"The Journey of Indian Music Beyond
Northern Borders" is basically an
analytical study of the factors and
influencing elements which carried the
Hindustani Music to far off regions of
South, the epicenter of which is
Karnataka state. This state, which is the
Mother of Carnatik Classical Music has
begun to be identified as an "Abode of
Hindustani Musicians" since the last
century. The prime highlights of the book
are the info about the musical
background of this region, the
contributions of the Royal Mysore State,
the popularization of Natya Sangeet, the
Vachan and Dasarpada compositions
especially composed in Hindustani tunes,
the struggles, triumphs and contributions
of the Kannadiga followers of Hindustani
Music, the analytical study of their
gayaki, the rising status as well as future
assumptions about Hindustani music in
the neighboring regions etc. Flip through
to know more about this odyssey.
Dr. Monika Soni is a Hindustani
Classical vocalist and a disciple of Pt.
Mani Prasadji and Dr. Chetna Banawatji
of Kirana Gharana. She is an M.A., PhD
in Music from Banasthali University,
Rajasthan. She has been a scholar of Dr.
Gangubai Hangal Gurukul in Karnataka
and is presently working as an Assistant
Professor at P.G. Govt. College for Girls
Sec.11 Chandigarh. Monika has toured
nationwide for her performances,
grabbing several awards and
appreciations from the eminent
personalities of Hindustani Music.
India’s peculiarity lies in having a unique culture for every particular
state or region. But going off the way, Karnataka, the mother of Carnatik
music, nurtured the Hindustani music in such a marvelous way that its
northern part is now known as the ‘abode of Hindustani musicians’.
During the Four-year stay at Dr. Gangubai Hangal Gurukul in
Hubli (Karnataka), I got the privilege to be under the tutelage of legendary
personalities of Hindustani Music like Pt. Mani Prasadji, Dr. N. Rajam,
Pt. Ganpati Bhatt, Pt. Kaivalya Kumar Gurav, Vidushi Vijaya Jadhav
Gatlewar and Pt. Babanrao Haldankar. They told me about the
background of the classical music of this region. While attending the
programs and concerts also, I got to know about the hardships which
the people of this region faced only because they were from a Non-
Hindustani music tradition. I too, being a North Indian, stood no
exception to it and had to tackle the language problem in the beginning.
Looking back towards the musical trends of last half of the falling
century, the only thing that was known about the musicians of Karnataka
was——Bhimsen Joshi from Karnataka got Bharat Ratna, Gangubai Hangal
from Karnataka got Padma Vibhushan, Mallikarjun Mansoor was
awarded the Padma Vibhushan and so on. But the journey behind this
Bharat Ratna or Padma Vibhushan was full of struggles and ups and
downs and is worthy to be brought forth as a live example of dedication
as well as determination. Along with the story of this journey, the
other factors like Natya geet, Dasarpada, Vachan, the story of Royal
Mysore State—all seemed too significant to be brought to light so that
the world must know their contribution in propagating the Hindustani
Music in this far off region.
North Karnataka is the birthplace of some of the greatest names
of Indian classical music. To name a few—Sawai Gandharva,
Ganpatrao Gurav, Sangameshwar Gurav, Pt. Panchakshari Gawai,
Bhimsen Joshi, Gangubai Hangal, K.G. Ginde, Dinkar Kainkani, Kumar
Gandharva, Shobha Gurtu, Basavraj Rajguru, Puttaraj Gawai, Shripati
Padegar, Madhav Gudi, Mallikarjun Mansoor, Venkatesh Kumar,
Ganpati Bhatt Hasangi, Jayateerth Mevundi, Kaivalya Kumar Gurav
et al, all hail from North Karnataka.
Before independence, the Mysore state which was under the
rule of Wodeyar dynasty spearheaded the popularization of music
among the Kannadigas (the natives of Karnataka). They patronized
Hindustani as well as Carnatik musicians as their Court Musicians
which paved a way towards the development of scopes and
opportunities for both streams of classical music.
Musicians travelling to and from Mysore to North India would
cross through the northern belt of Karnataka—Belgaum, Hubli-Dharwad,
Davangere etc. Gradually they started making halts at these places; the
few rasikas of Hindustani music who came to know about these halts
began to organize their baithaks which later became a regular practice.
Districts of Northern Karnataka laying adjacent to the Maharashtrian
musical hubs i.e. Kolhapur, Miraj, Satara, Pune etc. took the influence
from these neighboring regions. Marathi Natyas, the religio-spiritual
literature of Haridasas; Vachans of Shiv Sharanas also began to be
composed in Hindustani bhajan style which made Hindustani music a
stream being practiced at every house. Excellence in the field of tabla
and harmonium accompaniment also sensed a hike.
There were hindrances too, which tried to come in the way of these
simple Kannadigas. These legendary artists, better called the divine souls,
adopted this art even on terms of going penniless for years, worshipped
it like devotees without expecting anything in return. They also contributed
their unforgettable part by popularizing it among the common people, by
preserving it through written matter and by passing it on in the safe
hands of their hard working disciples to conserve it.
Hence, to bring forth the extreme penance of the vocalists of
North Karnataka, to survey out the other factors which helped them in
popularizing Hindustani music in the North Karnataka and the present
trend of classical music in this area is the main objective of this book.
So I am presenting this book to the Music World as humble attempt to
express my gratitude and pay tributes to the great Indian Musicians.
**Contents and Sample Pages**
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