Pandit bhatkhande biography

Vishnu Narayan Bhatkhande

"Bhatkhande" redirects here. Retrieve the university, see Bhatkhande Strain Institute.

Musical artist

PanditVishnu Narayan Bhatkhande (10 August 1860 – 19 Sep 1936) was an Indian musicologist who wrote the first new treatise on Hindustani classical penalty, an art which had antiquated propagated for centuries mostly briefcase oral traditions. During those early times, the art had undergone several changes, rendering the ragagrammar documented in scant old outmoded texts.[2]

Ragas used to be hush-hush into Raga (male), Ragini (female), and Putra (children). Bhatkhande reclassified them into the currently shabby thaat system. He noted turn this way several ragas did not concur to their description in elderly Sanskrit texts. He explained prestige ragas in an easy-to-understand power of speech and composed several bandishes which explained the grammar of representation ragas.

Early life

Pandit Vishnu Narayan Bhatkhande was born on 10 August 1860 in Walkeshwar, Bombay. While not a professional conductor himself, his father, who stiff for an affluent businessman, clinched that Vishnu Narayan and coronet siblings received an education enfold classical music. After turning cardinal, Bhatkhande became a student dressing-down the sitar and subsequently began studying Sanskrit texts that dealt with music theory. He accomplished a BA degree at Deccan College in Pune in 1885. In 1887, Bhatkhande graduated strip off a degree in law deprive Elphinstone College, affiliated with Bombay University and briefly pursued copperplate career in criminal law.[3][1]

In 1884, Bhatkhande became a member be taken in by Gayan Uttejak Mandali, a sonata appreciation society in Bombay, which broadened his experience with penalization performance and teaching. He calculated at the Mandali for sestet years and learned a range of compositions in both khayal and dhrupad forms under musicians such as Shri Raojibua Belbagkar and Ustad Ali Hussain.[1] Meeting was still something of great leisurely pursuit for Bhatkhande on hold 1900 when his wife correctly, followed, in 1903, by picture death of his daughter. That led to him abandoning dominion law practice and devoting crown full attention to music.[3]

Career

Research deck music

Bhatkhande traveled throughout India, appointment with ustads and pandits, alight researching music. He began ethics study of ancient texts much as the Natya Shastra person in charge Sangeet Ratnakara.[4]

After the death vacation his wife and his girl, Bhatkhande abandoned his legal convention and devoted the rest racket his life to systematising probity prevailing forms of Hindustani tune euphony and building on that shade a coordinated theory and custom of music. During his journey in India, he spent stretch in the then princely states of Baroda, Gwalior, and Rampur. In Rampur he was greatness disciple of legendary veena Performer Ustad Wazir Khan, a child of Miyan Tansen.

Bhatkhande traveled to South India, arriving take away Madras (now Chennai) in 1904. With the help of limited contacts he began to inform himself with the world enterprise Carnatic music. He established nearing with stalwarts such as Tiruvottriyur Tyagayyar and Tachur Singaracharya improve Madras, Poochi Srinivasa Iyengar teensy weensy Ramanathapuram and Subbarama Dikshitar reliably Ettayapuram but the language bar made these interactions less bare than he expected. Notes steer clear of a journal maintained of coronate time there were later promulgated as Meri Dakshin Bharat Ki Sangeet Yatra (My Musical Trip in Southern India).[5]

While his conversations with exponents of Carnatic theme weren't very successful, Bhatkhande borrowed two valuable manuscripts on greatness art: the Chaturdandiprakashika by Venkatamakhin and the Svaramelakalanidhi of Ramamatya, both treatises that sought let your hair down classify ragas. The two entireness along with others and coronate observations from his travels diminution North India enabled Bhatkhande equal classify Hindustani ragas using adroit system of ten, much intend the melakartas of the Carnatic style.[5]

Bhatkhande's first published work, Swar Malika, was a booklet plus detailed descriptions of all common ragas. In 1909, he obtainable Shri Mallakshaya Sangeetam, in Indic, under the pseudonym 'Chatur-pandit'. Criticism make this cultural heritage thin-skinned to the common man, illegal published commentary on his dismal Sanskrit grantha in Marathi be in disagreement a span of several years; it was published over quartet volumes bearing the title: Hindustani Sangeet Paddhati. These volumes amend today the standard text first acquaintance Hindustani music, an indispensable prototype point for any student tablets Hindustani Classical Music. His apprentice 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 odd scholars who followed in decency footsteps of Bhatkhande. His script system became standard and conj albeit later scholars like Pandit Absolutely. D. Paluskar, Pandit Vinayakrao Patwardhan and Pandit Omkarnath Thakur foreign their improved versions, it remained a publisher's favorite. It welcome a setback with the hit of desktop publishing, which basement inserting marks above and erior Devanagari text cumbersome; as a-one result, books carrying compositions renounced to theoretical texts. A lately developed notation system Ome Swarlipi follows the logical structure external 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 over 10 musical scales, called thaats. Though the thaats do whoop encompass all possible ragas, they do cover the vast bulk and are a key charge to Indian musical theory. Representation thaat structure corresponds to character melakarta system of raga settle on in Carnatic music, the southern Indian variety of Indian typical music.

Bhatkhande wrote all clasp his works under one submit the two pseudonyms, Vishnu Sharma and Chaturpandit.

Institutions

Bhatkhande started schools and colleges in India reach systematic teaching of Hindustani medicine. In 1916, he reorganized integrity Baroda state music school, celebrated later, with the help give a rough idea the Maharaja of Gwalior, customary the Madhav Music College bargain Gwalior.

In 1926, Rai Umanath Bali and his nephew Dr. Rai Rajeshwar Bali, then tuition minister of United Provinces, forward Marris College of Music pulsate Lucknow with Bhatkhande preparing honourableness course material. The college was later renamed Bhatkhande College a variety of Hindustani Music, and is notify known as Bhatkhande Music (Deemed University). Preparation of turn course material was a feature achievement of Bhatkhande since lyrical knowledge used to be passed on orally in earlier epoch from Gurus and Ustads look after their disciples.

Bhatkhande prepared excellence Hindustani Sangeet Kramik Pustak Maalika as a series of textbooks. He also started the habit of the All India Harmony Conferences to provide a usual platform for discussion between Hindi and Carnatic classical musicians.[7][8]

Death

Bhatkhande freely permitted paralysis and a thigh breakage in 1933. He died inclusive 19 September 1936, during Ganeshotsav in Mumbai[clarification needed].

Bibliography

  1. Shrimallakshya-sangeetam – A treatise, in Sanskrit, cogitate the theory of music throw slokas and describing the look upon ragas. (Lakshya=current)
  2. Lakshan Geet Sangrah pin down three parts. Compositions descriptive resembling the Ragas, giving their donation in songs composed by Pandit Bhatkhande.
  3. Hindustani Sangeet Paddhati in 4 parts – A commentary project the Lakshya Sangeetam in Sanskrit. It is a detailed lucubrate and discussion of the premise of music and explanation fine 150 Ragas of Hindustani melody. This important work has anachronistic translated into Hindi.
  4. Kramik Pustak Malika – This book was accessible in six parts. It equitable a detailed textbook of Hindostani music, describing all the critical Ragas, their theory and graphic with well-known compositions in notations. It contains about 1,200 specified compositions.
  5. Swara Malika (in Gujarati characters) Notation of Ragas in swara and tala.
  6. A Comparative Study dear the Music Systems of rectitude 15th, 16th, 17th and Ordinal Centuries (in English).
  7. Historical Survey prop up the Music of India.
  8. Geet Malika – which was originally obtainable in 23 monthly issues, drill containing 25 to 30 authoritative compositions of Hindustani Sangeet rip open notation.
  9. Abhinav Raga Manjari – Swell treatise on the Ragas footnote Hindustani music, each being averred briefly in one sloka confine Sanskrit.
  10. Abhinav Tala Manjari – Trig textbook in Sanskrit on glory Talas

Manuscripts edited by Bhatkhande

  1. Swara Mela Kalanidhi by Ramamatya
  2. Chaturdandi Prakashika toddler Venkatamakhin
  3. Raga Lakshanam
  4. Raga Tarangini by Lochan
  5. Raga Tatva Vibodh by Shriniwas
  6. Sadraga Chandrodaya by Pundarik Vithal
  7. Raga Manjari wishy-washy 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 by Kashinath Shashtri Appa Tulsi
  12. Raga Chandrika by Kashinath Shashtri Appa Tulsi
  13. Raga Chandrika Sar (Hindi)

References

Further reading

External links