vartaman uttar bhartiya sashtriya sangeet ke paripeksh main tansen ka itivrat aur unki prapt ...

276 Pages·2013·5.53 MB·English

VARTAMAN UTTAR BHARTIYA SASHTRIYA
SANGEET KE PARIPEKSH MAIN TANSEN KA
ITIVRAT AUR UNKI PRAPT RACHNAON KA
SWAROOP – EK VISHLESHANATMAK
ADHYAYAN

A Thesis Submitted for the award of the degree of
Doctor of Philosophy (Ph.D.)
In
Music - Vocal

GUIDE: RESEARCHER :
Dr. Ashwinikumar Singh Ms. Surekha Rani

H.O.D. Dean
Pandit Ishwarchandra Dr. Prof. Parul Shah
Vocal and Tabla

Registration No: 155 Date of Registration: 2/11/2007

Department of Indian Classical Music (Vocal - Tabla)
Faculty of Performing Arts
The Maharaja Sayajirao University of Baroda
Vadodara – 390002
August – 2013.
I
CANDIDATE’S DECLARATION
I hereby declare that the work incorporated in the present thesis is
original and has not been submitted to any other University/Institute
for the award of any Diploma or Degree. I further declare that the
result presented in the thesis, considerations may therein
contributed in general to the advancement of particular to the
knowledge in Indian Classical Music in particular to the “Vartman
Uttar Bhartiya Shastriya Sangeet Ke Paripeksh Main Tansen
KaItivrat Aur Unki Prapt Rachnaon Ka Swaroop-Ek
Vishleshnatmak Adhayayan.”

Signature of the Candidate
Surekha Rani
Place: Vadodara
Date:

II
CERTIFICATE BY THE GUIDE
This is to certify that Ms. Surekha Rani has completed her doctoral
study titled “Vartman Uttar Bhartiya Shastriya Sangeet Ke
Paripeksh Main Tansen KaItivrat Aur Unki Prapt Rachnaon Ka
Swaroop - Ek Vishleshnatmak Adhyayan” under my guidance.
Thisis the original research work submitted to The Maharaja
Sayajirao University of Baroda, Vadodara for the degree of Doctor of
Philosophy in Music (Vocal).
I, further certify that the work has not been submitted either partly
or fully to any other University or Institution for the award of any
degree.

Signature of the Guide
Dr. Ashwini Kumar Singh
Place: Vadodara
Date:

III
ACKNOWLEDGEMENT
It feels proud to write an ‘acknowledgement’, for more than any else it marks the
contribution and support of in numerous entities. I would like to put on record my
sincere thanks to all who stood by me during the period of this research work and
have directly or indirectly made it possible for me to complete this research work.
First and foremost I would like to express my deep sense of gratitude to my research
guide, Dr. Ashwini Kumar Singh Department of Vocal (music), Faculty of Performing
Arts, The Maharaja Sayajirao University of Baroda, Vadodara, for providing me the
opportunity to undertake a research work under his guidance. This effort was
possible only because of the unconditional support provided by him. A person with
an amicable and position disposition, Sir has always made himself available to clarify
my doubts despite his busy schedules and I consider it as a great opportunity to do
my doctoral programme under his guidance and to learn from his research expertise.
Thank you Sir, for all your kind help and great support. His excellent guidance
throughout the progress of this work, his ingenuity, constant encouragement and
interest in the subject proved to be a constant source of inspiration for me. His
motivation, affection and caring nature during the entire research work.
I would like to express my gratitude to my earlier guide Late Prof. Dr. Shrikant
Lakshman Chaturvedi who gave me the opportunity to do research on this topic. He
provided sound advice, excellent teaching, keen knowledge and lots of innovative
ideas during my course.
I express my indebtedness to Dean Dr. Parul Shah, Department of Dance Faculty of
performing Arts, The Maharaja Sayajirao University of Baroda, Vadodara, for her
academic and administrative support.
I am extremely grateful to the Head and former Dean Pandit Ishwar Chander,
Department of Vocal (music), Faculty of Performing Arts, The Maharaja Sayajirao
University of Baroda, Vadodara, for his kind support, encouragement and
appreciations of my skills.
IV
I am extremely obliged to Pt. Yash Paul Sharma from Chandigarh, for his guidance
and providing me the books related to my research work.
I am grateful to the Librarians of, the Faculty of Performing Arts, as well as, the
Hansa Mehta Library and non-teaching staff of Faculty of Performing Arts, The
Maharaja Sayajirao University of Baroda, Vadodara, for their full cooperation during
my research work.
I would like to acknowledge Pushkar Sir, Department of Tabla, Faculty of Performing
Arts, for his kind support.
I also want to thank Rajesh Kelkar Sir, Department of Vocal, Faculty of Performing
Arts, for his motivation and guidance during my research work.
My enormous gratitude to Dr. Madhuri Singh for her guidance, motivation and
affection, during this great venture of my career.
I would also like to acknowledge Vishal Graphics, Kanubhai, Virendra, Trilokji and
Subhash Shinde for their cooperation, kind support and help.
I express my immense thanks to my dearest friends Tara Nair and Priyanka Chopra
Arora for their constant push and concern about my research. Special thanks to my
friend Tara Nair for her help and suggestions during the submission of my Synopsis.
I would also like thank to my hostel mates Tara Nair, Priyanka Chopra Arora, Aditi
Gupta, Shilpa Gupta, Updesh Kour, Eesha Thakur, Minasree Borgohain , Shagufta
Noor and my roommate Lata Manhasfor their boosting words, favours and love.
I would like to extend my sincerest thanks and appreciation to my in-laws, my
mother-in-law Mrs. Geeta Mehra, brother-in-law Mr. Vishal Mehra, Vinay, Sister-in-
law Mrs. Alka Mehra for their cooperation, love, providing constant support and
trust.
I would also like to thank my Aunt Mrs. Darshana Mehra Pal and Uncle Mr. J.K. Pal
for their unconditional love and support.
I would also like to thank my Aunt Mrs. Kailash Mehra Sadhu, H.O.D. Music, in
Jammu University, for her professional and personal guidance in my research work
and also thank to her family members for their love and support.
V
Words fall short to express my everlasting love for my mother Smt. Champa
Khadotra and my father Late Er. Kuldeep Raj Khadotra for giving me life in the first
place, for educating me and providing infinite support and encouragement to pursue
my interest even when they stretched beyond the means. Without my mom and
dad’s tender loving care, constant encouragement, their boosting words and trust on
me, this thesis would have never seen the light of the day. They were always there to
meet and talk about my ideas. Their presence motivated me to be persistent to
accomplish my goal. My father passed away during my research work but he always
feels proud on me. Thank you for all that Daddy. I miss you so much. After Dad’s
death the biggest of all the giants is my MOM, who I cannot thank enough for the
support she has given me, the constant encouragement she provides and for always
being there for me. I am so fortunate to have a champion like you, who is supportive
and motivating in equal measures like DAD. My head bows in gratitude to them.
Alongside my Mom there is my sister Nitasha, my brother Ranjeet Singh Khadotra
and my sister-in-law Neelu Bhagat, whom I thanks for showing their support, trust
and affection towards me. Thank you brother for encouraging me to choose Music as
my subject.
I would also like to thank my niece Twinkle, and nephews Sarthak, Heman, Sunny
and Manny for keeping me lively throughout my research work.
Above and beyond all my exceptional thanks to my dearest husband Mr. Dinesh
Mehra for believing in me, his inspiration, moral support, patience and guidance
provided at every stage of the research work. I truly thank Dinesh for sticking by my
side even when I was irritable and depressed. I feel that what we both learned a lot
about life and strengthened our commitment and determination to each other and
to live life to the fullest. This thesis would not have been possible without the
confidence, endurance and support of my Husband. Thank you dear for your love
and being with me all through.
About all, I am thankful to almighty GOD for granting me the wisdom, health and
strength to undertake this research task and enabling me to its completion.

Surekha Rani
VI
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VII
Dedicated
to
My Family
and
My Husband

VIII
LIST OF CONTENT

Page
Sr. No. Content
No.
1. Declaration of Candidate I
2. Certificate by Guide II
3. Acknowledgement III-V
4. Sholk VI
5. Dedication VII
6. Photo of Tansen VIII
7. List of Photos -
Description of Photo
1. Main gate of Tansen Samark Behat 10
2. Tansen’s Aradhna Sthal Jhilmilnath Temple Behat 11
3. Tansen’s Aradhna Sthal Jhilmilnath Temple Behat 11
4. Tansen’s Samadhi Sthal Gwalior 14
5. Tansen’s Samadhi Sthal Gwalior 14
6. Tomb of Sheikh Muhammed Gous 18
7. Akbar & Tansen Visit Swami Haridas at 20
Vrindavan
8. Musician Poet Tansen 70
9. Ragmala Painting of Raga Vasant 178
10. Ragmala Painting of Raga Shree 181
11. Ragmala Painting of Raga Asawari 184
12. Painting of Raga Megh 189
13. Ragmala Painting of Raga Todi 193
14. Ragmala Painting of Raga Miyan ki Sarang 195
IX
LIST OF CONTENT
Chapter -1
Musical Background and Education of Tansen
1.0 Introduction 1-2
1.1 The family Introduction of Tansen 2-6
1.1 Birth of Place of Tansen 6-10
1.1.2 Tansen’s Date of Birth 12-15
1.2 Music Teacher of Tansen 15-17
1.2.1 Peer Muhammad Gous 17-19
1.2.2. Swami Haridas 19-21
1.2.3. Govind Swami 21-22
1.2.4 Makarand 23
1.2.5 Mohammad Adi Shah Adali(1549-1556 A.D.) 23-24
1.2.6. Baiju, Bakshu and Mehmood 24-26
1.3 Cast of Tansen 26
1.4 The Religion of Tansen 27-31
1.5 The Efficiency of Tansen 31-32
1.6 The Children and Shishya Parampara (Tradition of 32-33
Disciple) of Tansen
1.6.1 Fictional Children of Tansen 33-34
1.7 Patron of Tansen 34
1.8 Tansen Atayi 35-36
1.9 The illusion related to Tansen and their Origin 36

X