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User:AntiCompositeNumber/Music of India

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"Indian music" redirects here. For other uses, see Indian music (disambiguation).

Tyagaraju known for his extensive contributions to Carnatic music.
Music of India
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The music of India includes multiple varieties of Punjabi Music, classical music, folk music, filmi, Indian rock, and Indian pop. Indian pop and Indian rock are derived from western rock and roll. India's classical music tradition, including Hindustani music and Carnatic, has a history spanning millennia and developed over several areas. Music in India began as an integral part of socio-religious life.

History

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Dancing Girl sculpture from the Indus Valley Civilization (c. 4,500 years ago)

The 30,000 years old paleolithic and neolithic cave paintings at the UNESCO world heritage site at Bhimbetka rock shelters in Madhya Pradesh shows music instruments and dance.[1] Mesolithic and chalcolithic cave art of Bhimbhetka illustrates various musical instruments such as harp, drums, gongs, daf etc.[2]

Dancing Girl sculpture (2500 BCE) was found from the Indus Valley Civilization (IVC) site.[3][4][5][6] There are IVC-era paintings on pottery of a man with a dhol hanging from his neck and a woman holding a drum under her left arm.[7]

Vedas (c. 1500 – c. 800 BCE Vedic period)[8][broken footnote][9][broken footnote][10][11] document rituals with performing arts and play.[12][13][broken footnote] For example, Shatapatha Brahmana (~800–700 BCE) has verses in chapter 13.2 written in the form of a play between two actors.[12] Tala or taal is an ancient music concept traceable to Vedic era texts of Hinduism, such as the Samaveda and methods for singing the Vedic hymns.[14][broken footnote][15][16] Smriti (500 BCE to 100 BCE ) post-vedic Hindu texts[17][18][19] include Valmiki's Ramayana (500 BCE to 100 BCE) which mentions dance and music (dance by Apsaras such as Urvashi, Rambha, Menaka, Tilottama Panchāpsaras, and Ravana's wives excelling in nrityageeta or "singing and dancing" and nritavaditra or "playing musical instruments"), music and singing by Gandharvas, several string instruments (vina, tantri, vipanci and vallaki similar to veena), wind instruments (shankha, venu and venugana - likely a mouth organ made by tying several flutes together), raga (including kaushika such as raag kaushik dhwani), vocal registers (seven svara or sur, ana or ekashurti drag note, murchana the regulated rise and fall of voice in matra and tripramana three-fold teen taal laya such as drut or quick, madhya or middle, and vilambit or slow), poetry recitation in Bala Kanda and also in Uttara Kanda by Luv and Kusha in marga style.[20]

Under the Khiljis, there were concerts and competitions between Hindustani and Carnatic musicians.[21] Madhava Kandali, 14th century Assamese poet and writer of Saptakanda Ramayana, lists several instruments in his version of "Ramayana", such as mardala, khumuchi, bhemachi, dagar, gratal, ramtal, tabal, jhajhar, jinjiri, bheri mahari, tokari, dosari, kendara, dotara, vina, rudra-vipanchi, etc. (meaning that these instruments existed since his time in 14th century or earlier).[22] The Indian system of notation is perhaps the world's oldest and most elaborate.[23]

Pann(Tamil: பண்) is the melodic mode used by the Tamil people in their music since the ancient times. The ancient panns over centuries evolved first into a pentatonic scale and later into the seven note Carnatic Sargam. But from the earliest times, Tamil Music is heptatonic and known as Ezhisai (ஏழிசை).[24][broken footnote]

There are several references to music and Panns in the ancient pre-Sangam and Sangam literature starting from the earliest known work Tholkappiyam (500 BCE). Among Sangam literature, Mathuraikkanci refers to women singing sevvazhi pann to invoke the mercy of God during childbirth. In Tolkappiyam, the five landscapes of the Sangam literature had each an associated Pann, each describing the mood of the song associated with that landscape. Among the numerous panns that find mention in the ancient Tamil literature are, Ambal Pann, which is suitable to be played on the flute, sevvazhi pann on the Yazh (lute), Nottiram and Sevvazhi expressing pathos, the captivating Kurinji pann and the invigorating Murudappann.

Classical music

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Main article: Indian classical music

The two main traditions of Indian classical music are Carnatic music, which is found predominantly in the peninsular regions, and Hindustan music, which is found in the northern, eastern and central regions. The basic concepts of this music includes shruti (microtones), swaras (notes), alankar (ornamentations), raga (melodies improvised from basic grammars), and tala (rhythmic patterns used in percussion). Its tonal system divides the octave into 22 segments called Shrutis, not all equal but each roughly equal to a quarter of a whole tone of the Western music.

Hindustani music

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Main article: Hindustani classical music

The tradition of Hindustani music dates back to Vedic times where the hymns in the Sama Veda, an ancient religious text, were sung as Samagana and not chanted. It diverged from Carnatic music around the 13th-14th centuries CE, primarily due to Islamic influences.[citation needed] Developing a strong and diverse tradition over several centuries, it has contemporary traditions established primarily in India but also in Pakistan and Bangladesh. In contrast to Carnatic music, the other main Indian classical music tradition originating from the South, Hindustani music was not only influenced by ancient Hindu musical traditions, historical Vedic philosophy and native Indian sounds but also enriched by the Persian performance practices of the Mughals. Classical genres are dhrupad, dhamar, khyal, tarana and sadra, and there are also several semi-classical forms.

Carnatic music

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Main article: Carnatic music

Carnatic music can be traced to the 14th - 15th centuries AD and thereafter. It originated in South India during the rule of Vijayanagar Empire through the Keerthanas composed by Purandara Dasa. Like Hindustani music, it is melodic, with improvised variations, but tends to have more fixed compositions. It consists of a composition with improvised embellishments added to the piece in the forms of Raga Alapana, Kalpanaswaram, Neraval and, in the case of more advanced students, Raga, Tala, Pallavi. The main emphasis is on the vocals as most compositions are written to be sung, and even when played on instruments, they are meant to be performed in a singing style (known as gāyaki). Around 300 ragams are in use today. Annamayya is the first known composer in Carnatic music. He is widely regarded as the Andhra Pada kavitā Pitāmaha (Godfather of Telugu song-writing). Purandara Dasa is considered the father of Carnatic music, while the later musicians Tyagaraja, Shyama Shastry and Muthuswami Dikshitar are considered the trinity of Carnatic music.[citation needed]

Noted artists of Carnatic music include Ariyakudi Ramanuja Iyengar (the father of the current concert format), Palghat Mani Iyer, Semmangudi Srinivasa Iyer, Nedunuri Krishnamurthy Alathur Brothers, MS Subbulakshmi, Lalgudi Jayaraman, Balamuralikrishna, TN Seshagopalan, K J Yesudas, N. Ramani, Umayalpuram K. Sivaraman, Sanjay Subrahmanyan, TM Krishna, Bombay Jayashri, T S Nandakumar, Aruna Sairam, and Mysore Manjunath.

Every December, the city of Chennai in India has its eight-week-long Music Season, which is the world's largest cultural event.[25]

Carnatic music has served as the foundation for most music in South India, including folk music, festival music and has also extended its influence to film music in the past 100–150 years or so.

Light classical music

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There are many types of music which comes under the category of light classical or semi-classical. Some of the forms are Thumri, Dadra, Bhajan, Ghazal, Chaiti, Kajri, Tappa, Natya Sangeet and Qawwali. These forms place emphasis on explicitly seeking emotion from the audience, as opposed to the classical forms.

Folk music

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Hira Devi Waiba, pioneer of Nepali folk songs in India
 
Group of Dharohar folk musicians performing in Mehrangarh Fort, Jodhpur, India
Main article: Indian folk music

Bhangra and Giddha

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Bhangra (Punjabi: ਭੰਗੜਾ) is a form of dance-oriented folk music of Punjab. The present musical style is derived from non traditional musical accompaniment to the riffs of Punjab called by the same name. The female dance of Punjab region is known as Giddha (Punjabi: ਗਿੱਧਾ).

Bihu and Borgeet

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Main articles: Bihu and Borgeet
 
Assamese youth performing Bihu.

Bihu (Assamese: বিহু) is the festival of New Year of Assam falling on mid-April. This is a festival of nature and mother earth where the first day is for the cows and buffaloes. The second day of the festival is for the man. Bihu dances and songs accompanied by traditional drums and wind instruments are an essential part of this festival. Bihu songs are energetic and with beats to welcome the festive spring. Assamese drums (dhol), Pepa(usually made from buffalo horn), Gogona are major instruments used.[26][27]

Borgeets (Assamese: বৰগীত) are lyrical songs that are set to specific ragas but not necessarily to any tala. These songs, composed by Srimanta Sankardeva and Madhavdeva in the 15th-16th centuries, are used to begin prayer services in monasteries, e.g. Satra and Namghar associated with the Ekasarana Dharma; and they also belong to the repertoire of Music of Assam outside the religious context. They are a lyrical strain that express the religious sentiments of the poets reacting to different situations, and differ from other lyrics associated with the Ekasarana Dharma. Prominent instruments used in borgeets are Negera,Taal, Khols etc.[28]

Dandiya

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Main article: Dandiya

Dandiya or Raas is a form of Gujarati cultural dance that is performed with sticks. The present musical style is derived from the traditional musical accompaniment to the folk dance. It is practiced mainly in the state of Gujarat. There is also another type of dance and music associated with Dandiya/Raas called Garba.

Jhumair and Domkach

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Jhumair and Domkach are Nagpuri folk music. The musical instruments used in folk music and dance are Dhol, Mandar, Bansi, Nagara, Dhak, Shehnai, Khartal, Narsinga etc.[29][30]

Lavani

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Main article: Lavani

Lavani comes from the word Lavanya which means "beauty". This is one of the most popular forms of dance and music that is practiced all over Maharashtra. It has, in fact, become a necessary part of the Maharashtrian folk dance performances. Traditionally, the songs are sung by female artists, but male artists may occasionally sing Lavanis. The dance format associated with Lavani is known as Tamasha. Lavani is a combination of traditional song and dance, which particularly performed to the enchanting beats of 'Dholaki', a drum-like instrument. The dance is performed by attractive women wearing nine-yard saris. They are sung in a quick tempo. Lavani originated in the arid region of Maharashtra and Madhya Pradesh.

Rajasthan

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Main article: Music of Rajasthan

Rajasthan has a very diverse cultural collection of musician castes, including Langas, Sapera, Bhopa, Jogi and Manganiyar (lit. "the ones who ask/beg"). Rajasthan Diary quotes it as a soulful, full-throated music with harmonious diversity. The melodies of Rajasthan come from a variety of instruments. The stringed variety includes the Sarangi, Ravanahatha, Kamayacha, Morsing and Ektara. Percussion instruments come in all shapes and sizes from the huge Nagaras and Dhols to the tiny Damrus. The Daf and Chang are a favorite of Holi (the festival of colours) revelers. Flutes and bagpipers come in local flavors such as Shehnai, Poongi, Algoza, Tarpi, Been and Bankia.

Rajasthani music is derived from a combination of string instruments, percussion instruments and wind instruments accompanied by renditions of folk singers. It enjoys a respectable presence in Bollywood music as well.

Rabindra Sangeet (music of Bengal)

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Main article: Rabindra Sangeet
 
Rabindranath Tagore's Bengali-language initials are worked into this "Ro-Tho" wooden seal, stylistically similar to designs used in traditional Haida carvings. Tagore embellished his manuscripts with such art.
 
Dance accompanied by Rabindra Sangeet

Rabindra Sangeet (Bengali: রবীন্দ্রসঙ্গীত Robindro Shonggit, Bengali pronunciation: [ɾobindɾo ʃoŋɡit]), also known as Tagore songs, are songs written and composed by Rabindranath Tagore. They have distinctive characteristics in the music of Bengal, popular in India and Bangladesh.[31] "Sangeet" means music, "Rabindra Sangeet" means music (or more aptly songs) of Rabindra.

 
N. Ramani and N Rajam accompanied by T S Nandakumar

Tagore wrote some 2,230 songs in Bengali, now known as Rabindra Sangeet, using classical music and traditional folk music as sources.[32][33]

Sufi folk rock / Sufi rock

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Sufi folk rock contains elements of modern hard rock and traditional folk music with Sufi poetry. While it was pioneered by bands like Junoon in Pakistan it became very popular, especially in north India. In 2005, Rabbi Shergill released a Sufi rock song called "Bulla Ki Jaana", which became a chart-topper in India and Pakistan. More recently, the sufi folk rock song "Bulleya" from the 2016 film Ae Dil Hai Mushkil became a mammoth hit.[citation needed]

Tamang Selo

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Main article: Tamang Selo

This is a genre of Nepali folk song of the Tamang people and popular amongst the Nepali speaking community in West Bengal, Sikkim and around the world. It is accompanied by Tamang instruments, the Madal, Damphu and Tungna, although nowadays musicians have taken to modern instruments. A Tamang Selo can be catchy and lively or slow and melodious, and is usually sung to convey sorrow, love, happiness or day-to-day incidents and stories of folklore.[34]

Hira Devi Waiba is hailed as the pioneer of Nepali folk songs and Tamang Selo. Her song 'Chura ta Hoina Astura' (चुरा त होइन अस्तुरा) is said to be the first Tamang Selo ever recorded. She has sung nearly 300 songs through her musical career spanning 40 years.[35][36] After Waiba's death in 2011, her son Satya Waiba (producer) and Navneet Aditya Waiba (singer) collaborated and re-recorded her most iconic songs and released an album titled Ama Lai Shraddhanjali (आमालाई श्रद्धाञ्जली-Tribute to Mother).[37][38][39]

Uttarakhandi music

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Uttarakhandi folk music had its root in the lap of nature and the hilly terrain of the region. Common themes in the folk music of Uttarakhand are the beauty of nature, various seasons, festivals, religious traditions, cultural practices, folk stories, historical characters, and the bravery of ancestors. The folk songs of Uttarakhand are a reflection of the cultural heritage and the way people live their lives in the Himalayas. Musical instruments used in Uttarakhand music include the Dhol, Damoun, Hudka, Turri, Ransingha, Dholki, Daur, Thali, Bhankora and Masakbhaja. Tabla and Harmonium are also sometimes used, especially in recorded folk music from the 1960s onwards. Generic Indian and global musical instruments have been incorporated in modern popular folks by singers like Mohan Upreti, Narendra Singh Negi, Gopal Babu Goswami, and Chandra Singh Rahi. [citation needed]

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Filmi music

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Main articles: Filmi and Music of Bollywood
Sample of Odissi performance art with the 17th Canto from the 17th century Odia poet Upendra Bhanja's 'Baidehisha Bilasa' being sung. Odissi and Kathakali drama traditions have had an important influence on India's narrative traditions,

The biggest form of Indian popular music is filmi, or songs from Indian films, it makes up 72% of the music sales in India.[40] The film industry of India supported music by according reverence to classical music while utilising the western orchestration to support Indian melodies. Music composers, like R. D. Burman, Shankar Jaikishan, S. D. Burman, Madan Mohan, Bhupen Hazarika, Naushad Ali, O. P. Nayyar, Hemant Kumar, C. Ramchandra, Salil Chowdhury, Kalyanji Anandji, Ilaiyaraaja, A. R. Rahman, Jatin Lalit, Anu Malik, Nadeem-Shravan, Harris Jayaraj, Himesh Reshammiya, Vidyasagar, Shankar Ehsaan Loy, Salim-Sulaiman, Pritam, M.S. Viswanathan, K. V. Mahadevan, Ghantasala and S. D. Batish employed the principles of harmony while retaining classical and folk flavor. Reputed names in the domain of Indian classical music like Ravi Shankar, Vilayat Khan, Ali Akbar Khan and Ram Narayan have also composed music for films. Traditionally, in Indian films, the voice for the songs is not provided by the actors, they are provided by the professional playback singers, to sound more developed, melodious and soulful, while actors lipsynch on the screen. In the past, only a handful of singers provided the voice in Hindi films. These include Kishore Kumar, K. J. Yesudas, Mohammed Rafi, Mukesh, S.P. Balasubrahmanyam, T.M. Soundararajan, Hemant Kumar, Manna Dey, P. Susheela, Lata Mangeshkar, Asha Bhonsle, K.S. Chitra, Geeta Dutt, S. Janaki, Shamshad Begum, Suraiya, Noorjahan and Suman Kalyanpur. Recent playback singers include Udit Narayan, Kumar Sanu, Kailash Kher, Alisha Chinai, KK, Shaan, Madhushree, Shreya Ghoshal, Nihira Joshi, Kavita Krishnamurthy, Hariharan (singer), Ilaiyaraaja, A.R. Rahman, Sonu Nigam, Sukhwinder Singh, Kunal Ganjawala, Anu Malik, Sunidhi Chauhan, Anushka Manchanda, Raja Hasan, Arijit Singh and Alka Yagnik. Rock bands like Indus Creed, Indian Ocean, Silk Route and Euphoria have gained mass appeal with the advent of cable music television.

Interaction with non-Indian music

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See also: Indo jazz, Raga rock, Psychedelic music, Indo-Caribbean music, Asian Underground, and Bhangra (music)

In the late 1970s and early 1980s, rock and roll fusions with Indian music were well known throughout Europe and North America. Ali Akbar Khan's 1955 performance in the United States was perhaps the beginning of this trend.

Jazz pioneers such as John Coltrane—who recorded a composition entitled 'India' during the November 1961 sessions for his album Live At The Village Vanguard (the track was not released until 1963 on Coltrane's album Impressions)—also embraced this fusion. George Harrison (of the Beatles) played the sitar on the song "Norwegian Wood (This Bird Has Flown)" in 1965, which sparked interest from Shankar, who subsequently took Harrison as his apprentice. Jazz innovator Miles Davis recorded and performed with musicians like Khalil Balakrishna, Bihari Sharma, and Badal Roy in his post-1968 electric ensembles. Virtuoso jazz guitarist John McLaughlin spent several years in Madurai learning Carnatic music and incorporated it into many of his acts including Shakti which featured prominent Indian musicians. Other Western artists such as the Grateful Dead, Incredible String Band, the Rolling Stones, the Move and Traffic soon incorporated Indian influences and instruments, and added Indian performers. Legendary Grateful Dead frontman Jerry Garcia joined guitarist Sanjay Mishra on his classic CD "Blue Incantation" (1995). Mishra also wrote an original score for French Director Eric Heumann for his film Port Djema (1996) which won best score at Hamptons film festival and The Golden Bear at Berlin. in 2000 he recorded Rescue with drummer Dennis Chambers (Carlos Santana, John McLaughlin et al.) and in 2006 Chateau Benares with guests DJ Logic and Keller Williams (guitar and bass).

Though the Indian music craze soon died down among mainstream audiences, die-hard fans and immigrants continued the fusion. In 1985, a beat-oriented, Raga Rock hybrid called Sitar Power by Ashwin Batish reintroduced sitar in western nations. Sitar Power drew the attention of a number of record labels and was snapped up by Shanachie Records of New Jersey to head their World Beat Ethno Pop division.

In the late 1980s, Indian-British artists fused Indian and Western traditions to make the Asian Underground. Since the 1990s, Canadian born musician Nadaka who has spent most of his life in India, has been creating music that is an acoustic fusion of Indian classical music with western styles. One such singer who has merged the Bhakti sangeet tradition of India with the western non-Indian music is Krishna Das and sells music records of his musical sadhana. Another example is the Indo-Canadian musician Vandana Vishwas who has experimented with western music in her 2013 album Monologues.

In the new millennium, American hip-hop has featured Indian filmi and bhangra. Mainstream hip-hop artists have sampled songs from Bollywood movies and have collaborated with Indian artists. Examples include Timbaland's "Indian Flute", Erick Sermon and Redman's "React", Slum Village's "Disco", and Truth Hurts' hit song "Addictive", which sampled a Lata Mangeshkar song, and The Black Eyed Peas sampled Asha Bhosle's song "Yeh Mera Dil" in their hit single "Don't Phunk With My Heart". In 1997, the British band Cornershop paid tribute to Asha Bhosle with their song Brimful of Asha, which became an international hit. British-born Indian artist Panjabi MC also had a Bhangra hit in the U.S. with "Mundian To Bach Ke" which featured rapper Jay-Z. Asian Dub Foundation are not huge mainstream stars, but their politically charged rap and punk rock influenced sound has a multi-racial audience in their native UK. In 2008, international star Snoop Dogg appeared in a song in the film Singh Is Kinng. In 2007, hip-hop producer Madlib released Beat Konducta Vol 3–4: Beat Konducta in India; an album which heavily samples and is inspired by the music of India.

Sometimes, the music of India will fuse with the traditional music of other countries. For example, Delhi 2 Dublin, a band based in Canada, is known for fusing Indian and Irish music, and Bhangraton is a fusion of Bhangra music with reggaeton, which itself is a fusion of hip hop, reggae, and traditional Latin American music.[41]

In a more recent example of Indian-British fusion, Laura Marling along with Mumford and Sons collaborated in 2010 with the Dharohar Project on a four-song EP.[42] The British band Bombay Bicycle Club also sampled the song "Man Dole Mera Tan Dole" for their single "Feel".[43]Laxmikant-Pyarelal

Indian pop music

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Main article: Indian pop
See also: Asian Underground, Bhangra (music), and Bhangragga

Indian pop music is based on an amalgamation of Indian folk and classical music, and modern beats from different parts of the world. Pop music really started in the South Asian region with the playback singer Ahmed Rushdi's song ‘Ko Ko Korina’ in 1966, followed initially by Mohammad Rafi in the late 1960s and then by Kishore Kumar in the early 1970s.[44]

After that, much of Indian Pop music comes from the Indian Film Industry, and until the 1990s, few singers like Usha Uthup, Sharon Prabhakar, and Peenaz Masani outside it were popular. Since then, pop singers in the latter group have included Daler Mehndi, Baba Sehgal, Alisha Chinai, KK, Shantanu Mukherjee a.k.a. Shaan, Sagarika, Colonial Cousins (Hariharan, Lesle Lewis), Lucky Ali, and Sonu Nigam, and music composers like Zila Khan or Jawahar Wattal, who made top selling albums with, Daler Mehndi, Shubha Mudgal, Baba Sehgal, Shweta Shetty and Hans Raj Hans.[45]

Besides those listed above, popular Indi-pop singers include Sanam[46] (Band), Gurdas Maan, Sukhwinder Singh, Papon, Zubeen Garg, Raghav Sachar Rageshwari, Vandana Vishwas, Devika Chawla, Bombay Vikings, Asha Bhosle, Sunidhi Chauhan, Anushka Manchanda, Bombay Rockers, Anu Malik, Jazzy B, Malkit Singh, Raghav, Jay Sean, Juggy D, Rishi Rich, Sheila Chandra, Bally Sagoo, Punjabi MC, Beno, Bhangra Knights, Mehnaz, Sanober and Vaishali Samant.[citation needed]

Recently, Indian pop has taken an interesting turn with the "remixing" of songs from past Indian movie songs, new beats being added to them.

Rock and metal music

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Raga rock

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Main article: Raga rock
See also: Psychedelic rock

Raga rock is rock or pop music with a heavy Indian influence, either in its construction, its timbre, or its use of instrumentation, such as the sitar and tabla. Raga and other forms of classical Indian music began to influence many rock groups during the 1960s; most famously the Beatles. The first traces of "raga rock" can be heard on songs such as "See My Friends" by the Kinks and the Yardbirds' "Heart Full of Soul", released the previous month, featured a sitar-like riff by guitarist Jeff Beck.[47][48] The Beatles song "Norwegian Wood (This Bird Has Flown)", which first appeared on the band's 1965 album Rubber Soul, was the first western pop song to actually incorporate the sitar (played by lead guitarist George Harrison).[48][49] The Byrds' March 1966 single "Eight Miles High" and its B-side "Why" were also influential in originating the musical subgenre. Indeed, the term "raga rock" was coined by The Byrds' publicist in the press releases for the single and was first used in print by journalist Sally Kempton in her review of "Eight Miles High" for The Village Voice.[50][51] George Harrison's interest in Indian music, popularised the genre in the mid-1960s with songs such as "Love You To", "Tomorrow Never Knows" (credited to Lennon-McCartney), "Within You Without You" and "The Inner Light".[52][53][54] The rock acts of the sixties both in turn influenced British and American groups and Indian acts to develop a later form of Indian rock.

Indian rock

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Main article: Indian rock
 
Nicotine playing at 'Pedal To The Metal', TDS, Indore, India in 2014. The band is known for being the pioneer of metal music in Central India.

The rock music scene in India is small compared to the filmi or fusion musicality scenes. Rock music in India has its origins in the 1960s when international stars such as the Beatles visited India and brought their music with them. These artists' collaboration with Indian musicians such as Ravi Shankar and Zakir Hussain have led to the development of raga rock. International shortwave radio stations such as The Voice of America, BBC, and Radio Ceylon played a major part in bringing Western pop, folk, and rock music to the masses. Indian rock bands began to gain prominence only much later, around the late 1980s.

It was around this time that the rock band Indus Creed formerly known as The Rock Machine got itself noticed on the international stage with hits like Rock N Roll Renegade. Other bands quickly followed. With the introduction of MTV in the early 1990s, Indians began to be exposed to various forms of rock such as grunge and speed metal, impacting the national scene. The cities of the North Eastern Region, mainly Guwahati and Shillong, Kolkata, Delhi, Mumbai and Bangalore have emerged as major melting pots for rock and metal enthusiasts. Bangalore has been the hub for rock and metal movement in India. Some prominent bands include Nicotine, Voodoo Child, Indian Ocean, Kryptos, Thermal and a Quarter, Demonic Resurrection, Motherjane, Avial, and Parikrama. Rock-specific labels such as DogmaTone Records and Eastern Fare Music Foundation have since emerged, supporting Indian rock acts.

From Central India, Nicotine, an Indore-based metal band, has been credited with pioneering metal music in the region.[55][56][57][58][59][60][61][62][63][64][65][excessive citations]

Dance music

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Main articles: Dance in India, Hindi Dance Music, Music of Bollywood, Goa trance, Psychedelic trance, Charanjit Singh (musician), and Electronica

Indie Music (Independent Music)

Main articles: Prateek Kuhad and Peter Cat Recording Co.

Jazz and blues

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Main articles: Jazz in India and Indian blues

Western classical music

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The spread and following of Western classical music in India is almost entirely non-existent. It is mainly patronised by the Indian Zoroastrian community and small esoteric groups with historical exposure to Western classical music. Another esoteric group with significant patronage is the Protestant Christian community in Chennai and Bangalore.[citation needed] Western Music education is also rare in India. Western keyboard, drums and guitar instruction being an exception as it has found some interest; mainly in an effort to create musicians to service contemporary popular Indian music.

Despite more than a century of exposure to Western classical music and two centuries of British colonialism, classical music in India has never gained more than 'fringe' popularity.[citation needed]. However, Western classical music education has improved with the help of certain institutions in India, including KM Music Conservatory (founded by Oscar-winning Composer A.R.Rahman), Calcutta School of Music, Eastern Fare Music Foundation,[66] Delhi School of Music, Delhi Music Academy, Guitarmonk and others supporting Western classical music. In 1930, Mehli Mehta set up the Bombay Symphony Orchestra.

The Bombay Chamber Orchestra[67] (BCO) was founded in 1962.

In 2006, the Symphony Orchestra of India was founded, housed at the NCPA in Mumbai. It is today the only professional symphony orchestra in India and presents two concert seasons per year, with world-renowned conductors and soloists.

Some prominent Indians in Western classical music are:

Patriotism and music

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Patriotic feelings have been instigated within Indians through music since the era of the freedom struggle. Jana Gana Mana, the national anthem of India by Rabindranath Tagore, is largely credited[68][69] for uniting India through music and Vande Mataram by Bankim Chandra Chattopadhyay as the national song of India. Patriotic songs were also written in many regional languages such as Biswo Bizoyi No Zuwan in Assamese. Post-independence songs such as Aye mere watan ke logo, Mile Sur Mera Tumhara, Ab Tumhare Hawale Watan Saathiyo, Maa Tujhe Salaam by A.R.Rahman have been responsible for consolidating feelings of national integration and unity in diversity.

See also

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References

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  1. ^ Kapila Vatsyayan (1982). Dance In Indian Painting. Abhinav Publications. pp. 12–19. ISBN 978-81-7017-153-9.
  2. ^ Varadpande, Manohar Laxman (1987). History of Indian Theatre. Abhinav Publications. ISBN 9788170172215.
  3. ^ "Collections:Pre-History & Archaeology". National Museum, New Delhi. Retrieved 3 February 2014.
  4. ^ Nalapat, Dr Suvarna (16 February 2013). Origin of Indians and their Spacetime. D C Books. ISBN 9789381699188.
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Further reading

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  • Day; Joshi, O. P. (1982). "The changing social structure of music in India". International Social Science Journal. 34 (94): 625.
  • Day, Charles Russell (1891). The Music and Musical instruments of Southern India and the Deccan. Adam Charles Black, London.
  • Clements, Sir Ernest (1913). Introduction to the Study of Indian Music. Longmans, Green & Co., London.
  • Strangways, A.H. Fox (1914). The Music of Hindostan. Oxford at The Clarendon Press, London.
  • Strangways, A.H. Fox (1914). The Music of Hindostan. Oxford at The Clarendon Press, London.
  • Popley, Herbert Arthur (1921). The Music of India. Association Press, Calcutta.
  • Killius, Rolf. Ritual Music and Hindu Rituals of Kerala. New Delhi: B.R. Rhythms, 2006.
  • Moutal, Patrick (2012). Hindustāni Gata-s Compilation: Instrumental themes in north Indian classical music. Rouen: Patrick Moutal Publisher. ISBN 978-2-9541244-1-4.
  • Moutal, Patrick (1991). A Comparative Study of Selected Hindustāni Rāga-s. New Delhi: Munshiram Manoharlal Publishers Pvt Ltd. ISBN 978-81-215-0526-0.
  • Moutal, Patrick (1991). Hindustāni Rāga-s Index. New Delhi: Munshiram Manoharlal Publishers Pvt Ltd.
  • Manuel, Peter. Thumri in Historical and Stylistic Perspectives. New Delhi: Motilal Banarsidass, 1989.
  • Manuel, Peter (May 1993). Cassette Culture: Popular Music and Technology in North India. University of Chicago Press, 1993. ISBN 978-0-226-50401-8.
  • Wade, Bonnie C. (1987). Music in India: the Classical Traditions. New Dehi, India: Manohar, 1987, t.p. 1994. xix, [1], 252 p., amply ill., including with examples in musical notation. ISBN 81-85054-25-8
  • Maycock, Robert and Hunt, Ken. "How to Listen - a Routemap of India". 2000. In Broughton, Simon and Ellingham, Mark with McConnachie, James and Duane, Orla (Ed.), World Music, Vol. 2: Latin & North America, Caribbean, India, Asia and Pacific, pp 63–69. Rough Guides Ltd, Penguin Books. ISBN 1-85828-636-0
  • Hunt, Ken. "Ragas and Riches". 2000. In Broughton, Simon and Ellingham, Mark with McConnachie, James and Duane, Orla (Ed.), World Music, Vol. 2: Latin & North America, Caribbean, India, Asia and Pacific, pp 70–78. Rough Guides Ltd, Penguin Books. ISBN 1-85828-636-0.
  • "Hindu music." (2011). Columbia Electronic Encyclopedia, 6th Edition, 1.
  • Emmie te Nijenhuis (1977), A History of Indian Literature: Musicological Literature, Otto Harrassowitz Verlag, ISBN 978-3447018319, OCLC 299648131
  • Natya Sastra Ancient Indian Theory and Practice of Music (translated by M. Ghosh)
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