• Pratham Delhi Education Initiative (NGO), Delhi
• Sri Lakshmi Narayana School, Chennai
• Vivek Vidyalaya, Mumbai NEW
• Bharatiya Vidya Bhavan Matriculation school, Ajjannur, Coimbatore
• Bhavan's Girdhardas Mohota Vidya Mandir, Wardha, Maharashtra
• Bhavans Atmakuri Rama Rao School, Hyderabad, Andhra Pradesh
• J.S.S. Public School, HSR Layout, Bangalore, Karnataka
• Bhavan's RIL School, Mouda, Nagpur, Maharashtra
• Bhavans Vidyashram, Jaipur, Rajasthan
• Jeevandeep Public School, Varnasi
• Bhavan's Vidyamandir, Puthucode, Palakkad, Kerala
• Bhavan’s Vidya Mandir, Irinjalakuda, Kerala
• Bhavans Sawan Public School, New Delhi
• Bhavan's Public School, R.C. Puram, Hyderabad
• Sri Sathya Sai Vidyaniketan, Navsari, Gujarat
• Bharatiya Vidya Bhavan School, Perumthiruthi, Kozhikode, Kerala
• New Era English School, Nashik, Maharashtra
• Godkar's Academy, Mumbai
• Bhavan's Kodagu Vidyalaya, Madikeri, Karnataka
• Bhavan's Adarsha Vidyalaya, Kakkanad, Kochi, Kerala
• Kulapati Munshi Bhavan’s Vidya Mandir, Thrissur, Kerala
• Bhavan's Vidya Mandir, Girinagar, Kochi
• Bellur Kamalamma Subbana Vidya Bhavan School, Mysore
• St. Kabir School, Ahmedabad, Gujarat
• Johnson Grammar School, Habsiguda, Hyderabad

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INDIAN MUSIC

By Reema Sharda (IX C)

Indian music derived from the Natya Shastra was penned down by an ascetic some 2000 years ago. The six hundred years of Persian and Islamic rule revolutionized the north. Our music grew with theirs in the course of the rulers. That was around 1200-1800 A.D. In south, more than courts, temples were the hubs for musicians. Despite the fact that the music was more religious and spiritual in the south, it has always been a way of life in India. As the ways of life changed, so did the music.
‘Dhrupad’ was originally performed in temples as a form of worship, but two centuries down the line Raja Mansingh of Gwalior adopted it and brought it to the courts. Amir Khusro of Turkish descent gave dhrupad a Persian form and called it the ‘Qawali’. But dhrupad continued to dominate the Mughal courts until the fall of their empire. Dhrupad singer Nayak Bhakshi was Humayun’s court musician. Miyab Tansen and Baiju Bawra’s vocal combats in court of Akbar are legendary. Legend has that Tansen could sing and change the weather into rain or extreme heat.
The Mughal empire fell in the 1800 but towards the end, the khayal bloomed in the north, in Persia, ‘Khayal’ means ‘imagination’. The styles differed from musician to musician and were handed down through generations. It meant free improvisation, sketchy structure and a lot more creative freedom, to the musician. The entire lineage became disciples and disciples became family. Each style became a family heirloom, a closely guarded secret. Each family became a school of thought and the household became a Gharana.
South Indian music grew under three empires. Vijaynagar, Mysore and Tanjavur. Music had a spiritual or religious inclination. It started off then as being more organized and hence ended being more structured today. The revolution during the end of the 17th century came with the trinity of Tanjavur, between Thyagaraja, Muthaswami Dikshitar and Shyama shastri, the rules were laid out. Every raga was classified and every composition had a definite structure.
Through the turmoil of invasions and colonization, Indian classical music has been handed down in changing colours from musician to musician. Thus the legacy continues.