Fundamental of Ancient Indian Music and Dance

SR No.: 001535
Original Sutra Author: N/A
Author: Sureshchandra Benarji
Publisher: L D Indology Ahmedabad
Publication Year: 1976
Total Pages: 130
Language: English
Classification: Book_English, Art, & Music
File Size: 7 MB

Page 17

Introduction
acquired profound knowledge of the music of both these regions, he attempted a synthesis of the two regional systems. But, in course of time, the poinis of difference between the two became marked. In the 17th century, one Verkațamukhi revolutionised South Indian music by introducing seventy-two scales. Though, in the matter of Suddha-mela Verkata's views widely differ from those of Somanātha, Pundarīka and Rāmāmātya, yet Verkața became very popular in South India. Considerable changes were introduced into South Indian music through the compelling songs of Tyāgaraja, Shyāma Šāstri, Svatitirunel.
In the 19th century, particularly after the advent of Muhammad Reja of Patna and Mahārā jā Pratāp Singh of Jaipura, North Indian music assumed a new garb. Their works are entitled respectively Nagmat-e-Asafi and Radha. govinda-samgitasara. During the reign of Akbar and Jahangir, music of this type spread far and wide. Besides Amir Khasru and Tānsen, Gopāl Nāyek, Baiju Bāora, King Mana of Gwalior and Haridās Goswāmi were massive pillars to the mighty edifice of this kind of music.
In Northern India, besides Delhi, Gwalior, Bundi, Jaun. pur, Agra, Mathurã and Vrindāvan were noteworthy centres for the cultivation of Mārga-samgita. In greater Bengal, too, the cultivation of this music was wide and deep. In this province, samgita reached a high degree of development due to the rise of scholar-musicians and musician-saints. The role of samgita in the literature and culture of this province deserves special mention. The Caryā padas, which probably originated round about 1000 A.D. bear eloquent testimony to the fondness of music on the part of the Bengalis as well as to their spiritual aspiration through music. Another such work is the Krsnakirtana ascribed to Candidāsa. Jayadeva, the glory of Bengal, the padmā vati-caraṇa-cāraņa-cakravarti, composed his immortal Gita-govinda with a mind saturated with the Vaisnava devotional sentiment. The very names of the rāga Gauda and Vargāla bear witness to the considerable development of