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Let us speculate upon the situation in the 15th or 16th centuries. This is the time when , Jatigayan has disappeared from the scene, Moorchhana has faded away, the principle of Swaragrama had been established and we are led to tonality as the basis of Raga-based music. You have all the musical intervals within one octave. This was the state of evolution of the melodic ideas.
As far as rhythm is concerned, the Mridanga, the two-faced drum, continued to be the prototype of the language of all the other avanaddha & ghana instruments, just as the veena remained the prototype of the language for all melodic instrumental music.
During this period, I surmise that Nibaddha Sangeet continued to dominate music making. But, music had begun to step out of the ritualistic context. A part of it could have remained anchored in the ritualistic context; but an independent stream had certainly begun to flow .
We have no reason to believe that this was caused by court influences because the ...
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Tagged under:
ashok ranade, Indian art music
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