Bots, trusted
7,437
edits
Cleanup:
No edit summary |
WikiDwarfBOT (talk | contribs) (Cleanup:) |
||
| Line 1: | Line 1: | ||
{{Short description|Indian musical instrument}} | {{Short description|Indian musical instrument}} | ||
[[File:Sarod MET DP-14177-002.jpg|thumb|A 19th century sarod, at the Metropolitan Museum of Art.]] | [[File:Sarod MET DP-14177-002.jpg|thumb|A 19th century sarod, at the Metropolitan Museum of Art.]] | ||
The '''sarod''' is a [[String instrument|stringed instrument]], used | The '''sarod''' is a [[String instrument|stringed instrument]], used in [[Hindustani music]] on the [[Indian subcontinent]]. Along with the [[sitar]], it is among the most popular and prominent instruments.<ref>{{Cite web|url=https://omeka1.grinnell.edu/MusicalInstruments/items/show/19|title=sarod · Grinnell College Musical Instrument Collection|website=omeka1.grinnell.edu|access-date=2019-10-13}}</ref> It is known for a deep, weighty, introspective sound, in contrast with the sweet, overtone-rich texture of the sitar, with [[sympathetic string]]s that give it a resonant, reverberant quality. A [[Fretless guitar|fretless]] instrument, it can produce the continuous slides between notes known as [[meend]] ([[glissandi]]), which are important in Indian music.<ref>{{Cite web|url=https://www.umass.edu/newsoffice/article/classical-indian-musician-amjad-ali-khan|title=Classical Indian Musician Amjad Ali Khan to Perform March 1 at FAC|publisher=Office of News & Media Relations|access-date=2019-10-13}}<br>- {{Cite web|url=https://www.itcsra.org/meend|title=ITC Sangeet Research Academy|website=www.itcsra.org|access-date=2019-10-13}}</ref> | ||
==Origins== | ==Origins== | ||
| Line 7: | Line 7: | ||
|header_align=center | |header_align=center | ||
|header=Historical instruments | |header=Historical instruments | ||
| image1 = | | image1 = Lute in Life scenes of Buddha-2nd century CE, Amravati.jpg | ||
| width1 = | | width1 = 154 | ||
| alt1 = | | alt1 = Sarod from Amravati Stupa | ||
| caption1 = | | caption1 = Lute in relief at [[Amaravati Stupa]], 2nd century CE. The artwork was celebrating the Buddha and his mother. | ||
|image2 = Man playing Lyre from Yusufzai Gandhara.jpg | |image2 = Man playing Lyre from Yusufzai Gandhara.jpg | ||
| Line 24: | Line 24: | ||
}} | }} | ||
The word sarod, which comes from the Persian, is much older than the Indian musical instrument. It can be traced back to ''sorūd'' meaning "song", "melody", "hymn" and further to the Persian verb ''sorūdan'', which correspondingly means "to sing", "to play a musical instrument", but also means "to compose".<ref>{{cite encyclopedia |author1=Heinrich FJ Junker |author2= Bozorg Alavi |title= Persisch-deutsches Wörterbuch |trans-title= Persian-German dictionary |language=de |publisher= Leipzig/Tehran |date= 1970 |page= 420}}</ref> | |||
Alternatively, the [[shahrud]] may have given its name to the sarod.<ref>{{cite book |first= Adrian |last= McNeil |title= Inventing the Sarod: A Cultural History |publisher= Seagull Books |place= London |date= 2004 |page= 27 |isbn= 978-81-7046-213-2}}</ref> The Persian word šāh-rūd is made up of ''šāh'' ([[shah]] or king) and ''rūd'' (string).<ref name="EIS">{{cite book |first= Martijn Theodoor |last= Houtsma |article= Ud |editor= E.J. Brill |title= Encyclopaedia of Islam |date= 1913–1936 |volume= 2 |page=987 |isbn= 9004082654 |quote= rud is of Persian origin and the word, like tar, means a string |url=https://books.google.com/books?id=wpM3AAAAIAAJ&dq=rud+persian+instrument&pg=PA987}}</ref> | |||
Among the many conflicting and contested histories of the sarod, there is one that attributes its invention to the ancestors of the present-day sarod maestro, [[Amjad Ali Khan]]. Amjad Ali | Many scholars of Indian classical music believe that the sarod is a combination of the ancient [[chitravina]], the medieval Indian rabab (aka the [[Seni rebab|seniya rabab]]<ref>{{Cite web|url=https://www.sursringar.org/|title=The Story of Sursringar|website=Sursringar}}</ref>) and modern [[sursingar]]. Some scholars contend that a similar instrument may have existed about two thousand years ago in ancient India during the ages of the Gupta kings. In fact, a Gupta period coin depicts the great king Samudragupta playing a veena, which many believe to be the precursor of the sarod. The present Indian Traces of similar Rabab style instruments can also be found in southern India, especially in the states of Tamil Nadu, Kerala and Karnataka, where it is known as the [[Swarabat|swarbat]]. The folk rabab, an instrument popular in north India, had a wooden fingerboard, its strings were made of silk, cotton or gut, and it was played with a wooden pick. In history, reference is also made to a Sharadiya Veena from which the name Sarod have been derived. The sarod is also believed to have descended from the [[Rubab (instrument)|Afghan rubab]], a similar instrument originating in [[Central Asia]] and [[Afghanistan]].<ref>Miner, Allyn. 1993. ''Sitar and Sarod in the Eighteenth and Nineteenth Centuries'', International Institute for Traditional Music, Berlin.</ref> | ||
Although the sarod has been referred to as a "[[bass (instrument)|bass]] rubab"<ref name=bassrebab>{{cite web| url = http://www.chandrakantha.com/articles/indian_music/sarod.html| title = Sarod| access-date = 2006-12-02| last = Courtney| first = David| publisher = David and Chandrakantha Courtney}}</ref> its tonal bandwidth is actually considerably greater than that of the rubab, especially in the middle and high registers. [[Lalmani Misra]] opines in his ''[[Bharatiya Sangeet Vadya]]'' that the sarod is a combination of the ancient chitravina, the medieval rubab and modern [[Surasingar|sursingar]]. Another instrument, the sur-rabab, is known to exist, which has the characteristics of both the dhrupad rabab/seniya rabab and the sarod. The sur-rabab has the structure of the dhrupad rabab but has a metal fretboard and uses metal strings. | |||
Among the many conflicting and contested histories of the sarod, there is one that attributes its invention to the ancestors of the present-day sarod maestro, [[Amjad Ali Khan]]. Amjad Ali Khan's ancestor Mohammad Hashmi Khan Bangash, a musician and horse trader, came to India with the Afghan rubab in the mid-18th century, and became a court musician to the Maharajah of [[Rewa, India|Rewa]] (now in [[Madhya Pradesh]]). It was his descendants, notably his grandson Ghulam Ali Khan Bangash, a court musician in [[Gwalior]], who changed the rubab into the sarod we know today.<ref name=amjadalisite1>{{cite web|url=http://www.sarod.com/sarod/default.htm |title=Tools of the Trade: Sarod |access-date=2006-12-02 |last=Broughton |first=Simon |url-status=dead |archive-url=https://web.archive.org/web/20061118162205/http://www.sarod.com/sarod/default.htm |archive-date=November 18, 2006 }}</ref> A parallel theory credits descendants of Madar Khan, Niyamatullah Khan in particular, with the same innovation around 1820. The sarod in its present form dates back to approximately 1820, when it started gaining recognition as a serious instrument in Rewa, [[Shahjahanpur]], Gwalior and [[Lucknow]]. In the 20th century, the sarod was improved significantly by [[Allauddin Khan]] and his brother Ayet Ali Khan. They increased the number of chikari (drone) strings and increased the number of tarafdar (sympathetic) strings. However, as is the case with most young, evolving instruments, much work remains to be done in the area of sarod [[luthiery]] in order to achieve reliable customization, and precise replication of successful instruments. This reflects the general state of Indian instrument-making in the present day. | |||
==Design== | ==Design== | ||
| Line 50: | Line 54: | ||
==Notable sarodiyas== | ==Notable sarodiyas== | ||
===Deceased=== | ===Deceased=== | ||
* [Mohammad Amir Khan] (1873–1934), Court Musician of Darbhanga and Rajshahi | * [[Mohammad Amir Khan (musician)|Mohammad Amir Khan]] (1873–1934), Court Musician of Darbhanga and Rajshahi | ||
[[File:Ustad Alauddin Khan.jpg|thumb|[[Allauddin Khan]]]] | [[File:Ustad Alauddin Khan.jpg|thumb|[[Allauddin Khan]]]] | ||
* [[Allauddin Khan]] ( | * [[Allauddin Khan]] (1862(1882?)–1972) | ||
* [[Hafiz Ali Khan]] (1888–1972) | * [[Hafiz Ali Khan]] (1888–1972) | ||
* [[Ali Akbar Khan]] (1922–2009) | * [[Ali Akbar Khan]] (1922–2009) | ||
* [[Jotin Bhattacharya]] (1926-2016) | |||
* [[Bahadur Khan]] (1931–1989) | * [[Bahadur Khan]] (1931–1989) | ||
* [[Buddhadev Das Gupta]] (1933–2018) | * [[Buddhadev Das Gupta]] (1933–2018) | ||
* [[Dhyanesh Khan]] (1942-1990) | |||
* [[Kalyan Mukherjea]] (1943–2010) | * [[Kalyan Mukherjea]] (1943–2010) | ||
* [[Sakhawat Hussain]] (1877–1955) | * [[Sakhawat Hussain]] (1877–1955) | ||
| Line 67: | Line 73: | ||
* [[Rajeev Taranath]] (b. 1932) | * [[Rajeev Taranath]] (b. 1932) | ||
* [[Aashish Khan]] (b. 1939) | * [[Aashish Khan]] (b. 1939) | ||
* [https://www.sarodbyavi.com/ Avi Kishna] (b. 1978) | |||
* [[Amjad Ali Khan]] (b. 1945) | * [[Amjad Ali Khan]] (b. 1945) | ||
* [[Brij Narayan]] (b. 1952) | * [[Brij Narayan]] (b. 1952) | ||
* [[Narendra Nath Dhar]] (b. 1954) | * [[Narendra Nath Dhar]] (b. 1954) | ||
* [[Biswajit Roy Chowdhury]] (b. 1956) | * [[Biswajit Roy Chowdhury]] (b. 1956) | ||
* [[Vikash Maharaj]] (b.1957). | |||
* [[Tejendra Majumdar]] (b. 1961) | * [[Tejendra Majumdar]] (b. 1961) | ||
* [[Amaan Ali Khan]] (b. 1977) | * [[Amaan Ali Khan]] (b. 1977) | ||
| Line 76: | Line 84: | ||
* [[Abhisek Lahiri]] (b. 1983) | * [[Abhisek Lahiri]] (b. 1983) | ||
* [[Abanindra Maitra]] (b.1953) | * [[Abanindra Maitra]] (b.1953) | ||
* [[Wajahat Khan]] | * [[Wajahat Khan]] | ||
* [[Arnab Chakrabarty]] | * [[Arnab Chakrabarty]] | ||
* [[Soumik Datta]] | * [[Soumik Datta]] | ||
* [[Prithwidev Bhattacharyya]] | |||
* [[Abhishek Borkar]] | * [[Abhishek Borkar]] | ||
* [[Debanjan Bhattacharjee]] | |||
* [[Debasmita Bhattacharya]] | * [[Debasmita Bhattacharya]] | ||
* [[Vishal Maharaj]] (b. 1986) | * [[Vishal Maharaj]] (b. 1986) | ||
* Rajeeb Chakraborty | * Rajeeb Chakraborty | ||
* Prattyush Banerjee | * Prattyush Banerjee | ||
* | * [[Aayush Mohan]] (b. 1995) | ||
* | * [[Rupa Neupane]] (A. Nepal) First Nepali Female Sarod Player | ||
* [[Apratim Majumdar]] | |||
==See also== | ==See also== | ||
| Line 100: | Line 109: | ||
==Further reading== | ==Further reading== | ||
* {{Cite book | last = McNeil | first = A. | year = 2005 | title = Inventing the Sarod: A Cultural History | publisher= Seagull | isbn = 81-7046-213-4}} | * {{Cite book | last = McNeil | first = A. | year = 2005 | title = Inventing the Sarod: A Cultural History | publisher= Seagull | isbn = 81-7046-213-4}} | ||