History of Indian Music: Ancient, Medieval and Modern Periods; Treatises and Musicologists
This section traces music theory from Vedic chant and Bharata to medieval codification and the modern printed era. The exam tests dates, authors, treatise titles and the reason each source matters.
Core rules
- Ancient period: Sama Veda chant, Bharata's Natyasastra, Narada's Sangita Makaranda tradition and the idea of marga music. Natyasastra covers natya, raga, tala, rasa and instruments.
- Medieval period: Sarngadeva's Sangita Ratnakara, 13th century, codifies raga, tala and prabandha and bridges ancient and medieval practice. Persian court influence later helps shape Hindustani music.
- Treatises: Ramamatya's Svaramelakalanidhi, 16th century; Venkatamakhin's Chaturdandi Prakasika, 17th century; Govindacharya's Sangraha Chudamani, which consolidates the 72-melakarta scheme.
- Modern period: Subbarama Dikshitar's Sangita Sampradaya Pradarsini, print, sabhas, radio, music colleges and notation standardisation change transmission.
Worked example
If asked why the 72-melakarta scheme is not ancient, reason from sources. Bharata's Natyasastra does not list 72 melakartas. Venkatamakhin's Chaturdandi Prakasika discusses 72 melas, and Govindacharya's Sangraha Chudamani gives the practical catalogue with names and svara patterns. Subbarama Dikshitar later documents lakshana and compositions. The scheme is therefore a medieval-to-modern construction, not a Vedic one.
Traps that cost marks
Attributing Sangita Ratnakara to Bharata; calling Natyasastra a modern treatise; confusing Svaramelakalanidhi with Chaturdandi Prakasika; saying Amir Khusrau founded Carnatic music; giving a treatise title without its author.