What is Thaat in music? Description of all the 10 thaat. Music Theory

Definition of Thaat : 

The collection of notes which is capable of Producing Raagas is known as ‘thaat’. Thaat is also defined as a parent scale. In other words ‘Swar Saptak’ or the Gamut of seven notes which has Sa Re Ga Ma Pa Dha Ni, in this serial order and is able to produce a raga is called thaat. 

Who invented Thaats?  The theory of 72 thaats :

The Hindustani system of music admits of 12 notes in an octave known as Sa, Re, Re, Ga, Ga, Ma, ma,Pa, Dha, Dha, Ni, Ni. Out of this 12 note ‘thaat’ or the ‘parent note’ is obtained by mathematical process of permutation and combination or variations of the 12 notes in a serial order. 

Pandit Vyankatmakhi a great musician and writer, in the 17th century came up with his book ‘Chaturdandi Prakashika’. He went through all the possible combinations with the twelve notes and laid down precisely the number of thaats produced. According to him 72 thaats could be accurately produced form the twelve shudda and vikrit swaras or the sharp and the flat notes. And Eventually selected 19 suitable thaats under which all the North Indian ragas has been classified. The Hindustani Classical music took 10 out of these thaats and classified the ragas under them. 

 

What are the Essential feature of thaats? What is the difference between a Raga and thaat?

1. A thaat must always have all the seven notes of the scale.A raga may have less than seven notes but a thaat should always have seven notes in it. The reason is since some ragas have seven notes in it therefore at thaat must always have seven notes, If a thaat contains less than seven notes it cannot form a raga.

2. A thaat must always have the notes in serial order i.e. it a thaat must start from Sa, Re, Ga, Ma, Pa, Dha, Ni, .A raga may or may not be in a serial order but a thaat must always start from middle octave Sa to the higher octave Sa.

3.The two notes of the same denomination may come one after the another in a thaat. Since a thaat takes notes in a serial order. Therefore,sharps and flats may come one after the another.

4.A thought has only the ascent or the Aroha. It thaat is recognised by its ascent alone. As for instance Sa Re Ga Ma Pa Dha Ni Sa. This scale indicates the thaat Bhairav. Eranga has both the ascent and the descent.

5.A thaat may or may not sound pleasing to the ears as it has both the sharps and flats. It may or may not have a musical value. But a raga must always sound pleasing to the ears even though it is derived from a specific thaat.

6.A thaat is always derived from a big and an important Raga.

As for instance, the thaat Bhairav is derived from the Raga Bhairav.

How did Pandit Vyankatmakhi derive the 72 thaats from the 12 sharp and flat notes?

1. He took the 12 notes in an order Sa Re Re Ga Ga Ma ma Pa Dha Dha Ni Ni.

2. Now omit tivra ma from the series and add the higher octave Sa to complete the 12 series note. Now we have Sa Re Re Ga Ga Ma Pa Dha Dha Ni Ni Sa

3.In the next step we will divide the notes in two equal parts ‘Sa Re Re Ga Ga Ma’ and ‘Pa Dha Dha Ni Ni Sa’. Now we will have to find out how many thaat or melakartars can be made from the said twelve notes.

4.A complete thaat has seven notes in a serial order. And since we have divided the strings of the 12 notes into two parts.Therefore, each of the two parts will produce only a certain number of half scales or half melakartas having the names Sa Re Ga Ma and Pa Dha Ni Sa respectively.

 

5.While constructing the half scales from the six notes of each part we must follow the rule laid by Pt. Vyankatmakhi namely the first and the last note must represent the extremities in every one if the half-scales i.e Sa and Ma in the first half scale and Pa and Sa in the second half. Now by simple method of permutations and combinations six half scales of four notes from the first part of the series can be obtained as :-

a) Sa Re Ga Ma

b) Sa Re Ga Ma

c) Sa Re Ga Ma

d) Sa Re Ga Ma

e) Sa Re Re Ma

f) Sa Ga Ga Ma

6.Now let us construct the second part of the series:-

a) Pa Dha Ni Sa

b) Pa Dha Ni Sa

c) Pa Dha Ni Sa

d) Pa Dha Ni Sa

e) Pa Dha Ni Sa

f) Pa Dha Ni Sa

7.Now to form a thaat if we combine the first half of the scale to the second half of the scale of each group we will get a complete series of 36 thaat. This is for the suddha Ma.

8. Now if we use Tivra ma instead of Sudha Ma then we will get another 36 set of thaat which completely makes 72 thaat.

Note: Thaats aren’t meant for singing. A thaat is only the swar-saptak or gumut of seven notes neither more nor less out of which ragas having 5, 6 or 7 notes are formed. In place of ancient Murchannas we have the thaat system in the modern Hindustani Music.

Description of the 10 thaat in Hindustani Classical Music:

1. Bilawal Thaat :

 The scales of this Thaat is all suddha. Bilawal is the most basic of all the ten thaats. All the swars in the thaat are shuddha or all swars in the natural scale. Bilawal as a raag is not rendered these days however a small variation of the raag called Alahaiya Bilawal is very common. This is a mornig raag and its pictorial descriptions create a rich, sensuous ambience in consonance with its performance. 

Raags in Bilawal Thaat : Deskar, Haunsdhwani, Variations of Bilawal.

2. Khamaj Thaat: 

The next thaat is Khamaj which can be obtained by replacing the Shuddha Nishad of Bilawal by Komal Nishad. The raags of this thaat are full of Shringar Ras (romantic) hence this raag is mostly rendered in the form of light classical thumris, tappas, horis, kajris etc. Its pictorial descriptions in the existing texts are sensuous and even today, the raag Khamaj is considered to be a 'flirtatious' raag. There is another theory which assumes that in the past, Khamaj scale found its way in Ch'in music of the late medieval China. 

Raags in Khamaj Thaat : Rageshree, Jhinjhoti, Des, Tilak Kamod, Jaijaiwanti, Khambavati etc.

3.Kafi thaat :

Kafi thaat makes use of the Komal Gandhar and Komal Nishad. So basically it adds Komal Gandhar to the Khamaj Thaat. raag Kafi is one of the oldest raags and its intervals are described as basic scale of the Natyashastra. Thus in ancient and medieval times, Kafi was considered as natural scale. Kafi is a late evening raag and said to convey the mood of spring time. 

Raags in Kafi Thaat : Dhanashree, Dhani, Bhimpalasi, Pilu, Megh Malhar, Bageshree etc.

4. Asavari thaat:

Add Komal Dhaivat to Kafi thaat and you get Asavari Thaat. raag Asavari is full of tyag, the mood of renunciation and sacrifice as well as pathos. It is best suited for late morning. However important evening/night raags like Darbari and Adana also use notes of asavari thaat with different styles, stress points and ornamentations.

Raags in Asavari Thaat : Asavari, Desi, Darbari, Adana, Jaunpuri etc.

5. Bhairavi thaat:

Bhairavi makes use of all the komal swars, Rishabh, Gandhar, Dhaivat, Nishad. When singing compositions in Bhairavi raag, the singers however take liberty to use all the 12 swars. Bhairavi raag is names after the shakti or feminine aspect of the cosmic life force, which is personified as a consort to Lord Shiva. Bhairavi is a powerful raag filled with devotion and compassion. Bhairavi is actually performed early in the morning in a peaceful, serious and ocassionally sad mood. Traditionally it is rendered as the last item of a program, for its unique fullness of sentiments as well as its wide scope of the tonal combinations. Pictorially, Bhairavi is represented in female form, as the wife of Bhairav.

Raags in Bhairavi Thaat : Malkauns, Bilaskhani Todi, Bhupali Todi, Kaunsi Kanada etc.

6. Bhairav thaat:

Bhairav thaat raags make use of Komal Rishabh and Komal Dhaivat. Bhairav is one of the names of Lord Shiva especially in his powerful form as a naked ascetic with matted locks and body smeared with ashes. The raag too has some of these masculine and scetic attributes in its form and compositions. The raag itself is extremely vast and allows a huge number of note combinations and a great range of emotional qualities from valor to peace. You can see a lot of variations on raag Bhairav including (but not restricted to) Ahir Bhairav, Alam Bhairav, Anand Bhairav, Bairagi Bhairav, Beehad Bhairav, Bhavmat Bhairav, Devata Bhairav, Gauri Bhairav, Nat Bhairav, Shivmat Bhairav. This raag is usually performed in a devotional mood in the early morning hours. The vibrations of the notes in Bhairav is said to clear one's whole mind. The pictorial depictions of raag Bhairav in the ancient texts are austere as well as awe-inspiring.

Raags in Bhairav Thaat : Ramkali, Gunkari, Meghranjani, Jogiya, Bhairav and its variations etc.

7. Kalyan thaat:

Kalyan thaat consists of a important group of evening raags. Characterized by the teevra Madhyam, this thaat literally means good luck. It is considered to be a blessing-seeking and soothing raag. As a result, it is performed in the evening at the beginning of a concert. This raag creates a feeling of the unfolding of an evening. This thaat is huge and consists of many variations on the basic kalyan thaat including raags (but not restricted to) like Shuddha Kalyan, Shyam Kalyan, Yaman Kalyan, Anandi Kalyan, Khem Kalyan (Haunsdhwani + Yaman), Savani Kalyan etc.

Raags in Kalyan Thaat : Yaman, Bhupali, Hindol, Kedar, Kamod, etc.

8. Marwa thaat:

Marwa thaat is obtained by adding a komal Rishabh to Kalyan thaat. The mood of the Marwa family raags is strongly and easily recognizable. The Shadja remains in the form of a shadow till the very end, where it almost comes as a surprise. komal Rishabh and shuddha Dhaivat are ver important. The overall mood of this raag is of sunset where the night approaches much faster than in northern latitudes. The onrushing darkness awakens in many observers, a feeling of anxiety and solemn expectation.

Raags in Marwa Thaat : Marwa, Puriya, Bhatiyaar, Bibhas, Sohoni etc.

9. Poorvi thaat:

Poorvi thaat adds a komal Dhaivat to Marwa thaat. These thaat raags usually feature komal Rishabh, shuddha Gandhar and Shuddha Nishad along with teevra Madhyam, the note which distinguishes evening from the morning raags (dawn and sunset). The thaat raag Poorvi is deeply serious quite and mysterious in character and is performed at the time of sunset. Pictorial depictions in early texts, often mention the poise, grace and charm of Poorvi.

Raags in Poorvi Thaat : Puriya Dhanashree, Gauri, Shree, Paraj, Basant etc.

10. Todi thaat :

Todi is the king of all thaats. Todi pictures nearly always show a petite, beautiful woman, holding veena, with a deer around her, standing in a lovely, lush green forest. Todi represents the mood of delighted adoration with a gentle, loving sentiment and its traditionally performed in the late morning.

Raags in Todi Thaat : Miyan Ki Todi, Gujari Todi, Madhuvanti, Multani etc.

Check out more topics like:

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https://allaboutmusicin.blogspot.com/2017/05/what-is-saptak.html

https://allaboutmusicin.blogspot.com/2017/05/what-is-swar.html

https://allaboutmusicin.blogspot.com/2017/05/what-is-shruti.html

https://allaboutmusicin.blogspot.com/2017/05/what-is-nada.html

https://allaboutmusicin.blogspot.com/2017/05/the-two-system-of-indian-music.html

https://allaboutmusicin.blogspot.com/2017/05/what-is-music-or-sangeet.html

https://allaboutmusicin.blogspot.com/2017/05/history-of-indian-music-british-period.html

https://allaboutmusicin.blogspot.com/2017/04/history-of-indian-music-hindustani-music.html

What is Varna in Classical music?

What is Varna in Classical Music?

'VARNA'  is defined as the mode or manner of singing. It signifies the arrangement of notes in successive order. 'Varnas' are of four kinds. viz, Sthai, Arohi, Avarohi, and Sanchari.

STAHI VARNA : To sing or play on an instrument one and the same note over and over again is called 'Sthai Varna', e.q. "Sa Sa Sa Sa, Ga Ga Ga Ga etc.

AROHI VARNA : To sing or play on an instrument the notes in the ascending order starting from 'Sa' upwards up to 'Ni' is called 'Arohi Varna' e.q. 'Sa Re Ga Ma Pa Dha Ni'.

AVROHI VARNA : To sing or play on an instrument the notes in descending order from 'Ni' downwards up to 'Sa' is called 'Avarohi Varna', e.g., 'Ni Dha Pa Ma Ga Re Sa'

SANCHARI VARNA : It is the mixture of Sthai, Arohi and Avarohi Varnas. In other words, when the above three Varnas are sung together it becomes 'Sanchari Varna'. e.q., 'Sa Re Sa Re Ga Sa Re Ga Ma Pa Dha Pa Ma Ga Re Sa Re Sa Sa Re Ga Ma Pa Ga Ma Ma Ma Re Re Sa'.

All the above mentioned four  Varnas are important in a Raga. In fact, while singing or playing a Raga on an instrument all the said four Varnas become clearly manifest and can be easily seen by the eye or perceived by the mind.

What is Shruti?

The term 'Shruti' is a Sanskrit word. It is derived from the root 'SHRU' which means 'to hear'. And 'Shruti' means that which can be heard Our writers on music have defined 'Shruti' in a very simple way thus : "Shruyate Iti Shruti" which means any sound capable of being heard is called "Shruti". This definition of Shruti seems to be very simple. But from the musical point of view it is not possible to give such a wide connotation to the word 'Shruti'. Because music is concerned with that sound alone which is capable of being used in music and not any kind of sound. Besides, the term 'Shruti' connotes that sound which can be distinctly identified by the ear. So we will have to restrict the meaning of 'Shruti' to the above said two conditions. Therefore, in order to understand the correct definition of  'Shruti' the following properties should be remembered :-

(1)   Sound which is capable of being used in music.

(2) Sound which can be clearly heard.

(3) Sound which can be distinctly identified by the ear.

DEFINITION OF SHRUTI : The sound which is capable of being used in music and which can be distinctly identified by the ear is called 'Shruti'. In other words, musical sounds which can be heard and distinguished one from the other are called 'Shrutis'. In Short, every distinct and audible musical sound is called 'Shruti'.

The definition of 'Shruti' given in the Sanskrit book entitled 'Abhinava Raga Manjari' is as under :

                   Nityam Geetopayogitwam Bhigyeatwam Pyatu,
                   Lakshae Proktam Supariyaptam Sangeet Shritu Lakshanam.

EXPLANATION : That sound which is capable of being used in music and which can be distinctly can be distinctly identified by the ear is called 'Shruti'.

As a matter of fact both 'Shruti' and 'Swara' are musical sounds capable of being heard. The distinction between the two is something like that which exists between the snake and its coil or between gold and the ornaments made out of it. All 'Shrutis' are capable of being used as 'Swaras' in various Ragas. The Shrutis that are actually used in a particular Raga become 'Swara' for that Raga and those that are not used in that Raga remain 'Shrutis' only. 'Swaras' or notes are musical sounds at large intervals while 'Shrutis' are musical sounds at very small intervals between two consecutive notes and are known as micro tones.

What is thaat?
https://allaboutmusicin.blogspot.com/2022/09/meaning-of-thaat.html

What are the two types of Indian Music?

The Two Types of Indian Music

There are at present two different types of Indian music currently in the country known as Hindustani or Northern system of music and Karnataki or Southern system of music. Originally there was only one system of music prevalent throughout the length and breadth of India Known as "Gram-Moorchhana-Jati" system. But after 13th century due to certain geographical conditions and political upheavels there came into being the above mentioned two different system of music.



INDIAN MUSIC:-

         1. Hindustani system of music OR Northern system of Music

         2. Karnataki system of music OR Southern system of Music.


Hindustani System of Music : That system of music which is prevalent throughout India excepting Madras Province, Mysore State, Andra Pradesh and South Kanara is called Hindustani system of music or Northern system of music.

Karnataki System of Music : That system of music which is prevalent in Madras Province, Mysore State, Andra Pradesh and South kanara, is called Karnataki system of music.

Although the nucleus of the above two systems of music is the same, but they are perfectly independent of each other. The chief difference between the two lies in their two perfectly independent 'primary or foundation' scales. The primary scales of Shudda Scale of Hindustani system of music is commonly called "Bilawal Scale" which "very nearly" corresponds with the European Scale of 'C' Major. While the primary scale or Shuddha scale of the Southern System of music is called 'Kanakangi Scale'. All the same there does exist some similarity between the two systems.


Get the history of Indian Music here  https://allaboutmusicin.blogspot.in/2017/04/history-of-indian-music-hindustani-music.html

what is music or sangeet?

SANGEET OR MUSIC

"Sangeet" or music is the art of combining sounds so as to please the ear. In other words, any melodic or harmonic combination of notes whether produced by voice or instruments is known as Music or "Sangeet". Music is one of the fine arts which is concerned with the combination of sounds with a view to beauty of form and expressions of emotions. Technically speaking the term 'Sangeet' is a collective term and connoted vocal music, Instrumental music, and dancing. In common parlance 'Sangeet' means vocal music; and Instrumental music and Dancing are supposed to be depending on vocal music. In fact, vocal music instrumental music and dancing are so intimated connected with each other that the term 'Sangeet' means vocal music. In Short, Music or 'Sangeet' may be defined as the art of singing, dancing, and playing on Instruments.

Music is the finest of the fine arts. It is of universal appeal. It influences the old and the young, the rich and the poor all alike. Love of music is innate in man and pervades the animal kingdom as well. It is harmless among of all the pleasures of life. It is, indeed, a bliss to enjoy and cultivate music. It is international and knows no barriers of religion, race, caste and creed. It is one of the joys of humanity. In short, music refreshes the mind and elevates the soul. It gives perfect mental peace and is a panacea for many ills. It is said that "Music is a kind of inarticulate, Unfathomable speech which leads us to the edge of infinite,  unfathomable speech which leads us to the edge of infinite, and lets us for moments to gaze into it.

Once George Meredith told a woman, "God's rarest blessing is after all a woman ". The woman atones replied, "Rarer than that is music". Even Shakespeare has rightly described the art of music in the following manner :-

The man that has no music in himself, 

Nor is not moved with concord of sweet sounds,

Is it fit for treason, stratagems and spoils,

The notions of his spirits are dull as night,

Let no such man be trusted.

Shakespeare (Merchant of Venice)

The famous philosopher and writer Plato has written in his book entitled 'Ideal State' that music is very useful for men and the youth can make his life happy by means of music and physical exercise.

 Even Dr. Rajendra Prasad the Late revered President of India has said, "Music occupies an important place in our lives...... From times immemorial we have learnt to appreciate music and to count it among the foremost achievements of man. Once Pandit Jawahar Lal Nehru had remarked, while hoisting the flag on the Red-fort of Delhi, "The ways of relaxation might differ in different countries. But, there could be no dispute over the fact that relaxation through music was common everywhere. Music was not only interesting but also creative.... Music and poetry were necessary for the life of human being."

In fact, music is a big and sublime art. Its field is immeasurable. Its profundity and sublimity is unfathomable. Its entertainment is unique. Its effect is pure and holy. In short, it is more or less nectar to the dying and ambrosia to the lover of it. Such is the sublime of art of music

For the History of Indian Music Go to https://allaboutmusicin.blogspot.in/2017/04/history-of-indian-music-hindustani-music.html

History of Indian Music, Mohammadan Period

The history of Indian Music may be broadly classified into three categories:-

1.Hindu Period: from Indus Valley civilization to the 10th century.

2. Mohammadan Period : From 11th century to the 18th century.

3.British Period : From 19th century till Independence.

                   2.  History of Indian Music ( Mohammadan Period)

The Mohammadans came to India at 11th century. They were not that good with the theory of music but were very good with the practice. They were very good in composing new music and also deviced a lot of instruments. You will find the Hindu period on this link https://allaboutmusicin.blogspot.in/2017/04/history-of-indian-music-hindustani-music.html

Pandit Sarang Deva ( 13th Century)

He was a very good musician in the court of the Raja of Devgiri of South. He also wrote the famous book "Sangeet Ratnakar" in which he gave a detail explaination of the music, dance and instruments of their time. It was considered as an authoritative treatise of the ancient system of music. He also gave detailed explaination of Nad, Shruti, Swara, Grama, Moorchana, Jati, ets. He accepted Shruti as a unit of measurement of fixing shuddha swaras and believed in the equality of Shrutis.

Alaudin Khilji (1296-1316)

He was very fond of music and encouraged the learning of music. He made revolutionary changes during his reign. Amir Khusro the famous musician flourished in his court.

Hazrat Amir Khusro(1253-1325)

He was a very famous musician, poet, and minister in the court of Alauddin Khilji. His guru was Hazrat Nizamuddin Aoulia for whom he had a deep love and respect and also composed a lot of songs in his name. He introduced ragas such as Yaman-Kalyan, Zeelaf, Sajgiri, Sarparda, Zila, Shana, raat-Ki-Pooriya, Todi, Poorvi etc. Some new kind of song styles like Qoul. Qalbana, Tarana, Khayal, Gazal, Tillana, etc. Some instruments llike Sitar, Tabla, and dhol. Some taals like Khamsa, Sawari, Jhoomra etc. 

During that time there was another famous singer in the court of the Raja Deva Rai of Vijayanagar in the South known, as Gopal Nayak. He introduced few ragas such as Bada-Hans-Sarang, Peelu, Viram, etc. 

Another great musician named Baijoo Bawara came from that period who used to sing devotional and philosophical songs.

Raga-Tarangani of Kavi (poet) Lochan : 15th century

Kavi Lochan wrote his grantha named 'Raga-Tarangani' in the middle of the 15th century. It was an authoritative grantha entitled 'Raga-Tarangani' in the middle of the 15th century. It is an authoritative grantha of Hindustani system of music. The swara and raga names given during those times are very much similar to the present Hindustani system. He accepted twelve shudha and vikrit Swaras. He described his ragas in the  said twelve Sawars. He has also given some 'Raga-Lakshanas' which are still useful today.

Sultan Hussain Sharqi (1458-1480)

He was a very famous singer coming from Jaunpur. It is said that he was a great Qouwali singer next to Amir Khusro. He also introduced 'Kalawanti-Khayal' singing and also introduced certain new ragas namely, Jaunpuri, Sindh-Bhairavi, Jaunpuri-Todi, Raman-todi, Rasooli-Todi, Twelve kinds of 'Shayam'. He was a great Nayak of his time.

Bhakti Movement (Fifteenth Century)

The Bhakti movement began in Northern India, Punjab, and Bengal and was promulgated in the public through music/ The chief exponents of this movements were Kabir, Nanak and Chaitanya who composed a fairly large numbers of 'Bhajans' which are current even to this day. The Bhajans which Kabir composed were sung in Northern India. The Bhajans composed by Nanak were sung in Punjab and those composed by Chaitanya were sung in Bengal. Thus, music also became popular through these 'Bhajans' or devotional songs. These Bhajans led to the improvement of Bhajan-Sangeet. In fact, the greatest impetus that the Bhakti movement gave was to the popularization of music and the formation of music and the formation of literature of devotional songs. For example, Kabir composed a very large number of Bhajans which are populr even at the present day. He was followed by Nanak and Chaitanya who gave a strong impetus to the vocal literature of the religious they respectively represented and preached.

Raja Man Singh Tomar (1486-1516)

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.

Mughal King Babar (1526-1530)

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.

Mughal King Humayun(1530-1556)

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.

Sur-Dynasty(Sixteenth Century)

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. 

Akhbar the Great Mughal(1556-1605)

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(1520-1588)

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.

This is about the history of ,music durng the mohamaddan  period,You will find the British period here https://allaboutmusicin.blogspot.in/2017/05/history-of-indian-music-british-period.html

  

History Of Indian Music, Hindustani Music Theory

        History Of Indian Music (Hindu Period)

The history of Indian Music may be broadly classified into three categories:-

1.Hindu Period: from Indus Valley civilization to the 10th century.

2. Mohammadan Period : From 11th century to the 18th century.

3.British Period : From 19th century till Independence.

                                      (1) HINDU PERIOD

The origin of Indian music has always been described in a very fanciful way which were very religious there is no proof if that is correct or not but according to Hindu mythology it is said that Brahma created the science of music and taught it to lord Shiva. And then Shiva taught it to Goddess Saraswati. And from Saraswati it passed on to Narad ( who is said to wander about earth and heaven). And he taught this art to the Gandharvas (heavenly singers), Kinnars (heavenly intrumental performers) ana Apsaras (heavenly dancers).And at the end, Narada (not the above mentioned) and Hanuman spread this art to people on earth.  

To understand the actual origin lets begin from 

Indus valley civilization (3200 B.C.)

There were several idol of female dancers with different dancing poses found in the excavations of Harappa and Mohenjo Daro, pictures of instruments etc. And it clearly showed the fact that the music was very popular during those days and the standards of music also seemed very high.

Vedic Period (2500 B.C.)

This period began with the advent of Aryans in India. Music was very prevalent during this time and dancing was performed by both sexes.During that period 'Tata Vadya or Chordophones'(string instruments) ; 'Avanaddha-vadya or Membrophones (made of hollow cylnders) ; sushir-vadya or Aerophones(played with mouth) ; Ghan-vadya or Autophones(played with sticks or percussion on solid body).

The character of the artists of the vedic peroiod were very strong. The were prepared to sacrifice anything for the cause of music. They were considered as member of higher class in the society.

Ramayana and Mahabharata Age(about 1900 B.C and 1400 B.C)

In Ramayana there is a mention that Ravan was a good musician both in theory and practical. He had good musicians in his court and he himself attended musical gatherings from time to time. 'Jati-Gyan' was also mentioned and instruments such as Veera, Mridanga, Dumdubhi, Mudduk etc was also made. It was also mentioned that Lava and Khush, the sons of Ram, recieved their musical training at the ashram of sage valmiki and they also gave their performance of 'Marg sangeet' before their father Ram. We can also find mention of the theory of consonance of notes in Mahabarata. Besides, Sri Krishna was an expert flute player at that time.  

Panini's Grammar(About 350 B.C) 

He mentioned about Mridanga, Maddukaa and Jharjhara and of concerts of vocalists and dancers. The usual recreation women was singing and dancing. The seven notes were designated by their initial letters "Sa Re Ga Ma Pa Dha Ni".

The Rulers OF Magadha:(About 500 B.C - 325 B.C)

During thid period Bimbsar, Ajata Shatru and the kingf of 'NAND' dynasty ruled in India. Vocal music singing and dancing were the recreations of women. Men too were fond of singing

Maurya Rulers : ( About 322 B.C- 185 B.C) 

Chandra Gupta Maurya was a great lover of music. He heard the performances of vocal music, instruments and dance and even joined them in their performances. Dancing, singing, and instrumental music performed an important limb of all festivals.

Kushan Rulers(78 B.C- 185 A.D)

Kanishka being a great ruler of that time loved both music and literature. Ashwa Ghosh a famous musician, dramatist and philosopher adourned his court. He wrote a poetical book named "Buddha-Charitra", the poems given in this book were sung by both male and female.

Natya Shastra of Bharat:(third century)

Shri Bharat wrote his famous grantha entitled "Natya Shastra" in the third century A.D. A detailed description of "Natya", "Nritta", and "Nritya" is given in this grantha. There is also Vivid description of Shruti, Swara, Grama, Moorchhana, eighteen kind of Jatis (Jati gyan) etc. He has accepted 'Shruti' as a unit of measurement for fixing his Shuddha Swaras. He believes in equality of " Shrutis" and his Shuddhs scale" is of twenty two equal "Shrutis".

Gupta Period:(320-495 A.D.)

During this period there was a revolutionary progress in music. Singing, Dancing and playing on instruments reached their climax. All the kings of Gupta dynasty were great lovers of music. It was during this period that "Ragas" were introduced. There was all round progress in music. And, Gupta period is rightly called as the Golden age of Music.

Samudra Gupta:(335-375 A.D)

Samudra Gupta was very fond of literature and music. He had great respect for poets and musicians. he stand forth as a real amn, a scholar, a poet, a musician and a warrior. He was a great composer himself. He composed various songs and rendered them into notation. He was an expert veena player and no one could challenge him in this. He loved to witness dramas also. He was so fond of music that every time he returned conquering a land he would throw a huge festival with dance and music to mark his memorable victory.

Chandra Gupta Vikramaditya(375-413)  

He too had a great respect for poets and musicians. The greaty poet Kalidas flourished in his court. He wrote famous drams Meghdut and Sakuntala. Kalidas composes the songs of his dramas in 'Ragas'. For example one song which the Nati sings in the prelude to the opening act of Abhijnan Shakuntalam is composed in Raga "Madhmadi Sarang". This it was clear that there was an overall progress in music during those days.

Matang Muni (sixth century)

Matang Muni wrote a book named Brahaddeshi in the sixth century. In this granth we can find for the first time the use of the word Raga. "He said in introducing Raga system that the Raga-way was neither explained nor referred to by Bharat and others, it was upto him to explain the same in accordance with the practice then current". This showed that raga system was already ripe and had developed well respected standards in the days of Matanga. In Brahadeshi there is a mention of other topics on music almost like that of Bharat's Natyashastra.

Harshvardhan:(606-647 A.D.)

Harshavardhan loved both music and literature. He was a good dramatist and has written three dramas, viz, Ratnavali, Priyadarshika and Nagananda. He was also a good singer. His sister Rajshri too loved music and drama and was an adept in arranging music festivals at different places. Thus, music was greatly improved during this time.

Rajput Period(650-1200 A.D.)

The rajputs could not make any substantial progress in music because most of their time was consumed in fighting but they were fond of music and had great respects for musicians. During this period many books were written in history, politics, dramas, etc. 'Bhavabhutt' a great dramatist flourished during his period and wrote famous dramas like Malti-Madhava, Mahabir- Charit and Uttar-Ram-Charit in which music was prominent. But no substantial progress could be made.

Naradi-Shiksha: (10th century) 

Narada wrote a book named 'Naradi-Shiksha'. In this book there is a mention of Grama-Ragas. For the first time he introduced 'Raga-Ragini' 'Putra-Raga' and 'Putra-Badhu' system which remained for a long time in Norhern-System of music for a long time.

Geet-Govind of Jaideva:(Twelfth Century )

The first singer of the twelfth century was the famous Jaideva. He was from bengal. He wrote the famous book "Geeta-Govinda" which shows the love songs of "Krishna" and "Radha". But, there is no notation of these songs.

  

Find The Mohammadan period on this Link https://allaboutmusicin.blogspot.in/2017/05/history-of-indian-music-mohammadan.html