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{{ | {{Short description|Overview of music traditions in India}} | ||
{{Redirect|Indian music}} | {{Redirect|Indian music}} | ||
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{{Indian music}} | {{Indian music}} | ||
{{Indian culture}} | {{Indian culture}} | ||
Owing to | Owing to India's vastness and diversity, Indian music encompasses numerous genres in multiple varieties and forms which include [[Indian classical music|classical music]], [[Indian folk music|folk]], [[Indian rock|rock]], and [[Indian pop|pop]]. It has a history spanning several millennia and developed over several geo-locations spanning the sub-continent. Music in India began as an integral part of socio-religious life. | ||
==History== | ==History== | ||
{{main | Music in ancient India }} | {{main | Music in ancient India }} | ||
[[File:Dancing_girl.jpg|thumb|''[[Dancing Girl (sculpture)|Dancing Girl]]'' sculpture from the [[Indus Valley civilization]] (c. 4,500 years ago)]] | [[File:Dancing_girl.jpg|thumb|''[[Dancing Girl (sculpture)|Dancing Girl]]'' sculpture from the [[Indus Valley civilization]] (c. 4,500 years ago)]] | ||
[[File:Nimbu Bhoj cave, harper.jpg|thumb|Nimbu Bhoj cave, [[Pachmarhi]], India, date uncertain, possibly 2nd millennium B.C. - 1st millennium B.C.<ref name="Dubey">{{Cite book |last=Dubey-Pathak |first=Meenakshi |title=Studien zur Musikarchäologie I. Saiteninstrumente im archäologischen Kontext |date=2000 |publisher=Verlag Marie Leidorf |editor-last=Ellen Hickmann |series=Orient-Archäologie, Band 6 (Orient Department of the ''German Archaeological Institute'', Berlin) |location=Rahden/Westphalia |pages=22–23, 29 |chapter=Musical Depictions in the Rock-Paintings of the Pachmarhi Hills in Central India |isbn=9783896466365 |quote=A painting in the Nimbu Bhoj shelter shows...the male figure is playing a string harp...Fig. 2 Harper and family... |editor-last2=Ricardo Eichmann |chapter-url=https://archive.org/details/saiteninstrument0000ictm/page/20/mode/2up?view=theater}}</ref><ref name="Meshk">{{Cite book |last=Meshkeris |first=Veronika |title=Studien zur Musikarchäologie I. Saiteninstrumente im archäologischen Kontext |date=2000 |publisher=Verlag Marie Leidorf |editor-last=Ellen Hickmann |series=Orient-Archäologie, Band 6 (Orient Department of the ''German Archaeological Institute'', Berlin) |location=Rahden/Westphalia |pages=74, 75, 83 |chapter=Musical Phenomena of Convergency in Eurasian Rock Art |isbn=9783896466365 |quote=plate VII, figures 5, 6 and 7... Then, in the late Bronze Age and Iron Age (2nd-1st mill. B.C.) the attention of the painters shifted from imaginary images to ritual participants...development of musical culture is confirmed by the appearance of different musical instruments...the bowed harp and hourglass drum (Plate VII, 5-7, India)... |editor-last2=Ricardo Eichmann |chapter-url=https://archive.org/details/saiteninstrument0000ictm/page/82/mode/2up?view=theater}}</ref> Bronze Age harper playing an [[arched harp]]. Digital drawing, recreating cave painting.]] | |||
=== Pre-history === | === Pre-history === | ||
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====Neolithic==== | ====Neolithic==== | ||
[[Chalcolithic]] era (4000 BCE onward) narrow bar shaped polished stone [[Celt (tool)|celts]] like music instruments, one of the earlier musical instrument in India, were excavated at [[Sankarjang]] in the [[Angul]] district of [[Odisha]].<ref>[http://orissagov.nic.in/e-magazine/Journal/Journal2/pdf/ohrj-014.pdf] {{webarchive |url=https://web.archive.org/web/20091029204543/http://orissagov.nic.in/e-magazine/Journal/Journal2/pdf/ohrj-014.pdf |date=29 October 2009 }}</ref> There is historical evidence in the form of sculptural evidence, i.e. musical instruments, singing and dancing postures of damsels in the Ranigumpha Caves in [[Khandagiri]] and [[Udayagiri and Khandagiri Caves|Udayagiri]] at [[Bhubaneswar]]. | [[Chalcolithic]] era (4000 BCE onward) narrow bar shaped polished stone [[Celt (tool)|celts]] like music instruments, one of the earlier musical instrument in India, were excavated at [[Sankarjang]] in the [[Angul]] district of [[Odisha]].<ref>[http://orissagov.nic.in/e-magazine/Journal/Journal2/pdf/ohrj-014.pdf] {{webarchive|url=https://web.archive.org/web/20091029204543/http://orissagov.nic.in/e-magazine/Journal/Journal2/pdf/ohrj-014.pdf|date=29 October 2009}}</ref> There is historical evidence in the form of sculptural evidence, i.e. musical instruments, singing and dancing postures of damsels in the Ranigumpha Caves in [[Khandagiri]] and [[Udayagiri and Khandagiri Caves|Udayagiri]] at [[Bhubaneswar]]. | ||
==== Indus River | ==== Indus River Valley Civilization ==== | ||
[[Dancing Girl (sculpture)|Dancing Girl sculpture]] (2500 BCE) was found from the [[Indus Valley civilization]] (IVC) site.<ref name="national">{{cite web|title=Collections:Pre-History & Archaeology|publisher= National Museum, New Delhi|url=http://nationalmuseumindia.gov.in/prodCollections.asp?pid=44&id=1&lk=dp1|access-date=3 February 2014}}</ref><ref>{{Cite book|url=https://books.google.com/books?id=e--vDQAAQBAJ&q=aesthetics+of+the+dancing+girl+mohenjodaro&pg=PA34|title=Origin of Indians and their Spacetime|last=Nalapat|first= | [[Dancing Girl (sculpture)|Dancing Girl sculpture]] (2500 BCE) was found from the [[Indus Valley civilization]] (IVC) site.<ref name="national">{{cite web|title=Collections:Pre-History & Archaeology|publisher=National Museum, New Delhi|url=http://nationalmuseumindia.gov.in/prodCollections.asp?pid=44&id=1&lk=dp1|access-date=3 February 2014|archive-date=6 January 2019|archive-url=https://web.archive.org/web/20190106145719/http://nationalmuseumindia.gov.in/prodCollections.asp?pid=44&id=1&lk=dp1|url-status=dead}}</ref><ref>{{Cite book|url=https://books.google.com/books?id=e--vDQAAQBAJ&q=aesthetics+of+the+dancing+girl+mohenjodaro&pg=PA34|title=Origin of Indians and their Spacetime|last=Nalapat|first=Suvarna|date=2013|publisher=D C Books|isbn=978-9381699188|language=en}}</ref><ref name="singh">{{cite book|last1=Singh|first1=Upinder|title=A History of Ancient and Early Medieval India : from the Stone Age to the 12th century|date=2008|publisher=Pearson Education|location=New Delhi|isbn=978-8131711200|page=162|url=https://books.google.com/books?id=H3lUIIYxWkEC&q=dancing+girl+harappa&pg=PA162|access-date=15 November 2014}}</ref><ref name="jane">{{cite book|last1=McIntosh|first1=Jane R.|title=The Ancient Indus Valley : New Perspectives|date=2008|publisher=ABC-CLIO|location=Santa Barbara, CA|isbn=978-1576079072|pages=281, 407|url=https://books.google.com/books?id=1AJO2A-CbccC&q=dancing+girl|access-date=15 November 2014}}</ref> 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.<ref name="shodh1">[http://shodhganga.inflibnet.ac.in/bitstream/10603/13634/8/08_chapter%202.pdf origin of Indian music and arts]. Shodhganga.</ref> | ||
===Vedic and ancient era=== | ===Vedic and ancient era=== | ||
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[[Sharngadeva|Śārṅgadeva]] composed [[Sangita-Ratnakara]], one of the most important [[Sanskrit]] musicological texts from India,<ref name="Bod2013p116">{{cite book|author=Rens Bod|title=A New History of the Humanities: The Search for Principles and Patterns from Antiquity to the Present |url=https://books.google.com/books?id=321oAgAAQBAJ&pg=PA116 |year=2013|publisher=Oxford University Press |isbn=978-0-19-164294-4|page=116}}</ref><ref name="Nijenhuis1977p12">{{cite book|author=Emmie te Nijenhuis|title=Musicological literature, Volume 6, Part 1|url=https://books.google.com/books?id=HkUIAQAAIAAJ|year= 1977|publisher =Harrassowitz|isbn=978-3-447-01831-9|pages=12, 33–34}}, Quote: "The largest work that has for a long time been the most important source of information on the ancient period, is the famous Samgitaratnakara written by Sarngadeva in the first half of the thirteenth century."</ref> which is regarded as the definitive text in both [[Hindustani music]] and [[Carnatic music]] traditions of [[Indian classical music]].<ref name="MasseyMassey1996">{{cite book|author1=Reginald Massey|author2=Jamila Massey|author2-link=Jamila Massey|title=The Music of India|url=https://books.google.com/books?id=yySNDP9XVggC&pg=PA42| year= 1996|publisher= Abhinav Publications|isbn= 978-81-7017-332-8|pages=42–43}}</ref><ref>{{cite book|author=Rens Bod|title=A New History of the Humanities: The Search for Principles and Patterns from Antiquity to the Present|url= https://books.google.com/books?id=321oAgAAQBAJ&pg=PA116| year=2013|publisher=Oxford University Press|isbn=978-0-19-164294-4|page=116}}</ref> | [[Sharngadeva|Śārṅgadeva]] composed [[Sangita-Ratnakara]], one of the most important [[Sanskrit]] musicological texts from India,<ref name="Bod2013p116">{{cite book|author=Rens Bod|title=A New History of the Humanities: The Search for Principles and Patterns from Antiquity to the Present |url=https://books.google.com/books?id=321oAgAAQBAJ&pg=PA116 |year=2013|publisher=Oxford University Press |isbn=978-0-19-164294-4|page=116}}</ref><ref name="Nijenhuis1977p12">{{cite book|author=Emmie te Nijenhuis|title=Musicological literature, Volume 6, Part 1|url=https://books.google.com/books?id=HkUIAQAAIAAJ|year= 1977|publisher =Harrassowitz|isbn=978-3-447-01831-9|pages=12, 33–34}}, Quote: "The largest work that has for a long time been the most important source of information on the ancient period, is the famous Samgitaratnakara written by Sarngadeva in the first half of the thirteenth century."</ref> which is regarded as the definitive text in both [[Hindustani music]] and [[Carnatic music]] traditions of [[Indian classical music]].<ref name="MasseyMassey1996">{{cite book|author1=Reginald Massey|author2=Jamila Massey|author2-link=Jamila Massey|title=The Music of India|url=https://books.google.com/books?id=yySNDP9XVggC&pg=PA42| year= 1996|publisher= Abhinav Publications|isbn= 978-81-7017-332-8|pages=42–43}}</ref><ref>{{cite book|author=Rens Bod|title=A New History of the Humanities: The Search for Principles and Patterns from Antiquity to the Present|url= https://books.google.com/books?id=321oAgAAQBAJ&pg=PA116| year=2013|publisher=Oxford University Press|isbn=978-0-19-164294-4|page=116}}</ref> | ||
[[Assamese people|Assamese]] poet [[Madhava Kandali]], writer of [[Saptakanda Ramayana]], lists several instruments in his version of ''"Ramayana"'', such as [[Pakhavaj|mardala]], khumuchi, bhemachi, dagar, gratal, ramtal, [[tabla|tabal]], [[anklet|jhajhar]], jinjiri, bheri mahari, [[Tokari geet|tokari]], dosari, [[kendara]], [[dotara]], [[Veena|vina]], [[Rudra veena|rudra-vipanchi]], etc. (meaning that these instruments existed since his time in the 14th century or earlier).<ref name="mus1">Suresh Kant Sharma and Usha Sharma, 2005, [https://books.google.com/books?id=ffe4dMu4p_gC | [[Assamese people|Assamese]] poet [[Madhava Kandali]], writer of [[Saptakanda Ramayana]], lists several instruments in his version of ''"Ramayana"'', such as [[Pakhavaj|mardala]], khumuchi, bhemachi, dagar, gratal, ramtal, [[tabla|tabal]], [[anklet|jhajhar]], jinjiri, bheri mahari, [[Tokari geet|tokari]], dosari, [[kendara]], [[dotara]], [[Veena|vina]], [[Rudra veena|rudra-vipanchi]], etc. (meaning that these instruments existed since his time in the 14th century or earlier).<ref name="mus1">Suresh Kant Sharma and Usha Sharma, 2005, [https://books.google.com/books?id=ffe4dMu4p_gC&dq=ramayana+mentions+musical+instruments&pg=PA288 Discovery of North-East India], p. 288.</ref> The Indian system of [[Musical notation|notation]] is perhaps the world's oldest and most elaborate.<ref>{{cite book |first=Gaurishankar Hirachand | last=Ojha |title=Madhya Kalin Bharatiya Sanskriti}} pp. 193–194.</ref> | ||
===Medieval era=== | ===Medieval era=== | ||
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===Twentieth century=== | ===Twentieth century=== | ||
In the early 1960s [[Jazz]] pioneers such as [[John Coltrane]] and [[George Harrison]] collaborated with Indian instrumentalists and started to use Indian instruments such as [[sitar]] in their songs. In the late 1970s and early 1980s, [[rock and roll]] fusions with Indian music were well known throughout [[Europe]] and [[North America]]. In the late 1980s, Indian-British artists fused Indian and Western traditions to make the [[Asian Underground]]. In the [[new millennium]], American [[hip hop music|hip-hop]] has featured Indian filmi and bhangra. [[Mainstream]] [[hip-hop]] artists have sampled songs from [[Bollywood movies]] and have collaborated with [[List of Indian artists|Indian artists]], such as [[Timbaland]]'s "Indian Flute" | In the early 1960s [[Jazz]] pioneers such as [[John Coltrane]] and [[George Harrison]] collaborated with Indian instrumentalists and started to use Indian instruments such as [[sitar]] in their songs. In the late 1970s and early 1980s, [[rock and roll]] fusions with Indian music were well known throughout [[Europe]] and [[North America]]. In the late 1980s, Indian-British artists fused Indian and Western traditions to make the [[Asian Underground]]. In the [[new millennium]], American [[hip hop music|hip-hop]] has featured Indian filmi and bhangra. [[wikt:mainstream|Mainstream]] [[hip-hop]] artists have sampled songs from [[Bollywood movies]] and have collaborated with [[List of Indian artists|Indian artists]], such as [[Timbaland]]'s "Indian Flute" | ||
In 2010, [[Laura Marling]] and [[Mumford and Sons]] collaborated with the Dharohar Project.<ref name=dharo1/> | In 2010, [[Laura Marling]] and [[Mumford and Sons]] collaborated with the Dharohar Project.<ref name=dharo1/> | ||
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[[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|date=November 2011}} | [[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|date=November 2011}} | ||
Noted artists of Carnatic music include Tiger Varadachariyar, M D Ramanathan, [[Ariyakudi Ramanuja Iyengar]] (the father of the current concert format), [[Palghat Mani Iyer]], [[Madurai 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]], | Noted artists of Carnatic music include Tiger Varadachariyar, M D Ramanathan, [[Ariyakudi Ramanuja Iyengar]] (the father of the current concert format), [[Palghat Mani Iyer]], [[Madurai 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]], [[Mysore Manjunath]], | ||
Every December, the city of [[Chennai]] in India has its eight-week-long [[Madras Music Season|Music Season]], which is the world's largest cultural event.<ref>[[Madras Music Season]]</ref> | Every December, the city of [[Chennai]] in India has its eight-week-long [[Madras Music Season|Music Season]], which is the world's largest cultural event.<ref>[[Madras Music Season]]</ref> | ||
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This is a musical genre of the [[Tamang people]] and popular amongst the Nepali speaking community in West Bengal, Sikkim, India and around the world. It is accompanied by Tamang instruments, the [[Madal]], [[Damphu drum|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.<ref>{{Cite web|last=(ACCU)|first=Asia⁄Pacific Cultural Centre for UNESCO|title=Asia-Pacific Database on Intangible Cultural Heritage (ICH)|url=https://www.accu.or.jp/ich/en/arts/A_NPL12.html|access-date=2018-07-21|website=www.accu.or.jp}}</ref> | This is a musical genre of the [[Tamang people]] and popular amongst the Nepali speaking community in West Bengal, Sikkim, India and around the world. It is accompanied by Tamang instruments, the [[Madal]], [[Damphu drum|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.<ref>{{Cite web|last=(ACCU)|first=Asia⁄Pacific Cultural Centre for UNESCO|title=Asia-Pacific Database on Intangible Cultural Heritage (ICH)|url=https://www.accu.or.jp/ich/en/arts/A_NPL12.html|access-date=2018-07-21|website=www.accu.or.jp}}</ref> | ||
[[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.<ref>{{Cite news|date=20 January 2011|title=Hira Devi dies of burn injuries|newspaper=The Telegraph|location=Calcutta (Kolkata)|url=https://www.telegraphindia.com | [[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.<ref>{{Cite news|date=20 January 2011|title=Hira Devi dies of burn injuries|newspaper=The Telegraph|location=Calcutta (Kolkata)|url=https://www.telegraphindia.com/west-bengal/hira-devi-dies-of-burn-injuries/cid/445656|access-date=31 January 2020}}</ref><ref>{{Cite news|date=2016-12-07|title=चुरा त होइन अस्तुरा – पहिलो तामाङ सेलो गीत ? – Tamang Online|language=en-US|work=Tamang Online|url=http://www.tamangonline.com/news/13540|access-date=2018-07-21}}</ref> After Waiba's death in 2011, her son Satya Aditya Waiba (producer/manager) 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).<ref>{{Cite news|title=Daughter revives mother's songs|work=The Telegraph|url=https://www.telegraphindia.com/1170126/jsp/siliguri/story_132419.jsp|archive-url=https://web.archive.org/web/20170202035251/https://www.telegraphindia.com/1170126/jsp/siliguri/story_132419.jsp|url-status=dead|archive-date=2 February 2017|access-date=2018-07-21}}</ref><ref>{{Cite news|date=2017-01-10|title=Songs of Tribute|language=en-US|work=The Himalayan Times|url=https://thehimalayantimes.com/entertainment/music/songs-of-tribute-navneet-aditya-waiba-and-satya-aditya-waiba/|access-date=2018-07-21}}</ref><ref>{{Cite news|title=छोराछोरीले दिए हीरादेवीलाई श्रद्धाञ्जली|language=ne|url=https://www.kantipurdaily.com/literature/2017/11/04/20171104075616.html|access-date=2018-07-21}}</ref> The duo are the only individuals in the Nepali folk music genre who produce authentic traditional Nepali folk songs without adulteration or modernisation.<ref>{{Cite web|date=2018-06-10|title=Music Khabar हिरादेवी वाइवाका गीतलाई पुनर्जीवन - Music Khabar|url=http://musickhabar.com/2016/12/29/16166/|url-status=dead|archive-url=https://web.archive.org/web/20180610202829/http://musickhabar.com/2016/12/29/16166/|archive-date=2018-06-10|access-date=2020-06-28}}</ref><ref name=":0">{{Cite web|date=26 January 2017|title=Daughter revives Mother's songs|url=https://www.telegraphindia.com/1170126/jsp/siliguri/story_132419.jsp|url-status=dead|archive-url=https://web.archive.org/web/20170202035251/https://www.telegraphindia.com/1170126/jsp/siliguri/story_132419.jsp|archive-date=2 February 2017|website=The Telegraph}}</ref> | ||
===Bhangra and Giddha=== | ===Bhangra and Giddha=== | ||
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=== Manipuri === | === Manipuri === | ||
{{Main | Music of Manipur }} | {{Main | Music of Manipur }} | ||
[[File:Apsara Gandharva Dancer Pedestal Tra Kieu.jpg|thumb|Gandharva as dancers are found sculpted in early medieval era temples of Southeast Asia, East Asia, Siberia, Micronesia and | [[File:Apsara Gandharva Dancer Pedestal Tra Kieu.jpg|thumb|Gandharva as dancers are found sculpted in early medieval era temples of Southeast Asia, East Asia, Siberia, Micronesia, Polynesia and the Arctic. The Meiteis believe that they are the Gandharvas.<ref name=raginidevi1/>]] | ||
[[Music of Manipur]] and [[Manipuri dance]] are heritage of [[Meitei people|Manipuri people]]. According to tradition of the Manipuri people in the Himalayan foothills and valleys connecting India to Burma, they are the Gandharvas (celestial musicians and dancers) in the [[Vedas|Vedic]] texts,<ref name=raginidevi1/> and historic texts of Manipuri people calls the region as ''Gandharva-desa''.<ref name=reginald1/> The Vedic ''Usha'', the goddess of the dawn, is a cultural motif for Manipuri women, and in the Indian tradition, it was ''Usha'' who created and taught the art of feminine dance to girls.<ref name=reginald1/> This oral tradition of women's dance is celebrated as ''Chingkheirol'' in the Manipuri tradition.<ref name=reginald1/> | [[Music of Manipur]] and [[Manipuri dance]] are heritage of [[Meitei people|Manipuri people]]. According to tradition of the Manipuri people in the Himalayan foothills and valleys connecting India to Burma, they are the Gandharvas (celestial musicians and dancers) in the [[Vedas|Vedic]] texts,<ref name=raginidevi1/> and historic texts of Manipuri people calls the region as ''Gandharva-desa''.<ref name=reginald1/> The Vedic ''Usha'', the goddess of the dawn, is a cultural motif for Manipuri women, and in the Indian tradition, it was ''Usha'' who created and taught the art of feminine dance to girls.<ref name=reginald1/> This oral tradition of women's dance is celebrated as ''Chingkheirol'' in the Manipuri tradition.<ref name=reginald1/> | ||
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[[File:Basi_Basistha_Jabali_Bamadeba.ogg|left|thumb|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.]] | [[File:Basi_Basistha_Jabali_Bamadeba.ogg|left|thumb|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.]] | ||
[[Jayadeva]], the 12th century sanskrit saint-poet, the great composer and illustrious master of classical music, has immense contribution to Odissi music. During his time '''Odra-Magadhi''' style music got shaped and achieved its classical status. He indicated the classical ragas prevailing at that time in which these were to be sung. Prior to that there was the tradition of '''Chhanda''' which was simple in musical outline. From the 16th century onwards, treatises on music<ref name="bare_url_a">{{cite web|url=http://orissaculture.gov.in/dance.asp |title=Culture Department |publisher=Orissaculture.gov.in |access-date=2012-05-26}}</ref><ref name="orissatourism">{{cite web|url=http://www.orissatourism.net/dance-music.html |title=Orissa Dance & Music |publisher=Orissatourism.net |access-date=2012-05-26}}</ref> were '''Sangitamava Chandrika''', '''Gita Prakasha''', '''Sangita Kalalata''' and '''Natya Manorama'''. A couple of treatise namely, ''Sangita Sarani'' and ''Sangi Narayana'', were also written in the early path of the 19th century. | [[Jayadeva]], the 12th century sanskrit saint-poet, the great composer and illustrious master of classical music, has immense contribution to Odissi music. During his time '''Odra-Magadhi''' style music got shaped and achieved its classical status. He indicated the classical ragas prevailing at that time in which these were to be sung. Prior to that there was the tradition of '''Chhanda''' which was simple in musical outline. From the 16th century onwards, treatises on music<ref name="bare_url_a">{{cite web |url=http://orissaculture.gov.in/dance.asp |title=Culture Department |publisher=Orissaculture.gov.in |access-date=2012-05-26 |archive-date=3 April 2012 |archive-url=https://web.archive.org/web/20120403151246/http://www.orissaculture.gov.in/dance.asp |url-status=dead }}</ref><ref name="orissatourism">{{cite web |url=http://www.orissatourism.net/dance-music.html |title=Orissa Dance & Music |publisher=Orissatourism.net |access-date=2012-05-26 |archive-date=20 May 2012 |archive-url=https://web.archive.org/web/20120520225020/http://www.orissatourism.net/dance-music.html |url-status=dead }}</ref> were '''Sangitamava Chandrika''', '''Gita Prakasha''', '''Sangita Kalalata''' and '''Natya Manorama'''. A couple of treatise namely, ''Sangita Sarani'' and ''Sangi Narayana'', were also written in the early path of the 19th century. | ||
[[Odissi music|Odissi Sangita]] comprises four classes of music namely '''Dhruvapada''', '''Chitrapada''', '''Chitrakala''' and '''[[Panchal]]''', described in the ancient oriya music texts. The chief Odissi | [[Odissi music|Odissi Sangita]] comprises four classes of music namely '''Dhruvapada''', '''Chitrapada''', '''Chitrakala''' and '''[[Panchal]]''', described in the ancient oriya music texts. The chief Odissi and '''Shokabaradi'''. Odissi '''Sangita''' (music) is a synthesis of four classes of music, i.e. '''Dhruvapada''', '''Chitrapada''', '''Chitrakala''' and [[Panchal]], described in the above-mentioned texts. | ||
The great exponents<ref name="bare_url_a" /><ref name="orissatourism" /> of Odissi music in modern times are the Late Singhari Shyamasundara Kar, Markandeya Mahapatra, Kashinath Pujapanda, [[Balakrushna Das]], [[Gopal Chandra Panda]], [[Ramhari Das]], Bhubaneswari Misra, Shymamani Devi and [[Sunanda Patnaik]], who have achieved eminence in classical music. | The great exponents<ref name="bare_url_a" /><ref name="orissatourism" /> of Odissi music in modern times are the Late Singhari Shyamasundara Kar, Markandeya Mahapatra, Kashinath Pujapanda, [[Balakrushna Das]], [[Gopal Chandra Panda]], [[Ramhari Das]], Bhubaneswari Misra, Shymamani Devi and [[Sunanda Patnaik]], who have achieved eminence in classical music. | ||
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[[File:Rabindranath Tagore Ra-Tha seal initials.jpg|thumb|right|upright|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.]] | [[File:Rabindranath Tagore Ra-Tha seal initials.jpg|thumb|right|upright|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.]] | ||
[[File:Dance with Rabindra Sangeet - Kolkata 2011-11-05 6669.JPG|Dance accompanied by Rabindra Sangeet|thumb]] | [[File:Dance with Rabindra Sangeet - Kolkata 2011-11-05 6669.JPG|Dance accompanied by Rabindra Sangeet|thumb]] | ||
Rabindra Sangeet ({{lang-bn|রবীন্দ্রসঙ্গীত}} ''Robindro Shonggit'', {{IPA-bn|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 | Rabindra Sangeet ({{lang-bn|রবীন্দ্রসঙ্গীত}} ''Robindro Shonggit'', {{IPA-bn|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]].<ref>[[#Gh|Ghosh, p. xiii]]</ref> "Sangeet" means music, "Rabindra Sangeet" means music (or more aptly songs) of Rabindra. | ||
[[File:T S Nandakumar,N Rajam And N Ramani.jpg|[[N. Ramani]] and [[N Rajam]] accompanied by | [[File:T S Nandakumar,N Rajam And N Ramani.jpg|[[N. Ramani]] and [[N Rajam]] accompanied by T S Nandakumar|thumb]] | ||
Tagore wrote some 2,230 songs in [[Bengali language|Bengali]], now known as ''Rabindra Sangeet'', using [[Indian classical music|classical music]] and traditional [[Indian folk music|folk music]] as sources.<ref name=Britannica-wb>{{cite encyclopedia |last= Huke |first= Robert E. |encyclopedia= Encyclopædia Britannica |title= West Bengal |year= 2009 |url= https://www.britannica.com/EBchecked/topic/640088/West-Bengal |access-date = 2009-10-06}}</ref><ref>''Tagore: At Home in the World'' {{ISBN|978-8-132-11084-2}} pp. 253–254</ref> | Tagore wrote some 2,230 songs in [[Bengali language|Bengali]], now known as ''Rabindra Sangeet'', using [[Indian classical music|classical music]] and traditional [[Indian folk music|folk music]] as sources.<ref name=Britannica-wb>{{cite encyclopedia |last= Huke |first= Robert E. |encyclopedia= Encyclopædia Britannica |title= West Bengal |year= 2009 |url= https://www.britannica.com/EBchecked/topic/640088/West-Bengal |access-date = 2009-10-06}}</ref><ref>''Tagore: At Home in the World'' {{ISBN|978-8-132-11084-2}} pp. 253–254</ref> | ||
Tagore wrote national anthems of | Tagore wrote national anthems of India and [[Bangladesh]], and influenced the national anthem of [[Sri Lanka]]. | ||
===Rajasthani=== | ===Rajasthani=== | ||
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{{Main|Filmi|Music of Bollywood}} | {{Main|Filmi|Music of Bollywood}} | ||
The biggest form of Indian [[popular music]] is [[filmi]], or songs from Indian films, it makes up 72% of the music sales in India.<ref>{{cite news| url=http://news.bbc.co.uk/1/hi/world/south_asia/8405891.stm | work=BBC News | title=Plans to start India music awards | date=10 December 2009 | access-date=19 May 2010 | first=Prachi | last=Pinglay}}</ref> 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]], [[Laxmikant–Pyarelal]], [[Madan Mohan (music director)|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 (composer)|Vidyasagar]], [[Shankar–Ehsaan–Loy]], [[Salim–Sulaiman]], [[Pritam]], [[M.S. Viswanathan]], [[K. V. Mahadevan]], [[Ghantasala ( | The biggest form of Indian [[popular music]] is [[filmi]], or songs from Indian films, it makes up 72% of the music sales in India.<ref>{{cite news| url=http://news.bbc.co.uk/1/hi/world/south_asia/8405891.stm | work=BBC News | title=Plans to start India music awards | date=10 December 2009 | access-date=19 May 2010 | first=Prachi | last=Pinglay}}</ref> 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]], [[Laxmikant–Pyarelal]], [[Madan Mohan (music director)|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 (composer)|Vidyasagar]], [[Shankar–Ehsaan–Loy]], [[Salim–Sulaiman]], [[Pritam]], [[M.S. Viswanathan]], [[K. V. Mahadevan]], [[Ghantasala (musician)|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 singer]]s, 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 films. These include [[Kishore Kumar]], [[K. J. Yesudas]], [[Mohammed Rafi]], [[Mukesh (singer)|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 (singer)|KK]], [[Shaan (singer)|Shaan]], [[SPB Charan]], [[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 (band)|Indian Ocean]], [[Silk Route (band)|Silk Route]] and [[Euphoria (Indian band)|Euphoria]] have gained mass appeal with the advent of cable music television. | ||
===Pop music=== | ===Pop music=== | ||
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{{Main | Goa trance | Psychedelic trance }} | {{Main | Goa trance | Psychedelic trance }} | ||
[[Goa trance]], an [[electronic music]] style that originated during the late 1980s in [[Goa]] in | [[Goa trance]], an [[electronic music]] style that originated during the late 1980s in [[Goa]] in India,<ref name="allmusic guide">{{cite book |author=Bogdanov, Vladimir |title=All Music Guide to Electronica: The Definitive Guide to Electronic Music |edition=4th |year=2001 |publisher=Backbeat Books |isbn=978-0879306281 |pages=xi |url-access=registration |url=https://archive.org/details/allmusicguidetoe00vlad }}</ref> has funky, drone-like basslines, similar to the techno minimalism of 21st century [[psychedelic trance|psytrance]]. Psychedelic trance developed from Goa trance.<ref name=PsyBook2010>{{cite book|url=https://books.google.com/books?id=o_ctCgAAQBAJ&q=in+psytrance+similar+observations+full-on&pg=PA116|author=Graham St John|title=The Local Scenes and Global Culture of Psytrance|isbn=978-1136944345|year=2010}}</ref> In the late 1960s and early 1970s, Goa became popular as a [[hippie]] capital, which resulted in evolution of Goa trance throughout the 1980s by mixing the [[Indian religions|spiritual culture of India]] with western musical elements of [[industrial music]], [[new beat]] and [[electronic body music]] (EBM), and the actual Goa trance style became established by the early 1990s.<ref name="allmusic guide" /><ref>{{cite web |url=http://www.moodbook.com/music/trance.html#goa-trance |title=Goa Trance |author=<!--Staff writer(s); no by-line.--> |website=moodbook.com |access-date=23 August 2016 |url-status=dead |archive-url=https://web.archive.org/web/20080319084451/http://www.moodbook.com/music/trance.html#goa-trance |archive-date=19 March 2008 }}</ref> | ||
====Jazz and blues==== | ====Jazz and blues==== | ||
{{main|Jazz in India|Indian blues}} | {{main|Jazz in India|Indian blues}} | ||
[[Jazz in India]] was first performed regularly in the metropoles [[Calcutta]] and [[Bombay]] in the early or middle 1920s.<ref>{{cite web|author=Sahar Adil |url=http://www.mybangalore.com/article/0809/jazz-music-and-india-by-madhav-chari-.html |title=Jazz Music and India, By Madhav Chari |publisher=Mybangalore.com |date=2009-08-10 |access-date=2012-07-17}}</ref><ref>{{Cite book|title=American Popular Music in Britain's Raj|last=Shope|first=Bradley|publisher=University of Rochester Press|year=2016|isbn=978-1580465489|location=Rochester, NY|pages=63}}</ref> From the 1930s to the 1950s is called as the golden age of jazz in India, when jazz musicians like [[Leon Abbey]], Crickett Smith, Creighton Thompson, Ken Mac, Roy Butler, [[Teddy Weatherford]] (who recorded with [[Louis Armstrong]]), and Rudy Jackson who toured India to avoid the racial discrimination they faced in the United States.<ref>Taj Mahal Foxtrot: The Story of Bombay's Jazz Age, Naresh Fernandes, 2012, {{ISBN|978-8174367594}}</ref><ref>{{Cite web |url=http://www.afropop.org/wp/8489/hip-deep-interview-naresh-fernandes-on-bombays-jazz-age/ |title= | [[Jazz in India]] was first performed regularly in the metropoles [[Calcutta]] and [[Bombay]] in the early or middle 1920s.<ref>{{cite web |author=Sahar Adil |url=http://www.mybangalore.com/article/0809/jazz-music-and-india-by-madhav-chari-.html |title=Jazz Music and India, By Madhav Chari |publisher=Mybangalore.com |date=2009-08-10 |access-date=2012-07-17 |archive-date=28 November 2020 |archive-url=https://web.archive.org/web/20201128041813/http://www.mybangalore.com/article/0809/jazz-music-and-india-by-madhav-chari-.html |url-status=dead }}</ref><ref>{{Cite book|title=American Popular Music in Britain's Raj|last=Shope|first=Bradley|publisher=University of Rochester Press|year=2016|isbn=978-1580465489|location=Rochester, NY|pages=63}}</ref> From the 1930s to the 1950s is called as the golden age of jazz in India, when jazz musicians like [[Leon Abbey]], Crickett Smith, Creighton Thompson, Ken Mac, Roy Butler, [[Teddy Weatherford]] (who recorded with [[Louis Armstrong]]), and Rudy Jackson who toured India to avoid the racial discrimination they faced in the United States.<ref>Taj Mahal Foxtrot: The Story of Bombay's Jazz Age, Naresh Fernandes, 2012, {{ISBN|978-8174367594}}</ref><ref>{{Cite web |url=http://www.afropop.org/wp/8489/hip-deep-interview-naresh-fernandes-on-bombays-jazz-age/ |title=HIP DEEP INTERVIEW: Naresh Fernandes on Bombay's Jazz Age • Hip Deep • Afropop Worldwide |access-date=2013-08-09 |archive-url=https://web.archive.org/web/20130708094023/http://www.afropop.org/wp/8489/hip-deep-interview-naresh-fernandes-on-bombays-jazz-age/ |archive-date=2013-07-08 |url-status=dead }}</ref> In the 1930s, jazz musicians played in the nightclubs of Bombay, such as at the [[Taj Mahal Palace & Tower|Taj Mahal hotel]] ballroom, many of these musicians were [[Goa]]ns most whom also [[Goans in Hindi film music composition|worked in the Bollywood film industry]] and were responsible for the introduction of genres like jazz and swing to Hindi film music.<ref>{{cite web|url=http://www.frontlineonnet.com/fl2906/stories/20120406290607300.htm |title=The Indian jazz age |publisher=Frontlineonnet.com |date=2012-04-06 |access-date=2012-07-17 |url-status=dead |archive-url=https://web.archive.org/web/20120411020314/http://www.frontlineonnet.com/fl2906/stories/20120406290607300.htm |archive-date=2012-04-11 }}</ref> | ||
[[Indian blues]] is less prevalent in India than jazz. Interest in the blues in India has only been incidental due to the shared ancestry with jazz. | [[Indian blues]] is less prevalent in India than jazz. Interest in the blues in India has only been incidental due to the shared ancestry with jazz. | ||
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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 (band)|Nicotine]], [[Voodoo Child (band)|Voodoo Child]], [[Indian Ocean (band)|Indian Ocean]], [[Kryptos (band)|Kryptos]], [[Thermal and a Quarter]], [[Demonic Resurrection]], [[Motherjane]], [[Avial (band)|Avial]], [[Bloodywood]] and [[Parikrama (band)|Parikrama]]. Rock-specific labels such as DogmaTone Records and [[Eastern Fare Music Foundation]] have since emerged, supporting Indian rock acts. | 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 (band)|Nicotine]], [[Voodoo Child (band)|Voodoo Child]], [[Indian Ocean (band)|Indian Ocean]], [[Kryptos (band)|Kryptos]], [[Thermal and a Quarter]], [[Demonic Resurrection]], [[Motherjane]], [[Avial (band)|Avial]], [[Bloodywood]] and [[Parikrama (band)|Parikrama]]. Rock-specific labels such as DogmaTone Records and [[Eastern Fare Music Foundation]] have since emerged, supporting Indian rock acts. | ||
From Central India, [[Nicotine (band)|Nicotine]], an Indore-based metal band, has been credited with pioneering [[metal music]] in the region. | From Central India, [[Nicotine (band)|Nicotine]], an Indore-based metal band, has been credited with pioneering [[metal music]] in the region. | ||
=====Raga rock===== | =====Raga rock===== | ||
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Despite more than a century of exposure to Western classical music and two centuries of British colonialism, classical music in India has never gained significant popularity.{{citation needed|date=August 2019}}. | Despite more than a century of exposure to Western classical music and two centuries of British colonialism, classical music in India has never gained significant popularity.{{citation needed|date=August 2019}}. | ||
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]],<ref>{{cite news | url=http://gnews.com/outstanding-results-for-eastern-fare-in-trinity-guildhall-exam-01200923114518/ | work=G News | title=Outstanding Results for Eastern Fare in Trinity Guildhall Exam | date=18 November 2009 | access-date=2 May 2011 | archive-url=https://web.archive.org/web/20101124001117/http://gnews.com/outstanding-results-for-eastern-fare-in-trinity-guildhall-exam-01200923114518/ | archive-date=24 November 2010 | url-status=dead }}</ref> In 1930, [[Mehli Mehta]] set up the Bombay Symphony Orchestra.<ref>{{cite web| url = https://interlude.hk/symphony-orchestra-bombay/| title = A Symphony Orchestra in Bombay : Interlude}}</ref> His son [[Zubin Mehta]] has enjoyed a long international conducting career. The Bombay Chamber Orchestra<ref>{{cite web|url=http://www.bcoindia.co.in/|title=The Bombay Chamber Orchestra – orchestra in Mumbai|website=www.bcoindia.co.in}}</ref> (BCO) was founded in 1962. [[Delhi School of Music]], [[Delhi Music Academy]], [[Guitarmonk]] and others supporting Western classical music.{{citation needed|date=August 2019}}. In 2006, the [[Symphony Orchestra of India]] was founded, housed at the [[National Centre for the Performing Arts (India)|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. | 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]],<ref>{{cite news | url=http://gnews.com/outstanding-results-for-eastern-fare-in-trinity-guildhall-exam-01200923114518/ | work=G News | title=Outstanding Results for Eastern Fare in Trinity Guildhall Exam | date=18 November 2009 | access-date=2 May 2011 | archive-url=https://web.archive.org/web/20101124001117/http://gnews.com/outstanding-results-for-eastern-fare-in-trinity-guildhall-exam-01200923114518/ | archive-date=24 November 2010 | url-status=dead }}</ref> In 1930, [[Mehli Mehta]] set up the Bombay Symphony Orchestra.<ref>{{cite web| url = https://interlude.hk/symphony-orchestra-bombay/| title = A Symphony Orchestra in Bombay : Interlude| date = 13 May 2017}}</ref> His son [[Zubin Mehta]] has enjoyed a long international conducting career. The Bombay Chamber Orchestra<ref>{{cite web|url=http://www.bcoindia.co.in/|title=The Bombay Chamber Orchestra – orchestra in Mumbai|website=www.bcoindia.co.in}}</ref> (BCO) was founded in 1962. [[Delhi School of Music]], [[Delhi Music Academy]], [[Guitarmonk]] and others supporting Western classical music.{{citation needed|date=August 2019}}. In 2006, the [[Symphony Orchestra of India]] was founded, housed at the [[National Centre for the Performing Arts (India)|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. | ||
== Globalization of Indian music == | == Globalization of Indian music == | ||
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<!-- IMPORTANT: Just starting the section. It needs the lot more improvement, with citations, expand it with subsection for each nation and their martial arts influenced by the Indian martial arts. To be completed in the future iteration. Please contribute. Tips: required citations can be found within the articles pipelinked below. Just need to spend the time to summarise from the linked articles to this section here. --> | <!-- IMPORTANT: Just starting the section. It needs the lot more improvement, with citations, expand it with subsection for each nation and their martial arts influenced by the Indian martial arts. To be completed in the future iteration. Please contribute. Tips: required citations can be found within the articles pipelinked below. Just need to spend the time to summarise from the linked articles to this section here. --> | ||
{{Main | Greater India | Indosphere | History of Indian influence on Southeast Asia }} | {{Main | Greater India | Indosphere | History of Indian influence on Southeast Asia }} | ||
[[File:Indian_cultural_zone.svg|thumb|300px|right|Historic [[Indosphere]] cultural influence zone of [[Greater India]] for transmission of elements of Indian elements such as the [[Indian honorifics|honorific titles]], [[Indian name#Global Indian influence in names|naming of people]], [[Place names in India#Global Indian influence in place name|naming of places]], mottos of [[List of institutions with Sanskrit mottos|organisations]] and [[List of educational institutions with Sanskrit mottos|educational institutes]] as well as adoption of [[Hinduism]], [[Buddhism]], [[Hindu temple architecture#Southeast Asia as part of Greater India|Indian architecture]], [[Indian martial arts#Influence|martial arts]], [[# | [[File:Indian_cultural_zone.svg|thumb|300px|right|Historic [[Indosphere]] cultural influence zone of [[Greater India]] for transmission of elements of Indian elements such as the [[Indian honorifics|honorific titles]], [[Indian name#Global Indian influence in names|naming of people]], [[Place names in India#Global Indian influence in place name|naming of places]], mottos of [[List of institutions with Sanskrit mottos|organisations]] and [[List of educational institutions with Sanskrit mottos|educational institutes]] as well as adoption of [[Hinduism]], [[Buddhism]], [[Hindu temple architecture#Southeast Asia as part of Greater India|Indian architecture]], [[Indian martial arts#Influence|martial arts]], [[#Globalization of Indian music|Indian music and dance]], [[Clothing in India|traditional Indian clothing]], and [[Indian cuisine#Outside India|Indian cuisine]], a process which has also been aided by the ongoing historic expansion of [[Indian diaspora]].<ref>{{Cite book|title=A history of India|first=Hermann|last=Kulke|date=2004|publisher=Routledge|others=Rothermund, Dietmar, 1933–|isbn=0203391268|edition= 4th|location=New York|oclc=57054139}}</ref>]] | ||
With expansion of [[Indosphere]] cultural influence of [[Greater India]],<ref name="Hal1985">{{cite book|author=Kenneth R. Hal|title=Maritime Trade and State Development in Early Southeast Asia|url=https://books.google.com/books?id=ncqGAAAAIAAJ|year=1985|publisher=University of Hawaii Press|isbn=978-0-8248-0843-3|page=63}}</ref> through transmission of [[Hinduism in Southeast Asia]]<ref>{{cite book | title = Lost Kingdoms: Hindu-Buddhist Sculpture of Early Southeast Asia, Metropolitan museum, New York: exhibition catalogues | author = Guy, John | publisher = Metropolitan Museum of Art | year = 2014 | isbn = 978-1588395245| url = https://books.google.com/books?id=vO_-AgAAQBAJ&pg=PA11}}</ref><ref>{{cite encyclopedia | title = The spread of Hinduism in Southeast Asia and the Pacific | encyclopedia = Britannica | url = https://www.britannica.com/topic/Hinduism/The-spread-of-Hinduism-in-Southeast-Asia-and-the-Pacific}}</ref><ref>{{cite book|author1=Kapur|author2=Kamlesh|title=History of Ancient India (portraits of a Nation), 1/e|url=https://books.google.com/books?id=9ic4BjWFmNIC&pg=PA465|year=2010|publisher=Sterling Publishers Pvt. Ltd|isbn=978-81-207-4910-8|page=465}}</ref> and the [[Silk Road transmission of Buddhism]]<ref name="college">{{cite journal |last=Fussman |first=Gérard | title= History of India and Greater India |journal=La Lettre du Collège de France |issue=4 |pages=24–25 |year=2008–2009 |url=https://lettre-cdf | With expansion of [[Indosphere]] cultural influence of [[Greater India]],<ref name="Hal1985">{{cite book|author=Kenneth R. Hal|title=Maritime Trade and State Development in Early Southeast Asia|url=https://books.google.com/books?id=ncqGAAAAIAAJ|year=1985|publisher=University of Hawaii Press|isbn=978-0-8248-0843-3|page=63}}</ref> through transmission of [[Hinduism in Southeast Asia]]<ref>{{cite book | title = Lost Kingdoms: Hindu-Buddhist Sculpture of Early Southeast Asia, Metropolitan museum, New York: exhibition catalogues | author = Guy, John | publisher = Metropolitan Museum of Art | year = 2014 | isbn = 978-1588395245| url = https://books.google.com/books?id=vO_-AgAAQBAJ&pg=PA11}}</ref><ref>{{cite encyclopedia | title = The spread of Hinduism in Southeast Asia and the Pacific | encyclopedia = Britannica | url = https://www.britannica.com/topic/Hinduism/The-spread-of-Hinduism-in-Southeast-Asia-and-the-Pacific}}</ref><ref>{{cite book|author1=Kapur|author2=Kamlesh|title=History of Ancient India (portraits of a Nation), 1/e|url=https://books.google.com/books?id=9ic4BjWFmNIC&pg=PA465|year=2010|publisher=Sterling Publishers Pvt. Ltd|isbn=978-81-207-4910-8|page=465}}</ref> and the [[Silk Road transmission of Buddhism]]<ref name="college">{{cite journal |last=Fussman |first=Gérard | title= History of India and Greater India |journal=La Lettre du Collège de France |issue=4 |pages=24–25 |year=2008–2009 |url=https://journals.openedition.org/lettre-cdf/756 |access-date=20 December 2016|doi=10.4000/lettre-cdf.756 |doi-access=free }}</ref><ref name=Coedes>{{cite book|last= Coedès|first= George|author-link= George Coedès|editor= Walter F. Vella|others= trans.Susan Brown Cowing|title= The Indianized States of Southeast Asia|year= 1968|publisher= University of Hawaii Press|isbn= 978-0-8248-0368-1}}</ref> leading to [[Indianization of Southeast Asia]] through formation of non-Indian southeast Asian native [[Indianized kingdom]]s<ref>{{citation |first=Pierre-Yves |last=Manguin |chapter=From Funan to Sriwijaya: Cultural continuities and discontinuities in the Early Historical maritime states of Southeast Asia |title=25 tahun kerjasama Pusat Penelitian Arkeologi dan Ecole française d'Extrême-Orient |location=Jakarta |publisher=Pusat Penelitian Arkeologi / EFEO |year=2002 |pages=59–82 |chapter-url=https://books.google.com/books?id=NJBwAAAAMAAJ}}</ref> which adopted [[Sanskritization|sanskritized language]]<ref name="academia edu">{{citation |last=Lavy |first=Paul | title= As in Heaven, So on Earth: The Politics of Visnu Siva and Harihara Images in Preangkorian Khmer Civilisation |journal=Journal of Southeast Asian Studies |volume=34 |pages=21–39 |number=1 |year=2003 |url=https://www.academia.edu/2635407 |access-date=23 December 2015|doi=10.1017/S002246340300002X |s2cid=154819912 }}</ref> and other Indian elements<ref>{{Cite book|title=A history of India|first=Hermann|last=Kulke|date=2004|publisher=Routledge|others=Rothermund, Dietmar |isbn=0203391268|edition= 4th|location=New York|oclc=57054139}}</ref> such as the [[Indian honorifics|honorific titles]], [[Indian name#Global Indian influence in names|naming of people]], [[Place names in India#Global Indian influence in place name|naming of places]], mottos of [[List of institutions with Sanskrit mottos|organisations]] and [[List of educational institutions with Sanskrit mottos|educational institutes]] as well as adoption of [[Hindu temple architecture#Southeast Asia as part of Greater India|Indian architecture]], [[Indian martial arts#Influence|martial arts]], [[#Globalization of Indian music|Indian music and dance]], [[Clothing in India|traditional Indian clothing]], and [[Indian cuisine#Outside India|Indian cuisine]], a process which has also been aided by the ongoing historic expansion of [[Indian diaspora]].<ref name=diasind1>{{Cite book|title=A history of India|first=Hermann|last=Kulke|date=2004|publisher=Routledge|others=Rothermund, Dietmar|isbn=0203391268|edition= 4th|location=New York|oclc=57054139}}</ref> | ||
===== Indonesian and Malay music ===== | ===== Indonesian and Malay music ===== | ||
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===== Latin America ===== | ===== Latin America ===== | ||
There is significant Indian diaspora communities in [[Suriname]]<ref>[http://swarit.com/pop_music.html ] {{webarchive |url=https://web.archive.org/web/20150112152317/http://swarit.com/pop_music.html |date=12 January 2015 }}</ref> and [[Guyana]], Indian music and Hindi-language movies are popular.<ref>Global Bollywood – Anandam P. Kavoori, Aswin Punathambekar</ref> In 2006, ''[[Dhoom 2]]'' became the first Bollywood film to be shot in [[Rio de Janeiro]].<ref>{{cite web|url=http://www.rediff.com/movies/2006/sep/15sfa.htm|title=Will Hrithik's Dhoom 2 prove lucky for Brazil?|date=15 September 2006|author=Firdaus Ashraf, Syed|work=[[Rediff.com]]|access-date=5 March 2008}}</ref> | There is significant Indian diaspora communities in [[Suriname]]<ref>[http://swarit.com/pop_music.html] {{webarchive|url=https://web.archive.org/web/20150112152317/http://swarit.com/pop_music.html|date=12 January 2015}}</ref> and [[Guyana]], Indian music and Hindi-language movies are popular.<ref>Global Bollywood – Anandam P. Kavoori, Aswin Punathambekar</ref> In 2006, ''[[Dhoom 2]]'' became the first Bollywood film to be shot in [[Rio de Janeiro]].<ref>{{cite web|url=http://www.rediff.com/movies/2006/sep/15sfa.htm|title=Will Hrithik's Dhoom 2 prove lucky for Brazil?|date=15 September 2006|author=Firdaus Ashraf, Syed|work=[[Rediff.com]]|access-date=5 March 2008}}</ref> | ||
===== North America ===== | ===== North America ===== | ||
In the [[new millennium]], American [[hip hop music|hip-hop]] has featured Indian filmi and bhangra. [[Mainstream]] [[hip-hop]] artists have sampled songs from [[Bollywood movies]] and have collaborated with [[List of Indian artists|Indian artists]]. Examples include [[Timbaland]]'s "Indian Flute", [[Erick Sermon]] and [[Redman (rapper)|Redman]]'s "React", Slum Village's "Disco", and [[Truth Hurts (singer)|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 (band)|Cornershop]] paid tribute to [[Asha Bhosle]] with their song ''[[Brimful of Asha]]'', which became an international hit. [[United Kingdom|British]]-born Indian artist [[Panjabi MC]] also had a Bhangra hit in the US with "Mundian To Bach Ke" which featured rapper [[Jay-Z]]. [[Asian Dub Foundation]] are not huge mainstream stars, but their politically charged [[hip hop music|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. | In the [[new millennium]], American [[hip hop music|hip-hop]] has featured Indian filmi and bhangra. [[wikt:mainstream|Mainstream]] [[hip-hop]] artists have sampled songs from [[Bollywood movies]] and have collaborated with [[List of Indian artists|Indian artists]]. Examples include [[Timbaland]]'s "Indian Flute", [[Erick Sermon]] and [[Redman (rapper)|Redman]]'s "React", Slum Village's "Disco", and [[Truth Hurts (singer)|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 (band)|Cornershop]] paid tribute to [[Asha Bhosle]] with their song ''[[Brimful of Asha]]'', which became an international hit. [[United Kingdom|British]]-born Indian artist [[Panjabi MC]] also had a Bhangra hit in the US with "Mundian To Bach Ke" which featured rapper [[Jay-Z]]. [[Asian Dub Foundation]] are not huge mainstream stars, but their politically charged [[hip hop music|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. | ||
==== Asia ==== | ==== Asia ==== | ||
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{{Main | Asian Underground |Bhangra (music) }} | {{Main | Asian Underground |Bhangra (music) }} | ||
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 | 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 (singer)|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 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.<ref name=dharo1>{{cite news |publisher=BBC review |title=A triumphant experiment that feels surprisingly authentic |first= Colin |last=Irwin |date=2010-09-03 |url=https://www.bbc.co.uk/music/reviews/rqzb}}</ref> The British band [[Bombay Bicycle Club]] also sampled the song "[[Nagin (1954 film)#Soundtrack|Man Dole Mera Tan Dole]]" for their single "[[So Long, See You Tomorrow (album)|Feel]]".<ref>{{cite news | newspaper=The Indian Express|title= A Little This, A Little That |first= Pallavi |last= Pundir | date= 15 March 2013}}</ref> Laxmikant-Pyarelal | 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.<ref name=dharo1>{{cite news |publisher=BBC review |title=A triumphant experiment that feels surprisingly authentic |first= Colin |last=Irwin |date=2010-09-03 |url=https://www.bbc.co.uk/music/reviews/rqzb}}</ref> The British band [[Bombay Bicycle Club]] also sampled the song "[[Nagin (1954 film)#Soundtrack|Man Dole Mera Tan Dole]]" for their single "[[So Long, See You Tomorrow (album)|Feel]]".<ref>{{cite news | newspaper=The Indian Express|title= A Little This, A Little That |first= Pallavi |last= Pundir | date= 15 March 2013}}</ref> Laxmikant-Pyarelal | ||
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* {{cite book|last=Strangways|first=A.H. Fox |title=The Music of Hindostan|url=https://archive.org/stream/musicofhindostan00foxs#page/n7/mode/2up|year=1914|publisher=Oxford at The Clarendon Press, London}} | * {{cite book|last=Strangways|first=A.H. Fox |title=The Music of Hindostan|url=https://archive.org/stream/musicofhindostan00foxs#page/n7/mode/2up|year=1914|publisher=Oxford at The Clarendon Press, London}} | ||
* {{cite book|last=Strangways|first=A.H. Fox |title=The Music of Hindostan|url=https://archive.org/stream/musicofhindostan00foxs#page/n7/mode/2up|year=1914|publisher=Oxford at The Clarendon Press, London}} | * {{cite book|last=Strangways|first=A.H. Fox |title=The Music of Hindostan|url=https://archive.org/stream/musicofhindostan00foxs#page/n7/mode/2up|year=1914|publisher=Oxford at The Clarendon Press, London}} | ||
* {{cite book|last= Popley|first=Herbert Arthur|title=The Music of India | * {{cite book|last= Popley|first=Herbert Arthur|title=The Music of India |year=1921|publisher= Association Press, Calcutta}} | ||
* {{cite book|author=Killius, Rolf|title=Ritual Music and Hindu Rituals of Kerala. New Delhi: B.R. Rhythms, 2006.}} | * {{cite book|author=Killius, Rolf|title=Ritual Music and Hindu Rituals of Kerala. New Delhi: B.R. Rhythms, 2006.}} | ||
* {{cite book|author=Moutal, Patrick|title=Hindustāni Gata-s Compilation: Instrumental themes in north Indian classical music| publisher=Patrick Moutal Publisher|place=Rouen|year=2012|isbn=978-2-9541244-1-4}} | * {{cite book|author=Moutal, Patrick|title=Hindustāni Gata-s Compilation: Instrumental themes in north Indian classical music| publisher=Patrick Moutal Publisher|place=Rouen|year=2012|isbn=978-2-9541244-1-4}} | ||
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*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}}. | *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. | *"Hindu music." (2011). Columbia Electronic Encyclopedia, 6th Edition, 1. | ||
*[[Emmie te Nijenhuis]] (1977), [https://books.google.com/books?id=kFkVJDlg-4IC | *[[Emmie te Nijenhuis]] (1977), [https://books.google.com/books?id=kFkVJDlg-4IC ''A History of Indian Literature: Musicological Literature''], Otto Harrassowitz Verlag, {{ISBN|978-3447018319}}, {{oclc|299648131}} | ||
*[https://archive.org/stream/NatyaShastra/natya_shastra_translation_volume_2_-_bharat_muni#page/n7/mode/2up Natya Sastra] ''Ancient Indian Theory and Practice of Music'' (translated by M. Ghosh) | *[https://archive.org/stream/NatyaShastra/natya_shastra_translation_volume_2_-_bharat_muni#page/n7/mode/2up Natya Sastra] ''Ancient Indian Theory and Practice of Music'' (translated by M. Ghosh) | ||
==External links== | ==External links== | ||
* [http://www.bbc.co.uk/programmes/p005xm48 BBC Radio 3 Audio (45 minutes): The Nizamuddin shrine in Delhi.] Accessed 25 November 2010. | * [http://www.bbc.co.uk/programmes/p005xm48 BBC Radio 3 Audio (45 minutes): The Nizamuddin shrine in Delhi.] Accessed 25 November 2010. | ||
* [http://www.bbc.co.uk/programmes/p005xm4c BBC Radio 3 Audio (45 minutes): A mahfil Sufi gathering in Karachi.] Accessed 25 November 2010. | * [http://www.bbc.co.uk/programmes/p005xm4c BBC Radio 3 Audio (45 minutes): A mahfil Sufi gathering in Karachi.] Accessed 25 November 2010. | ||