![hindustani sangeet paddhati hindustani sangeet paddhati](https://images-na.ssl-images-amazon.com/images/I/41ghZ-4QnpL._SX314_BO1,204,203,200_.jpg)
In the Vishnudharmottara Purana, the Naga king Ashvatara asks to know the swaras from Saraswati. Gandharvas are presented as spirits who are musical masters, and the gandharva style looks to music primarily for pleasure, accompanied by the soma rasa. Ravana and Narada from Hindu mythology are accomplished musicians Saraswati with her veena is the goddess of music. For example, raga Khamaj and its variants have been classicized from folk music, while ragas such as Hijaz (also called Basant Mukhari) originated in Persian maqams. Ragas may originate from any source, including religious hymns, folk tunes, and music from outside the Indian subcontinent.
![hindustani sangeet paddhati hindustani sangeet paddhati](https://cdn.exoticindia.com/images/products/original/books-2017/nan430a.jpg)
The performance is set to a melodic pattern called a raga characterized in part by specific ascent ( aroha) and descent ( avaroha) sequences, "king" ( vadi) and "queen" ( samavadi) notes and characteristic phrases ( pakad). Unlike the 12-note scale in Western music, the base frequency of the scale is not fixed, and intertonal gaps ( temperament) may also vary. Indian classical music has seven basic notes with five interspersed half-notes, resulting in a 12-note scale. An aspect of Hindustani music going back to Sufi times is the tradition of religious neutrality: Muslim ustads may sing compositions in praise of Hindu deities and vice versa. This is a very flawed system but is somewhat useful as a heuristic.ĭistinguished musicians who are Hindu may be addressed as Pandit and those who are Muslim as Ustad. Around 1900, Vishnu Narayan Bhatkhande consolidated the musical structures of Hindustani classical music, called ragas, into a few thaats based on their notes. In medieval times, the melodic systems were fused with ideas from Persian music, particularly through the influence of Sufi composers like Amir Khusro, and later in the Mughal courts, noted composers such as Tansen flourished, along with religious groups like the Vaishnavites.Īfter the 16th century, the singing styles diversified into different gharanas patronized in different princely courts. These principles were refined in the musical treatises Natya Shastra, by Bharata (2nd–3rd century CE), and Dattilam (probably 3rd–4th century CE). It is melodic music, with no concept of harmony. The central notion in both these systems is that of a melodic musical mode or raga, sung to a rhythmic cycle or tala. Hindustani music places more emphasis on improvisation and exploring all aspects of a raga, while Carnatic music is primarily composition-based. 3.2 Hindustani music’s influence during the Delhi SultanateĪround the 12th century, Hindustani classical music diverged from what eventually came to be identified as Carnatic classical music.Bhatkhande's 10 thaat and 12 new mixed thaats totaling an overall 24 thaats. Instead of the 10 and 32 thaat systems, he has put forward a 24 thaat system that is most convenient. Chaitanya Kunte has taken Bhatkhande's and Ratanjankar's formulas forward. Still, his 10 thaat addition has proved very useful since. People probably thought this 32 Thaat system to be over ambitious. Unfortunately not only was that explaination not widely accepted, but it is virtually unknown today even among musicologists, artists and teachers. This same thought can be seen in Pt S N Ratanjankar's book "SangeetParibhasha" published in 1973. That is why one should welcome new thaats.
![hindustani sangeet paddhati hindustani sangeet paddhati](https://d1w7fb2mkkr3kw.cloudfront.net/assets/images/book/lrg/9788/1851/9788185108087.jpg)
90 years after the introduction of this thaat system there have been many new or mixed raagas discovered that have been either difficult or impossible to classify in either if the methods. He had the foresight to see that new raagas could be discovered in the future which is why his system allowed new thaats to be introduced to his thaat database. Due to this he incorporated the Raganga Paddhati along with the "Thaat Paddhati" to explain the thaats. Bhatkhande knew that these 10 thaats would be insufficient to completely and appropriately classify North Indian Classical Music. It was derived from Vyankatmakhi's book "Chaturdadiprakashika" and a selective 10 Thaats from a total of 72 thaats, from the Karnatak Music system. The ten thaat system aka "Dashamel Paddhati" was created by Pandit Bhatkhande which can be found here.