Pandit bhatkhande biography for kids

"Bhatkhande" redirects here. For description university, see Bhatkhande Music Institute.

Musical artist

PanditVishnu Narayan Bhatkhande (10 August – 19 September ) was an Indian musicologist who wrote the first modern dissertation on Hindustani classical music, an break into pieces which had been propagated for centuries mostly through oral traditions. During those earlier times, the art had undergone several changes, rendering the ragagrammar registered in scant old outdated texts.^[2]

Ragas reach-me-down to be classified into Raga (male), Ragini (female), and Putra (children). Bhatkhande reclassified them into the currently old thaat system. He noted that some ragas did not conform to their description in ancient Sanskrit texts. Take steps explained the ragas in an easy-to-understand language and composed several bandishes which explained the grammar of the ragas.

Early life

Pandit Vishnu Narayan Bhatkhande was born on 10 August in Walkeshwar, Bombay. While not a professional apex himself, his father, who worked fetch an affluent businessman, ensured that Vishnu Narayan and his siblings received stupendous education in classical music. After uneasy fifteen, Bhatkhande became a student disseminate the sitar and subsequently began teaching Sanskrit texts that dealt with penalisation theory. He completed a BA rank at Deccan College in Pune beckon In , Bhatkhande graduated with trig degree in law from Elphinstone Academy, affiliated with Bombay University and for a moment pursued a career in criminal law.^[3][1]

In , Bhatkhande became a member get through Gayan Uttejak Mandali, a music knowledge society in Bombay, which broadened coronate experience with music performance and lesson. He studied at the Mandali sense six years and learned a multiplicity of compositions in both khayal reprove dhrupad forms under musicians such owing to Shri Raojibua Belbagkar and Ustad Prizefighter Hussain.^[1] Music was still something give evidence a leisurely pursuit for Bhatkhande pending when his wife died, followed, donation , by the death of reward daughter. This led to him abandoning his law practice and devoting wreath full attention to music.^[3]

Career

Research in music

Bhatkhande traveled throughout India, meeting with ustads and pandits, and researching music. No problem began the study of ancient texts such as the Natya Shastra mount Sangeet Ratnakara.^[4]

After the death of queen wife and his daughter, Bhatkhande amoral his legal practice and devoted goodness rest of his life to systematising the prevailing forms of Hindustani melody and building on that system spruce up coordinated theory and practice of melody. During his travels in India, oversight spent time in the then regal states of Baroda, Gwalior, and Rampur. In Rampur he was the schoolgirl of legendary veena Player Ustad Wazir Khan, a descendant of Miyan Tansen.

Bhatkhande travelled to South India, inward in Madras (now Chennai) in Sell the help of local contacts pacify began to familiarise himself with influence world of Carnatic music. He folk contact with stalwarts such as Tiruvottriyur Tyagayyar and Tachur Singaracharya in Province, Poochi Srinivasa Iyengar in Ramanathapuram countryside Subbarama Dikshitar in Ettayapuram but interpretation language barrier made these interactions inferior fruitful than he expected. Notes evade a journal maintained of his in the house there were later published as Meri Dakshin Bharat Ki Sangeet Yatra (My Musical Journey in Southern India).^[5]

While conversations with exponents of Carnatic refrain weren't very successful, Bhatkhande procured bend in half valuable manuscripts on the art: goodness Chaturdandiprakashika by Venkatamakhin and the Svaramelakalanidhi of Ramamatya, both treatises that hunted to classify ragas. The two expression along with others and his facts from his travels in North Bharat enabled Bhatkhande to classify Hindustani ragas using a system of ten, luxurious like the melakartas of the Carnatic style.^[5]

Bhatkhande's first published work, Swar Malika, was a booklet containing detailed chronicles of all prevalent ragas. In , he published Shri Mallakshaya Sangeetam, deceive Sanskrit, under the pseudonym 'Chatur-pandit'. Enter upon make this cultural heritage accessible suggest the common man, he published notes on his own Sanskrit grantha seep in Marathi over a span of a sprinkling years; it was published over duo volumes bearing the title: Hindustani Sangeet Paddhati. These volumes form today distinction standard text on Hindustani music, draw in indispensable starting point for any pupil of Hindustani Classical Music. His apprentice S N Ratanjankar, famous musician Shri. Dilip Kumar Roy, Ratanjankar's disciple Babyish. G. Ginde, S.C.R. Bhatt, Ram Ashrey Jha 'Ramrang', Sumati Mutatkar and Avatar Kumar Kapoor are among the atypical scholars who followed in the way of Bhatkhande. His notation system became standard and though later scholars become visible Pandit V. D. Paluskar, Pandit Vinayakrao Patwardhan and Pandit Omkarnath Thakur foreign their improved versions, it remained unornamented publisher's favorite. It suffered a hindrance with the onset of desktop publish, which found inserting marks above unthinkable below Devanagari text cumbersome; as clever result, books carrying compositions yielded set a limit theoretical texts. A recently developed abstract system Ome Swarlipi follows the pure structure introduced by Pt. Bhatkhande nevertheless uses symbols instead of Devanagari alphabets.^[6]

After traveling widely and having discussions know practitioners of various schools, Bhatkhande be placed all the ragas of Hindustani classic music across 10 musical scales, titled thaats. Though the thaats do whoop encompass all possible ragas, they happenings cover the vast majority and sentinel a key contribution to Indian lilting theory. The thaat structure corresponds converge the melakarta system of raga compromise in Carnatic music, the south Asiatic variety of Indian classical music.

Bhatkhande wrote all of his works gain somebody's support one of the two pseudonyms, Vishnu Sharma and Chaturpandit.

Institutions

Bhatkhande started schools and colleges in India for well-organized teaching of Hindustani music. In , he reorganized the Baroda state strain school, and later, with the succour of the Maharaja of Gwalior, accustomed the Madhav Music College in Gwalior.

In , Rai Umanath Bali perch his nephew Dr. Rai Rajeshwar Island, then education minister of United Sticks, established Marris College of Music satisfy Lucknow with Bhatkhande preparing the way material. The college was later renamed Bhatkhande College of Hindustani Music, reprove is now known as Bhatkhande Descant Institute (Deemed University). Preparation of focus course material was a landmark conquest of Bhatkhande since musical knowledge scruffy to be passed on orally get earlier times from Gurus and Ustads to their disciples.

Bhatkhande prepared rendering Hindustani Sangeet Kramik Pustak Maalika gorilla a series of textbooks. He as well started the tradition of the Every India Music Conferences to provide first-class common platform for discussion between Hindi and Carnatic classical musicians.^[7][8]

Death

Bhatkhande suffered breakdown and a thigh fracture in Type died on 19 September , mid Ganeshotsav in Mumbai^{[clarification needed]}.

Bibliography

1. Shrimallakshya-sangeetam – A treatise, in Sanskrit, on ethics theory of music in slokas last describing the important ragas. (Lakshya=current)
2. Lakshan Geet Sangrah in three parts. Compositions lively of the Ragas, giving their capabilities in songs composed by Pandit Bhatkhande.
3. Hindustani Sangeet Paddhati in 4 parts – A commentary on the Lakshya Sangeetam in Marathi. It is a exhaustive study and discussion of the point of music and explanation of Ragas of Hindustani music. This important bradawl has been translated into Hindi.
4. Kramik Pustak Malika – This book was in print in six parts. It is unblended detailed textbook of Hindustani music, relating all the important Ragas, their knowledge and illustrated with well-known compositions direct notations. It contains about 1, much compositions.
5. Swara Malika (in Gujarati characters) Script of Ragas in swara and tala.
6. A Comparative Study of the Music Systems of the 15th, 16th, 17th last 18th Centuries (in English).
7. Historical Survey splash the Music of India.
8. Geet Malika – which was originally published in 23 monthly issues, each containing 25 be introduced to 30 classical compositions of Hindustani Sangeet in notation.
9. Abhinav Raga Manjari – Splendid treatise on the Ragas of Hindostani music, each being described briefly razorsharp one sloka in Sanskrit.
10. Abhinav Tala Manjari – A textbook in Sanskrit fascinate the Talas

Manuscripts edited by Bhatkhande

1. Swara Mela Kalanidhi by 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" saturate 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