You can listen his interviews dated July 13, 2019 and July 15, 2019 here:
• Mukta Charcha | Pandit...
• Majha Special | ज्येष्...
In a book entitled 'Music in Maharshtra' that was published in Year 1967, Prof. G. H. Ranade argues as below:
"The thirteenth century has a special significance in the cultural history of Maharashtra. Sharangdeva (1175-1247 AD), the author of the Sangeet Ratnakar, belonged to a family of Kashmiri Pandits domiciled in Maharashtra. His grandfather, Bhaskar, a great Sanskrit Pandit was an emigrant from Kashmir and had settled in Devgiri, the capital and cultural center of Maharashtra at the time, long before the birth of Sharangdeva. The Lakshya mentioned by Sharangdeva must have been the music current in Maharashtra. This is amply borne out by his free use and incorporation of Marathi terms in the body of the text of the Sangeet Ratnakar. Gopal Nayak, the greatest musician of the Yadav court, was taken under duress to Delhi by Allauddin Khilji, at the instance of Amir Khusro, a great soldier, scholar, and musician. Khusro subsequently learned all the characteristics of Gopal Nayak's style of music which served as the source for most of his later inventions and experiments. It was this Maharashtrian music tradition which served as the parent stem on which Amir Khusro must have grafted his later innovations. Many artists from Maharashtra had their training in Khyal-music under reputed Ustads at places like Gwalior, and through them modern Khyal was introduced in Maharashtra. But this has led some of our own scholars to deny Maharashtra any classical music of its own and assert that all that passes under that name was borrowed from the North. But in fact the North has only returned what it had borrowed earlier from Maharashtra." "It thus appears that there were no separate schools of music at least before the end of the Yadav dynasty, and that the system as described in the Sangeet Ratnakar (i.e., the music tradition of Maharashtra) was current in both the North and the South and was regarded as the standard system."
To know more about ancient Maharashtra, you can watch the following lecture:
• "प्राचीन महाराष्ट्र" -...
Also listen the following statements at 32.52.
• 35th Baithak | Shri Ga...
"The very foundation of Carnatic Music is Marathi Abhangs. It is a precursor to Carnatic Music."
To further appreciate Maharashtra's contribution to music, the readers are encouraged to critically analyze the following books:
1) कल्पना संगीत (1955/2012) by Govindrao Tembe
2) सखी, भावगीत माझे - शब्द-सुरांचा अद्भुत प्रवास (2012) by Dr. Shobha Abhyankar
3) Maharashtra’s contribution to Music (1972) by Vamanrao
Deshpande
4) महाराष्ट्राचे संगीतातील कार्य (1974) by Vamanrao Deshpande
5) मराठी नाट्यसंगीत (1975) by Bal Samant
6) शब्दप्रधान गायकी (1978) by यशवंत देव
7) Stage Music of Maharashtra (1986) by Dr. Ashok Da. Ranade
8) Maharashtra’s Art Music (1989) by Dr. Ashok Da. Ranade
9) महाराष्ट्रातील संगीतपरंपरा (2010) by Shubhada Kulkarni
10) वेध : संगीत नाटक आणि नाटयसंगीत
11) मराठी नाट्यसंगीतः स्वरूप आणि समीक्षा by Vijaya Tilak
12) समर्थ रामदासांचे संगीत चिंतन (2000) by Dr. Kamalakar Paralikar
("Prominent Saint Samartha Ramdas had mastery on the aspects
of Hindustani Classical Music and we find references of his analysis in the poems, ‘Bandishes’ and scriptures written by him. This unique book throws light on this classical music aspect of the literature created by Saint Ramdas from Sajjangad, Satara, Maharashtra")
14 июл 2019
