Sangita Sounds

Sangita Sounds

Full Spectrum Music for Peace

Classical Indian Music: A Journey Through Time

Classical Indian Music: A Journey Through Time

संगीत SANGITA

CLASSICAL INDIAN MUSIC

A Journey Through 2000+ Years of Musical Heritage • From Vedic Chants to Global Stages

ERA GUIDE

Ancient Foundations
Medieval Period
Mughal Influence
Hindustani Vocal
Hindustani Instrumental
Carnatic Tradition
Modern Era
Contemporary
LAYER 0: ANCIENT FOUNDATIONS

Vedic Origins to Classical Theory

00
Indian music finds its roots in the sacred Vedic chants (1500-500 BCE), where precise intonation was essential for spiritual efficacy. The Sama Veda established the foundation for melodic development. By the time of Bharata’s Natya Shastra (200 BCE – 200 CE), a comprehensive theory of music, dance, and drama had emerged.
Sa
Re
Ga
Ma
Pa
Dha
Ni
Sa
← The Seven Swaras (Notes) – Foundation of Indian Music

SAMA VEDA

(1500-500 BCE)

The Veda of melodies and chants

“Music is the essence of all knowledge” – Vedic wisdom

7 primary svaras established
3 sthanas (registers)
Udātta, Anudātta, Svarita (pitch accents)

NATYA SHASTRA

by Bharata Muni (200 BCE-200 CE)

The comprehensive treatise on performing arts

36 Chapters on:
• Gandharva Sangeet (music)
• 22 Shrutis (microtones)
• Jati system (melodic types)
• Rasa theory (aesthetic emotions)
• Tala (rhythmic cycles)

SANGEET RATNAKARA

by Sharngadeva (1210-1247 CE)

The “Ocean of Music” – most authoritative medieval text

7 Chapters covering:
• Svara (notes)
• Raga lakshana (characteristics)
• Prabandha (compositions)
• Tala system
• Instrument construction
Influenced both Hindustani & Carnatic traditions

22 SHRUTIS

Microtonal intervals within an octave

More refined than Western 12 semitones
Allows subtle variations in intonation
Foundation of raga expressiveness

GRAMAS

Ancient scale systems

Shadja Grama
Madhyama Grama
(Gandhar Grama – lost)

Templates for melodic development

JATI

Pre-cursor to Raga system

18 foundational Jatis
Defined by:
• Amsa (predominant note)
• Graha (opening note)
• Nyasa (closing note)

MARGA & DESI

Classical vs Regional music

Marga: Pure, ancient style
Desi: Regional variations

Dialectic that continues through history
LAYER 1: MEDIEVAL PERIOD

Bhakti Movement & Dhrupad Emergence (1200-1700 CE)

01
The medieval period saw the emergence of devotional music through the Bhakti movement. Dhrupad, the oldest surviving form of Hindustani classical music, crystallized during this era. Meanwhile, Carnatic music developed its distinct identity in South India. Temple music, court patronage, and saint-poets shaped this transformative period.

BHAKTI MOVEMENT

(12th-17th Century)

Key Figures:
• Jayadeva (Gita Govinda, 12th c.)
• Purandara Dasa (1484-1564)
“Father of Carnatic Music”
• Meerabai (1498-1547)
• Tulsidas (1532-1623)
• Tyagaraja (1767-1847)

Made music accessible beyond temples

DHRUPAD

Ancient form – meditative & powerful

Structure:
Alap (slow introduction)
Jor (rhythm without tabla)
Jhala (fast climax)
Bandish (composition)

Instruments:
Rudra Veena, Pakhawaj
Emphasis on pure notes, gamaka

EARLY TRADITIONS

Lineages forming

Dagur/Dagar Tradition:
Dhrupad masters
Oral transmission

Temple Musicians:
Devadasis (South)
Dhrupadiyas (North)

Court patronage begins
1200s
Sharngadeva writes Sangeet Ratnakara – encyclopedic music treatise
1400s
Purandara Dasa systematizes Carnatic music pedagogy with graded lessons
1500s
Tansen serves Akbar’s court – golden age of Hindustani music begins
1600s
Dhrupad reaches peak refinement; Khayal begins to emerge
LAYER 2: MUGHAL INFLUENCE & KHYAL

Persian融合 & Stylistic Evolution (1500-1800 CE)

02
The Mughal courts became the crucible where Persian and Indian musical aesthetics merged. Tansen, the legendary musician of Akbar’s court, became the progenitor of many gharanas. Khayal emerged as a more ornamental, emotionally expressive form, eventually overtaking Dhrupad in popularity. Court patronage reached unprecedented heights.

🎵 MIAN TANSEN

(1500-1589) – Akbar’s Court Musician

The Legend:
One of the Navaratnas (Nine Jewels)
Trained under Swami Haridas
Created ragas: Miyan ki Todi, Miyan ki Malhar, Darbari Kanada

Legacy:
Founder of Seniya Gharana
Direct lineage includes many major gharanas
Stories of lighting lamps with Raga Deepak
Bringing rain with Raga Megh Malhar

His tomb in Gwalior remains pilgrimage site

KHYAL EMERGENCE

The “imaginative” style

Origins:
Attributed to Amir Khusro (disputed)
Developed 16th-18th centuries

Characteristics:
• Bada Khyal (slow, contemplative)
• Chota Khyal (fast, virtuosic)
• Elaborate alankara (ornamentation)
• Tan (rapid note sequences)
• Bol-taan (lyrics in fast passages)
• More freedom than Dhrupad

Accompanied by tabla (replacing pakhawaj)

AMIR KHUSRO

(1253-1325)

Sufi poet-musician
Credited with:
• Inventing tabla (debated)
• Khyal form (disputed)
• Qaul, Qawwali
• Tarana style
Blended Persian & Indian music

SWAMI HARIDAS

(1478-1573)

Tansen’s guru
Vrindavan saint-musician
Dhrupad master
Haridasi Gharana founder
Emphasized devotional purity

BAIJU BAWRA

(16th century)

Contemporary of Tansen
Legendary vocalist
Folk hero status
Famous musical contest legend
Represents non-court tradition

COURT SYSTEM

Patronage structure

Akbar, Jahangir, Shah Jahan
Muhammad Shah “Rangile”
Wajid Ali Shah (Lucknow)

Musicians as court officials
Hereditary positions
Master-disciple lineages
X
2
0
3
4
0
5
6
0
7
8
0
9
10
0
11
Teental – 16 Beats (4+4+4+4) • X = Sam (main beat), 0 = Khali (empty), Numbers = Tali (claps)
LAYER 3: GHARANA SYSTEM

Schools of Musical Thought (1700-1900 CE)

03
As court patronage declined post-Mughal era, musicians organized into gharanas (houses/schools) – distinct stylistic lineages centered around specific cities. Each gharana developed unique approaches to voice production, ornamentation, repertoire, and pedagogy. The guru-shishya parampara (teacher-disciple tradition) became the primary means of transmission.

Major Hindustani Vocal Gharanas of India

GWALIOR

Madhya Pradesh
Founded: 1850s

Founders:
Natthan Pir Bakhsh & Haddu Khan

Style:
Oldest khyal gharana
Emphasis on raga purity
Clarity of notes
Balanced approach
Restrained ornamentation

KIRANA

Uttar Pradesh
Founded: Late 1800s

Founder:
Abdul Karim Khan

Style:
Swara perfection
Slow, elaborate alaps
Microtonal shades
Minimal ornamentation
Emotional depth

AGRA

Uttar Pradesh
Founded: 18th century

Founder:
Haji Sujan Khan

Style:
Dhrupad influence
Powerful, heavy voice
Complex rhythms
Nom-tom alaps
Intellectual approach

JAIPUR-ATRAULI

Rajasthan
Founded: Late 1800s

Founder:
Alladiya Khan

Style:
Complex patterns
Rare ragas
Scholarly depth
Difficult compositions
Innovative approach

PATIALA

Punjab
Founded: 19th century

Founders:
Ali Bux & Fateh Ali Khan

Style:
Lyrical & romantic
Clear pronunciation
Thumri influence
Varied repertoire
Popular appeal

DELHI

Delhi
Founded: 18th century

Founder:
Tanras Khan

Style:
Aristocratic refinement
Balanced approach
Tappa influence
Graceful presentation
Court tradition

MEWATI

Rajasthan
Founded: Late 1800s

Founder:
Ghagge Nazir Khan

Style:
Spiritual approach
Haveli Sangeet
Devotional emphasis
Bhajan influence
Temple tradition

RAMPUR-SAHASWAN

Uttar Pradesh
Founded: 19th century

Founder:
Inayat Hussain Khan

Style:
Powerful voice
Traditional virtuosity
Athletic singing
Dramatic presentation
Court patronage

BHENDIBAZAR

Mumbai
Founded: Late 1800s

Founder:
Chhajju Khan

Style:
Scholarly approach
Rare compositions
Historical repertoire
Musicological depth
Preservation focus

INDORE

Madhya Pradesh
Founded: 20th century

Founder:
Amir Khan

Style:
Meditative vilambit
Slow development
Unique synthesis
Personal innovation
Beyond gharana

DAGAR (DHRUPAD)

Various locations
Ancient lineage

Tradition:
Pre-gharana system

Style:
Pure Dhrupad
Meditative approach
Pakhawaj accompaniment
Spiritual depth
Oral transmission

BANARAS

Uttar Pradesh
Temple city tradition

Lineage:
Thumri & tappa specialists

Style:
Semi-classical emphasis
Thumri mastery
Light classical forms
Devotional music
Varied repertoire

GHARANA CHARACTERISTICS

Defining Elements:
• Geographic origin (city/region)
• Founding master & lineage
• Distinctive voice production
• Preferred ragas & compositions
• Ornamentation style
• Teaching methodology
• Repertoire (bandish collection)

Students often learned from multiple gharanas
Creating personal synthesis

GURU-SHISHYA PARAMPARA

Traditional Learning:
Oral transmission only
Living with guru (residential)
Years of voice training
Memorizing compositions
Understanding raga philosophy
Rigorous discipline

Not written until 20th century
Notation considered inadequate
Personal relationship essential

POST-MUGHAL SHIFT

1800s Transformation:
Court system collapse
Musicians seek new patrons
Princely states support arts
Private mehfils (gatherings)
Emergence of public concerts

Gharanas provide:
• Identity & prestige
• Quality assurance
• Artistic community
LAYER 4: HINDUSTANI VOCAL MASTERS

The Great Vocalists & Their Gharanas

04
Each gharana produced legendary vocalists who refined and perpetuated their distinctive styles. These masters shaped the aesthetic sensibilities of Hindustani classical music, creating vast repertoires and training generations of disciples. Their recordings from the 20th century preserve golden ages of each tradition.

🎤 GWALIOR GHARANA

Oldest Khyal Gharana • Founded 1850s

Founders: Natthan Pir Bakhsh & Haddu Khan

Style: Emphasis on raga purity, clarity of notes, restrained ornamentation, balanced presentation, spiritual approach

Legend Masters:
Vishnu Digambar Paluskar
(1872-1931)
Brought classical music to masses
Founded music schools
Omkarnath Thakur
(1897-1967)
Paluskar’s disciple
Philosopher-musician
Mallikarjun Mansur
(1910-1992)
Padma Vibhushan
Known for thumri & bhajans

🎤 KIRANA GHARANA

Emphasis on Swara (Note) Perfection

Founder: Abdul Karim Khan (1872-1937)

Style: Meticulous note-work, slow alaps, layakari (rhythm play), subtle microtonal shades, minimal ornamentation, intense emotional depth

Legend Masters:
Abdul Karim Khan
(1872-1937)
Gharana founder
Revolutionary approach
Bhimsen Joshi
(1922-2011)
Bharat Ratna
Powerful, emotive voice
Gangubai Hangal
(1913-2009)
Padma Vibhushan
Female vocal powerhouse
Prabha Atre
(1932-2024)
Multi-gharana master
Scientist-musician

🎤 AGRA GHARANA

Dhrupad Influence in Khyal

Founder: Haji Sujan Khan (18th century)

Style: Heavy, powerful voice, complex rhythms, nom-tom alaps, angular phrases, intellectual approach, layakari mastery

Legend Masters:
Faiyaz Khan
(1886-1950)
Greatest Agra gharana exponent
Powerful bass voice
Latafat Hussain Khan
(1924-1978)
Maintained pure tradition

🎤 JAIPUR-ATRAULI GHARANA

Complex & Sophisticated

Founders: Alladiya Khan (1855-1946)

Style: Complex note patterns, rare ragas, unusual ang (approach), difficult compositions, scholarly depth, innovative taans

Legend Masters:
Alladiya Khan
(1855-1946)
Gharana founder
Revived rare ragas
Kesarbai Kerkar
(1892-1977)
Legendary soprano
Perfect technique
Mallikarjun Mansur
(Also Gwalior)
Eclectic master

🎤 PATIALA GHARANA

Lyrical & Romantic

Style: Clear pronunciation, thumri influence, romantic expression, varied repertoire

Masters:
• Bade Ghulam Ali Khan (1902-1968)
Most beloved voice of 20th century
• Barkat Ali Khan
• Munawar Ali Khan

🎤 DELHI GHARANA

Graceful & Balanced

Style: Aristocratic refinement, balanced approach, tappa influence

Masters:
• Tanras Khan
• Chand Khan
• Nasir Ahmed Khan

🎤 DAGAR TRADITION

Dhrupad Purity

Ancient lineage preserving Dhrupad

Masters:
• Nasiruddin & Aminuddin Dagar
• Zia Mohiuddin Dagar (Rudra Veena)
• Zia Fariduddin Dagar
• Wasifuddin Dagar
Amir Khan
(1912-1974) • Indore Gharana
Meditative, slow development
Created unique Vilambit style
Kumar Gandharva
(1924-1992) • Beyond Gharanas
Innovative iconoclast
Folk-classical fusion
Pandit Jasraj
(1930-2020) • Mewati Gharana
Spiritual approach
Haveli Sangeet specialist
Rashid Khan
(1968-2024) • Rampur-Sahaswan
Powerful, athletic voice
Traditional virtuosity
LAYER 5: HINDUSTANI INSTRUMENTAL MASTERS

Sitar, Sarod, Tabla & Beyond

05
Instrumental music developed alongside vocal traditions, with each instrument developing its own gharanas and techniques. The sitar and sarod became ambassadors of Indian music globally. Tabla evolved from accompaniment to a solo art form. Each instrument brought unique timbres and capabilities to raga expression.

🎸 SITAR MASTERS

Instrument: Long-necked lute with sympathetic strings, metallic timbre, characteristic “meend” (glides)

Major Gharanas: Imdadkhani, Maihar, Etawah, Vilayat Khan
Ravi Shankar
(1920-2012)
Bharat Ratna • Maihar Gharana
Global ambassador
Trained by Baba Allauddin Khan
Vilayat Khan
(1928-2004)
Imdadkhani Gharana
Gayaki ang (vocal style)
Lyrical, romantic approach
Nikhil Banerjee
(1931-1986)
Maihar Gharana
Spiritual depth
Perfectionist approach
Shahid Parvez
(b. 1955)
Etawah Gharana
Technical brilliance
Traditional virtuoso
Budhaditya Mukherjee
(b. 1955)
Imdadkhani tradition
Scholarly approach
Anoushka Shankar
(b. 1981)
Ravi Shankar’s daughter
Contemporary innovation

🎻 SAROD MASTERS

Instrument: Fretless, skin-faced, metallic plectrum, deep resonance, smooth glides, powerful bass

Major Lineages: Maihar (Senia Bangash), Shahjahanpur
Ali Akbar Khan
(1922-2009)
Maihar Gharana
Allauddin Khan’s son
Virtuoso, emotional depth
Amjad Ali Khan
(b. 1945)
Gwalior-Bangash lineage
Modified sarod design
Padma Vibhushan
Buddhadev Dasgupta
(1933-2018)
Senia Shahjahanpur
Melodic sensitivity
Tejendra Narayan Majumdar
(b. 1961)
Ali Akbar Khan disciple
Pure Maihar tradition
Ayaan & Amaan Ali Bangash
(b. 1977, 1979)
Amjad Ali Khan’s sons
8th generation

🥁 TABLA MASTERS

Gharanas: Delhi, Ajrada, Lucknow, Benares, Punjab, Farrukhabad

Evolution: From accompaniment to solo art form
Zakir Hussain
(b. 1951)
Punjab Gharana
Global icon
Alla Rakha’s son
Kishan Maharaj
(1923-2008)
Benares Gharana
Accompaniment master
Kumar Bose
(b. 1953)
Benares Gharana
Technical virtuoso
Swapan Chaudhuri
(b. 1946)
Lucknow Gharana
Ali Akbar Khan collaborator

🎺 FLUTE (BANSURI)

Transformed by: Pannalal Ghosh (1911-1960)
Created bass bansuri for classical performance
Hariprasad Chaurasia
(b. 1938)
Living legend
Lyrical mastery
Padma Vibhushan
Ronu Majumdar
(b. 1963)
Melodious tone
Pannalal lineage
Rakesh Chaurasia
(b. 1971)
Hariprasad’s nephew
Contemporary excellence

🎻 VIOLIN & OTHERS

Adapted instruments: Violin, harmonium, santoor, guitar
V.G. Jog
(1922-2004)
Hindustani violin pioneer
Gwalior Gharana
Shivkumar Sharma
(1938-2022)
Santoor master
Classical status to folk instrument
Brij Bhushan Kabra
(1937-2018)
Hawaiian guitar
Innovative adaptation

🎹 USTAD ALLAUDDIN KHAN (1862-1972)

The Patriarch of Modern Instrumental Music • Maihar Gharana Founder

Multi-instrumentalist master who revolutionized teaching methodology

His Legacy:
• Son: Ali Akbar Khan (sarod)
• Disciple: Ravi Shankar (sitar)
• Disciple: Nikhil Banerjee (sitar)
• Daughter: Annapurna Devi (surbahar/sitar)
• Grandson: Dhyanesh Khan (sarod)

Lived to 110 years old, teaching until the end. His disciples shaped 20th century Indian classical music globally.
LAYER 6: CARNATIC TRADITION

South Indian Classical Music

06
Carnatic music, rooted in ancient Dravidian temple traditions and systematized during the Vijayanagara Empire, developed parallel to Hindustani music but with distinct aesthetics. Emphasis on composition over improvisation, devotional content, mathematical precision in rhythm, and a different raga system. The Trinity of Saint-Composers created an immortal repertoire.

🕉️ THE CARNATIC TRINITY (18th-19th Century)

The Three Pillars Who Shaped Modern Carnatic Music

Tyagaraja
(1767-1847)
Most prolific composer
700+ kritis
Emphasized bhakti (devotion)
Pancharatna Kritis (5 gems)
Telugu compositions
Rama bhakta
Muthuswami Dikshitar
(1775-1835)
Sanskrit scholar
Sophisticated compositions
Veena player
Influenced by Hindustani music
Nottuswara sahityam
Syama Sastri
(1762-1827)
Master of rhythm
Complex talas
Fewer but gem-like kritis
Intense devotion to Goddess

CARNATIC VS HINDUSTANI

Key Differences:

Composition: Carnatic emphasizes kriti (fixed composition), Hindustani emphasizes improvisation

Rhythm: Carnatic uses more complex talas (35 main talas), Hindustani primarily 10-12 talas

Ragas: Carnatic: 72 melakarta (parent scales), Hindustani: 10 thaats

Performance: Carnatic concerts follow strict structure, Hindustani more flexible

Notation: Carnatic composers notated from early period

Language: Primarily Telugu, Sanskrit, Tamil vs Hindi, Urdu

CONCERT STRUCTURE

Traditional Format:

1. Varnam – Technical warm-up
2. Kritis – Main compositions
3. Alapana – Raga improvisation
4. Niraval – Line improvisation
5. Kalpana Swara – Note improvisation
6. Ragam-Tanam-Pallavi – Centerpiece
7. Tillana – Rhythmic finale
8. Javali/Padam – Light piece
9. Mangalam – Auspicious close

Typically 2.5-3 hours, seated floor performance

🎤 VOCAL LEGENDS

M.S. Subbulakshmi
(1916-2004)
Bharat Ratna
Most revered voice
UN performance
Semmangudi Srinivasa Iyer
(1908-2003)
Traditional purist
Bhagavatar tradition
G.N. Balasubramaniam
(1910-1965)
Fast brighas specialist
Revolutionary style
M.D. Ramanathan
(1923-1984)
Meditative approach
Alapana master
T.N. Seshagopalan
(b. 1948)
Powerful voice
Traditional excellence
T.M. Krishna
(b. 1976)
Iconoclastic thinker
Social activism

🎻 VIOLIN

Most important Carnatic instrument

Lalgudi Jayaraman
(1930-2013)
Composer & violinist
Lyrical style
M.S. Gopalakrishnan
(1931-2013)
Parur MS’s brother
Technical brilliance
L. Subramaniam
(b. 1947)
Fusion pioneer
Global collaborations

🎹 VEENA

Ancient fretted instrument

S. Balachander
(1927-1990)
Modernized veena
Playback singer
E. Gayathri
(b. 1953)
Traditional mastery
Pure approach

🥁 MRIDANGAM

Primary percussion

Palghat Mani Iyer
(1912-1981)
Legendary accompanist
Perfect mathematics
Umayalpuram K. Sivaraman
(b. 1935)
Solo artistry
Traditional master
Vikku Vinayakram
(b. 1942)
Ghatam specialist
Shakti fusion band

OTHER MAJOR COMPOSERS

• Purandara Dasa (1484-1564)
“Father of Carnatic Music”
Teaching system creator • Annamacharya (1408-1503)
32,000 compositions
Telugu devotional songs • Papanasam Sivan (1890-1973)
Tamil compositions
Bhakti emphasis • G.N. Balasubramaniam
Composer & vocalist
Fast-paced innovations
LAYER 7: MODERN ERA & GLOBAL REACH

Recording Age to International Stages (1900-2000)

07
The 20th century brought revolutionary changes: recording technology preserved performances, radio democratized access, notation became accepted, institutional learning emerged, and Indian classical music reached global audiences. The tradition simultaneously preserved its essence while adapting to modernity.

TECHNOLOGICAL REVOLUTION

1900s-1930s:
• 78 RPM records capture legends
• First commercial recordings
• Gauhar Jaan’s 1902 recordings
• Gramophone Company of India

1940s-1960s:
• All India Radio founded (1936)
• National Programme of Music
• LP records preserve concerts
• Film music creates mass appeal

Impact: Oral tradition now documented, accessibility increased, styles became fixed/analyzable

INSTITUTIONAL LEARNING

Music Schools Founded:
• Gandharva Mahavidyalaya (1901)
Vishnu Digambar Paluskar
• Marris College of Music (1926)
• Delhi School of Music (1929)
• Bharatiya Vidya Bhavan (1938)
• Sangeet Research Academy (1985)

Universities:
• BHU, MS University Baroda
• Delhi University
• Madras Music Academy (1928)

Traditional guru-shishya supplemented by formal education

GLOBAL EXPANSION

West Discovers Indian Music:
• 1950s: Ali Akbar Khan tours USA
• 1960s: Ravi Shankar & Beatles
• George Harrison learns sitar
• Monterey Pop Festival (1967)
• Woodstock appearance

Academic Interest:
• Ethnomusicology programs
• Western conservatories teach
• CalArts, Wesleyan, Berkeley

Fusion Experiments:
• Shakti (McLaughlin-Zakir-Vikku)
• Remember Shakti
• Indo-jazz collaborations

FESTIVALS & INSTITUTIONS

Major Festivals:
• Dover Lane Music Conference (Kolkata)
• Sawai Gandharva Bhimsen Festival (Pune)
• Madras Music Season (Dec-Jan)
• Saptak Music Festival (Ahmedabad)
• Tansen Music Festival (Gwalior)
• ITC Sangeet Sammelan
• Harivallabh Sangeet Sammelan

Annual gathering places for connoisseurs, launching pads for young artists, preservation of tradition through performance

AWARDS & RECOGNITION

National Honors:
• Bharat Ratna (highest civilian)
M.S. Subbulakshmi, Ravi Shankar, Bhimsen Joshi
• Padma Vibhushan
• Padma Bhushan
• Padma Shri

Music Awards:
• Sangeet Natak Akademi Award
• Kalidas Samman
• Tansen Samman
• State government awards

Government patronage replaces royal courts

WOMEN IN CLASSICAL MUSIC

Breaking Barriers & Achieving Excellence

Gauhar Jaan
(1873-1930)
First recorded Indian musician (1902)
Thumri specialist
Kesarbai Kerkar
(1892-1977)
Jaipur-Atrauli
Technical perfection
M.S. Subbulakshmi
(1916-2004)
Most revered
Bharat Ratna
Gangubai Hangal
(1913-2009)
Kirana Gharana
Powerful voice
Mogubai Kurdikar
(1904-2001)
Jaipur-Atrauli
Scholar-performer
Kishori Amonkar
(1932-2017)
Jaipur-Atrauli
Innovative genius
Prabha Atre
(1932-2024)
Multi-gharana master
Scientist-musician
Shubha Mudgal
(b. 1959)
Classical & contemporary
Versatile artist
LAYER 8: CONTEMPORARY & FUTURE

Living Masters & New Directions (2000-Present)

08
The 21st century finds Indian classical music at a crossroads: profound tradition meets digital age, globalization creates new audiences, fusion explores boundaries, and young artists navigate between preservation and innovation. The essence remains while the context transforms.

MUSICAL MASTERS

Hariprasad Chaurasia
(b. 1938 • 86 years)
Bansuri legend
Vrindavan Gurukul founder
Zakir Hussain
(b. 1951 to 2025 • Lived 73 years)
Tabla virtuoso
Global ambassador
Amjad Ali Khan
(b. 1945 • 79 years)
Sarod master
Peace through music
L. Subramaniam
(b. 1947 • 77 years)
Carnatic violin
Global fusion
Shivkumar Sharma
(1938-2022 • lived 84)
Santoor innovator
Classical status achieved
Prabha Atre
(1932-2024 • lived 91)
Scientist-musician
Multi-gharana master

DIGITAL AGE TRANSFORMATION

New Platforms:
• YouTube democratizes learning
• Spotify, Apple Music streaming
• Online guru-shishya via Zoom
• Virtual concerts during COVID
• Archives digitized & accessible

Challenges:
• Shortened attention spans
• Competition from pop music
• Economic sustainability
• Preservation vs innovation

Opportunities:
• Global student base
• Documentation of rare styles
• AI-assisted learning tools
• Cross-cultural collaborations

YOUNG GENERATION

Kaushiki Chakraborty
(b. 1980)
Patiala Gharana
Ajoy Chakraborty’s daughter
Sanjeev Abhyankar
(b. 1969)
Mewati Gharana
Scholarly approach
Rahul Sharma
(b. 1972)
Santoor (Shivkumar’s son)
Contemporary sounds
Amaan & Ayaan Ali Bangash
(b. 1977, 1979)
Sarod duo
8th generation
Mahesh Kale
(b. 1976)
Kirana Gharana
Global reach
Soumik Datta
(b. 1985)
Sarod
Cross-genre innovator

FUSION & EXPERIMENTATION

Notable Projects:
• Shakti (McLaughlin, Zakir, Vikku, Shankar)
• Tabla Beat Science (Zakir Hussain)
• Remember Shakti
• Ravi Shankar & Philip Glass
• Anoushka Shankar’s electronica
• Karsh Kale’s fusion
• Nitin Sawhney’s productions

Debates:
• Dilution vs evolution
• Commercial vs artistic integrity
• Traditional purists vs innovators
• Finding balance between worlds

CURRENT CHALLENGES & FUTURE

Preservation Concerns:
• Rare gharana styles dying
• Few students pursue full-time
• Economic pressures on artists
• Knowledge transfer gaps

Positive Developments:
• UNESCO recognition (intangible heritage)
• Government initiatives & grants
• Corporate sponsorship increasing
• Diaspora maintaining traditions
• Academic research expanding
• Technology aids preservation

The Path Forward:
Balance tradition with accessibility, maintain rigor while welcoming newcomers, preserve while allowing natural evolution

सारे जहां से अच्छा • SANGITA THROUGH THE AGES

From the sacred chants of the Vedas to the global concert halls of today, Indian classical music represents one of humanity’s most sophisticated artistic achievements. An unbroken lineage spanning over 2000 years, preserved through devotion, discipline, and the sacred bond between guru and shishya.

Each note carries the wisdom of centuries.
Each raga tells the story of a civilization.
Each performance is a meditation, a prayer, an offering.

नाद ब्रह्म • Nada Brahma
 Sound is the Supreme Reality

Created for Sangita Sounds • A tribute to the masters who preserved this divine art

From Bharata’s Natya Shastra to the digital age • The tradition continues