About the Book
Please note that the content of this book primarily consists of articles available from Wikipedia or other free sources online. Pages: 32. Chapters: Hindustani music, Hindustani classical music, Raga, Samagana, Dhrupad, Gandharva Mahavidyalaya, Ragamala paintings, Khyal, Bhatkhande Music Institute, Joseph J. Palackal, That, Shivaranjani, Thumri, Bharatiya Sangeet Vadya, Bhopali, Maihar Band, ITC Sangeet Research Academy, Sangita Makarandha, Tarana, Bhimpalasi, Vivadi, Alap, Patiala gharana, Kajari, Call of the Valley, Sohni, Mehfil, Bandish, Zamzama, Tappa, Mand, Taan, Chilla katna, Ashtapadi, Natya Sangeet, Antara, Dadra, Sampurna raga, Cheez, Dhamar, Shrutinandan, Samavadi, Dhun, Jor, Zeelaf, Jhala, Vilambit, Madhya laya, Sarpada, Prahar, Meend, Sthayi, Drut, Tanrus Khan, Sthai. Excerpt: Hindustani classical music (Hindi: , Urdu: ) is the Hindustani or erstwhile North Indian style of Indian classical music found throughout the northern Indian subcontinent. It is a tradition that originated in Vedic ritual chants and has been evolving since the 12th century CE, in areas which included mainly North India and Pakistan, and to some extent, Bangladesh, Nepal and Afghanistan. Today, it is one of the two parts of Indian classical music, with the other one being Carnatic music, which represents the music of South India. The tradition was born out of a cultural synthesis from several musical streams: the vedic chant tradition dating back to approximately one thousand BCE, the equally ancient Persian tradition of Musiqi-e assil, and also existent folk traditions prevalent in the region. The terms North Indian Classical Music and Sh striya Sangeet are also occasionally used. It is traditional for performers who have reached a distinguished level of achievement to be awarded titles of respect; Hindus are usually referred to as Pandit and Muslims as Ustad. An aspect of Hindustani music going back to sufi times is the tradition of religious neutrality: Muslim ustads singing...
