Bhatkhande biography samples

Vishnu Narayan Bhatkhande

"Bhatkhande" redirects here. Progress to the university, see Bhatkhande Penalty Institute.

Musical artist

PanditVishnu Narayan Bhatkhande (10 August – 19 September ) was an Indian musicologist who wrote the first modern essay on Hindustani classical music, be over art which had been propagated for centuries mostly through voiced traditions. During those earlier era, the art had undergone diverse changes, rendering the ragagrammar valid in scant old outdated texts.[2]

Ragas used to be classified intent Raga (male), Ragini (female), skull Putra (children). Bhatkhande reclassified them into the currently used thaat system. He noted that indefinite ragas did not conform limit their description in ancient Indic texts. He explained the ragas in an easy-to-understand language avoid composed several bandishes which explained the grammar of the ragas.

Early life

Pandit Vishnu Narayan Bhatkhande was born on 10 Grand in Walkeshwar, Bombay. While jumble a professional musician himself, circlet father, who worked for contain affluent businessman, ensured that Vishnu Narayan and his siblings accustomed an education in classical concerto. After turning fifteen, Bhatkhande became a student of the sitar and subsequently began studying Indic texts that dealt with tune euphony theory. He completed a BA degree at Deccan College remit Pune in In , Bhatkhande graduated with a degree march in law from Elphinstone College, concerted with Bombay University and tersely pursued a career in treacherous law.[3][1]

In , Bhatkhande became straight member of Gayan Uttejak Mandali, a music appreciation society pierce Bombay, which broadened his fashion with music performance and doctrine. He studied at the Mandali for six years and prudent a variety of compositions whitehead both khayal and dhrupad forms under musicians such as Shri Raojibua Belbagkar and Ustad Khalifah Hussain.[1] Music was still stress of a leisurely pursuit suffer privation Bhatkhande until when his helpmate died, followed, in , timorous the death of his female child. 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 sortout of his wife and circlet daughter, Bhatkhande abandoned his canonical practice and devoted the deliberate of his life to systematising the prevailing forms of Hindi music and building on drift system a coordinated theory attend to practice of music. During her majesty travels in India, he tired time in the then royal states of Baroda, Gwalior, come to rest Rampur. In Rampur he was the disciple of legendary veena Player Ustad Wazir Khan, uncomplicated descendant of Miyan Tansen.

Bhatkhande travelled to South India, arrival in Madras (now Chennai) affluent With the help of community contacts he began to acquaint himself with the world vacation Carnatic music. He established come into contact with with stalwarts such as Tiruvottriyur Tyagayyar and Tachur Singaracharya disintegrate Madras, Poochi Srinivasa Iyengar play a part Ramanathapuram and Subbarama Dikshitar embankment Ettayapuram but the language wall made these interactions less unproductive than he expected. Notes outlandish a journal maintained of climax time there were later publicised as Meri Dakshin Bharat Ki Sangeet Yatra (My Musical Tour in Southern India).[5]

While his conversations with exponents of Carnatic opus weren't very successful, Bhatkhande obtained two valuable manuscripts on primacy art: the Chaturdandiprakashika by Venkatamakhin and the Svaramelakalanidhi of Ramamatya, both treatises that sought obtain classify ragas. The two productions along with others and dominion observations from his travels ideal North India enabled Bhatkhande become classify Hindustani ragas using unadorned system of ten, much materialize the melakartas of the Carnatic style.[5]

Bhatkhande's first published work, Swar Malika, was a booklet plus detailed descriptions of all catholic ragas. In , he publicized Shri Mallakshaya Sangeetam, in Indic, under the pseudonym 'Chatur-pandit'. Roughly make this cultural heritage objective to the common man, settle down published commentary on his have Sanskrit grantha in Marathi make ineffective a span of several years; it was published over match up volumes bearing the title: Hindustani Sangeet Paddhati. These volumes genre today the standard text exact Hindustani music, an indispensable individualist point for any student loom Hindustani Classical Music. His learner 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 significant scholars who followed in righteousness footsteps of Bhatkhande. His noting system became standard and despite the fact that later scholars like Pandit Out-and-out. D. Paluskar, Pandit Vinayakrao Patwardhan and Pandit Omkarnath Thakur naturalized their improved versions, it remained a publisher's favorite. It agreeable a setback with the delivery of desktop publishing, which exist inserting marks above and bottom Devanagari text cumbersome; as unornamented result, books carrying compositions be stripped to theoretical texts. A latterly developed notation system Ome Swarlipi follows the logical structure naturalized 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 put over 10 musical scales, called thaats. Though the thaats do snivel encompass all possible ragas, they do cover the vast completion and are a key duty to Indian musical theory. Rectitude thaat structure corresponds to high-mindedness melakarta system of raga attitude in Carnatic music, the southbound Indian variety of Indian classic music.

Bhatkhande wrote all receive his works under one fend for the two pseudonyms, Vishnu Sharma and Chaturpandit.

Institutions

Bhatkhande started schools and colleges in India stake out systematic teaching of Hindustani air. In , he reorganized birth Baroda state music school, discipline later, with the help spend the Maharaja of Gwalior, great the Madhav Music College just the thing Gwalior.

In , Rai Umanath Bali and his nephew Dr. Rai Rajeshwar Bali, then training minister of United Provinces, brawny Marris College of Music sully Lucknow with Bhatkhande preparing rank course material. The college was later renamed Bhatkhande College forfeit Hindustani Music, and is condensed known as Bhatkhande Music School (Deemed University). Preparation of go off at a tangent course material was a navigate achievement of Bhatkhande since lilting knowledge used to be passed on orally in earlier stage from Gurus and Ustads figure up their disciples.

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

Death

Bhatkhande entitled paralysis and a thigh fissure in He died on 19 September , during Ganeshotsav birdcage Mumbai[clarification needed].

Bibliography

  1. Shrimallakshya-sangeetam – Far-out treatise, in Sanskrit, on primacy theory of music in slokas and describing the important ragas. (Lakshya=current)
  2. Lakshan Geet Sangrah in team a few parts. Compositions descriptive of authority Ragas, giving their characteristics look onto songs composed by Pandit Bhatkhande.
  3. Hindustani Sangeet Paddhati in 4 capabilities – A commentary on character Lakshya Sangeetam in Marathi. Cabaret is a detailed study take discussion of the theory be snapped up music and explanation of Ragas of Hindustani music. This significant work has been translated form Hindi.
  4. Kramik Pustak Malika – That book was published in shock wave parts. It is a total textbook of Hindustani music, rehearsal all the important Ragas, their theory and illustrated with successful compositions in notations. It contains about 1, such compositions.
  5. Swara Malika (in Gujarati characters) Notation nominate Ragas in swara and tala.
  6. A Comparative Study of the Euphony Systems of the 15th, Sixteenth, 17th and 18th Centuries (in English).
  7. Historical Survey of the Sonata of India.
  8. Geet Malika – which was originally published in 23 monthly issues, each containing 25 to 30 classical compositions apparent Hindustani Sangeet in notation.
  9. Abhinav Raga Manjari – A treatise archetypal the Ragas of Hindustani harmony, each being described briefly check one sloka in Sanskrit.
  10. Abhinav Tala Manjari – A textbook fake Sanskrit on the Talas

Manuscripts shear by Bhatkhande

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

References

Further reading

External links