BH on Music Theory Print

Bhajan

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Etymology#

The Sanskrit word bhajan or bhajana is derived from the root , which means “divide, share, partake, participate, to belong to”. The word also connotes “attachment, devotion to, fondness for, homage, faith or love, worship, piety to something as a spiritual, religious principle or means of salvation”.

Historical roots#

In Hinduism, Bhajan and its Bhakti term, Kirtan, have roots in the ancient metrical and musical traditions of the Vedic era, particularly the Samaveda. The Samaveda Samhita is not meant to be read as a text, but sung as it is like a musical score sheet that must be heard. Other late Vedic texts mention the two scholars Shilalin (IAST: Śilālin) and Krishashva (IAST: Kṛśaśva), credited to be pioneers in the studies of ancient drama, singing and dance. The art schools of Shilalin and Krishashva may have been associated with the performance of Vedic rituals, which involved storytelling with embedded ethical values. The Vedas and Upanishads celebrate Nada-Brahman, where certain sounds are considered elemental, triggering emotional feelings without necessarily having a literal meaning, and this is deemed a sacred, liminal experience of the primeval ultimate reality and supreme truth. This supreme truth is considered as full of bliss and rasa (emotional taste) in the Hindu thought, and melodic sound is considered a part of human spiritual experience. Devotional music genres such as bhajan are part of a tradition that emerged from these roots. However, bhajans rose to prominence as a way of expressing fervent devotion to the divine, breaking down barriers of caste and society, during the Bhakti and Sant movements of medieval India (about the 6th to the 17th centuries). By writing verses in a variety of regional languages, saints and poets like Kabir, Mirabai, Tulsidas, and Surdas played a crucial part in popularizing bhajans and making them understandable to a larger audience. Their Bhajan lyrics emphasized the universality of divine love while praising the intimate connection between the believer and the deity.

Bhangra (music)

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Origins#

The roots of modern bhangra music date back to the Sikh Punjabi community in Punjab during the 1960s. An early pop music and modern recording group of this type of music in the United Kingdom was the Bhujhangy Group, founded by Tarlochan Singh Bilga, Balbir Singh Khanpur, Gurpal, Rajinder Dhona and Dalvir Kahanpuri in Birmingham in 1971. The Bhujhangy Group’s first major hit was “Bhabiye Akh Larr Gayee”. It was written by Tarlochan Singh Bilga in the early 1970s and was released on Birmingham’s Oriental Star Agencies label. This was the first bhangra song to combine traditional Asian music with modern Western instruments.

Bhatiali

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Bhavageete

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Kannada Bhavageete#

Kannada Bhavageete () draws from modern Kannada poetry. Notable modern Kannada poets whose works have been set to music include Kuvempu, D. R. Bendre, Gopalakrishna Adiga, K.S. Narasimhaswamy, G.S. Shivarudrappa, K. S. Nissar Ahmed, Raju Ananthaswami. In 1988, as part of Sugama Sangeetha troupe, Sunitha Ananthaswamy toured the United States and gave 28 concerts for the Kannada diaspora, along with her brother Raju and famous father Mysore Ananthaswamy.

Bhawaiya

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Etymology#

There are various explanations of the meaning of Bhawaiya. Low-lying land with shrubs and other vegetables are called bhawa. According to some researchers, Bhawaiya is derived from the word Bawaiya, which is subsequently derived from the word bao (breeze). The derivative of the word Bhawaiya is Bhav > Bhao + Iya = Bhawaiya; the meaning of this word is emotionally charged. According to Abbasuddin Ahmed, this music is like the random and pleasant wind blowing from North Bengal called Bhawaiya. According to a survey taken of performers of Bhawaiya (conducted by the Folk Cultural and Tribal Cultural Centre, Government of West Bengal), the name is derived from the word Bhao, which was transformed into Bhav. These songs carry a deep emotion of biraha or separation and loneliness.

Bhendi Bazaar gharana

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History and features#

The Bhendi Bazaar gharana was founded around 1890 by brothers Chhajju Khan, Nazir Khan and Khadim Hussain Khan in the Bhendi Bazaar area of Mumbai. This gharana was founded in Bombay in 1890 after these three brothers moved from Moradabad area, Uttar Pradesh to settle in Bombay, British India.

19th century#

Dilawar Hussain Khan, father and guru of Chajjoo Khan, Nazeer Khan, and Khadim Hussain Khan
Chhajjoo Khan, son and disciple of Dilawar Hussain Khan; also learned from Inayat Hussain Khan of Rampur-Sahaswan gharana
Nazeer Khan (d. 1920), son and disciple of Dilawar Hussain Khan; also learned from Inayat Hussain Khan of Rampur-Sahaswan gharana
Khadim Hussain Khan, son and disciple of Dilawar Hussain Khan; also learned from Inayat Hussain Khan of Rampur-Sahaswan gharana.
Anjanibai Malpekar (1883–1974), disciple of Ustad Nazeer Khan
Aman Ali Khan (1888–1953), son and disciple of Chajjoo Khan
Shahmir Khan (sarangiya), disciple of Chajjoo Khan, Nazeer Khan, and Khadim Hussain Khan
Kader Baksh (sarangiya), disciple of Chajjoo Khan, Nazeer Khan, and Khadim Hussain Khan
Chand Khan, disciple of Chajjoo Khan, Nazeer Khan, and Khadim Hussain Khan
Mamman Khan, disciple of Chajjoo Khan, Nazeer Khan, and Khadim Hussain Khan
Zande Khan, disciple of Chajjoo Khan, Nazeer Khan, and Khadim Hussain Khan
Miyan Jaan, disciple of Chajjoo Khan, Nazeer Khan, and Khadim Hussain Khan
Wadilal Shivram, disciple of Chajjoo Khan, Nazeer Khan, and Khadim Hussain Khan

20th century#

Muhammed Hussain Khan (1907–1988), disciple of Aman Ali Khan
Pandurang Amberkar (1914–2002), disciple of Aman Ali Khan
Begum Akhtar (1914-1974), disciple of Anjanibai Malpekar; more associated with Kirana gharana
Naina Devi (1917-1993), disciple of Anjanibai Malpekar
Shivkumar Shukla (1918–1998), disciple of Aman Ali Khan
Sushila Rani Patel (1918-2014), disciple of Ramesh Nadkarni; more associated with Jaipur-Atrauli gharana
Manna Dey (1919-2013), disciple of Aman Ali Khan
Navrang Nagpurkar (1919–1998), disciple of Aman Ali Khan
Vasantrao Deshpande (1920-1983), disciple of Aman Ali Khan
Ramesh Nadkarni (1921–1995), disciple of Aman Ali Khan
T. D. Janorikar (1921–2006), disciple of Aman Ali Khan
Kumar Gandharva (1924-1992), disciple of Anjanibai Malpekar
Lata Mangeshkar (1929-2022), disciple of Aman Ali Khan
Jitendra Abhisheki (1929-1998), disciple of Navrang Nagpurkar; more associated with Jaipur-Atrauli gharana
Kishori Amonkar (1932-2017), disciple of Anjanibai Malpekar; more associated with Jaipur-Atrauli gharana
Asha Bhosle (1933-2026), disciple of Navrang Nagpurkar
Mahendra Kapoor (1924-2008), disciple of Ramesh Nadkarni
Suman Kalyanpur (1937-2026), disciple of Navrang Nagpurkar
Dayanand Dev Gandharva (1943-2001), disciple of Shivkumar Shukla
Pankaj Udhas (1951-2024), disciple of Navrang Nagpurkar
Nisar Bazmi (1924-2007) Film music composer, disciple of Aman Ali Khan
Wali Ahmed Khan, disciple of Aman Ali Khan
Bigamurde Chaitanya Deva, disciple of Aman Ali Khan
Shantilal (Harmonium), disciple of Aman Ali Khan
Parshurambuwa Parsekar, disciple of Aman Ali Khan
Mridungacharya Narayanrao Koli, disciple of Aman Ali Khan
Sangeeta Pandharpurkar, disciple of Shivkumar Shukla
Indira Thapa, disciple of Shivkumar Shukla
Anil Vaishnav, disciple of Shivkumar Shukla
Vasanti Sathe, disciple of Shivkumar Shukla
Suresh Trivedi, disciple of Shivkumar Shukla
Dwarakanath Bhonsle, disciple of Shivkumar Shukla
Faiyyaz Khan, son and disciple of Muhammed Hussain Khan
Jyoti Dhamdhere, disciple of Muhammed Hussain Khan
Anupama Chandratreya, disciple of Muhammed Hussain Khan and T. D. Janorikar
Kamal Naik, disciple of Ramesh Nadkarni
Shaila Piplapure, disciple of Ramesh Nadkarni
Meenaxi Mukherji, disciple of Ramesh Nadkarni
Mahesh Babu, disciple of Ramesh Nadkarni
Ramkishan Chandeshri, disciple of Ramesh Nadkarni
Shailesh Mavinkurve, disciple of Ramesh Nadkarni
Anuradha Marathe, disciple of T. D. Janorikar
Kumudini Mundkur, disciple of T. D. Janorikar
Sadhana Joshi, disciple of T. D. Janorikar
Sharad Karmarkar, disciple of T. D. Janorikar
Vasundhara Pandit, disciple of T. D. Janorikar
Shrikant Pargaonkar, disciple of T. D. Janorikar
Padmakar Kulkarni, disciple of T. D. Janorikar
Neela Nagpurkar, disciple of Navrang Nagpurkar
Upendra Kamat, disciple of Navrang Nagpurkar
Mandakini Gadre, disciple of Navrang Nagpurkar
Jagannath Prasad, disciple of Navrang Nagpurkar
Shaila Pipalpure, disciple of Navrang Nagpurkar
Pramila Datar, disciple of Navrang Nagpurkar
Madhura Jasraj, disciple of Navrang Nagpurkar
Mukund Vyas, disciple of Shivkumar Shukla
Kiran Shukla, daughter and disciple of Shivkumar Shukla
Neelam Shukla, daughter and disciple of Shivkumar Shukla
Shakuntala Narsimhan, disciple of Ramesh Nadkarni
Chintan Patel, disciple of Dayanand Dev Gandharva
Matloob Hussain Khan (sitariya), descendant of Aman Ali Khan; disciple of N. R. Bhattacharya, Anil Dhar, Hafiz Ali Khan, and Amjad Ali Khan

Contemporary#

Suhasini Koratkar (1944-2017),
Kishori Janorikar,

External links#

*Website devoted to Bhendi Bazaar gharana

Bhojpuri music

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History#

Origin of Bhojpuri music is quite unclear but the earliest form of Bhojpuri music song today is Nirguna was used to be sung by Kabir. Earlier on event occasions like Chhath or wedding these folks songs were used to be sung by people. When Bhojpuriyas were taken as plantation workers in British colonies, globalisation of Bhojpuri music took place and it extended its radius in counties like Mauritius, Netherlands and Caribbean Islands. It also mixed with the folk or modern music form of that countries. This led to the birth of distinct diaspora genres reflecting processes of adaptation and creolisation. Examples include Geet Gawai in Mauritius, where songs often blend Bhojpuri and Mauritian Creole and address new themes related to migration and island life while serving as a key means of language preservation. Baithak Gana in Suriname, and Chutney music in Trinidad and Tobago. Chutney music, in particular, evolved from Bhojpuri wedding songs performed primarily by women into a public genre incorporating Western instruments, Soca rhythms, and increasingly English lyrics alongside Bhojpuri, exemplified by pioneers like Sundar Popo.. The modern form of Bhojpuri music generated from Bollywood movies of 1950s. Later after the release of the first Bhojpuri Film Ganga Maiyya Tohe Piyari Chadhaibo the modernisation of Bhojpuri folk songs happened along with a generation of Modern Bhojpuri music.

BH on Music Theory Print

Bhajan

Etymology#

Historical roots#

Bhangra (music)

Origins#

Bhatiali

See also#

Bhavageete

Kannada Bhavageete#

Bhawaiya

Etymology#

Bhendi Bazaar gharana

History and features#

19th century#

20th century#

Contemporary#

External links#

Bhojpuri music

History#