Hindustani Classical Music

Hindustani classical music is the Hindustani or erstwhile North Indian style of Indian classical music. Originating in the vedic period, it is a tradition that has been evolving from the 12th century AD, in what is now northern India and Pakistan, and also Bangladesh, Nepal and Afganistan, and is tiday one of two main parts of Indian classical music, with the other one being the carnatic music, which represent the music of south India. Characteristics The tradition was born out of cultural synthesis from several musical stream. The vedic chant tradition dating back to approximately one millennia BCE, the equally ancient Persian tradition of 'Musiqi-e assil, and also existent folk tradition prevalent in the region. The teems north Indian classical music or shastriya Sangeet are also occasionally used. An interesting aspect of hindustani music going back to 'sufi times', is the tradition of religious, neutrality: muslim ustads singing Hindu Bhatans, or vice versa. Around the 12th century, Hindustani classical music diverged from the principle which eventually came to be identified as carnatic classical music the central notions in both these system is that of a melodic made or raga, sung to a rhythmic cycle or tala. The tradition dates back to the ancient samadeva (lit.sama=ritual chant), which deals with the norms for chanting of srutis or hymns such as the rigveda. In medieval times many of the melodic system were fused with ideas from Persian music, particulary through the influence of 'sufi' composers like Amir Khusro, and later in the moghul courts. Around 1900, Pandit Vishnu Narayan Bhatkhande consolidated the musical structures of Hindustani classical music in a number of 'Thaats'. In the 20th century, Hindustani classical music popular across the world through the influence of artistes like Ravi Shankar, Ali Akbar Khan, and many other. Indian classical music has 7 basic notes : Sa Re Ga Ma Pa Dha Ni, with five interspersed half notes, resulting in 12-note scale. In addition each raga has its natural register (Ambit) and glissando (mernd) rules, as well as features specific to different styles and composition within the raga structure