History of Hindustani Music and Contribution of Musicians
Domain 7 covers the historical arc of Hindustani music and the musicians the syllabus credits with shaping it.
Landmarks
Sama chant and the Natyashastra of Bharata provide the early theoretical base; Sarngadeva's Sangeet Ratnakara (13th century) codifies raga and tala. Amir Khusrau is traditionally linked with the tarana and qawwali. Tansen, in Akbar's court, is remembered for compositions and for ragas such as Miyan ki Malhar and Miyan ki Todi; his teacher was Haridas. Sadarang and Adarang (Niamat Khan and Firoz Khan) shaped the khayal.
The modern systematizers
V. N. Bhatkhande (1860–1936) proposed the ten-thaat scheme, devised a svaralipi, organised the All India Music Conferences and wrote Kramik Pustak Malika. V. D. Paluskar (1872–1931) founded the Gandharva Mahavidyalaya in 1901 and pushed notation-based public teaching.
Gharanas and Karnataka
Kirana: Abdul Karim Khan and Abdul Wahid Khan. Agra: Faiyaz Khan. Jaipur-Atrauli: Alladiya Khan. Gwalior: Haddu Khan and Naththan Pir Bakhsh. From Karnataka: Gangubai Hangal and Bhimsen Joshi (Kirana), Mallikarjun Mansur (Jaipur-Atrauli), Basavaraj Rajguru.
Worked example
A question asks who introduced the ten-thaat system. The answer is Bhatkhande, not Paluskar. Paluskar's contribution was institutional and notational - Gandharva Mahavidyalaya, printed notation, public examinations - while the thaat classification and Kramik Pustak Malika belong to Bhatkhande.
Traps
Crediting the thaat system to Paluskar; saying Tansen invented a raga rather than composing in it; placing Bhimsen Joshi in Gwalior instead of Kirana; mixing up the two twentieth-century reformers and their institutions.