Akbar and others

In the 16th century, music had reached its zenith in the flourishing court of Emperor Akbar (1556 - 1605 A.D). The emperor himself was a great connoisseur of art and culture. It is said, that at point, he had as many as thirty six experts in music in his court. Three of the most famous and accomplished musicians of Akbar's time were Tansen, Baiju Bawra and Ramdas.

Jahangir's reign was also considered to be glorious for Indian Classical Music; his son Shah Jahan was a also a lover of art and music. Unfortunately Aurangzeb turned out to be quite different in his taste and he decided not to allow it in the Islamic religion. He even tried oput ways of insulting the propagation of music in many ways.

History - Fifteenth Century

Towards the 15th century , a writer-musician by the name of Lochana wrote 'Raga Tarangini' where he classified the 'group system' known as 'Thaat' as the origin of Ragas.

Raja Mansingh of Gwalior was the founder of the Gwalior Gharana and a great patron in Dhrupad style. His wives were also proficient singers and are credited with the composition of many melodies.

Towards the end of 15th century the Bhakti movement came up and all over North India, which was a tremendous help to spread classical and light calssical music among the masses.

History - Amir Khusro

Allaudin Khilji (1296 A.D - 1316 A.D) had a court minister named Hazrat Amir Khusro who was highly gifted in music with an exceptionally innovative mind. To put it in brief, his contribution to Hindustani Classical Music is unmatched. It is said that he created the Sitar (probably inspired by the Veena and other string instruments of Persia). The modification of the Pakhawaj into the Tabla is also credited to him.

It has also been said that Amir Khusro introduced many styles of singing including Khayal, Tarana, Ghazal and Qawali. He is credit for some most popular Ragas like Yaman, Poorya and Poorvi.

Another musician, Nayak Gopal, in the court if Allaudin Khilji, is remembered for his musical talent. Tradition says that he invented several Ragas including Pilu and Sarang.

History of Raga Music - Around 12th Century

Between 1210 A.D. and 1247 A.D, Sharangadev, who was a great musician in the court of the Yadav kings of Devgiri (later named Daulatabad) wrote his famous book Sangeeta Ratnakara. This book actually gave a sound and scientific basis to music.

There was a slight setback tio the music of North India in the first half of the 12th century due to the constant military encounters between the Hindus and Muslims. In the latter half of that century, Jayadev, the famous poet-musicologist wrote his beautiful book of lyrics called Geeta Govinda. The songs spoke of Krishna, Radha and the Gopis - of love and longing and the joy and sorrow that revolves around these emotions. These songs written in pure Sanskrit were set to tune based on the Jati music and were known as Prabandha.

Later, Sanskrit was replaced by a language that was more commonly followed in that region. The local language - mainly around Uttar Pradesh - was called Braj Bhasha or Brij Bhasha. This dialect gradually became the predominent medium of expression even in music.

History - The Moghul Period

There came a crucial and important period for North Indian Classical Music - the Moghul period. The Moghuls are remembered for various harms they inflicted on India at that period - looting, shattering ancient and divinely temples, imposing religion on many - but if we look at music, there is no major harm done in that field. It is also stated very commonly that they are the ones who brought Music from the temples. It is amazing that while making it mundane and vulgar, they have also enriched it.

When the Moghuls first came to India, all the books on Classical Music were in Sanskrit. Although they could hardly understand them, they gradually developed an interest, and became aprt and parcel of this art from. They later introduced new musical instruments and of course many new melodies. India was honored with many great milestones of Hindustani Classical Music in this period.

History - Bharata Muni and the division of Classical Music

Approximately in the period between 400 A.D and 500 A.D Bharata wrote his famous treatise, the Natyashastra. The Hindu philosophy and literature unanimously regards Natyashastra as the most authentic book on dance, drama and music. It truly contains the root of all Indian aesthetics. There have been several scholars who have given their commentaries and interpretations of Natyashastra.

Bharata's son Dattila is also credited with a book named Dattilam. Another writer named Matanga wrote a book known as Brihaddeshi, around the 8th century.

The period from 400 A.D to 1100 A.D. shows considerable progress in sorting and organizing of classical music. It is said that Jatis were subsequently divided into six principle basic melodies and soon afterwards two branches of classical music came into existence: Northern or Hindustani school, and the Southern or Carnatic school.

History of Raga Music - from the Epics

The relation of Raga Music with the epics is quite deep. It is resumed that Ravana (of Ramayana) was a very great musician. Another part of Ramayana recounts that when Lakshmana entered the inner chambers of Sugreeva, her was enchanted by the sweet music of the Veena.

In Mahabharata we have clear references to the seven music notes (swaras).

History of Raga Music - 1000 B.C to 1000 A.D

It appears that a form of classical music known as 'Jati' came into vogue in the period between 1000B.C and 1000 A.D. The Buddhist and Jain scriptures also contain reference to 'Jati' music along with some crude sketches of the Veena.

History - From the Vedic Age

There are references dating back to the Vedic Age (2000 B.C - 1000 B.C.) that mention quite a few musical instruments. While the Sama Veda gives three types of notes with which the Vedas are chanted - udatta, anudatta, swarita (out of which developed the rest of the notes, to complete the octave) in the Rig Veda, the Veena, the flute and the Damaru are mentioned.

Legends – Part Two

Here are two more interesting legends that tell us of the beginnings of Indian Classical Music.

Once, when Lord Shiva saw Parvati in a reposeful pose, he was inspired to create the Rudra Veena, and from the five mouths facing five directions emanated five Ragas: Bhairav from the east, Hindol from the west, Megh from the south, Deepak from the north and Shree from the sky above. To this list of Ragas, there was added by Parvati herself, which was Kaushik.

Yet another legend says that Shiva was so enamored of Paravati that he seated her on a throne and and expressed a desire to dance before her. Many other Gods joined Nataraj. Goddess Saraswati played the Veena, Indra, the flute, Brahman played the Kartaal, and Goddess Lakshmi sang to the accompaniment of the Mridanga played by Lord Vishnu.

It is said that Lord Shiva gave the wealth of music to Bharata Muni, who spread it on earth.

Another legend says that Lord Shiva made a gift of music to Narada as a reward for his penance.

Legends of Raga Music - Part One

We have many different versions and legends, which could be some scattered clues for us to learn a little about the history of Indian Classical Music. These are mostly found in old religious treatises and epics.

One legend has it that Brahma, the Creator taught classical music to Shiva, who passed it on to Saraswati, the Goddess of Learning. Hence, Saraswati is the described in the ancient books as 'Veenapustaka-dharini'. This very form of music came to be handed down in succession to the sage Narada, the celestial Gandharvas and Kinnarasand finally to Bharata Muni and Hanuman.

Another legend says that Lord Shiva made a gift of music to Narada as a reward for his penance.