the aim of the rituals. The text is written with embedded coding, where swaras ( octave notes) are either shown above or within the text, or the verse is written into parvans (knot or member); in simple words, this embedded code of swaras is like the skeleton of the song. The swaras have about 12 different forms and different combinations of these swaras are made to sit under

2970-456: Is sung through Raganga, Bhabanga and Natyanga, Dhrubapadanga followed by Champu, Chhanda, Chautisa, Pallabi , Bhajana , Janana, and Gita Govinda . Odissi music has codified grammars, which are presented with specified Raagas. It has also a distinctive rendition style. It is lyrical in its movement with wave-like ornamentation ( gati andolita ). The pace of singing in Odissi is not very fast nor too slow ( na druta na bilambita ), and it maintains

3080-535: Is the ancient Indian classical music that became distinct after Hindustani music was established. It is dated back to ancient periods, but was only distinct after Hindustani music was established. Purandara Dasa (1484–1564) was a Hindu composer and musicologist who lived in Hampi of the Vijayanagara Empire . He is considered Pithamaha (literally, "great father or grandfather") of the Carnatic music. Purandara Dasa

3190-523: Is the lack of "strong, weak" beat composition typical of the traditional European meter. In classical Indian traditions, the tala is not restricted to permutations of strong and weak beats, but its flexibility permits the accent of a beat to be decided by the shape of musical phrase. The most widely used tala in the South Indian system is adi tala . In the North Indian system, the most common tala

3300-427: Is the life breath of dance. Therefore, it will not be logical to say that the body, that is the Odissi dance, is shastric , but its life, that is, the music, is not shastric . Other scholars such as Pandit Dr. Damodar Hota and Professor Ramhari Das have raised concerns over the apathy of the government & resultant lack of patronage towards preservation and popularisation of classical music traditions other than

3410-615: Is the most folksy, one which likely existed in Rajasthan and Punjab region before it was systematized and integrated into classical music structure. It became popular, with the Bengali musicians developing their own Tappa. Khyal is the modern form of Hindustani music, and the term literally means "imagination". It is significant because it was the template for Sufi musicians among the Islamic community of India , and Qawwals sang their folk songs in

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3520-482: Is the padi, which consists of words to be sung in Druta Tala (fast beat). Odissi music can be sung to different talas : Navatala (nine beats), Dashatala (ten beats) or Egaratala (eleven beats). Odissi ragas are different from the ragas of Hindustani and Karnataki classical music. The primary Odissi mela ragas are Kalyana, Nata, Sri, Gouri, Baradi, Panchama, Dhanasri, Karnata, Bhairabi and Sokabaradi . Some of

3630-527: Is unclear when the process of differentiation of Hindustani music started. The process may have started in the 14th century courts of the Delhi Sultans. However, according to Jairazbhoy, the North Indian tradition likely acquired its modern form after the 14th or after the 15th century. The development of Hindustani music reached a peak during the reign of Akbar . During this 16th century period, Tansen studied music and introduced musical innovations, for about

3740-517: The Mādalā Pānji and other official documents that describe the functioning of the temple. To this date, the Jagannatha temple remains the fountainhead of Odissi music and the most ancient & authentic compositions (including a few archaic Odia chhanda s and janana s by Jayadeva himself) survive in the temple tradition, although the Devadasis are no more found owing to their systematic eradication by

3850-527: The jor ). This is intermixed with hymns called krithis . The pallavi or theme from the raga then follows. Carnatic pieces also have notated lyrical poems that are reproduced as such, possibly with embellishments and treatments according to the performer's ideology, referred to as Manodharmam. Primary themes include worship, descriptions of temples, philosophy, and nayaka-nayika (Sanskrit "hero-heroine") themes. Tyagaraja (1759–1847), Muthuswami Dikshitar (1776–1827) and Syama Sastri (1762–1827) have been

3960-561: The Gana also implied singing. The Vedic Sanskrit musical tradition had spread widely in the Indian subcontinent, and according to Rowell, the ancient Tamil classics make it "abundantly clear that a cultivated musical tradition existed in South India as early as the last few pre-Christian centuries". The classic Sanskrit text Natya Shastra is at the foundation of the numerous classical music and dance traditions of India. Before Natyashastra

4070-507: The Hindustani music and the Carnatic music traditions. Indian classical music has two foundational elements, raga and tala . The raga , based on a varied repertoire of swara ( notes including microtones ), forms the fabric of a deeply intricate melodic structure, while the tala measures the time cycle . The raga gives an artist a palette to build the melody from sounds, while

4180-511: The Kalinga Empire extended all the way up to the river Kaveri and incorporated major parts of Karnataka . Gajapati Purusottama Deva of Odisha conquered Kanchi and married the princess. Some raagas specific to Odisha are "Desakhya", "Dhanasri", "Belabali", "Kamodi", "Baradi" etc. Additionally, some Odissi raagas bear the same names as Hindustani or Carnatic raagas, but have different note combinations. Furthermore, there are many raagas that have

4290-464: The Madala Panji . Apart from these three instruments, some other traditional accompanying instruments are the gini , karatāla , khola or mrudanga , jodināgarā , mahurī or mukhabīnā , jalataranga etc. At least since the 18th century, other instruments such as the violin ( behelā ) and Sitar have also been employed. The harmonium has become popular from the early twentieth century. While

4400-509: The Mardala . These form the three primary classes of instruments described in the shastras : tat or stringed, susira or wind and anaddha or percussive. All three instruments have been depicted in the stone temples & caves of Odisha built over the last two millennia. The three instruments were also officially appointed as sebāyatas in the Jagannatha Temple of Puri as described in

4510-494: The Sama Veda , Natya shastra (classic treatise on music theory, Gandharva), Dattilam , Brihaddesi (treatise on regional classical music forms), and Sangita Ratnakara (definitive text for Carnatic and Hindustani traditions). Most historic music theory texts have been by Hindu scholars. Some classical music texts were also composed by Buddhists and Jain scholars, and in 16th century by Muslim scholars. These are listed in

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4620-493: The equal-temperament tuning system. Also, unlike modern Western classical music, Indian classical music places great emphasis on improvisation. The underlying scale may have four , five , six or seven tones , called swaras (sometimes spelled as svaras ). The swara concept is found in the ancient Natya Shastra in Chapter 28. It calls the unit of tonal measurement or audible unit as Śhruti , with verse 28.21 introducing

4730-431: The raga and the tala are two foundational elements. The raga forms the fabric of a melodic structure, and the tala keeps the time cycle. Both raga and tala are open frameworks for creativity and allow a very large number of possibilities, however, the tradition considers a few hundred ragas and talas as basic. Raga is intimately related to tala or guidance about "division of time", with each unit called

4840-431: The tabla , a type of drum, usually keep the rhythm, an indicator of time in Hindustani music. Another common instrument is the stringed tanpura , which is played at a steady tone (a drone) throughout the performance of the raga, and which provides both a point of reference for the musician and a background against which the music stands out. The tuning of the tanpura depends on the raga being performed. The task of playing

4950-613: The tala provides them with a creative framework for rhythmic improvisation using time. In Indian classical music the space between the notes is often more important than the notes themselves, and it traditionally eschews Western classical concepts such as harmony , counterpoint , chords , or modulation . The root of music in ancient India are found in the Vedic literature of Hinduism. The earliest Indian thought combined three arts, syllabic recital ( vadya ), melos ( gita ) and dance ( nrtta ). As these fields developed, sangeeta became

5060-417: The 15th century. During the period of Mughal rule of the Indian subcontinent, the traditions separated and evolved into distinct forms. Hindustani music emphasizes improvisation and exploration of all aspects of a raga , while Carnatic performances tend to be short composition-based. However, the two systems continue to have more common features than differences. Another unique classical music tradition from

5170-480: The 16th century began the Carnatic style of Indian classical music. Carnatic music, from South India , tends to be more rhythmically intensive and structured than Hindustani music. Examples of this are the logical classification of ragas into melakartas , and the use of fixed compositions similar to Western classical music. Carnatic raga elaborations are generally much faster in tempo and shorter than their equivalents in Hindustani music. In addition, accompanists have

5280-720: The 1980s, 1990s and particularly the 2000s onwards, Indian Classical Music has seen rapid growth in reception and development around the globe, particularly in North America , where immigrant communities have preserved and passed on classical music traditions to subsequent generations through the establishment of local festivals and music schools. Numerous musicians of American origin, including Ramakrishnan Murthy , Sandeep Narayan, Pandit Vikash Maharaj, Abby V, and Mahesh Kale have taken professionally to Indian Classical Music with great success. In his 2020 released video, Canadian singer Abby V demonstrated 73 different Indian Classical ragas in

5390-538: The 3rd century, such as in the works of Chinese lyricist Li Yannian . In 1958, Ravi Shankar came to the US and started making albums. These started a 1960s penchant for Indian classical music in the States. By 1967 Shankar and other artists were performing at rock music festivals alongside Western rock, blues, and soul acts. This lasted until the mid-1970s. Ravi Shankar performed at Woodstock for an audience of over 500,000 in 1969. In

5500-399: The Bengali classical tradition . This openness to ideas led to assimilation of regional folk innovations, as well as influences that arrived from outside the subcontinent. For example, Hindustani music assimilated Arabian and Persian influences. This assimilation of ideas was upon the ancient classical foundations such as raga , tala , matras as well as the musical instruments. For example,

5610-664: The British government. Ancient Odisha had a rich culture of music, which is substantiated by many archaeological excavation throughout the state of Odisha. At Sankarjang in the Angul district, the initial spade work exposed the cultural stratum of the Chalcolithic period (400 BC onward). From here, polished stone celts and hand-made pottery have been excavated. Some of the Celts are narrow but large in size. Thus they are described as Bar-celts. On

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5720-530: The Indian subcontinent due to its unique construction, acoustic features and traditional playing technique. Raghunatha Ratha, an ancient musicologist of Odisha extols the Mardala in his treatise, the Natya Manorama as: ānaddhe marddaḻaḥ śreṣṭho yatastallakṣaṇaṃbrube / Among the membranophones, Mardala is the superlative. So I narrate its features. The Jagannatha temple of Puri has for centuries had

5830-529: The Khyal format. Dhrupad (or Dhruvapad), the ancient form described in the Hindu text Natyashastra , is one of the core forms of classical music found all over the Indian subcontinent. The word comes from Dhruva which means immovable and permanent. A Dhrupad has at least four stanzas, called Sthayi (or Asthayi), Antara, Sanchari and Abhoga. The Sthayi part is a melody that uses the middle octave's first tetrachord and

5940-446: The Mardala and bring other traditional percussion instruments of Odisha onto the concert stage. Guru Dhaneswar Swain , the first solo Mardala player who had presented an extended solo performance on the Mardala under the guidance of Guru Banamali Maharana , was the very first of its kind. The traditional ensemble accompanying an Odissi music recital is said to be 'binā benu mardala' : Bina or Veena , Benu or Flute and

6050-464: The Mardala features prominently, usually in a niche of an alasakanya playing the instrument. There is a pose by the name mardalika replicating the same stance in Odissi dance. The playing of the Mardala is based on the tala-paddhati or rhythmic system of Odissi music. A tala is a rhythmic structure in Indian music. The tala s in use in Odissi music are distinctive, and are not found in other systems of Indian music. The regional terminology used in

6160-605: The Mardala's context are kalā, ansā, māna, aḍasā, bhaunri, bhaunri aḍasā, tāli, khāli, phānka, bāṇi, ukuṭa, pāṭa, chhanda, bhangi, etc. The sabda-swara pata , a traditional component based on the Mardala's beats was integrated into Odissi dance by Guru Deba Prasad Das . Though several hundred talas are defined in treatises, some are more common : ekatāli, khemaṭā or jhulā, rūpaka, tripaṭā, jhampā, āḍatāli, jati, āditala, maṭhā . Other talas that are also used are nihsāri , kuḍuka, duāḍamāna, sarimāna, upāḍḍa, paḍitāla, pahapaṭa, aṭṭatāla, āṭhatāli and jagannātha. The talas have

6270-463: The Odissi tradition are the 12th-century poet Jayadeva , Balarama Dasa , Atibadi Jagannatha Dasa , Dinakrusna Dasa, Kabi Samrata Upendra Bhanja , Banamali Dasa , Kabisurjya Baladeba Ratha , Abhimanyu Samanta Singhara and Kabikalahansa Gopalakrusna Pattanayaka . Classical Indian music is one genre of South Asian music; others include film music, various varieties of pop, regional folk, religious and devotional music. In Indian classical music,

6380-472: The Odissi tradition are the 12th-century poet Jayadeva , Balarama Dasa, Atibadi Jagannatha Dasa , Dinakrusna Dasa , Kabi Samrata Upendra Bhanja , Banamali Dasa , Kabisurjya Baladeba Ratha , Abhimanyu Samanta Singhara and Kabikalahansa Gopalakrusna Pattanayaka . According to Bharata Muni's Natya Shastra , Indian classical music has four significant branches: Avanti , Panchali , Odramagadhi and Dakshinatya . Of these, Odramagadhi exists in

6490-455: The Odissi tradition, such as the mention of Baradi and not Varali . Some of the ragas mentioned in the Charyapadas are : The Gitagovinda written by 12th-century poet Jayadeva is known to be one of the earliest, if not the earliest Indian song where the author has indicated with precision the exact raga and tala (mode of singing and the rhythm) of each song. This makes it one of

6600-519: The Odissi tradition. Performing Odissi dance to non-Odissi music was heavily criticised by traditional Gurus of both Odissi dance & Odissi music; it was seen as a disruption of the Odia tradition in which Odia language & literature blended harmoniously with Odissi music & Odissi dance. Most recently, in order to popularize the Odissi music the State Government's Culture Department has undertaken

6710-548: The Persian Rāk is probably a pronunciation of Raga . According to Hormoz Farhat, Rāk has no meaning in modern Persian language, and the concept of raga is unknown in Persia. If Hindustani music is taken in as an entirely new form of music created from Indian classical music and Persian music , then Carnatic music was a form from the south of the sub-continent that developed further natively after this divergence. Carnatic music

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6820-502: The Yadava dynasty in Maharashtra , mentions and discusses ragas and talas . He identifies seven tala families, then subdivides them into rhythmic ratios, presenting a methodology for improvization and composition that continues to inspire modern era Indian musicians. Sangitaratnakara is one of the most complete historic medieval era Hindu treatises on this subject that has survived into

6930-429: The artist may rely on simple expression, or may add ornamentations yet express the same essential message but evoke a different intensity of mood. A raga has a given set of notes, on a scale, ordered in melodies with musical motifs. A musician playing a raga , states Bruno Nettl , may traditionally use just these notes, but is free to emphasize or improvise certain degrees of the scale. The Indian tradition suggests

7040-530: The attached table. The classical music tradition of the ancient and medieval Indian subcontinent (modern Bangladesh, India, Pakistan) were a generally integrated system through the 14th century, after which the socio-political turmoil of the Delhi Sultanate era isolated the north from the south. The music traditions of the North and South India were not considered distinct until about the 16th century, but after that

7150-630: The basis of bar-celts discovered in Sankarjung it could be argued that they were an earlier musical instrument in India. Scholars have referred to these as the earliest discovered musical instruments of South East Asia. There are vivid sculptures of musical instruments, singing and dancing postures of damsels in the Ranigumpha Caves in Khandagiri and Udayagiri at Bhubaneswar . These caves were built during

7260-536: The beat patterns. As with Carnatic music, Hindustani music has assimilated various folk tunes. For example, ragas such as Kafi and Jaijaiwanti are based on folk tunes. Hindustani music has had Arab and Persian music influences, including the creation of new ragas and the development of instruments such as the sitar and sarod. The nature of these influences are unclear. Scholars have attempted to study Arabic maqam (also spelled makam ) of Arabian peninsula, Turkey and northern Africa, and dastgah of Iran, to discern

7370-425: The best examples of Chitrakala. All of these were Chhanda (metrical section) contains the essence of Odissi music. The Chhandas were composed by combining Bhava (theme), Kala (time), and Swara (tune). The Chautisa represents the originality of Odissi style. All the thirty four (34) letters of the Odia alphabet from 'Ka' to 'Ksa' are used chronologically at the beginning of each line. A special feature of Odissi music

7480-822: The classical ragas prevailing at that time in which these were to be sung. Prior to that there was the tradition of Chhanda . A number of treatises on music have been found, the earliest of them dating back to 14th century. The musicologists of Odisha refer to a variety of ancient texts on music such as Bharata Muni's Natyashastra, Vishnu Purana, Shiva Samhita, Brahma Samhita, Narada Samhita, Parasurama Samhita, Gita Govinda , Kohaliya, Hari Nayaka's Sangitasara, Matanga Tantra, Mammatacharya's Sangita Ratnamala, Kalankura Nibandha, Panchama Sara Samhita, Raga Viveka, Sangita Chandrika, Sangita Kaumudi, Sangita Siromani, Vanmayaviveka, Shivavivekaprabandha, Sangita Damodara and more. The aforesaid texts are thus known to have been in vogue in Odisha during

7590-607: The deity, the Gitagovinda of Jayadeva is sung, set to traditional Odissi ragas & talas. This tradition has continued unbroken since the time of Jayadeva , who himself used to sing in the temple. After the time of the poet, the singing of the Gitagovinda according to the authentic Odissi ragas & talas was instated as a mandatory sevā at the temple, to be performed by the Maharis or Devadasis , systematically recorded in inscriptions,

7700-521: The different world music systems. One of the earliest known discussions of Persian maqam and Indian ragas is by the late 16th century scholar Pundarika Vittala. He states that Persian maqams in use in his times had been derived from older Indian ragas (or mela ), and he specifically maps over a dozen maqam . For example, Vittala states that the Hijaz maqam was derived from the Asaveri raga , and Jangula

7810-1402: The distinctive and authentic ragas of the Odissi music tradition are : Abhiri , Amara, Ananda, Anandabhairabi, Ananda Kamodi, Ananda Kedara, Arabhi, Asabari, Bangala, Baradi, Basanta, Bhairabi, Bichitra Desakhya, Bichitradesi, Bichitra Kamodi, Chakrakeli, Chalaghanta Kedara, Chhayatodi, Chintabhairaba, Chinta Kamodi, Debagandhari, Debakiri, Desa Baradi, Desakhya, Desapala, Dhanasri, Dhannasika, Gauda, Gaudi, Ghantaraba, Gundakeri, Kali, Kalyana, Kalyana Ahari, Kamoda, Kamodi, Kaphi, Karnata, Kausiki, Kedara, Kedaragauda, Kedara Kamodi, Karunasri, Khambabati, Khanda Bangalasri, Khandakamodi, Kolahala, Krusna Kedara, Kumbhakamodi, Kusuma Kedara, Lalita, Lalita Basanta, Lalita Kamodi, Lalita Kedara, Lilataranga, Madhumangala, Madhumanjari, Madhura Gujjari, Madhusri, Madhu Saranga, Madhyamadi, Malasri, Malasrigauda, Mangala, Mangala Dhanasri, Mangala Gujjari, Mangala Kamodi, Mangala Kausiki, Mangala Kedara, Mallara, Manini (Malini), Marua, Megha, Meghaparnni, Misramukhari, Mohana, Mohana Kedara, Mukhabari (Mukhari), Nagaballi, Nagadhwani, Nalinigauda, Nata, Nata Kedara, Natanarayana, Natasaranga, Panchama, Punnaga, Punnaga Baradi, Pahadia Kedara, Panchama Baradi, Paraja, Rajahansi Chokhi, Ranabije, Rasakamodi, Rasamandara, Rasamanjari, Sabari, Saberi, Sankarabharana, Sindhukamodi, Sokabaradi, Sokakamodi, Soma, Sri, Suddhadesi, Surata, Suratha Gujjari, Todi . Odissi music

7920-512: The domains of tune and scale, and it is best conceptualized as a "unique array of melodic features, mapped to and organized for a unique aesthetic sentiment in the listener". The goal of a raga and its artist is to create rasa (essence, feeling, atmosphere) with music, as classical Indian dance does with performance arts. In the Indian tradition, classical dances are performed with music set to various ragas . According to David Nelson – an Ethnomusicology scholar specializing in Carnatic music,

8030-697: The earliest texts of Indian classical music. Many of the ragas indicated in the Gitagovinda continue to be highly popular in Odissi music even now, and some of the talas mentioned in it are exclusive to the tradition of Odissi music. These indications have been compiled below according to the ashtapadi number, based on the important ancient copies of the Gita Govinda and its commentaries such as Sarvangasundari Tika of Narayana Dasa (14th century), Dharanidhara's Tika (16th century), Jagannatha Mishra's Tika (16th century), Rasikapriya of Rana Kumbha (16th century) and Arthagobinda of Bajuri Dasa (17th century). Most of

8140-453: The eastern part of India is Odissi music , which has evolved over the last two thousand years. The roots of the classical music of India are found in the Vedic literature of Hinduism and the ancient Natyashastra , the classic Sanskrit text on performing arts by Bharata Muni . The 13th century Sanskrit text Sangeeta-Ratnakara of Sarangadeva is regarded as the definitive text by both

8250-477: The first part of the 20th century have written about local legend that states Gopala Nayaka was from Odisha. After the reign of Mukunda Deba in the 16th century, Odissi music suffered during the Maratha rule in Odisha during the 17th and 18th century AD. During the 18th and 19th centuries, Odissi music was chiefly patronised by local kings of princely states of Odisha. This included the Gajapati of Puri as well as

8360-530: The first sixty years of his life with patronage of the Hindu king Ram Chand of Gwalior , and thereafter performed at the Muslim court of Akbar. Many musicians consider Tansen as the founder of Hindustani music. Tansen's style and innovations inspired many, and many modern gharanas (Hindustani music teaching houses) link themselves to his lineage. The Muslim courts discouraged Sanskrit, and encouraged technical music. Such constraints led Hindustani music to evolve in

8470-540: The first that is "sa" , and the fifth that is "pa" , are considered anchors that are unalterable, while the remaining have flavors that differs between the two major systems. Contemporary Indian music schools follow notations and classifications (see melakarta and thaat ). Thaat, used in Hindustani, is generally based on a flawed but still useful notation system created by Vishnu Narayan Bhatkhande . According to Yukteshwar Kumar, elements of Indian music arrived in China in

8580-457: The flute and Mardala continue to be popular, the Odissi Bina is no longer as widespread as it once used to be. Some of the exponents of the Odissi Bina were Sangitacharya Adwaita Guru and Gayaka Siromani Andha Apanna Panigrahi. The Odissi Bina (Veena) was preserved by Acharya Tarini Charan Patra in the twentieth century and is now kept alive by his disciple Guru Ramarao Patra . At one time

8690-664: The form of Odissi music. Odissi music crystallised as an independent style during the time of the early medieval Odia poet Jayadeva , who composed lyrics meant to be sung, set to ragas and talas unique to the local tradition. However, Odissi songs were written even before the Odia language developed. Odissi music has a rich legacy dating back to the 2nd century BCE, when king Kharavela , the ruler of Odisha ( Kalinga ), patronized this music and dance. The traditional artforms of Odisha such as Mahari, Gotipua , Prahallada Nataka , Radha Prema Lila, Pala , Dasakathia , Bharata Lila , Khanjani Bhajana, etc. are all based on Odissi music. Odissi

8800-467: The globe. Scholar-musicians such as Guru Gopal Chandra Panda have also attempted to reconstruct melodies of the ashtapadi s of the Gita Govinda in adherence to the poet's original indications, and based on extant traditional rhythmic & melodic patterns in Odissi music. During the reign of Alauddin Khilji , Gopala Nayaka had an important role of popularising old Indian music. Some scholars from Odisha in

8910-460: The great Gurus of Mardala in the 20th century. Guru Rabinarayan Panda, Guru Janardana Dash, Guru Dhaneswar Swain , Guru Sachidananda Das , Guru Bijaya Kumar Barik, Guru Jagannath Kuanr are among modern-day exponents of the Mardala. Many veteran Gotipua masters have also excelled in the Mardala ;: Guru Birabara Sahu, Guru Lingaraj Barik, Guru Maguni Das and others. The role of the Mardala as

9020-497: The idiophone in the form of "small bronze cymbals" were used for tala . Almost the entire chapter of Natyashastra on idiophones, by Bharata, is a theoretical treatise on the system of tala . Time keeping with idiophones was considered a separate function than that of percussion (membranophones), in the early Indian thought on music theory . The early 13th century Sanskrit text Sangitaratnakara (literally, "Ocean of Music and Dance"), by Sarngadeva patronized by King Sighana of

9130-404: The important historic scholars of Carnatic music. According to Eleanor Zelliot , Tyagaraja is known in the Carnatic tradition as one of its greatest composers, and he reverentially acknowledged the influence of Purandara Dasa. A common belief is that Carnatic music represents a more ancient and refined approach to classical music, whereas Hindustani music has evolved by external influences. It

9240-458: The lower octave notes. The Antara part uses the middle octave's second tetrachord and the higher octave notes. The Sanchari part is the development phase, which builds using parts of Sthayi and Antara already played, and it uses melodic material built with all the three octave notes. The Abhoga is the concluding section, that brings the listener back to the familiar starting point of Sthayi, albeit with rhythmic variations, with diminished notes like

9350-542: The metrical structure that repeats, in a cyclical harmony, from the start to end of any particular song or dance segment, making it conceptually analogous to meters in Western music. However, talas have certain qualitative features that classical European musical meters do not. For example, some talas are much longer than any classical Western meter, such as a framework based on 29 beats whose cycle takes about 45 seconds to complete when performed. Another sophistication in talas

9460-768: The modern era, many original works on Indian music are believed to be lost, and are known to have existed only because they are quoted and discussed in other manuscripts on classical Indian music. Many of the encyclopedic Puranas contain large chapters on music theory and instruments, such as the Bhagavata Purana , the Markandeya Purana , the Vayu Purana , the Linga Purana , and the Visnudharmottara Purana . The most cited and influential among these texts are

9570-978: The modern era, that relates to the structure, technique and reasoning behind ragas and talas . The centrality and significance of music in ancient and early medieval India is also expressed in numerous temple and shrine reliefs , in Buddhism, Hinduism and Jainism , such as through the carving of musicians with cymbals at the fifth century Pavaya temple sculpture near Gwalior , and the Ellora Caves . The post-Vedic era historical literature relating to Indian classical music has been extensive. The ancient and medieval texts are primarily in Sanskrit (Hinduism), but major reviews of music theory, instruments and practice were also composed in regional languages such as Kannada , Odia , Pali (Buddhism), Prakrit (Jainism), Tamil and Telugu . While numerous manuscripts have survived into

9680-557: The musical meter too, without the kind of elaboration found in the Samaveda . For example, the Gayatri mantra contains three metric lines of exactly eight syllables, with an embedded ternary rhythm. In the ancient traditions of Hinduism, two musical genre appeared, namely Gandharva (formal, composed, ceremonial music) and Gana (informal, improvised, entertainment music). The Gandharva music also implied celestial, divine associations, while

9790-406: The musical scale as follows, तत्र स्वराः – षड्‍जश्‍च ऋषभश्‍चैव गान्धारो मध्यमस्तथा । पञ्‍चमो धैवतश्‍चैव सप्तमोऽथ निषादवान् ॥ २१॥ These seven degrees are shared by both major raga systems , that is the North Indian (Hindustani) and South Indian (Carnatic) systems. The solfege ( sargam ) is learnt in abbreviated form: sa, ri (Carnatic) or re (Hindustani), ga, ma, pa, dha, ni, sa . Of these,

9900-458: The name of the poet. The raga s to sing them have been indicated by the authors themselves, but no mention of tala is found. The ragas used by the Mahasiddhas continued to be popular in Odissi music for centuries afterwards, and remain important to this day. Many of the raga names as written bear significant resemblance with the raga nomenclature of Odisha & the pronunciations of raga names in

10010-550: The names of different ragas. The specific code of a song clearly tells us what combination of swaras are present in a specific song. The lyrical part of the song is called "sahityam" and sahityam is just like singing the swaras altogether but using the lyrics of the song. The code in the form of swaras have even the notation of which note to be sung high and which one low. The hymns of Samaveda contain melodic content, form, rhythm and metric organization. This structure is, however, not unique or limited to Samaveda . The Rigveda embeds

10120-406: The nature and extent. Through the colonial era and until the 1960s, the attempt was to theoretically study ragas and maqams and suggested commonalities. Later comparative musicology studies, states Bruno Nettl – a professor of music, have found the similarities between classical Indian music and European music as well, raising the question about the point of similarities and of departures between

10230-438: The post-15th century period. Odissi Sangita comprises four shastric classifications i.e. Dhruvapada, Chitrapada, Chitrakala and Panchali, described in the above-mentioned texts. The Dhruvapada is the first line or lines to be sung repeatedly. Chitrapada means the arrangement of words in an alliterative style. The use of art in music is called Chitrakala. Kabisurjya Baladeba Ratha , the renowned Odia poet wrote lyrics, which are

10340-589: The ragas and talas indicated by Jayadeva, with the exception of one or two, continue to be in practice in the tradition of Odissi music. The poet Jayadeva is known to have started the Mahari or Devadasi tradition at the Jagannatha temple of Puri, where every night the Gitagovinda is ritually sung & enacted in front of Jagannatha, continuing to this day. In the Jayabijaya Dwara inscription of Prataparudra Deba ,

10450-518: The reign of the Jain ruler Kharabela of Kalinga in the 2nd century BC. In inscriptions, Kharabela has been described as an expert in classical music ( gandhaba-beda budho) and a great patron of music ( nata-gita-badita sandasanahi) . Madanlal Vyas describes him as an expert who had organized a music programme where sixty four instruments were played in tandem. Kharabela was an emperor of the Chedi dynasty. Chedi

10560-983: The rulers of the kingdoms of Paralakhemundi , Mayurbhanj , Ghumusara , Athagada , Athagada Patana , Digapahandi (Badakhemundi), Khallikote , Sanakhemundi , Chikiti , Surangi, Jeypore , Ali , Kanika , Dhenkanal , Banapur , Sonepur , Baramba , Nilgiri , Nayagarh , Tigiria , Baudh , Daspalla , Bamanda (Bamra), Narasinghapur , Athamallik as well as places with a significant Odia population and cultural history such as Tarala (Tharlakota), Jalantara (Jalantrakota), Manjusa (Mandasa), Tikili (Tekkali) and Sadheikala (Seraikela). Rulers often patronised poet-composers and skilled musicians, vocalists and instrumentalists. Musicians were appointed in royal courts and honoured with land or other rewards. Many kings were themselves skilled musicians and poets, such as Gajapati Kapilendra Deba of Puri or Biswambhara Rajendradeba of Chikiti. Traditional Modern Several dozens of treatises on music written in Odisha have been found. It

10670-1296: The same note combinations in Hindustani, Carnatic and Odissi styles, but are called by different names. Each stream, however, has its own distinct style of rendition and tonal development despite the superficial similarity in scale. The great exponents of Odissi music in modern times are Adiguru Singhari Shyamsundar Kar , Astabadhani Acharya Tarini Charan Patra , Banikantha Nimai Charan Harichandan , Gokul Srichandan, Nrusinghanath Khuntia, Lokanath Rath, Lokanath Pala, Mohan Sundar Deb Goswami , Markandeya Mahapatra, Kashinath Pujapanda, Kabichandra Kalicharan Pattnaik , Sangita Sudhakara Balakrushna Dash , Radhamani Mahapatra, Bisnupriya Samantasinghar, Bhubaneswari Mishra , Padmashree Shyamamani Devi , Dr. Gopal Chandra Panda , Padmakesari Dr. Damodar Hota , Padmashree Prafulla Kar , Padmashree Suramani Raghunath Panigrahi , Ramarao Patra (Bina/Veena),Sangita Gosain, Ramhari Das who have achieved eminence in classical music. The renowned scholar and cultural commentator Jiwan Pani mentions four parameters that any system of music has to satisfy in order to be called 'classical' or shastric  : Jiwan Pani further goes on to illustrate in his works each of these aspects with respect to Odissi music. The tradition of Odissi music

10780-536: The seventh and eleventh centuries, the Charya Gitika of Buddhist Mahasiddhas or Siddhacharyas were written and composed. Many of the Mahasiddhas were born in Odisha and wrote in a language that is extremely close to present-day Odia. Some of these songs were ritually sung on the ratha of Jagannatha during the Ratha Jatra . The Charyapadas or Charya songs usually consist of five or six pada s. The last pada bears

10890-479: The singing of Gitagovinda and adherence to the traditional Odissi ragas indicated by the poet has been referred to as mandatory. The Maharis were also banned from learning any other songs except the Gitagovinda ;; this was considered an 'act of defiance towards Jagannatha'. Pt. Raghunath Panigrahi is known for his contributions in popularising the Gitagovinda through Odissi music & Odissi dance across

11000-587: The tanpura traditionally falls to a student of the soloist. Other instruments for accompaniment include the sarangi and the harmonium . Indian classical music is both elaborate and expressive. Like Western classical music , it divides the octave into 12 semitones of which the 7 basic notes are, in ascending tonal order, Sa Re Ga Ma Pa Dha Ni for Hindustani music and Sa Ri Ga Ma Pa Dha Ni for Carnatic music, similar to Western music's Do Re Mi Fa So La Ti . However, Indian music uses just-intonation tuning, unlike some modern Western classical music, which uses

11110-406: The traditions acquired distinct forms. North Indian classical music is called Hindustani , while the South Indian expression is called Carnatic (sometimes spelled as Karnatic ). According to Nazir Ali Jairazbhoy , the North Indian tradition acquired its modern form after the 14th or the 15th century. Indian classical music has historically adopted and evolved with many regional styles, such as

11220-539: The two major systems. Dr. Hota also points to the distortion of Odissi Music as some dance musicians since the 1950s catered their music solely to the revived dance form using Hindustani and Carnatic music as reference points instead of cultivating knowledge and mastery of the distinctive classicism and performance aspects of Odissi Music. Odissi music was not as well known as Odissi dance to musicians & dancers outside Odisha, which led to an appropriation of musical integrity and composition of dance music without adhering to

11330-546: Was a monk and a devotee of the Hindu god Krishna (Vishnu, Vittal avatar). He systematised classical Indian music theory and developed exercises for musicians to learn and perfect their art. He travelled widely sharing and teaching his ideas, and influenced numerous South Indian and Maharashtra Bhakti movement musicians. These exercises, his teachings about raga , and his systematic methodology called Suladi Sapta Tala (literally, "primordial seven talas") remains in use in contemporary times. The efforts of Purandara Dasa in

11440-545: Was deficient and he was sometimes referred to as Behre Wahid Khan (Deaf Wahid Khan). Wahid Khan's son Ustad Hafizullah Khan was born in 1946. Hafizullah's uncles trained him in music, and he became a Sarangi player. Ustad Abdul Wahid Khan forbade recordings of his performances to avoid imitation by other singers. Only three of his performances survived, recordings of the ragas Patdip, Multani , and Darbari Kanada , accompanied by Chatur Lal on tabla . They were preserved by music producer Jivan Lal Mattoo, who secretly recorded

11550-464: Was derived from the Bangal . In 1941, Haidar Rizvi questioned this and stated that influence was in the other direction, Middle Eastern maqams were turned into Indian ragas , such as Zangulah maqam becoming Jangla raga . According to John Baily – a professor of ethnomusicology, there is evidence that the traffic of musical ideas were both ways, because Persian records confirm that Indian musicians were

11660-612: Was finalized, the ancient Indian traditions had classified musical instruments into four groups based on their acoustic principle (how they work, rather than the material they are made of) for example flute which works with gracious in and out flow of air. These four categories are accepted as given and are four separate chapters in the Natyashastra , one each on stringed instruments (chordophones ), hollow instruments ( aerophones ), solid instruments ( idiophones ), and covered instruments ( membranophones ). Of these, states Levis Rowell,

11770-444: Was his influence on Amir Khan of Indore gharana , although he was not one of his formal disciples. Ustad Abdul Wahid Khan and Ustad Abdul Karim Khan had started evolving the vilambit khyal and their work inspired Amir Khan to develop his trademark ati vilambit singing. Ustad Abdul Wahid Khan evolved the classical Hindustani music by extending recitals of a raga from approximately 20 minutes to up to an hour. Ustad Abdul Wahid Khan

11880-438: Was known as Udramagadhi . The post-Jayadeva text Sangita Ratnakara also makes a reference to the same. In the present times, it is this very system that goes under the rubric Odissi music. For a long period Buddhism was the major religion of Odisha. The Vajrayana and Sahajayana branches of Buddhism were particularly influential, and scholars opine that Odisha or Oddiyana was the birth place of Vajrayana itself. Between

11990-679: Was one of the greatest icons of the Kirana gharana. Indian classical music Traditional Modern Indian classical music is the classical music of the Indian subcontinent . It is generally described using terms like Shastriya Sangeet and Marg Sangeet . It has two major traditions: the North Indian classical music known as Hindustani and the South Indian expression known as Carnatic . These traditions were not distinct until about

12100-522: Was the son of Kousika, a Raga that is said to have been created by sage Kasyapa according to Naradiya Sikhya. The ancient musicologists of Odisha, like Harichandana belonged to the Naradiya school. The Raga Kousika is an extremely popular raga in the Odissi tradition, even until date. One of the caves of Udayagiri is known as the Bajaghara Gumpha , literally meaning 'hall of musical instruments'. It

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