User talk:Sitarsubrata

'''Origin Of Music - By Sh. Bhut Nath De.'''

“ '''Na Ahamg Tisthami Baikunthe, Na Yogi Nam Hridyani Cha Mad Bhakta Jatra Gayanti ,Tatra Tisthami Nararada''' “

The Indian Music is very old and there are various opinion about the origin of music 1)	the composer of Veda, Bramha to Shiva – Shiva to Swaraswati onward to Narada and Narada to Swargaloka’s Gandharva, Kinnar – Apsara and trained there, Bharatm Narada and Hanuman expertised  themselves and came to world for the publicity of Music. 2)	On being pleased with the Tapasya, Meditation &Yoga Naradmuni, Shiva blessed  him with the very art of music. Shiva created Rudraveena on observing the sleeping posture of Parvati with creation of five raagas from his Panchamukha as bhairab, Hindol, Megh, Deepak & Shree & Parvati narrated Raag Kaushik. Mythological clippings say Shulapani Shiva started dancing when parvati sitting on a golden singhasan and other Gods, Goddesess accompanied him with various musical instruments

3)	Sangit darpan of Damodar Pandit defined Marga Sangeet researched by Bramha demonstrated by Bharat Muni infornt of shiva become an eternal achievement as Sangeet. on the other hand basic pitch of swaras derived from animals and birds as under –

SA -                     PEACOCK RE -                     PAPIHA / DOVE GA -                      GOAT MA-                     CROW PA-                      KOEL DHA-                     FROG NI-                     ELEPHANT

4)	According to a learned man of France, one day Hazraat Musa enjoying the natural beauty of hills site , heard and Akash Bani to hit the stick on his hand “ ASA” on the rock of the hill. Musa followed it and the rock broken into seven pieces with seven water flow of seven tunes called Sa Re Ga Ma Pa Dha Ni by Haazrat Musa. Another Franch poet opined a bird called Musikar having seven holes in its nose like flute extending seven notes. But westerned writer Dr, Frayed was in the opinion Music was created automatically on psychological ground as like child cry , lough, shouting, appears, stage waise , naturally. Dr. James Longs thought man first learn to  speak than to work, gradually become active and psychologically his mind become musical. So there are different opinions different thoughts pertaining to music from ancient Rishi Muni Pandits, may be a natures gift or God gift to man kind but this music is from the very brith of creation of the universe and it is an ethereal vehicle of deepest emotion the psychic.

Evaluation of Indian Music from ancient time to modern time

There are four directives of Indian music from ancient books about raagas 1.	shiva maat / someswar maat 2.	Krishna maat / kallinath maat 3.	bharat maat 4.	hanumanta maat on which Six raags with 36 raaganis or 30 raaginis with putra raagas were described. According to kaal bibhajaan that is classification of era of Sangeet, we mainly have 1)	Atti Prachin Kaal – ( Vedic kaal ) – 2000 BC – 1000 BC 2)	Pracheen kaal – 1000 BC to 800 Years. 3)	Madhya kaal – ( Muslim Kaal ) – 800 to 1800 years 4)	Modern age – 1800 to now. Prior to that Hindu kaal ( Prak Veda ) – Pracheen bharaat agreed that each faculty of education and Sangeet there is a hand of some god / goddess. Vidya and Sangeet owes to swaraswati ( veena vadini ), Shiva with Damru, Gandharva ( Singer), Kinnar ( players of instruments)Apsara( dancers), these names prove that Bharatiya Sangeet is very very old and unparallel .according to some historian of west India  music is 15 to 20 thousand years old. How ever archeological servey of India’s effort Mahinjodaro – Harropa’s, wall pictures, Shiva tandava with dancing postures of various man women with musical instruments prove Indian music is at least 8 -9 thousand years old (BC). Some historians thought, Darvids were the founder of music of India. They had the scientific knowledge of music and ayurvedic treatment system that time. Also Indian music was said to be superior than unani and Mesopotamian music. Vedic era – Ved mantra on sa ga pa , sam vedic kaal - marga Sangeet – develop seven notes with swara stan as 1.	Udatya – ni ga nishad & gandhar 2.	anudatya – rishav & dhaibat 3.	Swarita – sa ma pa, ( saraj, madhyam, pancham ) Instrument - veena  and Abanadhya vadya – Mridangam well played. Pracheen kaal – ( 100 to 800 years) – Bharat muni( 5th century ) – nattya sashtra with explaination of different music theory, marga Sangeet desi , gandharva geet, bhavinaya , ranga mancha, scientifically adorned and constructive. Shruti Swar Bibhajaan, Swaraj gram, madhyam gram, gandhar gram ( gandhar gram abandoned ). His successor Saranga Dev, Datwil, Kohal,Abhinava Gupta followed the theory later on. Jaat Gayan 7 shudha and 11 bikrit jaati, Shruti gram murchhana jaati introduced. Which ultimately transformed to gram raag.

Sarana Chatutai – experimented for shrutyantar of notes, 4/3/2/4/4/3/2. Ahat anahat Naad and how the coordination of swar laya taal create raasa which transform to entertainment – ANAND. Matanga muni ( 6th to 9th century ) composed his Brihaddeshi invented Dadas swar murchana and difined murchana as – serially ascending & descending order of notes. He decribed 56 murchhanas with four varities as – SUDHA, KAKULI, SANTARA AND ANATAR KAKULI SANGHITA. He also agreed for 22 shruties. “ Raag janak dhani swara eti “ And there are five relations between shruti and swar. 1.	Tadatmya sam bandh – caste - nation- man 2.	Bibartasya / reflection – face on mirror, action and cause. 3.	Karyatwa - soil and haandi. 4.	Parinamitya – milk and curd. 5.	Abhibyanjakta – mans body language.

Sharanga Dev – 12th century composed “Sangeet Ratnakar “ the most important and basic theory book of both Hindustani & Carnatic paddhati of India from ancient era to his time with seven chapters on scientific analysis 1.	swaradhyay 2.	Ragadhayay 3.	Prakirnadhayay 4.	Vaddyadhayay 5.	Taaladhayay 6.	Prabadhdhayay 7.	Nrityadhayaya

Gatha, Gaan, Veena vadan, Dance prevailed that time for entertainment at the time of Ashwamedh Yagna. We get existence of several instruments played like- Veri, Dunduvi, Mridangam,Veena,Mudduk, Ghaat, Diddim, etc in Mahabharata and Ramayana. In Jain Yug, Buddha Yug, Pauranik kaal moray kaal (chandragupta morya ) all loved music and there was a great respect for the kalakars. Samudragupta’s veena badan posture on the coin of his time which we get from history proved his music love sister of Harshavardhan, Rajeshree was a great singer. Veena was vary popular in Jain Yug & different types of veena’s likes – PARIVADINI, EPANCHI,BALLAKI,MAHATI,NAKULI & KACHHAPI mentioned in the history. There after the down fall of the Sangeet started too some extend but politically utilized Morya kaal. Daughter of Celukas married to Chandra gupta, a great musician. Binduasar and Ashok develop the culture of music in religion and spread in foreign countries like Tibet chine Japan Mishar, unan Jaw, Sumatra, Cambodia Burma, Indonesia, Srilanka etc. Than came Muslim era – due to frequent attack of Muslims in different parts of the countries the development of music stop. Hindus converted into Muslim religion became polluted more in north India than south. However Allahuddin khilji / Jallahuddin khilji (1290 to 1320) kingdom fortunately a great musician Amir Khusroo was in the ministry of the king, who was a great politician at the same time musician poet composer, loved by the king which helps musical culture. Gradually Gopal Nayek appointed in the court of king. New Raagas, Taals, Vadyas invented and enriched the music. There after Mughal emperor Babar shaha Humayan Akbar & his court singers - Tansen, Baiju Bawra, Guru Swami Haridas and with the mixed culture of Yabanik & Hindustani. The India music developed and enriched on ward Surdas, Kabir Das, Tulsi Das & Meera in the 16th century created national integrity. Again there was a holt in music when Aurangjeb adorned the chair of Mughal emperor because he was anti Hindu and disliked music, where as the last empire Muhammad Shaha Rangile his darbari musicians – Sadarang, Adarang Maharang brought Kheyal, Tappa, Thumri in platform mixing the Yuban- Hindu culture. On 18th century British emperor enter fare and destroyed the Indian music culture to some extend as they hat the Indian culture too much. They tortured and band the musician getting together. Inspite of various hindrances and harassment by British govt. agitation, revolution for freedom by the tortured people of India and the unrest social condition, the culture of music become dormant not finished. In 20th century two great reformers and lovers of music came forward and open the door of music (Bharatiya Shastriya Sangeet) and by traveling throughout the country, arranging music conferences festivals in different corners awakened the people to realize this Sangeet. Shri Bishnu Narayan Bhatkhande & Bishnu Digambar Paluskar both composed books on classical music with theory & practical – Kramik Pustak Malika, Abhinava Raga Manjuri, Viswa kabi Rabindra Nath Thakur created a different new Sangeet - Rabindra Sangeet, Kazi Nazrul Islam – Nazrul Geet. Shri D.L. ROY, Rajani Kanta Sen, Atul Prasad Sen also composed their own type of songs and developed the culture a lot in Bengal. The king of Lahore Nawab Ali Sah’s “Marifunnagamat “ a very good book on classical music helped a lot for development. In this way the historical development of Indian music took place for which our predecessors sacrificed a lot which can not imagine.

Swami Pragyanananda wrote – music is a fine art which excels in many respects the art of architecture, sculpture and paintings it attracts and charms the living beings of the world irrespective of caste creed and color. Music can be said to be the sweet and soothing sounds that vibrates and create an aesthetic feeling and beauty that over come the feelings and beauties of nature. So music is recognized as the greatest and finest art that brings permanent peace and solace to be human world.

Swaravyas - How to have a better tonal quality and good voice by a systematic practice of swara obviously with the help of Tanpura.

.                  .                 . 1)	SA  -PA  SA /  SA  -  SA  - PA /  SA  - PA – SA                                         .        .                                   .     PA – SA – SA /  SA -  SA  - PA / PA  - SA – SA                               .        .                                                       . SA  -MA -  PA  - SA /  SA- PA - MA – SA / MA – PA – SA – SA                               .                  .                           .    MA – PA - SA – SA / -PA – SA – SA – MA / SA – SA – MA – PA

In this way with the arithmetic process and permutation / combination in 1 multiply 4 multiply 4 equal to 16 verities. Than with the double triple and redouble notes practice in several lay karies to negotiate KHATKA TAAN. Try to make various Alankars and paltas with different 10 That of Hindustani Sangeet sincerely in a regular course months/ Years together by Tanpura till you utter the notes correctly in different layas. However at the begaining students may try on harmonium also to get feedback of notes at home in absence of their guru keeping in mind the guru ji’s voice training system, his pronouncation of SA RE GA MA PA DHA NI. By proper guidance of guru ji and sincere effort of PALTAS / ALANKARS ( simple & complicated ) of all the 10 thats one by one. A students can achieved perfect swara gyan good tonal quality good and soft voice after few years without fail. In the long run undoubtedly he/ she will be a good singer or instrumentalist as the case may be. His perseverance, patience, will, yield ,a glamourus future in the field of music.

Raagas,       origin -       Main note  -      season -    time -           raasa

Bhairav -  Mouth of Mahadev -  DHA - SHISHIR -  MORNING -     SHANTA GAMBHIR, Ragini of Bhairav – Bhairabi, Barati,Madhumadhavi, Sandhabi & Bangali.

Malkaus – throat of Mahadeva- sa/ ma- sharat – midnight – shringer Ragini – Todi,Gauri,Gunkeli,Khambawati,Kukubhika

Hindol - body of bramha- Dha- basant – Day- Shringer Ragini- ramkeli,lalita,bilawal,patmanjari

Deepak – eyes of Sun – SA- SUMMER- MID DAY- SHRINGER Ragini- Deshi,Kumudini,Nat,Kedar,Kanhara,

Shree – Gods – Dha/ PA – Hemant – forth pat of day – shringer Ragini – Malashree, Maru, Dhaneshree, Asawari

Megh – Akash – SA – RAINY SEASON – NIGHT- SHRINGER Ragini- Tank, Malhar,Bhupali, Vivus.

Like the changes and rotation of seasons human life style, - insite our body baat, pitwa, and caf’s nature changes keeping in view that change of nature of the seasons our ancient Sangeet Achariyas & Pandits nomeenated 6 main raagas for the 6 seasons after thinking analyzing researching & adjusting Baat, Pitwa Cauf influence notes in regard to Badi Samvadi Anuwadi swaras of the raag in such a way so that the impact and influence of the raag will give pleasure to the mind of listners & enjoy good feelings.

24 hours Baat – Pitwa - Caugh

Morning 3 am to 9 am – Cough Midday – 9 am to 3 pm - Pitwa Afternoon – 3 pm to 9 pm – baat Midnight – 9 pm to 3 am – Pitwa

Swara   prakriti     Goon    -Graha –Varna  -     Raasa – Nava Raasa

Sa -        Pitwa-              satwa -      Ravi  -    Saptarang-  katu  -   Adbhut, Vir, Rudra Re -      Baat/ caugh -    satwa -     Chandra – swate  -    laban -    adbhut,bir, rudra Ga -     Pitwa -               Tamo – mangal -      gour/rakta –tikta-  KARUN Ma -   Baat.pitwa/caugh-Rajo – Budh -    Harit -          katu/madhu –Hasya/shringer Pa – caugh – satwo- guru – pit – madhur – hassya/ shringer Dha – baat/Caugh- Rajo – shukra – shyam – amlo –Bivatsya/Bhayankar Ni -  Baat – Tamo – shani – Krishna – kashayi – karun

If we maintain the samay chhakra of raag ragini & present the same according to time and here the performance the bad effect of BAAT/PITWA/CAUGH remain peaceful because the influence of notes of the raga falls on our heart and mind keeps it pleased and peaceful. Peaceful mind becomes concentrate and steady which keep us healthy.

Gram- as many people stay in a certain place collectively in a society is called Gram/ Village. In the field of music also, group of badi sambadi swaras where shrutis exist regular or discipline way and their remain murchhanas, taan etc called Gram. Grams are of three types – SARAJ, MADHYAM, GANDHAR GRAM of which Gandhar gram abandoned to swargolok. 4/3/2/4/4/3/2 – swaraj gram now modern kafi that.

Murchhana – the existence of seven notes serially create murchhana as – sare ga ma pa dha ni , Ni sa re ga ma pa dha, Dha ni sarega ma pa, dha ……. In this way seven murchhan can be made. Murchhan is appilied in a raga to create a different attraction for some times to the listners. as per for example- if we sing raag yaman- ni sa re ga ma pa dha ni and stop at ni by aboroho and make it SA and start singing upto ni we get Bhairavi. If we start from dha and stay on return at DHA make it SA we will get KAFI. If Pa is the staring note in that manner we will get Bilawal. BUT IN THIS SYSTEM if we stay on SA again we get YAMAN the original raag. While singing raag LALIT giving nayas to shudha madhyam ( MA ) and think it as SA, and sing on the notes of Lalit  we will get TODI.

Three classes of raga as per time –

1.	sandhi prakash – ( 4 - 7 )- re komal, dha komal/ sudha but Ga always sudhha. Pratakkalin sandhi prakash raag as bhairav, kalingra and sayankalin sandhi prakash raag as poorvi, marwa. 2.	 Re -Dha sudha ( 7-10 ) – importants of Ma Ga also sudha. Bilawal, deshkar, yaman, 3.	 GA NI Komal – ( 10 - 4 ) – bageshree, jayjayanti, asawari ,jaunpuri,

Except a few raags almost all the raags can be classified in three classes according to samay charka. Addhwa Darsak Swar – MA ( madhayam) either sudha or Tibra is a path finder of time for which it is called Addhwa darshak swar. More sudha madhaym indicates morning time.more tibra madhyam indicates evening time.As the evening proceeds towards late night tibra madhyam lessens and sudha madhyam appears onward late night. So with the application of sudha madhyam and tibra madhyam we can decide the approximate time of singing of that particular raag besides some exceptions of few raags.

SEASONAL RAAG MALA –  By Sh. Bhut Nath De.

ग्रीष्म - देशी आए धीरोदात्त दीपक जले (२) संग केदार सोहे.

बर्ष SEASON - अभिबर्शन मेघ गुरु गंभीर GARAJE मल्हार शीतल करे शारीर.

सरद - अतो हराशितो पुलाकितो धीर  गमन प्रगटे मालकोस सरदा रुत.

हेमंत - दिव्या मूर्ति श्री अनंदा मंगला गाबे आशा हेमंत मै

शिशिर - शिशिर भैरव शांता गंभीर पद दर्शावाता भक्ति रसा धर.

बसंत - हिंडोल डोले बसंत मै कोएल कुक सुनाये बहार आए बगियन मै.

ऐसी चक्र परिबर्ताते सुख दुःख रुत राग मन मंदिर मै.

THIS RAAG MALA IS COMPOSED WITH TWELVE RAAGAS AS PER SEQUENCE OF THE SEASON SERIALLY FROM SUMMER TO SPRING.