Introduction
The origins of Indian classical music trace back to Vedic times, with references to the concept of Nāda Brahma appearing in ancient texts. Hymns, musical notes, and rhythmic cycles can be found in the Vedas, which date back around 6,000 years. The Sāma Veda, in particular, is considered the Veda of music and laid the foundation for Indian music. It consists of Rigveda hymns set to melodic tunes, often sung using three to seven notes during Vedic ceremonies. The Rigveda also incorporates musical meters, and it is believed that the first raga originated from these hymns. In the ancient period, two prominent musical genres were recognized: Gandharva and Gāna. Gandharva referred to formal, ceremonial music regarded as divine, while Gāna was informal, impromptu music performed for entertainment.
A seminal contribution to Indian music theory came from Sage Bharata, whose Nāṭya Śāstra, compiled between 200 BCE and 200 CE, remains a cornerstone of performing arts. Bharata introduced the concept of Rasa, which continues to influence Indian classical music, dance, and literature through its aesthetic framework.
In the 13th century, the musicologist Sharangadeva authored the Sangita Ratnakara, a comprehensive Sanskrit treatise on Indian classical music. Organized into seven chapters covering Swara, Raga, Prakirna, Prabandha, Tāla, and Vādya, the text became an authoritative reference, shaping subsequent generations of musicians much like Bharata’s Nāṭya Śāstra.
The Middle Ages witnessed the peak development of Hindustani classical music. Amir Khusrau, a pivotal musician of the Delhi Sultanate, systematized many aspects of the tradition and introduced several new ragas. Instruments such as the sitar and tabla also emerged during this period. Later, Tansen, the legendary court musician of Emperor Akbar, composed and created numerous ragas, including Miyan ki Todi, Miyan ki Malhar, and Darbari Kanada. Tansen’s innovations and style influenced many gharanas and continue to inspire contemporary musicians. This era also saw significant literary contributions to music theory and documentation.
By this time, a clear distinction had developed between Hindustani and Carnatic classical music. Khayal singing evolved from Dhrupad, with the term Khayal meaning “imagination.” Emerging in the 18th century, Khayal became the modern form of Hindustani classical music. From Khayal, semi-classical forms like Thumri also developed. During this period, Nawabs and Maharajas served as patrons of musicians, a support that largely declined in the 20th century.
The British colonial period further altered the landscape of Indian classical music. Many royal patrons lost their wealth, leading musicians to either seek alternate professions or perform for a living. Following India’s independence in 1947, classical music transitioned from royal courts to public concerts and education.
In the late 19th and early 20th centuries, musicologists Vishnu Digambar Paluskar and Vishnu Narayan Bhatkhande played a pivotal role in democratizing Hindustani classical music through conferences, lectures, and systematic documentation. In the 20th century, legendary artists such as Ravi Shankar and Ali Akbar Khan introduced Hindustani classical music to the Western world, gaining global recognition and fostering worldwide appreciation of this rich musical tradition.
