These volumes form today the standard text on Hindustani music, an indispensable starting point for any student of Hindustani Classical Music. To make this cultural heritage accessible to the common man, he published commentary on his own Sanskrit grantha in Marathi over a span of several years it was published over four volumes bearing the title: Hindustani Sangeet Paddhati. In 1909, he published Shri Mallakshaya Sangeetam, in Sanskrit, under the pseudonym 'Chatur-pandit'. In Rampur he was the disciple of legendary veena Player Ustad Wazir Khan, a descendant of Miyan Tansen.īhatkhande's first published work, Swar Malika, was a booklet containing detailed descriptions of all prevalent ragas. During his travels in India, he spent time in the then princely states of Baroda, Gwalior, and Rampur. He began the study of ancient texts such as the Natya Shastra and Sangeet RatnakaraĪfter the death of his wife and his daughter, Bhatkhande abandoned his legal practice and devoted the rest of his life to systematising the prevailing forms of Hindustani music and building on that system a coordinated theory and practice of music.
Marathi bhakti geet ajit kadkade full#
This led to him abandoning his law practice and devoting his full attention to music.īhatkhande traveled throughout India, meeting with ustads and pandits, and researching music.
He studied at the Mandali for six years and learned a variety of compositions in both khayal and dhrupad forms under musicians such as Shri Raojibua Belbagkar and Ustad Ali Hussain.Music was still something of a leisurely pursuit for Bhatkhande until 1900 when his wife died, followed, in 1903, by the death of his daughter. In 1884, Bhatkhande became a member of Gayan Uttejak Mandali, a music appreciation society in Bombay, which broadened his experience with music performance and teaching. In 1887, Bhatkhande graduated with a degree in law from Bombay University and briefly pursued a career in criminal law. He completed a BA degree at Elphinstone College in Bombay in 1885. After turning fifteen, Bhatkhande became a student of the sitar and subsequently began studying Sanskrit texts that dealt with music theory.
Marathi bhakti geet ajit kadkade professional#
While not a professional musician himself, his father, who worked for an affluent businessman, ensured that Bhatkhande and his siblings received an education in classical music. Pandit Vishnu Narayan Bhatkhande was born on 10 August 1860 into a Chitpavan Brahmin family in Walkeshwar, Bombay. He borrowed the idea of lakshan geet from the Carnatic music scholar Venkatamakhin. He explained the ragas in an easy-to-understand language and composed several bandishes which explained the grammar of the ragas. He noted that several ragas did not conform to their description in ancient Sanskrit texts. Bhatkhande reclassified them into the currently used thaat system. Ragas used to be classified into Raga (male), Ragini (female), and Putra (children).
During those earlier times, the art had undergone several changes, rendering the raga grammar documented in scant old outdated texts. Pandit Vishnu Narayan Bhatkhande (10 August 1860 – 19 September 1936) was an Indian musicologist who wrote the first modern treatise on Hindustani classical music, an art which had been propagated for acenturies mostly through oral traditions.