The music of India and its history are too complex to be described briefly. Nevertheless a brief introduction will help those who are new to Indian music; they will no doubt be more influenced by what they hear than by what they read but a foreknowledge of certain theoretical points may assist their appreciation.

The actual list perhaps can take up a few hundred web pages more, Though these listed aspects can be studied deeply, and separately.

• The Vedic Period

Music, according to Hindu mythology, originated with the first sound ever to be heard in the universe, the Naadbrahma, or Om. This Naadbrahma pervades the entire universe and, being a manifestation of the divine power (or Brahma), is the purest sound to be heard. It is this purity that the musician attempts to achieve in his dedicated pursuit, or sadhana, of the music he is involved in.

Where Indian cultural history is concerned, the farthest one can go back is, perhaps, the time of the Vedas, approximately 5000 to 4000 BC. These are arguably the earliest written documents to have emerged from the Indian subcontinent. The Vedic chants themselves, though, would date back even further subcontinent. The Vedic chants themselves, though, would date back even further.

According to researchers, by 600 BC or so the dramatization of music was evolved. The three sapthaks, octaves -- mandra sapthak, the lower octave, madhya sapthak, the middle octave, and taar sapthak, the higher octave -- had been established as ranges within which musical composition could function. Concepts like taal, beat, and jati, ways in which notes could be used, were being recognised and established.

It was around at that time, between 200 BC and 200 AD, that Bharata's Natyashastra (Indian Drama Techniques) were said to have been written. One of the first authoritative texts on performing arts, the Natyashastra was intended as the fifth Veda, laying down rules and structures that performers were to follow in theater, dance and music.

With the Muslim rulers came the mehfil, gatherings of musicians, singers, dancers and poets at the homes of noblemen and royal. These gatherings were for the express purpose of patronising artistes and performers in their skills and giving them platforms to display their talents.

In fact, for many performers these mehfils were a way of earning their living. For if they pleased the nobleman or royal, handsome rewards were to be received in the form of precious jewels or sovereigns, rewards that would see them through hard times and that would help build a legacy for their descendants.

Appreciation of the Intricacies of Raga and Classical Music.
Vocal Music and different styles of singing.

 

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