history of indian classical music

History of Indian Classical Music

The history of Indian classical music is rich, spanning thousands of years and evolving through diverse cultural influences.

It can be broadly categorized into two major traditions: Hindustani classical music from the North and Carnatic classical music from the South, While each has distinct characteristics, both share ancient origins.

In Short – Indian classical music has two major traditions: the North Indian classical music known as Hindustani and the South Indian expression known as Carnatic

1. Ancient Origins (Vedic Period – 1500 BCE to 500 BCE)

Vedas and Sama Veda Indian classical music’s foundation can be traced back to the Vedic period, particularly the Sama Veda. Hymns from this scripture were sung in specific melodic patterns, forming the earliest evidence of a structured musical tradition.

Vedic Chants These hymns used specific pitches and rhythms and were essential in religious rituals. They laid the groundwork for the development of raga (melodic framework) and tala (rhythmic cycles).

2. Early Development (Maurya to Gupta Period – 4th century BCE to 6th century CE)

Natyashastra (2nd century BCE – 2nd century CE) This ancient Indian treatise on performing arts, attributed to sage Bharata, discusses music, dance, and drama. It provides the earliest theoretical foundation of Indian classical music, outlining concepts like Rasa (aesthetic mood) and Ragas.

Gandharva Music A sophisticated musical form known as Gandharva emerged, combining elements of melody and rhythm for spiritual and secular purposes.

3. Medieval Period (7th – 12th century CE)

Bhakti and Sufi Movements Music during this period became more accessible to the masses. The Bhakti movement in South India, through Alvars and Nayanars, emphasized devotional singing, which laid the foundation for the Carnatic music tradition. Simultaneously, Sufi mystics in North India used music as a medium for spiritual expression, influencing Hindustani music.

Introduction of Islamic Influence The arrival of Muslim rulers in North India brought Persian and Afghan influences. Instruments like the sitar and tabla were introduced, leading to a synthesis of Persian and Indian musical styles, giving rise to Hindustani classical music.

4. Division into Hindustani and Carnatic Traditions (13th – 16th century CE)

Musical Divergence Around the 13th century, Indian classical music split into two distinct traditions:

Hindustani Classical Music (North Indian) Developed under the patronage of Mughal rulers, absorbing Persian and Central Asian influences. Great musicians like Tansen, who was part of Emperor Akbar’s court, elevated its status.

Carnatic Classical Music (South Indian) While remaining more rooted in ancient traditions, it evolved with the contributions of saint composers like Purandara Dasa, who is regarded as the father of Carnatic music, and the Trinity of Carnatic Music — Tyagaraja, Muthuswami Dikshitar, and Shyama Shastri (18th century).

5. Modern Era (17th century onwards)

The Natya Shastra, an ancient encyclopedia of the arts, compiled by Bharat Muni (200 B.C.- 200 A.D.), categorized musical instruments (Vadya) into four main categories:

Tantu Vadya – Chordophones or Stringed instruments

Sushira Vadya – Aerophones or Wind instruments
Avanaddha Vadya – Membranophones or Percussion instruments
Ghana Vadya – Idiophones or Solid instruments that do not require tuning.

Gharanas in Hindustani Music The Hindustani tradition saw the rise of Gharanas (schools), each with distinct performance styles, such as the Gwalior, Patiala, Kirana, and Maihar gharanas.

Instrumentation Instruments like the sitar, sarod, bansuri, tabla, and Tanpura became integral to Hindustani music, while the veena, mridangam, and violin are key to Carnatic music.

Patronage and Popularity Music thrived under royal patronage until British colonialism, after which it adapted to new forms of dissemination, including radio and recordings. Post-independence, Hindustani and Carnatic music were promoted through All India Radio and numerous festivals and concerts.

6. Influence on Contemporary Music

– Indian classical music has influenced many contemporary forms, including Bollywood music, Indian rock, and fusion genres. Western artists have also drawn inspiration from its complex rhythmic patterns and improvisational nature (notably, The Beatles’ George Harrison).

– Raga: The melodic framework that evokes different emotions or moods.
– Tala: Cyclic rhythms that give structure to a performance.
– Improvisation: A hallmark of Indian classical music, where musicians spontaneously create within the structure of a raga and tala.

Indian classical music, with its deep spiritual roots, remains a dynamic and evolving art form that continues to inspire musicians and listeners worldwide.

FAQ –

What is the origin and history of Indian classical music?

It is generally believed that Indian classical music has its origins in the religious observances of the Aryan people who arrived in India some 3,000 years ago, pushing India’s local population, known as the Dravidian people, southwards

What is the oldest classical music in India?

Dhrupad is a genre in Hindustani classical music from the Indian subcontinent. It is the oldest style of major vocal styles associated with Hindustani classical music, Haveli Sangeet, and also related to the South Indian Carnatic tradition. The roots of Dhrupad are ancient

Who is the god of Indian classical music?

Saraswati is the goddess of music and knowledge in the Indian tradition.

Who invented ragas?

There are legends that Lord Shiva created 5 principal and archaic ragas which formed the basis of all the Indian Music. Those five ancient ragas believed to be created by Lord Shiva are Raga Hindol, Raga Shree, Raga Shankara, Raga Bhairav, and Raga Megh. There is a sixth archaic raga which is Raga Malkauns

Which raga is the oldest?

Malkauns, known also as rag Malkosh, is a raga in Indian classical music. It is one of the oldest ragas of Indian classical music. The equivalent raga in Carnatic music is called Hindolam, not to be confused with the Hindustani Hindol.

Raag Adana

Raag Adana belongs to the Asawari Family of Raags. In the olden days, this raag belonged to the Kafi family due to the use of Shuddh Dhaivat. This can be found even today in Haveli Sangeet.

Raag Ahir Bhairav

Raag Ahir Bhairav is from the Bhairav family. It is called a Prakaar (type) of Bhairav and originated when a now-obsolete raag, Ahiri, combined with Bhairav. It corresponds with Ragam Chakravakam in Carnatic music

Raag Alhaiya Bilawal

Raag Alhaiya Bilawal became the most basic scale in Indian Classical music somewhere around the 19th century. Before then, Kafi was considered to be the 1st scale in Indian Classical music. Bilawal has the same scale as the Western major scale in terms of the notes. Therefore, it’s the perfect Raag to start with if you want to understand the differences between Western music and Indian classical music.

Raag Asawari

Raag Asawari is a janak raag from the Asawari family of raags, similar to Raag Bhairav and Yaman. The equivalent raag in the Carnatic music system is Natabhairavi.

This raag is very similar to Raag Jaunpuri and Raag Gaandhari. The only difference between Jaunpuri and Asawari is that Jaunpuri has a Ni in the Aaroh. There is also a Raag named Komal Rishabh Asawari, which is like Asawari in all respects, except that it uses Komal Re as opposed to the Shuddh Re in Asawari.

Raag Bageshri

The Raag Bageshri is a very melodious raag from the Kafi family.

Raag Bahar

The Raag Bahar is a cheerful and playful raag that embodies the spirit of the spring season. Belonging to the Kafi family, it also displays shades of Kanada and Bageshree raag-angs. Raag Bahar is versatile and blends beautifully in many Jod Raags, such as Basant Bahar.

Raag Basant Bahar

The Raag Basant Bahar is a cheerful and playful raag that embodies the spirit of the spring season. It is often associated with Holi, a festival where the spirit of spring and new beginnings is celebrated with music and colors. It is known as a Jod (combined) raag because it is created by merging two distinct Raags: Basant and Bahar. These two Raags are skillfully interwoven, with alternating phrases from each. By using notes common to both Basant and Bahar, musicians create phrases that seamlessly transition between the two Raags, resulting in a unique identity for the Jod raag.

Raag Bhairav

The Raag Bhairav is the very first Raag in Indian classical music; this is called Aadi raag. Bhairav is known as the king of early morning Raags. It creates a meditative atmosphere that is majestic and masculine. If Bhairav were a divine person, he would be very serious and somber. This raag is a janak, or parent raag. It has produced many offspring Raags, or Prakaars (types) such as Ahir Bhairav, Anand Bhairav, etc. Bhairav’s equivalent in Carnatic music is Raag Mayamalavagowla.

Raag Bhimpalas

The Raag Bhimpalas or Bhimpalasi is an ancient raag from the Kafi family, characterized by the use of komal Ga and Ni.

Raag Bhoopali

Bhoop means King. Raag Bhoop or Bhoopali is a majestic raag from the Kalyan family. It is a very ancient raag. Though this raag is one of the beginner Raags taught to students due to its simplicity, it has the potential to become a vast Raag as your practice advances. It is known as raag Mohan, or Mohanam, in the Carnatic musical system.

Raag Darbari Kanada

Raag Darbari, is a version of Kanada created by Miya Tansen, a musician in Akbar’s court. It belongs to the Asawari thaat and has the Asawari ang and the Kanada ang in it. Raag Jaunpuri, Adaana and Asawari are samaprakritik raags.

Raag Deshkar

Deshkar is a raag that can be easily confused with Raag Bhoopali because they both have the same notes in the Aaroh and Avroh. But that’s where the similarity ends. Deshkar belongs to the Bilawal family while Bhoopali belongs to the Kalyan family. They differ in mood, tempo, and the movement of notes.

Raag Gaud Malhar

Gaud Malhar is a combination of Raag Gaud, Raag Shuddh Malhar, and Bilawal. It is a raag that sounds beautiful in the rainy season. Gaud Malhar along with Shuddh Malhar and Megh Malhar are the most ancient types of Malhar known to exist as far back as the 15th century.

Raag Gauri

Raag Gauri has two prevalent versions – one from the Poorvi family and the other from the Bhairav family. The focus of this document is the version from the Bhairav family. Raag Gauri displays shades of Kaalingda. The Bhairav family version of Gauri is also called Shuddh Gauri likely due to the use of Shuddh Ma vs the teevra Ma in the Poorvi family version.

Raag Hameer

Raag Hameer belongs to the Kalyan thaat. It expresses emotions of bravery and courage, known as Veer ras, very effectively.

Raag Hindol Bahar

Raag Hindol Bahar is a raag that embodies the spirit of the spring season. It is a Jod raag created by combining Raags Hindol and Bahar.

Raag Jaunpuri

Raag Jaunpuri belongs to the Asavari family because the notes Ga, Dha, and Ni are all komal. Sultan Hussain Sharqi, a music aficionado and the last king of the Jaunpur sultanate is credited for creating this Raag. Jaunpuri is also similar to another ancient Raag Gandhaari.

Raag Kafi

Raag Kafi originated from ancient folk music. Kafi’s scale was known to be the original major scale in Indian music in the ancient period. Later Bilawal received the status of being the major scale. Kafi is often used in semi-classical compositions such as Thumri, and Hori.

Raag Kamod

The Raag Kamod belongs to the Kalyan family and has similarities with Kedar, Hameer, and Chhayanat.

Raag Kedar

The Raag Kedar is an ancient raag with a very crooked gait. It belongs to the Kalyan thaat.

Raag Khamaj

Raag Khamaj is a Janak raag, which means it is a root raag that a Thaat is named after. In other words, Khamaj is the name of a Raag and a Thaat. Raag Khamaj is romantic in nature. It is well-suited for semi-classical forms such as Dadra, Thumri, Hori, etc.

Raag Lalit

Raag Lalit is an ancient raag belonging to the Poorvi family. There are two types of Lalit – Shuddh Dhaivat Lalit and Komal Dhaivat Lalit.

Raag Marwa

Raag Marwa is the head of the Marwa family of Raags. Marwa traces its roots back to an ancient Raag named Malawa. It sounds most beautiful at dusk. Marwa can create a feeling of restlessness in both the performer as well as the audience by the over-use of komal Re and the deliberate avoidance of Sa. The restlessness is ultimately put to an end by displaying the Shadaj

Raag Miya Malhar

Raag Miya Malhar is a monsoon raag created by Tansen. When we refer to “Miyan Malhar,” the “Miyan” in the name signifies that this particular version of the Malhar raag was created by Tansen, who was honored with the title “Miyan”. It dates back to the 16th century. It belongs to the Kafi family and contains the Kanada Ang in it.

Raag Multani

Raag Multani belongs to the Todi thaat. This raag is believed to have originated in the medieval period in Multan, which is in modern-day Pakistan. The first mention of Raag Multani can be traced to Raag Tarangini. The raag was also referred to as Multani Dhanashree.

Raag Puriya

Raag Puriya is a peaceful, evening raag that has been studied and performed for over 300-400 years. As a close member of the Marwa thaat, Raag Puriya shares the same scale as Raag Marwa and Raag Sohini. While Raag Sohini is a uttaraang pradhan raag that is presented with a feeling of separation and longing; Raag Puriya is a poorvaang pradhan raag that evokes peace and tranquility within the listener.

Raag Puriya Dhanashri

Raag Puriya Dhanashri belongs to the Poorvi family. It is a combination of Raag Puriya and Raag Dhanashri.

Raag Ramkali

Ramkali is considered to be a very ancient raag. Before it got to its present form and name, it had been called names like Ramkeli, Ramkeri, Ramkiri, Ramkriti, and Ramkriya. Ancient texts mention four different variations, or Prakaars, of Ramkali. But the one that is prevalent in current times is from the Bhairav family.

Raag Shree

Raag Shree belongs to the Poorvi family. It is a very ancient raag.

Raag Shuddh Kalyan

Shuddh Kalyan is a bit of a misnomer. It is very similar to Bhoopali in the Aaroh and Yaman/Kalyan in the Avroh. Therefore, it is also known as Bhoop-Kalyan.

Raag Sohni

The Raag Sohni belongs to the Marwa family. Raag Sohni, Puriya, and Marwa can be described as triplets from the same family. All three Raags have the same Aroha and Avroha but are presented differently. The Raag Sohini’s nature is very fickle.

Raag Todi

The Raag Todi is a Janak Raag. It is at the root of the Todi family of Raags. It is a Raagang raag as well. Raag Todi is also known as Miya Ki Todi. It is believed to have been created by the 16th-century musician Tansen, who was a court musician for the Mughal emperor Akbar. All Raags that have the word “Miya” in them are created by Miya Tansen.

Raag Yaman

Yaman is a Janak Raag from the Kalyan family of raags. Some texts use Raag Yaman and Raag Kalyan interchangeably. There is also a version that uses both Shuddh and Teevra Ma. It is called Yaman-Kalyan or Jaimini-Kalyan. Kalyan has been mentioned in Bharat Muni’s Natyashastra, which is an ancient literature on the performing arts, written 2000 years ago. It is called Kalyani in Carnatic music and is similar to the western Lydian scale.