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Hindustani Classical Music is a South Asian classical music tradition developing in the North of the Indian subcontinent circa the 13th and 14th centuries AD from already existing religious singing practices. The practice of singing based on notes was popular even from the Vedic times where the hymns in Sama Veda, a sacred text, was sung and not chanted. Developing a strong and diverse tradition over several centuries, it has contemporary traditions established primarily in India but also in Pakistan and Bangladesh. In contrast to Carnatic music, the other main Indian classical music tradition originating from the South, Hindustani music was not only influenced by ancient Hindu musical traditions, Vedic philosophy and native Indian sounds but also by the Persian performance practices of the Afghan Mughals.
Outside South Asia, Hindustani classical music is often associated with Indian music, as it is arguably the most popular stream of music outside the sub-continent.
Unlike Western classical music, in Hindustani classical music the three octave ranges are not fixed and the ascent notes may not be identical to the descent notes. Hindustani classical music, like Carnatic music, is organized by Ragas (also called raag) which are characterized by their specific ascent (Arohana) and descent (Avarohana) notes, King (Vadi) and Queen (Samvadi) notes and a unique note phrase (Pakad). In addition each raga has its natural octave register (Ambit) and glisando (Meend) rules.
Hindustani music was structurally organized into the current That scale by Pt. Vishnu Narayan Bhatkhande (1860-1936) in the early part of the 20th century. Prior to this, Ragas were classified as Male (raag), female (Ragini) and Putra (children) ragas.
When artists, usually performers (as opposed to writers) have reached a distinguished level of achievement, titles of respect are added to their names. Hindus are referred to as Pandits and Muslims as Ustads.
Music has long been important to Hinduism, especially for many Vaishnavite sects. During the ancient period, priests who sung Vedic hymns, did so based on notes as assigned by the rules later codified in Chandogya Upanishad in circa. 1800 BC. These priests were called Samans or Samavedis and a number of ancient musical instruments such as conch (Shankhu), lute (Veena), flute (bansuri), trumptets and horns were associated with this and latter practices of ritual singing. The name Raga was first found in Natya Shasta a treatise on all dramatic forms of ancient India circa 200 AD purportedly written by Bharata Muni. Later periods saw further evolution in music theory and the purana period was characterized by numerous references to singing, musicians and musical instruments. Narada's Sangita Makarandha treatise circa 1100 AD is the earliest text where rules similar to the current Hindustani classical music can be found. Narada actually names and classifies the system in its earlier form before the advent of changes as a result of Islamic influences. Jayadeva's Gita Govinda from the 12th century was perhaps the earliest musical composition presently known sung in the classical tradition called Ashtapadi music.
The advent of Islamic rule under the Delhi Sultanate and later the Mughal Empire over northern India caused the traditional musicians to seek patronage in the courts of the new rulers. These Islamic rulers had strong cultural and religious sentiments focussed outside of India; yet they lived in, and administered kingdoms which retained their traditional Hindu culture. This helped spur the fusion of Hindu and Muslim ideas to make qawwali and khayal. Perhaps the most legendary musician of this period is Amir Khusrau, who is credited with systematizing the Hindustani methodologies by studying the forms of Vedic music theory and spurring a chain of creative composition that melded Indian with Persian sensibilities. He is also credited with inventing most of the major genres of Hindustani music (such as qawwali), and some of its most important instruments (such as the sitar).
Later, the Mughal Empire intermarried with Indians, especially under Jalal ud-Din Akbar. Music and dance flourished during this period, and the Hindu musician Tansen is still well-remembered. Indeed, his ragas (which are based on times of the day) were reputed to have been so powerful that according to legend, upon his playing a night-time raga in the morning, the entire city fell under a hush and clouds gathered in the sky.
In the 20th century, the power of the maharajahs (Hindus) and nawabs (Muslims) declined, and thus so did their patronage. The Indian Government-run All India Radio helped to stop this development and replaced the patronage system. The first star was Gauhar Jan, whose career was born out of Fred Gaisberg's first recordings of Indian music in 1902.