Music has a long history in India, dating back to the Vedic sanhitas. Hindu monarchs have always been patrons of musicians. However, early Muslim monarchs were intolerant, puritanical, and rejected music for religious grounds.
When they met the sophisticated Hindus, they acquired a love of music and encouraged them in any way they could. There were many variables that contributed to this shift.
First, they were highly captivated by the Sufis’ religious melodies and poetry.
Second, a few of Hindu converts to Islam continued to perform traditional Bhajans, devotional songs, and other forms of music.
Third, the compelling attraction and beauty of Indian music influenced Muslims to transform their hearts.
Music under the Delhi Sultans:
Some early Sultans, indeed, put limitations on music and did not patronise it, but others, like as Balban, Jalaluddin, Allauddin, Muhammad bin Tughluq, and others, were music enthusiasts who entertained musicians at their courts.
Razia Sultana was also an avid supporter of artists. She listened to the artists’ tunes and compensated them generously. Balban, although not a major patron of the fine arts, was a huge fan of music.
M W. Mirza writes, “Balban was also a big supporter of music. He has talked highly about Indian music, claiming that it is better to all other countries’ music. He is recognised for creating various new songs composed of Iranian and Indian themes.”
Prince Bughra Khan was another supporter of this art. He established a society of musicians, dancers, and actors. Members typically gathered in the Prince’s residence. Certain other aristocrats followed suit, forming similar theatrical organisations. Jai Deva, a prominent Hindu poet and musician, also flourished during the Sultanate era and enthralled the people with his beautiful compositions, which are still popular today.
Sharangdev wrote “The Magnum opus” of Indian music, Sangita Ralnakar. This book has been referred to as an encyclopaedia of Indian music. Sharangdev attempted to cover all elements of music and dance in this work, as well as the varied styles and patterns seen across the nation.
He has identified 15 categories of melodies from which all other minor melodies derive. Later academics of music see this work as authoritative. Jalaluddin Firoz Khilji has a strong passion for music.
He supported renowned musicians and poets such as Amir Khusrau and Amir Khasa. He also had a royal orchestra at his court. Allauddin Khilji also continued to support music, inviting Gopal Nayak, the renowned musician from the South, to his court. He also continued to patronise Amir Khusrau, whose exuberant songs excelled even Gopal Nayak’s.
Khusrau provided a fresh twist and direction to Northern music. He judiciously combined Persian and Indian melodies and is credited for inventing new rajas such as Saza-gari, Iman, Ushashag, and Zilf.
He also pioneered a new kind of music called Qawali, which combines Indo-Persian sounds. He is also credited with the creation of the sitar. It should be remembered that Khusrau penned songs on many parts of life and seasons. He employed the vernacular of the people.
S M. Tagore comments, “The Muhammedans as a ruling nation came into contact with the people of India for the first time in the 11th century, and since then, a change has been worked into the country’s music system.” The Muhammedans did not encourage art theory, but they patronised practical musicians and were influential in developing and introducing new song styles and musical instruments.”
During Ghiasuddin Tughlaq’s rule, music progressed. He forbade it throughout his domain. However, under Muhammad Tughlaq, music received renewed encouragement. Muhammad Tughlaq was a huge fan of music and organised a number of musical gatherings in which both Hindu and Muslim artists performed.
During his time, a distinction was made between urban and rural music. Ibn Batuta said, “The Indian music was in better shape. The music was confined, like water in a pond, which has no means to flow out, nor does water come from out. The water becomes stagnant, and so is music.”
Firoz Shah Tughlaq showed no less enthusiasm in music. It is reported that when he came to the throne, he planned a 21-day musical feast for the public’s amusement.
Locanakavi’s creation of Ragatarangini was another watershed moment in the history of music in Mediaeval India. This book describes the twelve primary melodies of Indian music. This book mentions many melodies, including Bhairii, Todi, Gauri, Tiamata, Kedara, Yamana, Sardvga, Megha-raga, Dhanaeari, Purvi, Tukhan, and Diyaka.
The Sultans of Jaunpur were also fans and supporters of music. Under their support, the first study on Indian music by a Muslim scholar from Gujarat was published. This book, named ‘Qhunyat-ul-Munyas’, was written in 1375 A.D.
Sultan Hussain Shah Sharqi was a talented musician who helped establish Khapal in the music industry. Sangita Urirhani, a magnificent treatise on music, was prepared under his support. Hindu Pandits and musicians from around the nation contributed to the creation of this masterpiece.
The kingdoms of Malwa and Gujarat also favoured musicians. Baz Bahadur of Mandu was a well-known music enthusiast. His wife, Rupmati, was a brilliant mediaeval musician. She was well aware of the numerous Ragas and Raginis.
It is reported that Baz Bahadur was so enamoured with his wife’s charm and melodies that he neglected his duty as monarch. He was forced to forfeit his crown as a result of his excessive musical indulgence.
The romantic environment of Kashmir had an important role in the development of music. Several songs were written to describe the beauty of nature, people’s lives, and so on. Zain-ul-Abidin of Kashmir was an exceptional and proficient musician.
He made significant contributions to the art of music by patronising singers and musicians. He patronised Buddi Dutta, the author of a musical book. Guru Nanak’s sangeet inspired the people of Punjab. Similarly, in Uttar Pradesh, Swami Ramanand popularised devotional music. Chandar Sakhi was another exceptional musician whose compositions were well received by the people.
In Gujarat, Narsi Mehta created religious songs that were quite popular among the people. His songs were based on many ragas and melodies. Sadna contributed significantly to the art of music in Sindh. His melodies were so lovely and melodic that they remain famous in that area.
In Bihar. Patliputra rose to prominence as a musical hub. Chintamani, also known as Bihari Bulbul, was Bihar’s most remarkable musician. She is awarded credit for transforming Bilba Mangal, a poet, into a musician. The love of Chinta and Bilba Mangal resulted in the creation of many songs.
These songs revolutionised Indian music and are still popular today. Vidyapati was one of Tirhut’s most prominent vocalists. The villagers enjoyed his devotional and love songs. One of his songs, ‘Kajri’, became particularly successful.
Chaitanya created devotional songs in worship of Lord Krishna in Bengal, promoting music and Sankirtana. This was one of the most powerful forms of devotional music, based on ragas. Chaitanya’s religious touch on music became very popular, and the general public accepted it as a kind of prayer. Shri Krishna Sangeet continues to play an important role in Bengali music.
Ramai Pandi was another brilliant musician whose works were well received by the public. Other notable personalities who contributed to the art of music in Bengal include Kritibas, Syed Alawal, and Bharat Chand.
Chandi Das was another renowned composer of the mediaeval period. He sung of Radha and Krishna’s love, and his songs gained popularity among the populace. Shankar is a prominent figure among Assamese musicians. He revolutionised music by producing ‘Barr’ tunes. His songs were often sung in temples. His apprentice, Mahadev, was a renowned musician who helped popularise music in Assam.
Firoz Shah Bahamani was an avid music fan in the South. He thought that music helped him think about God. Mahmud Shah Bahmani, another monarch of this dynasty, was also an avid musician. It is stated that he was always surrounded by musicians and couldn’t think about anything else. He was so committed to music that he ignored his political responsibilities, costing him his crown.
Yusuf Adil Shah was a strong supporter of music in Bijapur. He employed music for both therapeutic and recreational purposes. He is believed to be able to play a variety of musical instruments and sing extempore songs.
According to Prof. N.N. Law, Yusuf Adil Shah’s musical ability surpassed that of many skilled musicians of the period, whom he encouraged to join his court with generous incentives. Yusuf Adil Shah’s son was likewise a dedicated musician.
He preferred Turkish and Persian music above Indian music. Chand Bibi, Sultan of Ahmednagar’s daughter, was another outstanding 16th-century musician. She adored Indian music, particularly the Dhrupad form. It is reported that she could play the Vina and Sitar quite well.
Raja Man Singh did a lot to help the music industry in Gwalior. He patronised musicians who established a Dhruvapada school. According to Captain Willard, the Dhrupad style might be termed “the heroic song of Hindustan.” The subject is typically a recounting of some notable events of their heroes or another instructive topic. It also covers love issues, as well as trivial and frivolous topics.
The style is exceedingly masculine and nearly totally devoid of planned decorative flourishes. Manly negligence and ease seem to permeate the text, and the few twists that are permitted are always brief and unusual.
This style of composition originated during the reign of Raja Man Singh of Gwalior, who is regarded as the founder of Dhrupad performers. The Dhrupad contains four Tooka or Strains: the first is named Sthul, Sthaee, or Bedha, the second is Untara, the third is Ubhag, and the final is Bhag; some call the latter two Abhag.”
Raja Man Singh was an excellent musician and supporter of talented vocalists. Baksu was a well-known musician in the court of Raja Man Singh. Baksu fled Gwalior upon the death of his patron. Man Singh’s wife, Mrignaini, was a huge music fan. Bay Nath, the well-known Baiju-Bawara, is reported to have appeared in Man Singh’s court and created Dhrupad style.
Some ragas, such as Bahula-Qujari, Mala-Gujari, and Mangala Gujari, were also developed with the support of Raja Man Singh. Man Singh also published Mana-Kutubala, which dealt with essential aspects of the Indian music prevalent in northern India.
Thus, even in the pre-Mughal era, Indian music flourished. According to M.W. “During the evaluation era, secular and spiritual music seem to have acquired a high degree of excellence. Muslims’ contributions to Indian music are widely acknowledged as having far-reaching consequences, and devotional qawwali music, practiced by skilled artists at the monasteries of the dead or living saints, must have played a significant role in strengthening the bonds of unity between the two communities.”
Music under the Mughals:
The Mughals were enthusiastic supporters of music and encouraged its spread. Babur, the founder of India’s Mughal dynasty, was an avid musician. He felt that music had the capacity to change a man’s thinking.
He is claimed to have created several songs that have persisted for many years after his death. Lanepool explains to us, “The art of improving quatrain on the spot, quoting Persian classics, writing a good hand and singing a good song were appreciated in the time of Babur who himself was fond of music.”
Humayun, the next king, was likewise a huge fan of music and remained one till his death. He supported musicians and singers and enjoyed their company. He offered support to a vast number of artists and vocalists. His passion for music and musicians is evident in the following incident. Humayun ordered the systematic slaughter of all captives during his invasion on Mandu.
However, when he discovered that Bachchu, a superb musician, was among the detainees, he not only spared his life but also hired him as a musician at his court. Humayun is reported to have set aside two days every week—Monday and Wednesday—to listen to music.
Akbar, like Babar and Humayun, was a big supporter and patron of music. According to Abul Fazal, “Akbar gave special attention to music and patronised anyone who mastered this lovely skill. There were many musicians at the court, including Hindus, Iranis, Turanis, and Kashmiris, both male and female. The court musicians were divided into seven sections, one for each day of the week.” He goes on to state, “Akbar was the master of such a knowledge of the science of music as trained musicians do not possess; and he is also a great performer, particularly on the naqqara.”
Jahangir also said in his Tutuk-i-Jahangiri that Akbar was “himself a skilled musician and no mean performer ordered naqqara (kettledrum).” His grasp of music science is more extensive than that of most professional musicians. He studied Hindi vocalisation with Lal Kalawant, who taught him “every breathing and sound that pertains to the Hindi language.”
Akbar’s court is supposed to have been graced by musicians of great fame. Abul Fazal provided the names of at least thirty-six musicians who were present in Akbar’s court. With the exception of four or five people, everyone else was Muslim.
All of the court musicians were divided into seven groups, with one day of the week dedicated to each group, and Akbar listened to their music intently. Tansen was the most renowned musician in Akbar’s court. Abul Fazal says of Tansen, “A singer like him has not been seen in India in the last thousand years.”
Tansen became a Muslim with the blessings of Muhammad Gaus, a Muslim saint from Gwalior. He contributed to the music world with Kannra, Milan Ki Sarang, and Milan Ki Malhar, among others. Nalira Kumar Gangoli states, “The classical song Dhrupad was converted into ‘Khayal’ upon entering the Mughal court. As in Khayal, there was no modification in the Sargam (musical notes) of our classical song.”
Swami Hari Dass, a brilliant saint and musician, thrived under the reign of Akbar. His students include Baiju, Gopal, Madan Lai, Ram Dass, Diwakar, Som Nath, Tanu Mishr, Raja Soursen, and Tansen. Swami Hari Dass’ followers developed numerous new ragas and promoted music as a method of connecting the soul with God.
Pundarika Vitthal also made significant contributions to Hindustani music. He was a Burhanpur inhabitant in Kbandesh who moved to Delhi when Akbar took over Khandesh. He is credited with the composition of four publications, namely Sadraga Chandra Daya, Ragamala, Ragamanjari, and Nartananirnaya. In his Ragamala, Pundarika categorised the ragas into nineteen parent scales.
He also highlighted certain Persian tunes that had already been incorporated into Indian music at the time.
Mira, Surdas, and Tulsidas were the other notable composers and vocalists during Akbar’s rule. During Akbar’s reign, many Sanskrit books on music were translated into Persian. According to commentators, the merger of Iranian and Indian music during Akbar’s reign resulted in the emergence of a new form of music that was more sophisticated and appealing than either.
In the words of Popley, “During Akbar’s reign ragas were considerably modified under foreign influence and, though some of these modifications transgressed the established practice, they were on the whole to the advantage of music and helped to give Northern music some of its more pleasing characterstics.”
Jahangir, like his father, was a huge fan and supporter of music. The most notable musicians who prospered under his rule were Jahangir Dad, Parwez Dad, Khurram Dad, Hamjan, and Chatur Khan. The emperor spent a significant amount of time listening to their kinds.
William Finch, an English traveller who visited Agra during Jahangir’s reign, writes, “Many hundred of musicians and dancing girls attended there day and night, yet as their several turns every seventh day, that they may be ready when the king or his women shall please to call any of them to sing or dance in his Mahal, he giving to every one of them stipend according to their worth.”
Shah Jahan was also a strong supporter of music. He was an excellent vocalist and enjoyed listening to women’s music. In the words of Prof. J.N. Sarkar, “The voice of Shah Jahan was so attracÂtive that many pure-souled Sufis and holy men with hearts withdrawn from the world who attended these evening assemblies lost their senses in the ecstasy produced by singing.”
His court also included a number of notable musicians, including Jagannath, Ram Das, Mahapatra, Sukhsen, Sursen, Durang Khan, Lal Khan, and Mirza Zulqarnen. Shah Jahan’s favourite music was Dhurpad, and Lal Khan, Tansen’s son-in-law, sang it to perfection.
The final Mughal Emperor, Aurangzeb, was averse to all forms of artistic art and music. He stripped the musicians of any royal sponsorship. This irritated the musicians, and they are supposed to have placed a bier in front of the window through which Aurangzeb used to expose himself to the people every day. They veiled loudly to get the king’s notice.
When Aurangzeb approached the window and inquired about its meaning. They said, “Melody was dead, and they were taking him to the graveyard.” The Emperor responded, “Very well, make the grave deep, so that neither Voice nor Echo may issue from it.”
Despite Aurangzeb’s attempts, music did not completely vanish. The aristocrats and Hindu Rajas continued to patronise music. A variety of works on Hindustani music were created. Ahobaia, for example, identified twenty-five shrutis in his book Sangita-Parijata, but only twelve of them were utilised to characterise his ragas.
Hardayt-Kautuka and Hardaya-Prakasa created three pieces of music: Anup Vilas, Anupankush, and Anup Ratnakar.
The subsequent Mughal kings, from Jahandar Shah to Bahadur Shah II, were also avid music fans. They did everything possible to promote it. It should be mentioned that music had a significant role in fostering harmony between Hindus and Muslims.
According to Prof. S Abid Hussain, a perfect concord of taste and sensibility between Hindus and Muslims existed under the Delhi Sultanate, at the courts of tiny sovereign rulers, and in Sufi monasteries.
So the Mughals discovered a common or national musical art and achieved reality, and all they had to do was nourish and promote it with their great patronage. Music is a vehicle through which the deepest human feelings and experiences may be expressed without the need of academic conceptions.
The community of musical sensibility that was obvious among Indians of all castes and creeds demonstrated that the hearts of the people of India were now beating in unison, and the unity of basic cultural awareness as a permanent foundation for a shared culture was ensured.
It is impossible to deny that throughout the mediaeval era, music got more rich and colourful as a result of the incorporation of the greatest aspects from Muslim music. Indian music freely drew from Arabic and Persian melodies, naturalising and synthesising them. This absorption opened up a new realm of enormous possibilities for future creativity.
Write up By Ranganathan SVN Kondala – https://www.instagram.com/srivenr/
Just History 