- The document discusses the Mughal and Dhrupad styles of singing in Hindustani classical music during the Mughal era in India. It provides background on how the Mughals influenced Hindustani music and introduced new elements.
- Specifically, it describes how the Dhrupad style was previously dominant but declined after the Khayal style was introduced under Mughal influence. It also outlines famous musicians from the Mughal courts like Tansen and the development of new instruments.
- The document discusses the Mughal and Dhrupad styles of singing in Hindustani classical music during the Mughal era in India. It provides background on how the Mughals influenced Hindustani music and introduced new elements.
- Specifically, it describes how the Dhrupad style was previously dominant but declined after the Khayal style was introduced under Mughal influence. It also outlines famous musicians from the Mughal courts like Tansen and the development of new instruments.
- The document discusses the Mughal and Dhrupad styles of singing in Hindustani classical music during the Mughal era in India. It provides background on how the Mughals influenced Hindustani music and introduced new elements.
- Specifically, it describes how the Dhrupad style was previously dominant but declined after the Khayal style was introduced under Mughal influence. It also outlines famous musicians from the Mughal courts like Tansen and the development of new instruments.
INTRODUCTION Hindustani music become influenced lots through the Mughals. Mughals invited Hindu Singers to examine and perform for his or their kingdoms, therefore maximum had been transformed into Islam and began out enhancing tune for them. Singers found out and completed the Hindustani tune however for the Mughals. A great example is Mughal Emperor Akbar, who made the legendary singer Tansen learn and sing of their court. Hindustani music become a little bit more influential at that time. DHRUPAD STYLE OF SINGING IN MUGHAL ERA The previous style of making a song in India centered on the Dhrupad style of making a song at which Tansen turned into a perfectionist, however, after the Mughal influence, the Khayal style of making a song turned into introduced. Dhrupad fashion making a song turned into accomplished in temples to worship the Hindu gods which had been now no longer feasible with this new fashion. MUSICAL INSTRUMENT The most popular instrument during the Mughal period was the stringed veena also called as the rudra veena. New instruments were emerged during the Mughal era like the sitar and tabla which is now generally used in Mughal era. FAMOUS MUSICIAN IN MUGHAL ERA RAM DAS: Ram Das and his son Sur Das have been well-known for his or her skills, and so have been a part of the musicians of Akbar's court. Ali Khan Kakori some other especially celebrated musician of the court had the specific distinction, alongside Tansen, to be painted through an artist with inside the imperial atelier. MIYAN TANSEN: As previously mentioned, the singer and instrumentalist Tansen ( Tan Sen), become the maximum outstanding musician within side the court of the Mughal Emperor Akbar. According to cutting-edge accounts, Akbar's opinion of Tansen become so excessive that he insisted a procession of musicians, making a song and playing the while, accompany the frame to the graveyard within side the way of a marriage procession. Akbar gave Tansen the title of Kanthabhnavansin Bilas. About Tansen Abul Fazl has said “that singers like Tansen have not been in India for the last thousand years.” KHYAL: Khyal to plenty prominence throughout the later Mughal duration and has in view that been a cornerstone of so-referred to as natural classical song along dhrupad, in place of lighter semi-classical bureaucracy which includes thumri, ghazal, and qawwali While popularly called the father of qawwali, Khusro is also stated to have invented khyal. VIDEO PRESENTATION :
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Religion Volume 20 Issue 2 1990 (Doi 10.1016/0048-721x (90) 90104-E) Glenn Yocum - The City As A Sacred Center - Essays On Six Asian Contexts - Bardwell Smith and Holly Baker Reynolds (Eds), Leiden