Abstract:
The focus of this study is to identify the significance of Sanskrit Prabandha (compositions) and its impact on Hindustani Music during the period from 7th Century - 13th Centuries CE. The Musical edifice specified as Gāna (compositions), in Indian musicological parlance has two facets viz., Nibaddha (structural) and Anibaddha (unstructural). The Nibaddha which organized by dhatus (sections) and Angas (integral parts) is called 'Prabandha'. Sanskrit Prabandha (Pra + Bandh > well tied or well bound) is a type of musical composition set to words (pada), rhythmic patterns (tāla), metrical composition (chandas - vrtta) and governed by six elements (anga) viz., Svara, Viruda, Pada, Tena, Paata and Tāla and four sections( dhātu) viz.,Udgraha, Melapaka, Dhruva and Abhoga. The structures, internal divisions, the elements of meter (chandas), Rāga, Tālaand Rasa, as also the musical terms that are prevalent in Hindustani music also derived from Prabandha and its traditions. The Dhrupad tradition of the Hindustani music has been evolved from Sālagasūda Prabandha, which consists of five sections (dhātu) namely Udgraha, Melapaka, Dhruva, Antra and Abhoga. The Nom- Tom ālap system in the Dhrupad and the jor-Jhala tradition in the Sitar describe the significance of Tena or Tenaka (meaningless syllables or sound conveying a sense of auspiciousness). The Bandish (composition) in Hindustani music and Bol-Bant (the division of words synchronized with the beats and cross rhythms) are also improvised from the Prabandha. Thus, it is apparent that the Sanskrit Prabandha tradition has a significant influence on the musical principles of Hindustani music. The study involved a survey of literature and scholarly studies
