The foundation of formal education in Hindoutienne music was laid in the 19th century, but it was only in the early decades of the 20th century that special schools for musical training have become a habitual element.
Mumbai (Bombay below) was an important opening of this transformation center, the Gandharva Mahavidyalaya being one of the earliest schools that attracted many students who did not belong to hereditary musicians or courtesan families.
The Gandharva Mahavidyalaya was originally established in Lahore in 1901 by Vishnu Digambar Paluskar (1872-1931), but began a branch of the school in Bombay in 1908. Soon, this branch became the headquarters of the school.
Several years later, BR Deodhar (1901-1990), disciple of Paluskar, founded the School of Music of India in Bombay, obviously at the insistence of Paluskar.
The name of the school was suggested by Sarojini Naidu, a poet and political leader of the independence movement whose sister was a student of Sunalini Rajam Deodhar.
In an article that appeared in the Golden Jubilee Souvenir published by the Indian School of Music, Deodhar mentions that the school began operating on July 1, 1925 without a single musical instrument. Soon, male and female students enrolled and were taught separately three times a week.
The Indian music school has also organized regular concerts that attracted many listeners. In particular, the concerts held to observe the anniversary of the death of Paluskar attracted a large audience and many known singers and instrumentalists participated in such occasions.
The Indian Music School, near the Royal Opera House in Mumbai, continues to provide Hindoutienne music training to date.
However, the participation of the Deodhar teaching of Hindu music was also noted outside the domain of the Indian Music School since it was a member of the deliberate governmental and non-governmental committees on institutionalized musical education.
As an author, the contribution of the relatively recent work of advertising Deodhar of Indian music is significant. His bio-sketches of many notable musicians are the relevant facts and musically, stripped of any adjective explanation.
Bio-sketch first appeared in successive numbers of the Sangeet Kala Vihar, a magazine released by Gandharva Mahavidyalaya Mandal in 1947. Later they were published in a book entitled Thor Sangeetkar, later translated into English and published under Pilares title of Hindustani music . These bio-sketches are part of an essential reading for any serious student of Indian music.
Deodhar was also known for his vast collection of traditional vocal compositions and his relationship with the rare rabies scholarship.
We end this episode with two titles with its performance. The first is a short exhibition in raga Gandhari. The second track is a version of raas Palasí, recorded for All India Radio.