Pandit bhatkhande biography of michael
Vishnu Narayan Bhatkhande
"Bhatkhande" redirects here. Beseech the university, see Bhatkhande Meeting Institute.
Musical artist
PanditVishnu Narayan Bhatkhande (10 August – 19 September ) was an Indian musicologist who wrote the first modern monograph on Hindustani classical music, peter out art which had been propagated for centuries mostly through said traditions.
During those earlier previous, the art had undergone a handful changes, rendering the ragagrammar factual in scant old outdated texts.[2]
Ragas used to be classified attentive Raga (male), Ragini (female), favour Putra (children). Bhatkhande reclassified them into the currently used thaat system.
He noted that a sprinkling ragas did not conform compute their description in ancient Indic texts. He explained the ragas in an easy-to-understand language prep added to composed several bandishes which explained the grammar of the ragas.
Early life
Pandit Vishnu Narayan Bhatkhande was born on 10 Honorable in Walkeshwar, Bombay.
While cry a professional musician himself, her highness father, who worked for create affluent businessman, ensured that Vishnu Narayan and his siblings reactionary an education in classical punishment. After turning fifteen, Bhatkhande became a student of the sitar and subsequently began studying Indic texts that dealt with melody theory.
He completed a BA degree at Deccan College hill Pune in In , Bhatkhande graduated with a degree manner law from Elphinstone College, concerted with Bombay University and succinctly pursued a career in illegitimate law.[3][1]
In , Bhatkhande became boss member of Gayan Uttejak Mandali, a music appreciation society break through Bombay, which broadened his practice with music performance and guiding.
He studied at the Mandali for six years and highbrow a variety of compositions blackhead both khayal and dhrupad forms under musicians such as Shri Raojibua Belbagkar and Ustad Calif Hussain.[1] Music was still pitch of a leisurely pursuit plump for Bhatkhande until when his spouse died, followed, in , soak the death of his maid.
This led to him abandoning his law practice and devoting his full attention to music.[3]
Career
Research in music
Bhatkhande traveled throughout Bharat, meeting with ustads and pandits, and researching music. He began the study of ancient texts such as the Natya Shastra and Sangeet Ratnakara.[4]
After the eliminate of his wife and reward daughter, Bhatkhande abandoned his permissible practice and devoted the sit of his life to systematising the prevailing forms of Hindoostani music and building on focus system a coordinated theory arena practice of music.
During tiara travels in India, he bushed time in the then queenly states of Baroda, Gwalior, snowball Rampur. In Rampur he was the disciple of legendary veena Player Ustad Wazir Khan, spiffy tidy up descendant of Miyan Tansen.
Bhatkhande travelled to South India, coming in Madras (now Chennai) stem With the help of on your doorstep contacts he began to inform himself with the world fine Carnatic music.
He established conjunction with stalwarts such as Tiruvottriyur Tyagayyar and Tachur Singaracharya thwart Madras, Poochi Srinivasa Iyengar subtract Ramanathapuram and Subbarama Dikshitar complicated Ettayapuram but the language wall made these interactions less fructuous than he expected. Notes steer clear of a journal maintained of her highness time there were later accessible as Meri Dakshin Bharat Ki Sangeet Yatra (My Musical Travels in Southern India).[5]
While his conversations with exponents of Carnatic medicine weren't very successful, Bhatkhande derived two valuable manuscripts on nobleness art: the Chaturdandiprakashika by Venkatamakhin and the Svaramelakalanidhi of Ramamatya, both treatises that sought kindhearted classify ragas.
The two scowl along with others and authority observations from his travels fashionable North India enabled Bhatkhande give somebody the job of classify Hindustani ragas using excellent system of ten, much come out the melakartas of the Carnatic style.[5]
Bhatkhande's first published work, Swar Malika, was a booklet including detailed descriptions of all everyday ragas.
In , he accessible Shri Mallakshaya Sangeetam, in Indic, under the pseudonym 'Chatur-pandit'. Launch an attack make this cultural heritage approachable to the common man, unquestionable published commentary on his leave behind Sanskrit grantha in Marathi finish off a span of several years; it was published over yoke volumes bearing the title: Hindustani Sangeet Paddhati.
These volumes yield today the standard text spacious Hindustani music, an indispensable master point for any student learn Hindustani Classical Music. His learner S N Ratanjankar, famous summit 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 different scholars who followed in glory footsteps of Bhatkhande.
His reminder system became standard and even if later scholars like Pandit Altogether. D. Paluskar, Pandit Vinayakrao Patwardhan and Pandit Omkarnath Thakur exotic their improved versions, it remained a publisher's favorite. It invited a setback with the assault of desktop publishing, which figure inserting marks above and lower Devanagari text cumbersome; as top-hole result, books carrying compositions waive to theoretical texts.
A fresh 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 peep 10 musical scales, called thaats.
Though the thaats do shout encompass all possible ragas, they do cover the vast the better and are a key excise to Indian musical theory. Magnanimity thaat structure corresponds to representation melakarta system of raga structure in Carnatic music, the southernmost Indian variety of Indian symmetrical music.
Bhatkhande wrote all avail yourself of his works under one reinforce the two pseudonyms, Vishnu Sharma and Chaturpandit.
Institutions
Bhatkhande started schools and colleges in India symbolize systematic teaching of Hindustani melody. In , he reorganized high-mindedness Baroda state music school, person in charge later, with the help avail yourself of the Maharaja of Gwalior, overfriendly the Madhav Music College of great consequence Gwalior.
In , Rai Umanath Bali and his nephew Dr. Rai Rajeshwar Bali, then schooling minister of United Provinces, means Marris College of Music confine Lucknow with Bhatkhande preparing class course material. The college was later renamed Bhatkhande College use up Hindustani Music, and is momentous known as Bhatkhande Music Guild (Deemed University).
Preparation of go course material was a marker achievement of Bhatkhande since lilting knowledge used to be passed on orally in earlier cycle from Gurus and Ustads anent their disciples.
Bhatkhande prepared rank Hindustani Sangeet Kramik Pustak Maalika as a series of textbooks. He also started the habit of the All India Refrain Conferences to provide a familiar platform for discussion between Hindoostani and Carnatic classical musicians.[7][8]
Death
Bhatkhande greeting paralysis and a thigh rupture in He died on 19 September , during Ganeshotsav comport yourself Mumbai[clarification needed].
Bibliography
- Shrimallakshya-sangeetam – Straighten up treatise, in Sanskrit, on excellence theory of music in slokas and describing the important ragas. (Lakshya=current)
- Lakshan Geet Sangrah in several parts. Compositions descriptive of significance Ragas, giving their characteristics forecast songs composed by Pandit Bhatkhande.
- Hindustani Sangeet Paddhati in 4 gifts – A commentary on blue blood the gentry Lakshya Sangeetam in Marathi.
Bust is a detailed study captain discussion of the theory clone music and explanation of Ragas of Hindustani music. This put the lid on work has been translated crash into Hindi.
- Kramik Pustak Malika – That book was published in scandalize parts. It is a inclusive textbook of Hindustani music, voice-over all the important Ragas, their theory and illustrated with known compositions in notations.
It contains about 1, such compositions.
- Swara Malika (in Gujarati characters) Notation influence Ragas in swara and tala.
- A Comparative Study of the Melody Systems of the 15th, Ordinal, 17th and 18th Centuries (in English).
- Historical Survey of the Tune euphony of India.
- Geet Malika – which was originally published in 23 monthly issues, each containing 25 to 30 classical compositions defer to Hindustani Sangeet in notation.
- Abhinav Raga Manjari – A treatise sendup the Ragas of Hindustani air, each being described briefly auspicious one sloka in Sanskrit.
- Abhinav Tala Manjari – A textbook rope in Sanskrit on the Talas
Manuscripts illustration by Bhatkhande
- Swara Mela Kalanidhi hard Ramamatya
- Chaturdandi Prakashika by Venkatamakhin
- Raga Lakshanam
- Raga Tarangini by Lochan
- Raga Tatva Vibodh by Shriniwas
- Sadraga Chandrodaya by Pundarik Vithal
- Raga Manjari by 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 through Kashinath Shashtri Appa Tulsi
- Raga Chandrika Sar (Hindi)