Life Sketch and Contribution of Great Entities in the Field of Music (For CBSE, ICSE, IAS, NET, NRA 2022)

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Contribution of Tansen in the Field of Music

  • Tansen created a few Dhrupads, the topic of which went from commendation of gods to specialized terms of music. Tansen composed a few Dhrupads in commendation of Ramchandra Vaghela and sovereign Akbar. Among the four Banis of Dhrupad pervasive during that time – Khandar, Nauhar, Dagar and Govarhar, Tansen is accepted to have started the Govarhar Bani. Some Ragas that have the prefix ‘Miyan’ before their names are related with Tansen, e. g. , Miyan ki Sarang, Miyan Malhar, Miyan ki Todi and so forth. Aside from these, it is accepted that he promoted Darbari Kanhada.
  • Tansen had four children, Hamirsen, Suratsen, Tantarang Khan and Bilas Khan, Tansen՚s girl Saraswati was hitched to Mishri Singh. The ages from his child were Dhrupad vocalists and Rababiye, while ages from his girl were Binkars. One of the more prominent artists of his time, his name will stay undying like a shaft star in the melodic sky.

Sadarang-Adarang

Sadarang-Adarang
  • Music darlings more likely than not heard the name ‘sadarangeele Mohmmad shah’ or ‘mohmmadsa rangeele’ in a few organizations of the Khayal type of singing in Hindustani music. The genuine name of Muhammad Shah was Roshan Akhtar; however, he was known as Muhammad Shah Rangeele. He rose the seat of Delhi on 28 September 1719. In 1748, Nadir Shah assaulted Delhi and crushed him. He died that equivalent year.
  • Strategically, Muhammad Shah was unpracticed, in this manner he was unable to bring soundness during his standard However, his standard was significant with regards to music. His court Vina player, Niyamat Khan or Nemat Khan, otherwise called ‘Sadarang’ deified his name in the realm of music. Murakka-I-Delhi of Dargah Kuli Khan was composed somewhere in the range of 1737 and 1741. It alludes to the territory of Delhi during that time, its melodic social events, craftsmen and performers. As indicated by Dargah Kuli Khan, the name of Niyamat Khan or Nemat Khan՚s dad was Parmol Khan. Nemat Khan was conceived during the rule of Aurangzeb (1659 to 1707) .
  • Sadarang was an incredible arranger and Vina player. In spite of the fact that the Khayal type of singing had appeared, they were answerable for promoting it. To please the ruler, Sadarang made thousands out of creations of Khayal and incorporated the name of the sovereign alongside his nom de plume ‘Sadarangeele’ . In this manner, the words ‘Mohmmadsa rangeele’ or ‘Sadarangeele Mohmmad shah’ are found in his structures. Their pieces are accessible in Braj, Rajasthani, Purabi Hindi and furthermore Punjabi language, with a topic of a wide range and an excellent utilization of various Talas like Tilwada, Jhumra, Ada ChauTala, EkTala, ChaarTala, TeenTala and so forth. A few instances of Sadarang՚s arrangements are given below 1.

Structure in Raga Megh Set to Jhaptala

Sthayi – Garaj ghata ghan

kare ri kare

pavas ritu aayi

Dulhan man bhave

Antara – Ren Andheri

bijari daraave

sadarangeele Mohmmad sa

piya ghar nahee

Composition in Raga Bihag Set to TeenTala

Sthayi – Balam re more man key

chite hovan de re hovan de re meet piyarva

Antara – Sadarang ji na jaavo bidesva

sukh neendariya sovan de re

He had extraordinary order over communicating sentiments through notes. He was so included in music that consistently he used to hold a melodic social occasion which was joined in via landowners, noticeable residents and specialists the same. Adarang was likewise an artist and Vina player of incredible bore. He made pieces of the structures Dhrupad, Khayal also, Tarana. His structures were supplied with profound and philosophical notions. For instance, the structure in Raga Miyan Malhar in EkTala given beneath

Sthayi – karim naam tero tu saheb sattar

Antara – dukh dalidra dur kije, sukh deho saban ko, adarang binati karat sun leho kartar.

Similarly, the following composition in Raga Desi in TeenTala:

Sthayi – sanchi kahat hai adarang yeh, nadi naav sanjog

Antara – kaun kisi ke aave jaave, dana paani kismat laave yahi kahat sab log.

Their pieces had a specific unpredictability, development and an easy stream picked up through experience. Sadarang and Adarang both promoted and showed the structure of khayal to understudies. Accordingly, more vocalists of that period embraced this type of singing. In spite of the fact that they made a few organizations of Khayal, they themselves sang Dhrupad. Indeed, even today, their structures are sung by all Gharanas with extraordinary regard. In this manner, Sadarang and Adarang were liable for the ascent of Khayal type of singing.

Contribution of Sadarang – Adarang in the Field of Music

  • The notoriety of Niyamat Khan in the court of Muhammad Shah Rangeele was at its top. Muhammad Shah himself was a decent artist. As indicated by Murakka-I Delhi, Niyamat Khan has been called an unmatched Vina player. Niyamat Khan formed numerous Khayal՚s. He additionally added to the preparation of female vocalists in the court in his arrangements. In the music world, Niyamat Khan is known by the name of Sadarang. Dargah Kuli khan himself got the chance to go to his melodic meeting. Nemat or Niyamat Khan used to include the name of head Muhammad Shah in his pieces as a type of commendation. He used to include the sovereign՚s name either previously or after his pseudonym ‘Sadarang’ . Along these lines, ‘Sadarangeele Mohmmad Shah’ or ‘Mohmmadsa rangeele’ is discovered written in his pieces.
  • It is said that later, different artistes likewise made new sytheses of Khayal and included the name ‘Sadarangeele’ to them. Along these lines, a few Khayal՚s were made for the sake of ‘Sadarang’ . Alongside Sadarang, a few structures additionally contain the name of Adarang. As indicated by Murakka-I-Delhi, he was Sadarang՚s nephew. The genuine name of Adarang was Feroz khan. That is, the nom de plume of Feroz khan was ‘Adarang’ . Adarang was likewise an artist of extraordinary bore and a built up Vina player. Adarang was hitched to Sadarang՚s little girl, thus he was Sadarang՚s nephew, understudy what՚s more, child in-law. Sadarang and Adarang made excellent khayal՚s that are as famous today as they were during their time. A portion of their khayal organizations are accessible in Punjabi moreover. Along these lines, ‘Sadarang’ , ‘Adarang’ , deified the name of their sovereign alongside their own.

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