[Max]

by Guest Sat Jun 21, 2014 4:11 pm

Would u care to add anything to what the writer has said about Hindustani classical music in this blog post:

Link

Thanks.

by MaxEntropy_Man Sat Jun 21, 2014 4:39 pm

just provides basic ho-hum info. also i have a feeling he might be confused about mallikarjun mansur and bhimsen joshi's ethnicity. he doesn't explicitly identify them as maharashtrians but in his very next sentence he says maharashtrians and pathans are the greatest contributors to HM. while maharashtrian contributions may be immense, kannadigas have contributed enormously as performers -- the aforementioned mansur and joshi for starters and then basavaraj rajguru and gangubai hangal to name two more. the entire region of dharwad is rich in performers. and one should not forget the goans. kesarbai kerkar no matter how maharashtrian her name sounds, was a konkani.

IMO to not identify bengalis as great contributors to the instrumental traditions -- the maihar gharana and all those who sprung from it makes the article incomplete. and in more modern times there have been a few hindustani musicians of tamil ethnicity too, like n.rajam who was the chairperson of the benares hindu university music department for a number of years and a fantastically talented violinist. her daughter and grand daughters have gone on to become hindustani violinists and performers.

by Guest Sat Jun 21, 2014 7:09 pm

MaxEntropy_Man wrote:just provides basic ho-hum info. also i have a feeling he might be confused about mallikarjun mansur and bhimsen joshi's ethnicity. he doesn't explicitly identify them as maharashtrians but in his very next sentence he says maharashtrians and pathans are the greatest contributors to HM. while maharashtrian contributions may be immense, kannadigas have contributed enormously as performers -- the aforementioned mansur and joshi for starters and then basavaraj rajguru and gangubai hangal to name two more. the entire region of dharwad is rich in performers. and one should not forget the goans. kesarbai kerkar no matter how maharashtrian her name sounds, was a konkani.

IMO to not identify bengalis as great contributors to the instrumental traditions -- the maihar gharana and all those who sprung from it makes the article incomplete. and in more modern times there have been a few hindustani musicians of tamil ethnicity too, like n.rajam who was the chairperson of the benares hindu university music department for a number of years and a fantastically talented violinist. her daughter and grand daughters have gone on to become hindustani violinists and performers.

I suspect he thinks maharashtrians have contributed more because of the contribution to Hindustani classical of Paluskar and Bhatkhande who were both maharashtrians. Paluskar and Bhatkhande almost come across as the founding fathers of modern Hindustani classical.

by MaxEntropy_Man Sat Jun 21, 2014 7:58 pm

as a classification system for the tonal material that is the source of all hindustani ragas, bhatkande's thAt system was vastly incomplete. in fact venkatamakhin who lived a full two centuries before bhatkande had already done a bang up job of organizing the carnatic melakarthA system, a far superior and complete classification of the tonal material that both hindustani and carnatic music are based upon. i have always found that very puzzling. did bhatkande not know of the chaturdandi prakAsikA?

by Guest Sat Jun 21, 2014 8:13 pm

MaxEntropy_Man wrote:as a classification system for the tonal material that is the source of all hindustani ragas, bhatkande's thAt system was vastly incomplete. in fact venkatamakhin who lived a full two centuries before bhatkande had already done a bang up job of organizing the carnatic melakarthA system, a far superior and complete classification of the tonal material that both hindustani and carnatic music are based upon. i have always found that very puzzling. did bhatkande not know of the chaturdandi prakAsikA?

I cannot answer your question.

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