He was a great lover of music. He started the Dhrupad style of music. He was an expert in Dhrupad style of music and composed a number of Dhrupads and encouraged Dhrupad style of music. His songs are still sung today. He loved 'Sankeerna Ragas'. He introduced some new ragas and named them after his beloved queeen 'Gujrani Rani', Then known as Gujari, Malguri, Mangal Gurjari. He wrote a book on music entitled Man Kutuhal. The most famous musician at his court was Nayak Bhakhshu whose name is still considered next to Tansen. There were other famous singers also in his court named Dalu, Bhagwan, Charju, and Dhindu. Thus, during the time of Raja Man there was a great progress in music and Dhrupad singing was particularly improved and held in great esteem.
Babar was a great lover of music. He himself was a good singer and a proficient composer of songs. He had great respect for singers and rewarded expert singers and players on instruments. He has written a book on music which is considered of a high order. Thus, during the reign of Babar music was considerably improved.
Humayun too was very fond of music. He had good respect for musicians. There were singers and players on instruments employed in his court and were better known as "Ahal-e-Murad". "He heard sweet songs and delightful music on Mondays and Wednesdays". "Elliot". He did not neglect music even during his troubled days and found solace in music alone. During his tome
SUFIS(reljigious gurus) and saints spread their religious teaching through music. Thus Music was spread through the saints also.
Sher Shah of Sur Dynasty had no love for music. But, his son Islam Shah loved music very much. The two famous musicians, named , Ramdas, resident of Lucknow and Mahapattere were employed in his court. Mohammad Shah Aadil also loved music. He was a skilled musician of no mean repute. It is said that the Raja of Malwa named Baz Bahadur had his training in music from Mohammad Shah Adil. Thus, in sur dynasty Islam Shah Aadil and Mohammad Shah Adil were only two great patrons of all those who practiced this art.
The emperor Akhbar was a great lover of music. He did much for its development. He patronised fervent lover of music. He did much for his court filled with musicians of repute. He paid much attention to music and was the patron of all who practised this art. According to Prof. H. Blockmann there were numerous musicians attached to his court - Hindus, Iranis, Turanis, Kashmiris both men and women. There were as many as thirty-six musicians in his court viz, Tansen, Baba Ramdas, Subhan Khan, Surgyan khan (player on Surmandal), Baz Bahadur(Raja of Malwa), Shitale Khan (Veenkar), Daud Dhadi, Sarod Khan, Miyan Lal, Tan Tarang Khan (son of tansen) Mullah Ishaq Dhadi, Usta Dost (Player on 'Naya' a kind of flute) Nayak Charju, Purbin Khan , Soordas(son of Ramdas), Chaand Ustad Yusuf, Kasim, Tash Beg, Sultan Hashim, Ustad Mohammad Amin, Hafiz Khawaja Ali, Mir Abdulla (player on Qanoon). Pirjada Bahadur and Tantarang Khan were the most outstanding musicians. Akbar was such a great lover of music that he had aquired a good knowledge of this art. He could play on Naqqarah very skillfully. He also had a fine knowledge about the theory of music.
Tansen was the best singer at Akbar's court. Abul-Fazal has written in his book Ain-i-Aikbari that during the reign of Akbar there has not been in India a singer like Tansen for the last thousand years. Tansen was previously employed in the court of Raja Ram Chandra of Rewa State. But Akhbar in the seventh year of his reign had required the said Raja to surrender Tansen to him . Tansen introduced few ragas Miyan-Ki-Todi, Mihayn-Ki-Sarang, Miyan-Ki -Malhar, Darbari-Kanhara etc. He also composed several dhrupads which are current even to this day. After the death of Tansen the members of his family became famous as Rabab-players and those of his son-in-law's family became as Veenkars.
Baz Bahadur of Malwa (sixteentn century)
He was the ruler of Malwa. He was a singer of no mean repute. He too was a unique singer and had no rival. Abdul Fazal calls Baz Bahadur a singer without rival. Rani Roopmati of the 'Harem' of Baz Bahadur was also a good singer.
There was other famous singers during the time of Akbar, Swami Haridas was also an unrivalled singer and a resident of Gujarat and a pupil of Swami Haridas better known as Shekh Baijoo. A story is told that "one day the Emperor filled the tank of Hakim Ali with copper coins amounting to about crores of 'dam'. He then gave an interview to Sheikh Baijoo, a singer with sweet voice. Next he sent for Miyan Tansen and other unequalled singer but preferred Sheikh Baijoo to any other and ordered him to carry away all the money. "Al Baduni" Vol.II Seikh Baijoo introduced a few Ragas, viz, Lankdahan, Sarang, Dhulia-Malhar etc. Hira Bai was another good singer. She too introduced Raga 'Jogiya'. Thus, during Akhbar's reign some changes were made in the existing Ragas and new kind of ragas were introduced. Not only this but musicians from Gwalior, Panna, Malwa etc., would come to the court of the Emperor and give their performances. Besides musicians of other countries also happened to come to the Emperor's court. Thus Hindus and Mohammadans borrowed from one another and each community enriched the other with the precious store it possessed.
Pundarik Vitthals (sixteenth century)
During this time Pundarik Vitthal who lived in the south in Burhanpur and was in the employ of Budhan Khan of Khandesh, wrote four important books on music entitled Sadraga-Chandrodaya, Raga-Mala, Raga-Manjari and Nartan-Nirnaya. In Sadraga Chandridaya he has described southern music. He has accepted 19 thatas and has classified all the Ragas of the South under the said Thatas in Raga-Mala and Raga-Manjari he has described the music of the North.
About this time Soordas(son of Baba Ram Das) also made some contribution to music. He wrote a book named "Soor-Sagar" in which there is a praiseworthy mixture of music and poetry.
From the above description, it is clear that during the reign of Akhbar the art of music reached it noon-day splendour and it can rightly be called as the golden age of music.
Jahangir (1605-1627)
Jahangir, like his father, was a great lover of music. He respected musicians and gave them gifts and presents. Jahangirdad, Chhatar Khan, Pawezdad, Khurramdad, Mallhu, and Hamza were the famous singers attched to his cour. When he ascended the throne he organised a grand music festival in which musicians of repute took part with great interest and pleasure. This festival continued for a number of days, which has been described by Jahangir himself in his book Tuzak-I-Jahangiri.
Jahangir's wife Nurjahan also was a great lover of music. She was a good singer. Her voice was quite sweet and attractive. Whenever there was any music programme in the court both of them took part and enjoyed it full well.
Raga Vibodh
During the time of Jahangir Pandit Somnath, a Telegu Brahmin and a resident of Rajmundry, wrote a book entitled Raga Vibodh in 1610. He has described his Ragas in terms of Janya-Janak or Thata-Raga system. He has also given a description of different kinds of 'Veenas'. There is also some description of the North Indian music.
During the time of Jahangir Pandit Damodar Mishra wrote a book on Hindustani system of music entitled Sangeet-Darpan in 1625. In this book he has personified the Ragas, i.e., he has given a pictorial description of Ragas.
Shahjahan (1627-1658)
Shahjahan was a great lover of music. He himself was a good singer and was a great lover of music. He himself was a good singer and was an accomplished sitar player. His voice was sweet and charming. He could sing songs of Urdu language very soulfully which simply enchanted the audience of every description. He had in his court famous musicians, viz, Jagannath, Lal Khan (son of Tansen and son-in-law of Bilas Khan), Dirang Khan. Jagannath was given the title of Kaviraj and Lal Khan was adorned with the title of "Ocean of excellence". Both of them were weighted with silver coins and both were given Rs.4000/- each as reward. Shahjahan was so very fond of music that at about 8:30 pm when he retired to the harem again, two and sometimes three hours were spent listening to songs by women.
Sangeet Parijat of Pt.Ahobal (seventeenth century)
About this time a learned musician Pandit Ahobal wrote a book on Hindustani system of music entitled "Sangeet Parijat" in 1650. His Suhddha Thata' was the present day 'Kaphi-Thata'. He has accepted ninteen shuddha and vikrit Swaras and has described all his Ragas on the basis of the Vikrit Swaras and has described all his ragas on the basis of the said 19 swaras. Pt. Ahobal has also located his twelve shuddha and Vikrit nodes on the stretched wire of a veence by the simple method of bisection and trisection of the length of the wire. Thus, Pt.Ahobal has done aremarkable work by locating his swaras in a scientific manner, on speaking wire of veena and in terms of the length of the wire.
Pandit-Vyankatmakhi(seventeenth century)
Pt.Vyankatmakhi a learned musician of the south wrote a book on the Southern System of music entitled 'Chaturdandi Prakshika' in 1640. He for the first time introduced seventy two Thatas mathematically from the twelve Shuddha and Vikrit Swaras. He has described the Karnataka system of music has accepted nineteen of the seventy-two thatas alone for the description of the Ragas of the South current during his time. He too has accepted Thata-Raga System.
Aurngazeb (1658-1707)
Aurangazeb was an orthodox musalma. He hated music. He had dismissed all the musicians employed in his court. He had stopped singing and dancing altogether. The Emperor determined to destroy them and a severe edict was issued. Raids of Police dissipated their harmonious meetings and their instruments were burnt. 'Rulers of India Series' by Stanley Lane Poole.
Aurangazeb hated music, dance, poetry and other fine arts. He wanted to destroy music altogether. He had ordered that all the musical instruments be burried. "Make the grave deep so that neither voice nor echo may issue from their grave". Such was his aversion for music, dance and even poetry. He was an orthodox Sunny Musalman and considered singing, dancing etc. as irreligious. He believed that music destroyed the character of a person. He had forbiddesn music all over the state.
Hirdaya Narani Deva;(Seventeenth century)
Hirdaya Narain Deva wrote two books on music, viz., :'Hirdaya- Koutuk' and 'Hirdaya-Prakash' in 1669. He too accepted his Shuddha That like that of the present 'Kaphi That'. He too located his Swaras on the speaking or the sounding wire of the Veena just like that of Pt.Ahobal.
About this time Pt.Bhava Bhatt, an employee of Raja Anoop Singh 'Anuup Sangeet Ratnakar' and 'Anupankush'. All these books are useful for Hindustani system of music.
Mohammad Shah (1719-1747)
Mohammad Shah 'Rangeele' was an ardent lover of music. The songs bearing his name "Rangeele" are current even to this day. There were two famous singers in his court named ;Adarang' (Naubad Khan) and 'Sadarang' (Niyamat Khan). Both of them were real brothers. They composed thousands of 'Khayals' which are current even today and are frequently sung by all the musicians all over India.
Pandit Shriniwas (Eighteenth Century)
Pandit Shriniwas wrote a book on Hindustani System of music entitled. "Raga Tatwa Vibodh" in the first half of the 18th century. He accepted his "Shuddha Thata" as the present day Kaphi That like Ahobal, he too located his"Shuddha" and "Vikrit" Swaras in terms of the length of the wire. Pandit Shriniwas is the last if the medeival writers. His grantha is very useful for the Hindustani systsem of music.
Shori Miyan (Eighteenth Century)
During the time of Nawab Asaf-Ud-Daulah of Lukhnow (1775-1797) the famous 'Nayak' and 'Qouqal' 'Ghulam Nabi Shori' alias 'Shori Miyan', son of the famous singer and 'Qouwal', Ghulam Rasool', introduced 'Tappa' style of singing.
During this time the Raja of Tanjor, Tulaji, Rao Bhonsle(1763-1778), paid much attention to music and wrote a book on the 'Southern system of music' entitled 'Sangeet sar Mritam. In this book he has fully described the southern system of music faithfully following the ideas of Pandit Vyankatmakhi.
Nawabs of Lucknow (1756-1856)
All the Nawabs of Lukhnow were fond of music. Among them Nawab Wajid Ali Shah was a great patron of music. He himself was very fond of singing and dancing. He had a great respect for musicians and helped them by all means.
His court was adorned by famous vocalist, instrumentalists and dancers who gave their performances from time to time. The Nawab was also fond of dramas. He himself had written a drama known as 'Indra Sabha'. In this drama the Nawab himself took part and played the role of the Raja, This drama was played for full ten days. Besides this he introduced, "Raas Mandali" in which he took part as "Kanhaiya" and the dancing girls played the role of 'Gopis'.
The Nawab Wajid Ali Shah had great interest in "Kathak" dance. He was very much impressed by the enchanting dance performance of Acharya Thakur Prasad of Lucknow. Gharana(school) of Kathak dance. Thakur Prasad's father was Prakash. He had three sons, namely Durga Prasad, Thakur Prasad and Man Sing. Thakur Prasad had no son . Durga Prasad had three sons namely Brinda Din, Kalika Prasad, and Bhairav Prasad. Bindadin had no son. Kalika Prasad had three sons namely, Achchhan Maharaj (Jagannath Prasad), Lachchhu Maharaj(Baij Nath Prasad) and Shambhu Maharaj(Sambhu Nath), Achchhan Maharaj;s son is Birju Maharaj. It is said that Maharaj Ishwari Prasad Misra of 'HANDIA' near Allahabad, brought to Lukhnow the style of Kathak dance known as "Natwari-Nritya" during the time of Nawab Asaf-ud-duala (1775-1797) Maharaj Ishwari Prasad's nephew is Prakash ji Maharaj.
Nawab Wajid Ali Shah was so much impressed by the dance Performance of Acharya Tahkur Prasad of Lukhnow Gharana of Kathak dance that he accepted him as his Guru of Kathak dance. About this time Maharaj Bindadin the nephew of Acharya Tahkur Prasad had mastered the art of dancing at the tender age of twelve. There was a performance of Kathak dance by Bindadin in the court of the Nawab Kodou singh the famous Pakhawaj-player of DATIA state accompanied his performance. Bindadin surspassed Kondou Singh by dint of his mastery in the rhythm(Laykari) of his TATKAR.
Thus during the time of Nawab Wajid Ali Shah, Raas-Leela, Lucknow Gharana of 'Kathak', dance, Thumri, Dadra, Qouwali and Ghazal singing were the many sided contributions of Lukhnow to music and dance. The famous melodious Thumri in Raga Bhairavi, viz, Babul Mora Naihar Chhooto jaaye is said to have been composed by Nawab Wajid Ali Shah himself in his moments of intense grief while he was exiled and being forcibly parted from his beloved Lucknow and taken to Matiya-Burj (Graden Reach) in Calcutta.
The Lucknow Gharana of Tabla-Vadan is also said to have been evolved, Moulded and enriched, about this time, by Khalifa Abid Husain (1857-1936). His son in law Khalifa Wajid Hussain and his son Khalifa Afaq Hussain were the exponents of Lucknow-Gharana of Tabla-Vadhan(Lucknow-Gharana-Style of Tabla playing). Besides Birju Mishra of Varanasi, Jahangir Khan of Indore, Hira Babu and Sapan Choudhury of Calcutta and Ustad Munney Khan of Lucknow are the famous exponents of Lucknow Gharana of Tabla Playing.
