Changes between Initial Version and Version 1 of Music Schools

Timestamp:

Jun 26, 2012, 7:50:55 PM (12 years ago)

Author:

Trupti

Comment:

--

Music Schools

@@ +1 @@
+'''Music Schools'''
+
+
+In 1896, Vishnu Digambar Paluskar ran away
+from his teacher Pandit Balkrishnabua
+Ichalkaranjikar, a court musician at Miraj. Like
+his contemporary, Ravi Varma, in the visual
+arts, Paluskar wanted to move away from
+feudal patronage and address the marketplaces
+of growing urban centres. He started a
+music school, the Gandharva Mahavidyalaya, at
+Lahore in 1901. Over the next thirty years,
+dozens of similar schools spread throughout
+Northern and Western India, e.g. the Saraswati
+Sangeet Vidyalaya in Karachi (1916), the Gopal
+Gayan Samaj in Pune (1918), the Gandharva
+Mahavidyalaya in Kolhapur (1920) and the
+School of Indian Music in Bombay (1925).
+Paluskar’s action stemmed from a nationalistic
+disaffection from the feudal gharana system
+which was then sponsored and owned by the
+nobility who kept its repertory available only to
+the Guru’s kinsmen. His colleague, V.N.
+Bhatkhande, compiled and published all the
+available classical musical compositions in an
+accessible textbook, Hindustani Sangeet
+Paddhati (1921). Equally influential was the
+simultaneous effort to define a primitive
+notation system capable of recording the
+complex performance codes. Barring a few
+notable exceptions, the bulk of the students in
+the new system lacked the rigour of the
+traditional discipline, but they were also free
+from the conservatism of gharana ideology.
+They usually found their way into the
+recording industries of Lahore, Karachi and
+Calcutta, into the Sangeet Natak and
+Company Natak troupes and, after 1932, into
+film. Master Krishnarao was trained at the
+Bharat Gayan Samaj, actress Shanta Apte at
+the Maharashtra Sangeet Vidyalaya,
+Pandharpur. The parent school in Lahore also
+produced several musicians and composers
+central to the Lahore-based film industry: Rafiq
+Ghaznavi, an extremely popular ghazal singer
+with best-selling records in Karachi and an
+actor-music director in films like Prithviraj
+Sanyogita (1933), Bahen Ka Prem (1935) and
+later in some Mehboob and Sohrab Modi
+films. Prof. B.R. Deodhar, disciple of Paluskar
+and key ideologue for the music school
+aesthetic, stated in 1933 a position closely
+analogous to that prevalent in the art schools.
+In his opinion, the major issues facing classical
+Indian music were those of voice production
+and the antithetical relationship between
+Indian music and Western principles of
+notation, which made it difficult to arrive at
+indigenous systems of orchestration as well as
+to find equivalents for perceiving pure sound
+effects (like thunder or rain sounds). His
+polemical view was that these could only be
+solved through borrowing from Western
+classical musical systems (Deodhar, 1933).
+
+[[Glossary]]