View source for Music of India

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{{Redirect|Indian music}}
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{{Use Indian English|date=August 2017}}
{{Indian music}}
{{Indian culture}}
Owing to India's vastness and diversity, Indian music encompasses numerous genres in multiple varieties and forms which include [[Indian classical music|classical music]], [[Indian folk music|folk]], [[Indian rock|rock]], and [[Indian pop|pop]]. It has a history spanning several millennia and developed over several geo-locations spanning the sub-continent. Music in India began as an integral part of socio-religious life.

==History==
{{main | Music in ancient India }}
[[File:Dancing_girl.jpg|thumb|''[[Dancing Girl (prehistoric sculpture)|Dancing Girl]]'' sculpture from the [[Indus Valley civilization]] (c. 4,500 years ago)]]
[[File:Nimbu Bhoj cave, harper.jpg|thumb|Nimbu Bhoj cave, [[Pachmarhi]], India, date uncertain, possibly 2nd millennium B.C. - 1st millennium B.C.<ref name="Dubey">{{Cite book |last=Dubey-Pathak |first=Meenakshi |title=Studien zur Musikarchäologie I. Saiteninstrumente im archäologischen Kontext |date=2000 |publisher=Verlag Marie Leidorf |editor-last=Ellen Hickmann |series=Orient-Archäologie, Band 6 (Orient Department of the ''German Archaeological Institute'', Berlin) |location=Rahden/Westphalia |pages=22–23, 29 |chapter=Musical Depictions in the Rock-Paintings of the Pachmarhi Hills in Central India |isbn=9783896466365 |quote=A painting in the Nimbu Bhoj shelter shows...the male figure is playing a string harp...Fig. 2 Harper and family... |editor-last2=Ricardo Eichmann |chapter-url=https://archive.org/details/saiteninstrument0000ictm/page/20/mode/2up?view=theater}}</ref><ref name="Meshk">{{Cite book |last=Meshkeris |first=Veronika |title=Studien zur Musikarchäologie I. Saiteninstrumente im archäologischen Kontext |date=2000 |publisher=Verlag Marie Leidorf |editor-last=Ellen Hickmann |series=Orient-Archäologie, Band 6 (Orient Department of the ''German Archaeological Institute'', Berlin) |location=Rahden/Westphalia |pages=74, 75, 83 |chapter=Musical Phenomena of Convergency in Eurasian Rock Art |isbn=9783896466365 |quote=plate VII, figures 5, 6 and 7... Then, in the late Bronze Age and Iron Age (2nd-1st mill. B.C.) the attention of the painters shifted from imaginary images to ritual participants...development of musical culture is confirmed by the appearance of different musical instruments...the bowed harp and hourglass drum (Plate VII, 5-7, India)... |editor-last2=Ricardo Eichmann |chapter-url=https://archive.org/details/saiteninstrument0000ictm/page/82/mode/2up?view=theater}}</ref> Bronze Age harper playing an [[arched harp]]. Digital drawing, recreating cave painting.]]

=== Pre-history ===
====Paleolithic====
The 30,000-year-old [[paleolithic]] and [[neolithic]] cave paintings at the [[World Heritage Site|UNESCO world heritage site]] at [[Bhimbetka rock shelters]] in Madhya Pradesh show a type of dance.<ref>{{cite book|author=Kapila Vatsyayan|title=Dance in Indian Painting|url=https://books.google.com/books?id=58fUibaZdGYC |year=1982|publisher=Abhinav Publications|isbn=978-81-7017-153-9|pages=12–19}}</ref> [[Mesolithic]] and [[chalcolithic]] cave art of [[Bhimbetka rock shelters|Bhimbetka]] illustrates musical instruments such as [[Gong]]s, [[Lyre|Bowed Lyre]], [[daf]] etc.<ref>{{Cite book|url=https://books.google.com/books?id=SyxOHOCVcVkC&q=Varadpande|title=History of Indian Theatre|last=Varadpande|first=Manohar Laxman|date=1987|publisher=Abhinav Publications|isbn=978-8170172215|language=en}}</ref><ref>{{Cite book|last=Varadpande|first=Manohar Laxman|url=https://books.google.com/books?id=SyxOHOCVcVkC&q=Varadpande|title=History of Indian Theatre|date=1987|publisher=Abhinav Publications|isbn=9788170172215|pages=55, illustration no 10|language=en}}</ref>

====Neolithic====
[[Chalcolithic]] era (4000 BCE onward) narrow bar shaped polished stone [[Celt (tool)|celts]] like music instruments, one of the earlier musical instrument in India, were excavated at [[Sankarjang]] in the [[Angul]] district of [[Odisha]].<ref>[http://orissagov.nic.in/e-magazine/Journal/Journal2/pdf/ohrj-014.pdf]    {{webarchive|url=https://web.archive.org/web/20091029204543/http://orissagov.nic.in/e-magazine/Journal/Journal2/pdf/ohrj-014.pdf|date=29 October 2009}}</ref> There is historical evidence in the form of sculptural evidence, i.e. musical instruments, singing and dancing postures of damsels in the Ranigumpha Caves in [[Khandagiri]] and [[Udayagiri and Khandagiri Caves|Udayagiri]] at [[Bhubaneswar]].

==== Indus River Valley Civilization ====
[[Dancing Girl (prehistoric sculpture)|Dancing Girl sculpture]] (2500 BCE) was found from the [[Indus Valley civilization]] (IVC) site.<ref name="national">{{cite web|title=Collections:Pre-History & Archaeology|publisher=National Museum, New Delhi|url=http://nationalmuseumindia.gov.in/prodCollections.asp?pid=44&id=1&lk=dp1|access-date=3 February 2014|archive-date=6 January 2019|archive-url=https://web.archive.org/web/20190106145719/http://nationalmuseumindia.gov.in/prodCollections.asp?pid=44&id=1&lk=dp1|url-status=dead}}</ref><ref>{{Cite book|url=https://books.google.com/books?id=e--vDQAAQBAJ&q=aesthetics+of+the+dancing+girl+mohenjodaro&pg=PA34|title=Origin of Indians and their Spacetime|last=Nalapat|first=Suvarna|date=2013|publisher=D C Books|isbn=978-9381699188|language=en}}</ref><ref name="singh">{{cite book|last1=Singh|first1=Upinder|title=A History of Ancient and Early Medieval India : from the Stone Age to the 12th century|date=2008|publisher=Pearson Education|location=New Delhi|isbn=978-8131711200|page=162|url=https://books.google.com/books?id=H3lUIIYxWkEC&q=dancing+girl+harappa&pg=PA162|access-date=15 November 2014}}</ref><ref name="jane">{{cite book|last1=McIntosh|first1=Jane R.|title=The Ancient Indus Valley : New Perspectives|date=2008|publisher=ABC-CLIO|location=Santa Barbara, CA|isbn=978-1576079072|pages=281, 407|url=https://books.google.com/books?id=1AJO2A-CbccC&q=dancing+girl|access-date=15 November 2014}}</ref> There are IVC-era paintings on pottery of a man with a [[dhol]] hanging from his neck and a woman holding a drum under her left arm.<ref name="shodh1">[http://shodhganga.inflibnet.ac.in/bitstream/10603/13634/8/08_chapter%202.pdf origin of Indian music and arts]. Shodhganga.</ref>

===Vedic and ancient era===
[[Vedas]] (c. 1500 – c. 800 BCE [[Vedic period]])<ref>see e.g. MacDonell 2004, pp 29–39; ''Sanskrit literature'' (2003) in Philip's Encyclopedia. Accessed 2007-08-09</ref><ref>see e.g. Radhakrishnan and Moore, 1957,; Witzel, Michael, "Vedas and {{IAST|Upaniṣads}}", in: {{Harvnb|Flood|2003|p=68}}; MacDonell 2004, pp 29–39; ''Sanskrit literature'' (2003) in Philip's Encyclopedia. Accessed 2007-08-09</ref><ref>Sanujit Ghose (2011). "[https://www.worldhistory.org/article/230/ Religious Developments in Ancient India]" in ''Ancient History Encyclopedia''.</ref><ref>{{cite book|author=Gavin D. Flood|title=An Introduction to Hinduism|url=https://archive.org/details/introductiontohi0000floo |url-access=registration|year=1996|publisher=Cambridge University Press|isbn=978-0-521-43878-0|pages=[https://archive.org/details/introductiontohi0000floo/page/37 37]–39}}</ref> document rituals with performing arts and play.<ref name="var1" />{{Sfn|Maurice Winternitz|2008|pp=181–182}} For example, [[Shatapatha Brahmana]] ({{circa}}800–700 BCE) has [[shloka|verses]] in chapter 13.2 written in the form of a play between two actors.<ref name="var1">ML Varadpande (1990), History of Indian Theatre, Volume 1, Abhinav, {{ISBN|978-8170172789}}, p. 48</ref> ''[[Tala (music)|Tala]]'' or ''taal'' is an ancient music concept traceable to [[Vedas|Vedic]] era texts of [[Hinduism]], such as the ''[[Samaveda]]'' and methods for singing the Vedic hymns.{{Sfn|Sorrell|Narayan|1980|pp=3–4}}<ref>{{cite book|author=Guy L. Beck|title=Sonic Liturgy: Ritual and Music in Hindu Tradition|url=https://books.google.com/books?id=UzUMCAAAQBAJ&pg=PT63|year=2012|publisher=University of South Carolina Press|isbn=978-1-61117-108-2|pages=63–64}}</ref><ref>{{cite book|author=William Alves|title=Music of the Peoples of the World|url=https://books.google.com/books?id=6fkJAAAAQBAJ&pg=PA266|year=2013|publisher=Cengage Learning|isbn=978-1-133-71230-5|page=266}}</ref> [[Smriti]] (500 BCE to 100 BCE ) post-vedic [[Hindu texts]]{{Sfn|Patrick Olivelle |1999 |pages=xxiii}}<ref>Jan Gonda (1970 through 1987), A History of Indian Literature, Volumes 1 to 7, Otto Harrassowitz Verlag, {{ISBN|978-3-447-02676-5}}</ref><ref>Teun Goudriaan and Sanjukta Gupta (1981), Hindu Tantric and Śākta Literature, A History of Indian Literature, Volume 2, Otto Harrassowitz Verlag, {{ISBN|978-3-447-02091-6}}, pp. 7–14</ref> include [[Valmiki]]'s [[Ramayana]] (500 BCE to 100 BCE) which mentions dance and music (dance by [[Apsara]]s such as [[Urvashi]], [[Rambha (apsara)|Rambha]], [[Menaka]], [[Tilottama]] [[Panchāpsaras]], and [[Ravana]]'s wives excelling in ''nrityageeta'' or "singing and dancing" and ''nritavaditra'' or "playing musical instruments"), music and singing by [[Gandharva]]s, several [[string instrument]]s ([[Veena|vina]], [[Santoor|tantri]], [[Rudra veena|bīn]], [[Vipanchi veena|vipanci]] and ''vallaki'' similar to ''veena''), [[wind instrument]]s ([[shankha]], [[venu]] and ''venugana'' – likely a mouth organ made by tying several flutes together), [[raga]] (including ''kaushika'' such as ''raag kaushik dhwani''), [[vocal register]]s (seven ''[[svara]]'' or ''sur'', ''ana'' or ''[[Shruti (music)|ekashurti]]'' drag note, ''murchana'' the [[Scale (music)|regulated rise and fall]] of voice in ''[[Matra (music)|matra]]'' and ''tripramana'' three-fold ''[[Tala (music)#Description|teen taal]]'' ''[[Tempo#Musical vocabulary|laya]]'' such as ''[[drut]]'' or quick, ''[[Madhya laya|madhya]]'' or middle, and ''[[vilambit]]'' or slow), poetry recitation in [[Bala Kanda]] and also in [[Uttara Kanda]] by [[Lava (Ramayana)|Luv]] and [[Kusha (Ramayana)|Kusha]] in ''[[Marga Sangeet|marga]]'' style.<ref name="rama1">Ananda W. P. Guruge, 1991, [https://archive.org/details/trent_0116402264364/page/180 <!-- quote=ramayana mentions musical instruments. --> The Society of the Ramayana], pp. 180–200.</ref> 
 
Starting from the earliest known work [[Tholkappiyam]] (500 BCE), there are several references to music and ''Panns'' in the ancient pre-Sangam and [[Sangam literature]] starting from the earliest known work [[Tholkappiyam]] (500 BCE). Among Sangam literature, ''[[Mathuraikkanci]]'' refers to women singing ''sevvazhi pann'' to invoke the mercy of God during childbirth. In ''[[Tolkappiyam]]'', the five [[Sangam landscape|landscapes]] of the Sangam literature had each an associated ''Pann'', each describing the mood of the song associated with that landscape. Among the numerous ''panns'' that find mention in the ancient Tamil literature are, ''Ambal Pann'', which is suitable to be played on the flute, ''sevvazhi pann'' on the ''Yazh'' (lute), ''Nottiram'' and ''Sevvazhi'' expressing pathos, the captivating ''Kurinji pann'' and the invigorating ''Murudappann''. [[Pann]]({{langx|ta|பண்}}) is the melodic mode used by the [[Tamil people]] in [[Ancient Tamil music|their music]] since the ancient times.  The ancient ''panns'' over centuries evolved first into a [[pentatonic]] scale and later into the seven note Carnatic [[Swara|Sargam]]. But from the earliest times, Tamil Music is [[heptatonic]] and known as Ezhisai (ஏழிசை).<ref>Adiyarkunallar's commentary to the ''Aychiyarkkuravai'', the seventh book of [[Cilappatikaram]] gives the number of Srutis and how they were allotted among Seven notes. {{Harvnb|Rowell|2000|pp=138–144}}</ref>

[[sanskrit]] saint-poet [[Jayadeva]], who was the great composer and illustrious master of classical music, shaped ''Odra-Magadhi'' style music and had great influence on [[Odissi music|Odissi Sangita]].<ref name="bare_url_a"/><ref name="orissatourism"/>

[[Sharngadeva|Śārṅgadeva]] composed [[Sangita-Ratnakara]], one of the most important [[Sanskrit]] musicological texts from India,<ref name="Bod2013p116">{{cite book|author=Rens Bod|title=A New History of the Humanities: The Search for Principles and Patterns from Antiquity to the Present |url=https://books.google.com/books?id=321oAgAAQBAJ&pg=PA116 |year=2013|publisher=Oxford University Press |isbn=978-0-19-164294-4|page=116}}</ref><ref name="Nijenhuis1977p12">{{cite book|author=Emmie te Nijenhuis|title=Musicological literature, Volume 6, Part 1|url=https://books.google.com/books?id=HkUIAQAAIAAJ|year= 1977|publisher =Harrassowitz|isbn=978-3-447-01831-9|pages=12, 33–34}}, Quote: "The largest work that has for a long time been the most important source of information on the ancient period, is the famous Samgitaratnakara written by Sarngadeva in the first half of the thirteenth century."</ref> which is regarded as the definitive text in both [[Hindustani music]] and [[Carnatic music]] traditions of [[Indian classical music]].<ref name="MasseyMassey1996">{{cite book|author1=Reginald Massey|author2=Jamila Massey|author2-link=Jamila Massey|title=The Music of India|url=https://books.google.com/books?id=yySNDP9XVggC&pg=PA42|  year= 1996|publisher= Abhinav Publications|isbn= 978-81-7017-332-8|pages=42–43}}</ref><ref>{{cite book|author=Rens Bod|title=A New History of the Humanities: The Search for Principles and Patterns from Antiquity to the Present|url= https://books.google.com/books?id=321oAgAAQBAJ&pg=PA116| year=2013|publisher=Oxford University Press|isbn=978-0-19-164294-4|page=116}}</ref>

[[Assamese people|Assamese]] poet [[Madhava Kandali]], writer of [[Saptakanda Ramayana]], lists several instruments in his version of ''"Ramayana"'', such as [[Pakhavaj|mardala]], khumuchi, bhemachi, dagar, gratal, ramtal, [[tabla|tabal]], [[anklet|jhajhar]], jinjiri, bheri mahari, [[Tokari geet|tokari]], dosari, [[kendara]], [[dotara]], [[Veena|vina]], [[Rudra veena|rudra-vipanchi]], etc. (meaning that these instruments existed since his time in the 14th century or earlier).<ref name="mus1">Suresh Kant Sharma and Usha Sharma, 2005, [https://books.google.com/books?id=ffe4dMu4p_gC&dq=ramayana+mentions+musical+instruments&pg=PA288 Discovery of North-East India], p. 288.</ref> The Indian system of [[Musical notation|notation]] is perhaps the world's oldest and most elaborate.<ref>{{cite book |first=Gaurishankar Hirachand | last=Ojha |title=Madhya Kalin Bharatiya Sanskriti}} pp. 193–194.</ref>

===Medieval era===
In the early 14th century under the [[Khiljis]], there were concerts and competitions between Hindustani and Carnatic musicians.<ref>Beale, T.W., [[An Oriental Biographical Dictionary]], p. 145</ref>

From the 16th century onwards, treatises written on music<ref name="bare_url_a"/><ref name="orissatourism"/> were [[Arts of Odisha#Music|Sangitamava Chandrika, Gita Prakasha, Sangita Kalalata and Natya Manorama]].

===Twentieth century===
In the early 1960s [[Jazz]] pioneers such as [[John Coltrane]] and [[George Harrison]] collaborated with Indian instrumentalists and started to use Indian instruments such as [[sitar]] in their songs. In the late 1970s and early 1980s, [[rock and roll]] fusions with Indian music were well known throughout [[Europe]] and [[North America]]. In the late 1980s, Indian-British artists fused Indian and Western traditions to make the [[Asian Underground]]. In the [[new millennium]], American [[hip hop music|hip-hop]] has featured Indian filmi and bhangra. [[wikt:mainstream|Mainstream]] [[hip-hop]] artists have sampled songs from [[Bollywood movies]] and have collaborated with [[List of Indian artists|Indian artists]], such as [[Timbaland]]'s "Indian Flute"

In 2010, [[Laura Marling]] and [[Mumford & Sons]] collaborated with the Dharohar Project.<ref name=dharo1/>

== Classical music ==
{{Main|Indian classical music}}
The two main traditions of Indian classical music are [[Carnatic music]], which is practised predominantly in the peninsular (southern) regions, and [[Hindustani music]], which is found in the northern, eastern and central regions. The basic concepts of this music includes ''[[Shruti (music)|Shruti]]'' (microtones), ''[[Swaras]]'' (notes), ''[[Alankar]]'' (ornamentations), ''[[Raga]]'' (melodies improvised from basic grammars), and ''[[Tala (music)|Tala]]'' (rhythmic patterns used in percussion). Its tonal system divides the octave into 22 segments called Shrutis, not all equal but each roughly equal to a quarter of a whole tone of the Western music. Both the classical music are standing on the fundamentals of [[The seven notes of Indian Classical music]]. These seven notes are also called as Sapta svara or Sapta Sur. These seven svaras are Sa, Re, Ga, Ma, Pa, Dha and Ni respectively. These Sapta Svaras are spelt as Sa, Re, Ga, Ma, Pa, Dha and Ni, but these are shortforms of Shadja (षड्ज), Rishabha (ऋषभ), Gandhara (गान्धार), Madhyama (मध्यम), Panchama (पंचम), Dhaivata (धैवत) and Nishada (निषाद) respectively.<ref>{{cite web| url = https://brainly.in/question/4916824| url-status = dead| archive-url = https://web.archive.org/web/20200728090947/https://brainly.in/question/4916824| archive-date = 28 July 2020| title = What is the full form of SA,RA,GA,MA,PA,DHA,NI,SA - Brainly.in}}</ref> These are also equivalent to Do, Re, Mi, Fa, So, La, Ti. Only these seven svaras built up the Hindustani classical music and the Carnatic classical music. These seven svaras are the fundamentals of a [[raga]]. This seven svaras without any variations in them, are called as Shuddha svaras. Variations in these svaras cause them to be {{lang|hi-Latn|Komal}} and {{lang|hi-Latn|Tivra}} svaras. All the other svaras except Sadja(Sa) and Pancham (Pa) can be {{lang|hi-Latn|Komal}} or {{lang|hi-Latn|Tivra}} svaras but Sa and Pa are always {{lang|hi-Latn|Shuddha}} svaras. And hence svaras Sa and Pa are called '''Achal Svaras''', since these svaras don't move from their original position while svaras Ra, Ga, Ma, Dha, Ni are called '''Chal Svaras''', since these svaras move from their original position.
    
     '''Sa, Re, Ga, Ma, Pa, Dha, Ni - {{lang|hi-Latn|Shuddha}} Svaras'''
    
     '''Re, Ga, Dha, Ni - Komal Svaras''' 
   
     '''Ma - {{lang|hi-Latn|Tivra}} Svaras'''

[[Sangeet Natak Academy]] recognizes eight classical dance and music forms, namely [[Bharatanatyam]], [[Kathak]], [[Kuchipudi]], [[Odissi]], [[Kathakali]], [[Sattriya]], [[Manipuri dance|Manipuri]] and [[Mohiniyattam]].<ref>{{cite book |author1=Bishnupriya Dutt |author2=Urmimala Sarkar Munsi |title=Engendering Performance: Indian Women Performers in Search of an Identity |url=https://books.google.com/books?id=uNaGAwAAQBAJ&pg=PA216 |year=2010 |publisher=Sage Publications |isbn=978-81-321-0612-8 |page=216}}</ref> Additionally, India's Ministry of culture also includes [[Chhau dance|Chhau]] in its classical list.

===Carnatic music===
{{Unreferenced section|date=March 2018}}
{{Main|Carnatic music}}

Carnatic music can be traced to the 14th - 15th centuries AD and thereafter. It originated in South India during the rule of [[Vijayanagar Empire]] through the Keerthanas composed by [[Purandara Dasa]]. Like Hindustani music, it is [[Melodic music|melodic]], with improvised variations, but tends to have more fixed compositions. It consists of a composition with improvised embellishments added to the piece in the forms of ''[[Alapana|Raga Alapana]]'', ''[[Kalpanaswaram]]'', ''[[Niraval|Neraval]]'' and, in the case of more advanced students, [[Ragam Thanam Pallavi]]. The main emphasis is on the vocals as most compositions are written to be sung, and even when played on instruments, they are meant to be performed in a singing style (known as ''gāyaki''). Around 300 [[raga]]ms are in use today. [[Annamayya]] is the first known composer in Carnatic music. He is widely regarded as the Andhra Pada kavitā Pitāmaha (Godfather of Telugu song-writing).

[[Purandara Dasa]] is considered the father of Carnatic music, while the later musicians [[Tyagaraja]], [[Shyama Shastry]] and [[Muthuswami Dikshitar]] are considered the trinity of Carnatic music.{{Citation needed|date=November 2011}}

Noted artists of Carnatic music include  [[Ariyakudi Ramanuja Iyengar]] (the father of the current concert format), [[Palghat Mani Iyer]], [[Madurai Mani Iyer]], [[Semmangudi Srinivasa Iyer]], [[Nedunuri Krishnamurthy]] [[Alathur Brothers]], [[M. S. Subbulakshmi]], [[Lalgudi Jayaraman]], [[Balamuralikrishna]], [[T. N. Seshagopalan]], [[K. J. Yesudas]], [[N. Ramani]], [[Umayalpuram K. Sivaraman]], [[Sanjay Subrahmanyan]], [[T. M. Krishna]], [[Bombay Jayashri]], [[Aruna Sairam]], [[Mysore Manjunath]],

Every December, the city of [[Chennai]] in India has its eight-week-long [[Madras Music Season|Music Season]], which is the world's largest cultural event.<ref>[[Madras Music Season]]</ref>

Carnatic music has served as the foundation for most music in South India, including folk music, festival music and has also extended its influence to film music in the past 100–150 years or so.

===Hindustani music===
{{Unreferenced section|date=March 2016}}
{{Main|Hindustani classical music}}
The tradition of Hindustani music dates back to Vedic times where the hymns in the Sama Veda, an ancient religious text, were sung as Samagana and not chanted. It diverged from Carnatic music around the 13th–14th centuries CE, primarily due to Islamic influences.{{citation needed|date=February 2014}} 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, historical [[Historical Vedic religion|Vedic philosophy]] and native Indian sounds but also enriched by the [[Persian traditional music|Persian]] performance practices of the [[Mughal era|Mughals]]. Classical genres are [[dhrupad]], [[dhamar (music)|dhamar]], [[khyal]], [[tarana]] and [[sadra (music)|sadra]], and there are also several semi-classical forms.

The root of the name C(K)arnatic music is derived from Sanskrit. Karnam means ears and Atakam means that which is sweet or that which lingers on.

===Light classical music===
There are many types of music which comes under the category of light classical or semi-classical. Some of the forms are [[Thumri]], [[Dadra]], [[Bhajan]], [[Ghazal]], [[Chaiti]], [[Kajri]], [[Tappa]], [[Natya Sangeet]] and [[Qawwali]]. These forms place emphasis on explicitly seeking emotion from the audience, as opposed to the classical forms.

==Folk music==
[[File:Hira Devi Waiba.jpg|thumb|[[Hira Devi Waiba]], pioneer of Nepali folk songs in India|alt=]]
{{Main|Indian folk music}}

=== Tamang Selo ===
{{Main|Tamang Selo}}
[[File:Navneet-Aditya-Waiba-Live.jpg|thumb|[[Navneet Aditya Waiba|Navneet Aditya Waiba-]] Folk singer]]
This is a musical genre of the [[Tamang people]] and popular amongst the Nepali speaking community in West Bengal, Sikkim, India and around the world. It is accompanied by Tamang instruments, the [[Madal]], [[Damphu drum|Damphu]] and [[Tungna]], although nowadays musicians have taken to modern instruments. A Tamang Selo can be catchy and lively or slow and melodious, and is usually sung to convey sorrow, love, happiness or day-to-day incidents and stories of folklore.<ref>{{Cite web|last=(ACCU)|first=Asia⁄Pacific Cultural Centre for UNESCO|title=Asia-Pacific Database on Intangible Cultural Heritage (ICH)|url=https://www.accu.or.jp/ich/en/arts/A_NPL12.html|access-date=2018-07-21|website=www.accu.or.jp}}</ref>

[[Hira Devi Waiba]] is hailed as the pioneer of Nepali folk songs and Tamang Selo. Her song '[[Chura ta Hoina Astura]]' (चुरा त होइन अस्तुरा) is said to be the first Tamang Selo ever recorded. She has sung nearly 300 songs through her musical career spanning 40 years.<ref>{{Cite news|date=20 January 2011|title=Hira Devi dies of burn injuries|newspaper=The Telegraph|location=Calcutta (Kolkata)|url=https://www.telegraphindia.com/west-bengal/hira-devi-dies-of-burn-injuries/cid/445656|access-date=31 January 2020}}</ref><ref>{{Cite news|date=2016-12-07|title=चुरा त होइन अस्तुरा – पहिलो तामाङ सेलो गीत ? – Tamang Online|language=en-US|work=Tamang Online|url=http://www.tamangonline.com/news/13540|access-date=2018-07-21}}</ref> After Waiba's death in 2011, her son Satya Aditya Waiba (producer/manager) and [[Navneet Aditya Waiba]] (singer) collaborated and re-recorded her most iconic songs and released an album titled ''[[Ama Lai Shraddhanjali]]'' (आमालाई श्रद्धाञ्जली-Tribute to Mother).<ref>{{Cite news|title=Daughter revives mother's songs|work=The Telegraph|url=https://www.telegraphindia.com/1170126/jsp/siliguri/story_132419.jsp|archive-url=https://web.archive.org/web/20170202035251/https://www.telegraphindia.com/1170126/jsp/siliguri/story_132419.jsp|url-status=dead|archive-date=2 February 2017|access-date=2018-07-21}}</ref><ref>{{Cite news|date=2017-01-10|title=Songs of Tribute|language=en-US|work=The Himalayan Times|url=https://thehimalayantimes.com/entertainment/music/songs-of-tribute-navneet-aditya-waiba-and-satya-aditya-waiba/|access-date=2018-07-21}}</ref><ref>{{Cite news|title=छोराछोरीले दिए हीरादेवीलाई श्रद्धाञ्जली|language=ne|url=https://www.kantipurdaily.com/literature/2017/11/04/20171104075616.html|access-date=2018-07-21}}</ref> The duo are the only individuals in the Nepali folk music genre who produce authentic traditional Nepali folk songs without adulteration or modernisation.<ref>{{Cite web|date=2018-06-10|title=Music Khabar हिरादेवी वाइवाका गीतलाई पुनर्जीवन - Music Khabar|url=http://musickhabar.com/2016/12/29/16166/|url-status=dead|archive-url=https://web.archive.org/web/20180610202829/http://musickhabar.com/2016/12/29/16166/|archive-date=2018-06-10|access-date=2020-06-28}}</ref><ref name=":0">{{Cite web|date=26 January 2017|title=Daughter revives Mother's songs|url=https://www.telegraphindia.com/1170126/jsp/siliguri/story_132419.jsp|url-status=dead|archive-url=https://web.archive.org/web/20170202035251/https://www.telegraphindia.com/1170126/jsp/siliguri/story_132419.jsp|archive-date=2 February 2017|website=The Telegraph}}</ref>

===Bhangra and Giddha===
{{main|Music of Punjab}}

[[Bhangra (music)|Bhangra]] ([[Gurmukhi|Punjabi]]: ਭੰਗੜਾ) is a form of [[dance]]-oriented [[folk music]] of [[Punjab region|Punjab]]. The present musical [[File:Tamak and Tumdak 01.jpg|thumb|[[Tamak']] (r.) and [[Tumdak']] (l.) - typical drums of the Santhal people, photographed in a village in [[Dinajpur District, Bangladesh|Dinajpur district]], [[Bangladesh]].]]style is derived from non-traditional musical accompaniment to the riffs of [[Punjab (India)|Punjab]] called by the same name. The female dance of [[Punjab region]] is known as [[Giddha]] ([[Gurmukhi|Punjabi]]: ਗਿੱਧਾ).

===Bihu and Borgeet===
{{Main|Bihu|Borgeet|Music of Assam}}

[[File:Bihu dance of Assam.jpg|thumb|[[Assamese people|Assamese youth]] performing [[Bihu dance|Bihu]].]]

[[Bihu]] ({{langx|as|বিহু}}) is the festival of New Year of [[Assam]] falling on mid-April. This is a festival of nature and mother earth where the first day is for the cows and buffaloes. The second day of the festival is for the man. Bihu dances and songs accompanied by traditional drums and wind instruments are an essential part of this festival. Bihu songs are energetic and with beats to welcome the festive spring. Assamese drums (dhol), Pepa(usually made from buffalo horn), Gogona are major instruments used.<ref>{{Cite web|url=https://www.utsavpedia.com/cultural-connections/celebrating-spring-bihu/|title=Bihu Dance|date=2013-07-15}}</ref><ref>{{Cite web|url=http://mythicalindia.com/features-page/bihu-dance-and-other-popular-folk-dance-forms-of-assam/|title=Bihu- Most prominent amongst folk dance forms of Assam|date=2016-05-07}}</ref>

[[Borgeet]]s ({{langx|as|বৰগীত}}) are lyrical songs that are set to specific [[raga]]s but not necessarily to any [[Tala (music)|tala]]. These songs, composed by [[Srimanta Sankardeva]] and [[Madhavdeva]] in the 15th–16th centuries, are used to begin prayer services in [[Satra (Ekasarana Dharma)|monasteries]], e.g. [[Satra (Ekasarana Dharma)|Satra]] and [[Namghar]] associated with the [[Ekasarana Dharma]]; and they also belong to the repertoire of [[Music of Assam]] outside the religious context. They are a lyrical strain that express the religious sentiments of the poets reacting to different situations, and differ from other lyrics associated with the [[Ekasarana Dharma]]. [[File:Jodhpur RIFF.jpg|right|thumb|Group of Dharohar [[Indian folk music|folk music]]ians performing in [[Mehrangarh Fort]], [[Jodhpur]], India]]Prominent instruments used in borgeets are ''Negera,''[[Taal (instrument)|Taal]], [[Khol]]s etc.<ref>{{Cite book|title=Early history of the Vaisnava faith and movement in Assam|last=Neog|first=Maheswar|publisher=Motilal Banarsidass|year=1980|isbn=81-208-0007-9|location=Delhi}}</ref>

=== Dandiya ===
{{Main|Dandiya}}

[[Dandiya]] or Raas is a form of Gujarati cultural dance that is performed with sticks. The present musical style is derived from the traditional musical accompaniment to the folk dance. It is practiced mainly in the state of Gujarat. There is also another type of dance and music associated with Dandiya/Raas called [[Garba (dance)|Garba]].

=== Gaana ===
{{Main|Gaana}}
[[Gaana]] is a [[Rapping|rap]]-like "collection of rhythms, beats and sensibilities native to the [[Dalit]]s of Chennai."<ref name=":02">{{Cite book|last=Valan|first=Antony Arul|title=Keywords for India : A Conceptual Lexicon for the 21st Century.|publisher=Bloomsbury Publishing Plc|year=2020|isbn=978-1-350-03927-8|location=London|pages=83–84|chapter=Gana (Gānā)|oclc=1134074309}}</ref><ref>{{Cite news|date=2006-04-02|title='Gaana' Ulaganathan bags 3 more film offers|language=en-IN|work=The Hindu|url=https://www.thehindu.com/todays-paper/tp-national/tp-tamilnadu/gaana-ulaganathan-bags-3-more-film-offers/article3141626.ece|access-date=2019-10-23|issn=0971-751X}}</ref> It evolved over the past two centuries, combining influences from the ''siddhars'' (tantric adepts) of ancient [[Tamilakam]], Tamil Sufi saints, and more.<ref name=":02" /> Gaana songs are performed at weddings, stage shows, political rallies, and funerals. Performers sing about a wide range of topics, but the essence of gaana is said to be "angst and melancholy" based in life's struggles.<ref name=":02" /> In the past few decades, the genre has entered the music of the mainstream Tamil film industry and gained popularity.<ref name=":02" /><ref name=":4">{{Cite news|last=Srivathsan|first=A.|date=2012-08-25|title=A struggle to elevate the subaltern Chennai Gana|language=en-IN|work=The Hindu|url=https://www.thehindu.com/news/cities/chennai/a-struggle-to-elevate-the-subaltern-chennai-gana/article3817592.ece|access-date=2021-03-27|issn=0971-751X}}</ref> Contemporary gaana bands like [[The Casteless Collective]] are bringing the genre to new audiences while using it for social activism, especially against [[Caste system in India|caste discrimination]].<ref name=":02" />

=== Haryanvi ===
{{Main | Music of Haryana | l1= Haryanvi music}}
[[File:Indian_Been_Music_at_Surajkund_Craft_Fair.webm|thumb|277x277px|Video of [[Dhol]], string instrument (Ektara) and [[Pungi|Been]] musicians at [[Surajkund#Surajkund International Crafts Mela|Surajkund International Crafts Mela]] (c. 12 Feb 2012).]]

[[Music of Haryana|Haryana folk music]] has two main forms: classical folk music of Haryana and desi folk music of Haryana (country music of Haryana).<ref name=harmu1>S. C. Bhatt and Gopal K. Bhargava, 2006, [https://books.google.com/books?isbn=8178353652 Land and People of Indian States and Union Territories: 21 Arts and Crafts of Haryana].</ref> They take the form of ballads and pangs of parting of lovers, valor and bravery, harvest and happiness.<ref name=harmu3>Manorma Sharma, 2007, [https://books.google.com/books?isbn=8131300463 Musical Heritage of India], p. 65.</ref> Haryana is rich in musical tradition and even places have been named after [[raga]]s, for example [[Charkhi Dadri district]] has many villages named as Nandyam, Sarangpur, Bilawala, Brindabana, Todi, Asaveri, Jaisri, Malakoshna, Hindola, Bhairvi and Gopi Kalyana.<ref name=harmu1/><ref name=harmu2>S. Gajrani, 2004, [https://books.google.com/books?isbn=818205060X History, Religion and Culture of India], Volume 1, p. 96.</ref>

=== Himachali ===
Himachal's folk music varies according to the event or the festival. One of the most popular style of music is ''Nati Music,'' where ''nati'' being the traditional dance that is done on the song. Nati Music is usually celebratory, and done in fairs or other occasions such as marriages.

===Jhumair and Domkach===
[[Jhumair]] and [[Domkach]] are [[Nagpuri people#Culture|Nagpuri folk music]].  The musical instruments used in folk music and dance are [[Dhol]], [[Madal|Mandar]], [[Bansuri|Bansi]], [[Naqareh|Nagara]], [[Dhak (instrument)|Dhak]], [[Shehnai]], [[Khartal]], Narsinga etc.<ref>{{Cite web|url=http://democraticworld.in/component/k2/item/603-out-of-the-dark|title=Out of the Dark|website=democratic world.in}}</ref><ref name="dailypioneer.com">{{Cite news|url=https://www.dailypioneer.com/2018/state-editions/talk-on-nagpuri-folk-music-at-ignca.html|title=talk on nagpuri folk music at ignca|website=daily Pioneer.com}}</ref>

===Lavani===
{{Main|Lavani}}

[[Lavani]] comes from the word ''Lavanya'' which means "beauty". This is one of the most popular forms of dance and music that is practiced all over [[Maharashtra]]. It has, in fact, become a necessary part of the Maharashtrian folk dance performances. Traditionally, the songs are sung by female artists, but male artists may occasionally sing [[Lavani]]s. The dance format associated with [[Lavani]] is known as [[Tamasha]]. Lavani is a combination of traditional song and dance, which particularly performed to the enchanting beats of 'Dholaki', a drum-like instrument. The dance is performed by attractive women wearing nine-yard saris. They are sung in a quick tempo. Lavani originated in the arid region of Maharashtra and Madhya Pradesh.

=== Manipuri ===
{{Main | Music of Manipur }}
[[File:Apsara Gandharva Dancer Pedestal Tra Kieu.jpg|thumb|Gandharva as dancers are found sculpted in early medieval era temples of Southeast Asia, East Asia, Siberia, Micronesia, Polynesia and the Arctic. The Meiteis believe that they are the Gandharvas.<ref name=raginidevi1/>]]

[[Music of Manipur]] and [[Manipuri dance]] are heritage of [[Meitei people|Manipuri people]]. According to tradition of the Manipuri people in the Himalayan foothills and valleys connecting India to Burma, they are the Gandharvas (celestial musicians and dancers) in the [[Vedas|Vedic]] texts,<ref name=raginidevi1/> and historic texts of Manipuri people calls the region as ''Gandharva-desa''.<ref name=reginald1/> The Vedic ''Usha'', the goddess of the dawn, is a cultural motif for Manipuri women, and in the Indian tradition, it was ''Usha'' who created and taught the art of feminine dance to girls.<ref name=reginald1/> This oral tradition of women's dance is celebrated as ''Chingkheirol'' in the Manipuri tradition.<ref name=reginald1/>

The ancient Sanskrit texts such as the Mahabharata epic mentions [[Manipur]], where Arjuna meets and falls in love with Chitragada.<ref name=raginidevi1/> Dance is called ''Jagoi'' in a major Meitei language of the region and it traces a long tradition in Manipur. Lai Haraoba dance likely has ancient roots and shares many similarities with dance postures of [[Nataraja]] and his legendary disciple called Tandu (locally called ''Tangkhu'').<ref name=reginald1/><ref name=raginidevi1/> Similarly, as does the dance related to commoner ''Khamba'' and princess ''Thoibi'' – who perform as pan-Indian Shiva and Parvati, in the legendary tragic love story of Khamba-Thoibi found in the Manipuri epic ''Moirang Parba''.<ref name=raginidevi1>Ragini Devi, 1990, Dance Dialects of India, Motilal Banarsidass publishers, {{ISBN|978-81-208-0674-0}}, p. 176.</ref><ref name=reginald1>2004, Reginald Massey, India's Dances: Their History, Technique, and Repertoire, Publications, {{ISBN|978-81-7017-434-9}}, pp. 178–181.</ref><ref>{{cite book|author=Shovana Narayan|title=The Sterling Book of Indian Classical Dance|url=https://books.google.com/books?id=zLOiaGDLYOAC |year=2011|publisher=Sterling Publishers|isbn=978-81-207-9078-0|page=54}}</ref>

=== Marfa music ===
{{Main | Marfa (music) | l1= Marfa music}}

[[Marfa (music)|Hadrani Marfa]], or simply Marfa music, introduced during the 18th century in [[Hyderabad State]] by the East African [[Siddi| Siddi community]] from Afro-Arab music of [[Hadhramawt]] in [[Yemen]], is a form of celebratory rhythmic music and dance among the [[Hyderabadi Muslims]], played with high tempo using [[Marfa (instrument)|Marfa instrument]], [[daf]]f, [[Dhol]], [[percussion instrument|sticks]],<ref name="TheHindu1">{{Cite news|url=http://www.thehindu.com/news/cities/Hyderabad/article2216021.ece# |title='Marfa' band of the Siddis 'losing' its beat |work=The Hindu|date=10 July 2011 |access-date=16 August 2011 |location=Hyderabad, India}}</ref><ref name="An_African_Indian_community_in_Hyderabad">{{Cite book|title=An African Indian community in Hyderabad: Siddi identity, its maintenance and Change |author=Ababu Minda Yimene |pages=209–211 |publisher=Greenwood |isbn=3-86537-206-6 |year=2004 |url=https://books.google.com/books?id=DigPvwHTqJ4C&q=marfa+hyderabad+history&pg=PA210}}</ref> [[steel pot]]s and [[wooden]] strips called ''thapi''.<ref name="TheHindu3">{{Cite news|url=http://www.hindu.com/2008/10/23/stories/2008102358610200.htm |archive-url=https://web.archive.org/web/20081026124808/http://www.hindu.com/2008/10/23/stories/2008102358610200.htm |url-status=dead |archive-date=26 October 2008 |title=It's "teen maar" for marriages, festivals |date=23 October 2008 |access-date=16 August 2011 |work=[[The Hindu]] |location=Hyderabad, India}}</ref>

=== Mizo ===
{{Main | Mizo music }}

[[Mizo music]] originated when couplets were developed during the settlement of [[Thantlang]] in Burma between 1300 and 1400 CE, and folk songs developed during this period were dar hla (songs on gong); Bawh hla (War chants), Hlado (Chants of hunting); Nauawih hla (Cradle songs) A greater development of songs can be seen from the settlement of Lentlang in Burma, estimated between late 15th to 17th Century CE.<ref>B. Thangliana, Mizo Literature, 1993, p. 76</ref> The Mizo occupied the present Mizoram from the late 17th century. The pre-colonial period, that is from the 18th to 19th century was another important era in the history of Mizo folk literature. Prior to the annexation by the British Government, the Mizo occupied the present Mizoram for two centuries. In comparison with the folk songs of Thantlang and Lentlang settlement, the songs of this period are more developed in its number, form and contents. The languages are more polished and the flows also better. Most of the songs of this period are named after the composers.

=== Odissi ===
{{Main | Odissi music }}
[[File:Basi_Basistha_Jabali_Bamadeba.ogg|left|thumb|Sample of Odissi performance art with the 17th Canto from the 17th century Odia poet Upendra Bhanja's 'Baidehisha Bilasa' being sung. Odissi and Kathakali drama traditions have had an important influence on India's narrative traditions.]]

[[Jayadeva]], the 12th century sanskrit saint-poet, the great composer and illustrious master of classical music, has immense contribution to Odissi music. During his time '''Odra-Magadhi''' style music got shaped and achieved its classical status. He indicated the classical ragas prevailing at that time in which these were to be sung. Prior to that there was the tradition of '''Chhanda''' which was simple in musical outline. From the 16th century onwards, treatises on music<ref name="bare_url_a">{{cite web |url=http://orissaculture.gov.in/dance.asp |title=Culture Department |publisher=Orissaculture.gov.in |access-date=2012-05-26 |archive-date=3 April 2012 |archive-url=https://web.archive.org/web/20120403151246/http://www.orissaculture.gov.in/dance.asp |url-status=dead }}</ref><ref name="orissatourism">{{cite web |url=http://www.orissatourism.net/dance-music.html |title=Orissa Dance & Music |publisher=Orissatourism.net |access-date=2012-05-26 |archive-date=20 May 2012 |archive-url=https://web.archive.org/web/20120520225020/http://www.orissatourism.net/dance-music.html |url-status=dead }}</ref> were '''Sangitamava Chandrika''', '''Gita Prakasha''', '''Sangita Kalalata''' and '''Natya Manorama'''. A couple of treatise namely, ''Sangita Sarani'' and ''Sangi Narayana'', were also written in the early path of the 19th century.

[[Odissi music|Odissi Sangita]] comprises four classes of music namely '''Dhruvapada''', '''Chitrapada''', '''Chitrakala''' and '''[[Panchal]]''', described in the ancient oriya music texts. The chief Odissi and '''Shokabaradi'''. Odissi '''Sangita''' (music) is a synthesis of four classes of music, i.e. '''Dhruvapada''', '''Chitrapada''', '''Chitrakala''' and [[Panchal]], described in the above-mentioned texts.

The great exponents<ref name="bare_url_a" /><ref name="orissatourism" /> of Odissi music in modern times are the Late Singhari Shyamasundara Kar, Markandeya Mahapatra, Kashinath Pujapanda, [[Balakrushna Das]], [[Gopal Chandra Panda]], [[Ramhari Das]], Bhubaneswari Misra, Shymamani Devi and [[Sunanda Patnaik]], who have achieved eminence in classical music.

===Rabindra Sangeet (music of Bengal)===
{{Main|Rabindra Sangeet}}
[[File:Rabindranath Tagore Ra-Tha seal initials.jpg|thumb|right|upright|Rabindranath Tagore's Bengali-language initials are worked into this "Ro-Tho" wooden seal, stylistically similar to designs used in traditional Haida carvings. Tagore embellished his manuscripts with such art.]]
[[File:Dance with Rabindra Sangeet - Kolkata 2011-11-05 6669.JPG|Dance accompanied by Rabindra Sangeet|thumb]]
Rabindra Sangeet ({{langx|bn|রবীন্দ্রসঙ্গীত}} ''Robindro Shonggit'', {{IPA|bn|ɾobindɾo ʃoŋɡit}}), also known as Tagore songs, are songs written and composed by [[Rabindranath Tagore]]. They have distinctive characteristics in the [[music of Bengal]], popular in India and [[Bangladesh]].<ref>[[#Gh|Ghosh, p. xiii]]</ref> "Sangeet" means music, "Rabindra Sangeet" means music (or more aptly songs) of Rabindra.
[[File:T S Nandakumar,N Rajam And N Ramani.jpg|[[N. Ramani]] and [[N Rajam]] accompanied by T S Nandakumar|thumb]]

Tagore wrote some 2,230 songs in [[Bengali language|Bengali]], now known as ''Rabindra Sangeet'', using [[Indian classical music|classical music]] and traditional [[Indian folk music|folk music]] as sources.<ref name=Britannica-wb>{{cite encyclopedia |last=  Huke |first= Robert E. |encyclopedia= Encyclopædia Britannica |title= West Bengal |year= 2009  |url= https://www.britannica.com/EBchecked/topic/640088/West-Bengal |access-date = 2009-10-06}}</ref><ref>''Tagore: At Home in the World'' {{ISBN|978-8-132-11084-2}} pp. 253–254</ref>

Tagore wrote national anthems of India and [[Bangladesh]], and influenced the national anthem of [[Sri Lanka]]. Furthermore, the digitisation of Rabindra Sangeet has been undertaken by [https://www.saregama.com/rabindra-sangeet/song Saregama], which has created digital archives and made the music available on streaming platforms. Additionally, Brainware University's "[https://www.brainwareuniversity.ac.in/celebrating-tagore/rabindra-sangeet-collection/ Celebrating Tagore]" initiative includes online archives, educational resources, and [https://www.youtube.com/@pmbrainware/videos digital performances] to promote Tagore's works.

===Shyama Sangeet (music of Bengal)===

Generally all music dedicated to goddess Mother [[Kali]] is called '[[Shyama Sangeet]]' in [[Bengali language|Bengali]]. Two famous singers of this [[Bengali language|Bengali]] [[Shyama Sangeet]] are [[Pannalal Bhattacharya]] and [[Dhananjay Bhattacharya]]. [[Pannalal Bhattacharya]]'s elder brother Prafulla Bhattacharya and middle brother [[Dhananjay Bhattacharya]] were the first music teachers of saint artist [[Pannalal Bhattacharya]]. [[Dhananjay Bhattacharya]] stopped singing devotional songs after finding devotional spirit in his brother Pannalal. However, after the demise of [[Pannalal Bhattacharya]], he contributed again in [[Bengali music]] with many devotional songs by his sweet, melodious voice.

===Rajasthani===
{{main|Music of Rajasthan}}

[[Rajasthan]] has a very diverse cultural collection of musician [[caste]]s, including [[Langha (tribe)|Langa]]s, [[Sapera]], [[Bhopa]], [[Jogi (caste)|Jogi]] and [[Manganiyar]] (lit. "the ones who ask/beg"). ''Rajasthan Diary'' quotes it as a soulful, full-throated music with harmonious diversity. The melodies of Rajasthan come from a variety of instruments. The stringed variety includes the [[Sarangi]], [[Ravanahatha]], Kamayacha, Morsing and Ektara. Percussion instruments come in all shapes and sizes from the huge Nagaras and Dhols to the tiny Damrus. The Daf and Chang are a favorite of [[Holi]] (the festival of colours) revelers. Flutes and bagpipers come in local flavors such as Shehnai, Poongi, Algoza, Tarpi, Been and [[Bankia (instrument)|Bankia]].

Rajasthani music is derived from a combination of string instruments, percussion instruments and wind instruments accompanied by renditions of folk singers. It enjoys a respectable presence in Bollywood music as well.

=== Sufi folk rock / Sufi rock ===
Sufi folk rock contains elements of modern hard rock and traditional folk music with Sufi poetry. While it was pioneered by bands like Junoon in Pakistan it became very popular, especially in northern India.

===Uttarakhandi===
{{Unreferenced section|date=March 2016}}
{{main | Music of Uttarakhand}}

Uttarakhandi folk music had its root in the lap of nature and the hilly terrain of the region. Common themes in the folk music of Uttarakhand are the beauty of nature, various seasons, festivals, religious traditions, cultural practices, folk stories, historical characters, and the bravery of ancestors. The folk songs of [[Uttarakhand]] are a reflection of the cultural heritage and the way people live their lives in the Himalayas. Musical instruments used in [[Uttarakhand]] music include the Dhol, Damoun, Hudka, Turri, Ransingha, Dholki, Daur, Thali, Bhankora and Masakbhaja. [[Tabla]] and [[Harmonium]] are also sometimes used, especially in recorded folk music from the 1960s onwards. Generic Indian and global musical instruments have been incorporated in modern popular folks by singers like Mohan Upreti, Narendra Singh Negi, Gopal Babu Goswami, and Chandra Singh Rahi.{{citation needed|date=February 2018}}

==Popular music in India==

===Dance music===
{{Main | Dance in India | Hindi Dance Music | Music of Bollywood }}

Dance music, more popularly called ''"[[Disc jockey|DJ]] music"'', is mostly played at nightclubs, parties, [[Weddings in India|weddings]] and other celebrations. It is more popular among youths. It is mostly based on Indian movie music as well as Indian pop music, both of which tend to borrow and modernise the classical and folk dance songs with modern instruments and other innovations.

===Movie music===
{{Main|Filmi|Music of Bollywood}}

The biggest form of Indian [[popular music]] is [[filmi]], or songs from Indian films, it makes up 72% of the music sales in India.<ref>{{cite news| url=https://news.bbc.co.uk/2/hi/south_asia/8405891.stm | work=BBC News | title=Plans to start India music awards | date=10 December 2009 | access-date=19 May 2010 | first=Prachi | last=Pinglay}}</ref> The film industry of India supported music by according reverence to classical music while utilising the western orchestration to support Indian melodies. Music composers, like [[R. D. Burman]], [[Shankar Jaikishan]], [[S. D. Burman]], [[Laxmikant–Pyarelal]], [[Madan Mohan (music director)|Madan Mohan]], [[Bhupen Hazarika]], [[Naushad Ali]], [[O. P. Nayyar]], [[Hemant Kumar]], [[C. Ramchandra]], [[Salil Chowdhury]], [[Kalyanji Anandji]], [[Ilaiyaraaja]], [[A. R. Rahman]], [[Jatin–Lalit]], [[Anu Malik]], [[Nadeem-Shravan]], [[Harris Jayaraj]], [[Himesh Reshammiya]], [[Vidyasagar (composer)|Vidyasagar]], [[Shankar–Ehsaan–Loy]], [[Salim–Sulaiman]], [[Pritam]], [[M. S. Viswanathan]], [[K. V. Mahadevan]], [[Ghantasala (musician)|Ghantasala]] and [[S. D. Batish]] employed the principles of harmony while retaining classical and folk flavor. Reputed names in the domain of Indian classical music like [[Ravi Shankar]], [[Vilayat Khan]], [[Ali Akbar Khan]] and [[Ram Narayan]] have also composed music for films. Traditionally, in Indian films, the voice for the songs is not provided by the actors, they are provided by the professional [[playback singer]]s, to sound more developed, melodious and soulful, while actors lipsynch on the screen. In the past, only a handful of singers provided the voice in films. These include [[Kishore Kumar]], [[K. J. Yesudas]], [[Mohammed Rafi]], [[Mukesh (singer)|Mukesh]], [[S. P. Balasubrahmanyam]], [[T. M. Soundararajan]], [[Hemant Kumar]], [[Manna Dey]], [[P. Susheela]], [[Lata Mangeshkar]], [[Asha Bhonsle]], [[K. S. Chitra]], [[Geeta Dutt]], [[S. Janaki]], [[Shamshad Begum]], [[Suraiya]], [[Noorjahan]] and [[Suman Kalyanpur]]. Recent playback singers include [[Udit Narayan]], [[Kumar Sanu]], [[Kailash Kher]], [[Alisha Chinai]], [[KK (singer)|KK]], [[Shaan (singer)|Shaan]], [[S. P. Charan]], [[Madhushree]], [[Shreya Ghoshal]], [[Nihira Joshi]], [[Kavita Krishnamurthy]], [[Hariharan (singer)]], [[Ilaiyaraaja]], [[A. R. Rahman]], [[Sonu Nigam]], [[Sukhwinder Singh]], [[Kunal Ganjawala]], [[Anu Malik]], [[Sunidhi Chauhan]], [[Anushka Manchanda]], [[Raja Hasan]], [[Arijit Singh]] and [[Alka Yagnik]]. Rock bands like [[Indus Creed]], [[Indian Ocean (band)|Indian Ocean]], [[Silk Route (band)|Silk Route]] and [[Euphoria (Indian band)|Euphoria]] have gained mass appeal with the advent of cable music television.

===Pop music===
{{main|Indian pop}}
{{see also|Asian Underground|Bhangra (music)|Bhangragga}}

Indian pop music is based on an amalgamation of Indian folk and classical music, and modern beats from different parts of the world. Pop music really started in the [[South Asian]] region with the playback singer [[Ahmed Rushdi]]'s song ‘''[[Ko Ko Korina]]''’ in 1966, then by [[Kishore Kumar]] in the early 1970s.<ref name="CITEREFSocPolHistory">{{cite web|url=http://www.chowk.com/articles/8459|title=Socio-political History of Modern Pop Music in Pakistan|publisher=[[Chowk.com|Chowk]]|access-date=2008-06-27|url-status=dead|archive-url=https://web.archive.org/web/20100618091924/http://www.chowk.com/articles/8459|archive-date=2010-06-18}}</ref>

After that, much of Indian Pop music comes from the [[Indian Film Industry]], and until the 1990s, few singers like [[Usha Uthup]], [[Sharon Prabhakar]], and [[Penaz Masani|Peenaz Masani]] outside it were popular. Since then, pop singers in the latter group have included [[Daler Mehndi]], [[Baba Sehgal]], [[Alisha Chinai]], [[KK (singer)|KK]], [[Shantanu Mukherjee]] a.k.a. Shaan, [[Sagarika Mukherjee|Sagarika]], [[Colonial Cousins]] ([[Hariharan (singer)|Hariharan]], [[Lesle Lewis (composer)|Lesle Lewis]]), [[Lucky Ali]], and [[Sonu Nigam]], and music composers like [[Zila Khan]] or [[Jawahar Wattal]], who made top selling albums with, [[Daler Mehndi]], [[Shubha Mudgal]], [[Baba Sehgal]], [[Shweta Shetty]] and [[Hans Raj Hans]].<ref>{{cite news |url=http://www.hindu.com/thehindu/mp/2002/12/09/stories/2002120900620200.htm |archive-url=https://web.archive.org/web/20030704210135/http://www.hindu.com/thehindu/mp/2002/12/09/stories/2002120900620200.htm |url-status=dead |archive-date=4 July 2003 |title=Music man with a golden touch |newspaper= [[The Hindu]] |date=9 December 2002 }}</ref>

Besides those listed above, popular Indi-pop singers include [[Sanam (band)|Sanam]]<ref>{{cite news |title=Creating New Memories With Old Songs: Sanam, The Band That Redefined The Meaning of Renditions |url=https://www.news18.com/news/ivideos/creating-new-memories-with-old-songs-sanam-the-band-that-redefined-the-meaning-of-renditions-1801793.html |access-date=22 October 2018 |agency=News 18}}</ref> (Band), [[Gurdas Maan]], [[Sukhwinder Singh]], [[Papon (Assamese singer)|Papon]], [[Zubeen Garg]], [[Raghav Sachar]] [[Rageshwari]], [[Vandana Vishwas]], [[Devika Chawla]], [[Bombay Vikings]], [[Asha Bhosle]], [[Sunidhi Chauhan]], [[Anushka Manchanda]], [[Bombay Rockers]], [[Anu Malik]], [[Jazzy B]], [[Malkit Singh]], [[Raghav]], [[Jay Sean]], [[Jaimin Rajani]], [[Juggy D]], [[Rishi Rich]], Udit Swaraj, [[Sheila Chandra]], [[Bally Sagoo]], [[Punjabi MC]], [[Beno]], [[Bhangra Knights]], [[Mehnaz]], [[Sanober]] and [[Vaishali Samant]].{{citation needed|date=November 2014}}

Recently, Indian pop has taken an interesting turn with the "[[remix]]ing" of songs from past Indian movie songs, new beats being added to them.

===Patriotic music===
Patriotic feelings have been instigated within Indians through music since the era of the freedom struggle. [[Jana Gana Mana]], the [[national anthem]] of India by [[Rabindranath Tagore]], is largely credited<ref>{{Cite news|url=https://indianexpress.com/photos/india-news/rabindranath-tagore-77-death-anniversary-rare-photos-gurudev-mahatma-gandhi-5295604/|title=Rabindranath Tagore's 77th death anniversary: Rare photos of 'Gurudev' with Mahatma Gandhi|date=2018-08-07|work=The Indian Express|access-date=2018-09-05|language=en-US}}</ref><ref>{{Cite news|url=https://www.news18.com/news/ivideos/independence-day-2018-the-unheard-full-version-of-jana-gana-mana-1845167.html|title=Independence Day 2018 : The Unheard Full Version Of Jana Gana Mana|work=News18|access-date=2018-09-05}}</ref> for uniting India through music and [[Vande Mataram]] by [[Bankim Chandra Chattopadhyay]] as the national song of India. Patriotic songs were also written in many regional languages such as ''Biswo Bizoyi No Zuwan '' in Assamese. Post-independence songs such as Aye mere watan ke logo, [[Mile Sur Mera Tumhara]], [[Ab Tumhare Hawale Watan Saathiyo]], [[Maa Tujhe Salaam (song)|Maa Tujhe Salaam]] by [[A.R. Rahman]] have been responsible for consolidating feelings of national integration and [[unity in diversity]].

===Western music adoption in India===
[[Western world]]'s music has been adopted in India, by creating fusion music in India which in turn have enriched and created global genres of western music.

====Goa trance====
{{Main | Goa trance | Psychedelic trance }}

[[Goa trance]], an [[electronic music]] style that originated during the late 1980s in [[Goa]] in India,<ref name="allmusic guide">{{cite book |author=Bogdanov, Vladimir |title=All Music Guide to Electronica: The Definitive Guide to Electronic Music |edition=4th |year=2001 |publisher=Backbeat Books |isbn=978-0879306281 |pages=xi |url-access=registration |url=https://archive.org/details/allmusicguidetoe00vlad }}</ref> has funky, drone-like basslines, similar to the techno minimalism of 21st century [[psychedelic trance|psytrance]]. Psychedelic trance developed from Goa trance.<ref name=PsyBook2010>{{cite book|url=https://books.google.com/books?id=o_ctCgAAQBAJ&q=in+psytrance+similar+observations+full-on&pg=PA116|author=Graham St John|title=The Local Scenes and Global Culture of Psytrance|isbn=978-1136944345|year=2010|publisher=Routledge }}</ref> In the late 1960s and early 1970s, Goa became popular as a [[hippie]] capital, which resulted in evolution of Goa trance throughout the 1980s by mixing the [[Indian religions|spiritual culture of India]] with western musical elements of [[industrial music]], [[new beat]] and [[electronic body music]] (EBM), and the actual Goa trance style became established by the early 1990s.<ref name="allmusic guide" /><ref>{{cite web |url=http://www.moodbook.com/music/trance.html#goa-trance |title=Goa Trance |author=<!--Staff writer(s); no by-line.--> |website=moodbook.com |access-date=23 August 2016 |url-status=dead |archive-url=https://web.archive.org/web/20080319084451/http://www.moodbook.com/music/trance.html#goa-trance |archive-date=19 March 2008 }}</ref>

====Jazz and blues====
{{main|Jazz in India|Indian blues}}

[[Jazz in India]] was first performed regularly in the metropoles [[Calcutta]] and [[Bombay]] in the early or middle 1920s.<ref>{{cite web |author=Sahar Adil |url=http://www.mybangalore.com/article/0809/jazz-music-and-india-by-madhav-chari-.html |title=Jazz Music and India, By Madhav Chari |publisher=Mybangalore.com |date=2009-08-10 |access-date=2012-07-17 |archive-date=28 November 2020 |archive-url=https://web.archive.org/web/20201128041813/http://www.mybangalore.com/article/0809/jazz-music-and-india-by-madhav-chari-.html |url-status=dead }}</ref><ref>{{Cite book|title=American Popular Music in Britain's Raj|last=Shope|first=Bradley|publisher=University of Rochester Press|year=2016|isbn=978-1580465489|location=Rochester, NY|pages=63}}</ref> From the 1930s to the 1950s is called as the golden age of jazz in India, when jazz musicians like [[Leon Abbey]], Crickett Smith, Creighton Thompson, Ken Mac, Roy Butler, [[Teddy Weatherford]] (who recorded with [[Louis Armstrong]]), and Rudy Jackson who toured India to avoid the racial discrimination they faced in the United States.<ref>Taj Mahal Foxtrot: The Story of Bombay's Jazz Age, Naresh Fernandes, 2012, {{ISBN|978-8174367594}}</ref><ref>{{Cite web |url=http://www.afropop.org/wp/8489/hip-deep-interview-naresh-fernandes-on-bombays-jazz-age/ |title=HIP DEEP INTERVIEW: Naresh Fernandes on Bombay's Jazz Age • Hip Deep • Afropop Worldwide |access-date=2013-08-09 |archive-url=https://web.archive.org/web/20130708094023/http://www.afropop.org/wp/8489/hip-deep-interview-naresh-fernandes-on-bombays-jazz-age/ |archive-date=2013-07-08 |url-status=dead }}</ref> In the 1930s, jazz musicians played in the nightclubs of Bombay, such as at the [[Taj Mahal Palace & Tower|Taj Mahal hotel]] ballroom, many of these musicians were [[Goa]]ns most whom also [[Goans in Hindi film music composition|worked in the Bollywood film industry]] and were responsible for the introduction of genres like jazz and swing to Hindi film music.<ref>{{cite web|url=http://www.frontlineonnet.com/fl2906/stories/20120406290607300.htm |title=The Indian jazz age |publisher=Frontlineonnet.com |date=2012-04-06 |access-date=2012-07-17 |url-status=dead |archive-url=https://web.archive.org/web/20120411020314/http://www.frontlineonnet.com/fl2906/stories/20120406290607300.htm |archive-date=2012-04-11 }}</ref>

Indian blues is less prevalent in India than jazz. Interest in the blues in India has only been incidental due to the shared ancestry with jazz.

====Rock and metal music====

=====Indian rock=====
{{Main|Indian rock}}
[[File:Nicotine Metal Band Indore.jpg|thumb|[[Nicotine (band)|Nicotine]] playing at 'Pedal to the Metal', TDS, Indore, India in 2014. The band is known for being the pioneer of [[metal music]] in [[Central India]].]]

The rock music scene in India is small compared to the filmi or fusion musicality scenes. Rock music in India has its origins in the 1960s when international stars such as [[the Beatles]] visited India and brought their music with them. These artists' collaboration with Indian musicians such as [[Ravi Shankar]] and [[Zakir Hussain (musician)|Zakir Hussain]] have led to the development of [[raga rock]]. International shortwave radio stations such as The Voice of America, BBC, and Radio Ceylon played a major part in bringing Western pop, folk, and rock music to the masses. Indian rock bands began to gain prominence only much later, around the late 1980s.

It was around this time that the rock band [[Indus Creed]] formerly known as The Rock Machine got itself noticed on the international stage with hits like ''Rock N Roll Renegade''. Other bands quickly followed. With the introduction of MTV in the early 1990s, Indians began to be exposed to various forms of rock such as grunge and speed metal, impacting the national scene. The cities of the North Eastern Region, mainly Guwahati and [[Shillong]], [[Kolkata]], [[Delhi]], [[Mumbai]] and [[Bangalore]] have emerged as major melting pots for rock and metal enthusiasts. Bangalore has been the hub for rock and metal movement in India. Some prominent bands include [[Nicotine (band)|Nicotine]], [[Voodoo Child (band)|Voodoo Child]], [[Indian Ocean (band)|Indian Ocean]], [[Kryptos (band)|Kryptos]], [[Thermal and a Quarter]], [[Demonic Resurrection]], [[Motherjane]], [[Avial (band)|Avial]], [[Bloodywood]] and [[Parikrama (band)|Parikrama]]. Rock-specific labels such as DogmaTone Records and [[Eastern Fare Music Foundation]] have since emerged, supporting Indian rock acts.

From Central India, [[Nicotine (band)|Nicotine]], an Indore-based metal band, has been credited with pioneering [[metal music]] in the region.

=====Raga rock=====
{{Main|Raga rock}}
{{See also|Psychedelic rock}}

Raga rock is rock or pop music with a heavy Indian influence, either in its construction, its timbre, or its use of instrumentation, such as the sitar and tabla. Raga and other forms of classical Indian music began to influence many rock groups during the 1960s; most famously [[the Beatles]]. The first traces of "raga rock" can be heard on songs such as "[[See My Friends]]" by [[the Kinks]] and [[the Yardbirds]]' "[[Heart Full of Soul]]", released the previous month, featured a sitar-like riff by guitarist [[Jeff Beck]].<ref>{{cite book|author=Miller, Andy.|page=3|year=2003|title=The Kinks are the Village Green Preservation Society (33⅓ series)|publisher=Continuum International Publishing Group|isbn=978-0-8264-1498-4}}</ref><ref name="bellman">{{cite book|author=Bellman, Jonathan.|page=297|year=1997|title=The Exotic in Western Music|publisher=Northeastern|isbn=978-1-55553-319-9}}</ref> The Beatles song "[[Norwegian Wood (This Bird Has Flown)]]", which first appeared on the band's 1965 album [[Rubber Soul]], was the first western pop song to actually incorporate the sitar (played by lead guitarist [[George Harrison]]).<ref name="bellman"/><ref>{{cite book|author=Lewisohn, Mark.|author-link=Mark Lewisohn|page=63|year=1989|title=The Complete Beatles Recording Sessions|publisher=The Hamlyn Publishing Group|isbn=978-0-600-55784-5}}</ref> [[The Byrds]]' March 1966 single "[[Eight Miles High]]" and its B-side "[[Why (The Byrds song)|Why]]" were also influential in originating the musical subgenre. Indeed, the term "raga rock" was coined by The Byrds' publicist in the press releases for the single and was first used in print by journalist Sally Kempton in her review of "Eight Miles High" for [[The Village Voice]].<ref>{{cite book|author=Bellman, Jonathan.|page=351|year=1997|title=The Exotic in Western Music|publisher=Northeastern Publishing|isbn=978-1-55553-319-9}}</ref><ref>{{cite book|author=Hjort, Christopher.|page=88|year=2008|title=So You Want To Be A Rock 'n' Roll Star: The Byrds Day-By-Day (1965–1973)|publisher=Jawbone Press|isbn=978-1-906002-15-2}}</ref> George Harrison's interest in Indian music, popularised the genre in the mid-1960s with songs such as "[[Love You To]]", "[[Tomorrow Never Knows]]" (credited to [[Lennon-McCartney]]), "[[Within You Without You]]" and "[[The Inner Light (song)|The Inner Light]]".<ref>{{cite book|author=Lavezzoli, Peter.|page=293|year=2007|title=The Dawn of Indian music in the West|publisher=Continuum International Publishing Group|isbn=978-0-8264-2819-6}}</ref><ref>{{cite book|author=Lavezzoli, Peter.|page=175|year=2007|title=The Dawn of Indian music in the West|publisher=Continuum International Publishing Group|isbn=978-0-8264-2819-6}}</ref><ref>{{cite book|last=Pedler|first=Dominic|page=524|title=The Songwriting Secrets of the Beatles|publisher=Omnibus Press|location=London|year=2003|isbn=978-0-7119-8167-6}}</ref> The rock acts of the sixties both in turn influenced British and American groups and Indian acts to develop a later form of [[Indian rock]].

====Western classical music====
Despite more than a century of exposure to Western classical music and two centuries of British colonialism, classical music in India has never gained significant popularity.{{citation needed|date=August 2019}}.

However, Western classical music education has improved with the help of certain institutions in India, including [[KM Music Conservatory]] (founded by Oscar-winning Composer [[A.R. Rahman]]), [[Calcutta School of Music]], [[Eastern Fare Music Foundation]],<ref>{{cite news | url=http://gnews.com/outstanding-results-for-eastern-fare-in-trinity-guildhall-exam-01200923114518/ | work=G News | title=Outstanding Results for Eastern Fare in Trinity Guildhall Exam | date=18 November 2009 | access-date=2 May 2011 | archive-url=https://web.archive.org/web/20101124001117/http://gnews.com/outstanding-results-for-eastern-fare-in-trinity-guildhall-exam-01200923114518/ | archive-date=24 November 2010 | url-status=dead }}</ref> In 1930, [[Mehli Mehta]] set up the Bombay Symphony Orchestra.<ref>{{cite web| url = https://interlude.hk/symphony-orchestra-bombay/| title = A Symphony Orchestra in Bombay : Interlude| date = 13 May 2017}}</ref> His son [[Zubin Mehta]] has enjoyed a long international conducting career. The Bombay Chamber Orchestra<ref>{{cite web|url=http://www.bcoindia.co.in/|title=The Bombay Chamber Orchestra – orchestra in Mumbai|website=www.bcoindia.co.in}}</ref> (BCO) was founded in 1962. [[Delhi School of Music]], [[Delhi Music Academy]], [[Guitarmonk]] and others supporting Western classical music.{{citation needed|date=August 2019}}. In 2006, the [[Symphony Orchestra of India]] was founded, housed at the [[National Centre for the Performing Arts (India)|NCPA]] in Mumbai. It is today the only professional symphony orchestra in India and presents two concert seasons per year, with world-renowned conductors and soloists.

== Globalization of Indian music ==
{{anchor | musicpower }}
{{Main|Indianization|Indian diaspora}}

As per [[United Nations Department of Economic and Social Affairs|UN]], the [[Indian diaspora]] is world's largest overseas diaspora with 17.5 million Indian-origin international migrants across the world,<ref name=bharatmig1>{{cite web |url=https://www.tribuneindia.com/news/diaspora/at-17-5-million-indian-diaspora-largest-in-world-says-un-report/834498.html |title=At 17.5 million, Indian diaspora largest in world, says UN report |website=The Tribune (India)}}</ref> who help spread the [[Indianization|global soft power of India]].<ref name=diasind1/>

=== Influence on other genres ===

==== Ancient influence on Southeast Asian music genres ====
{{ anchor | musicsphere }}
<!-- IMPORTANT: Just starting the section. It needs the lot more improvement, with citations, expand it with subsection for each nation and their martial arts influenced by the Indian martial arts. To be completed in the future iteration. Please contribute. Tips: required citations can be found within the articles pipelinked below. Just need to spend the time to summarise from the linked articles to this section here. -->
{{Main | Greater India | Indosphere | History of Indian influence on Southeast Asia }}
[[File:Indian_cultural_zone.svg|thumb|300px|right|Historic [[Indosphere]] cultural influence zone of [[Greater India]] for transmission of elements of Indian elements such as the [[Indian honorifics|honorific titles]], [[Indian name#Global Indian influence in names|naming of people]], [[Place names in India#Global Indian influence in place name|naming of places]], mottos of organisations and educational institutes as well as adoption of [[Hinduism]], [[Buddhism]], [[Hindu temple architecture#Southeast Asia as part of Greater India|Indian architecture]], [[Indian martial arts#Influence|martial arts]], [[#Globalization of Indian music|Indian music and dance]], [[Clothing in India|traditional Indian clothing]], and [[Indian cuisine#Outside India|Indian cuisine]], a process which has also been aided by the ongoing historic expansion of [[Indian diaspora]].<ref>{{Cite book|title=A history of India|first=Hermann|last=Kulke|date=2004|publisher=Routledge|others=Rothermund, Dietmar, 1933–|isbn=0203391268|edition= 4th|location=New York|oclc=57054139}}</ref>]]

With expansion of [[Indosphere]] cultural influence of [[Greater India]],<ref name="Hal1985">{{cite book|author=Kenneth R. Hal|title=Maritime Trade and State Development in Early Southeast Asia|url=https://books.google.com/books?id=ncqGAAAAIAAJ|year=1985|publisher=University of Hawaii Press|isbn=978-0-8248-0843-3|page=63}}</ref> through transmission of [[Hinduism in Southeast Asia]]<ref>{{cite book | title = Lost Kingdoms: Hindu-Buddhist Sculpture of Early Southeast Asia, Metropolitan museum, New York: exhibition catalogues | author = Guy, John | publisher = Metropolitan Museum of Art | year = 2014 | isbn = 978-1588395245| url = https://books.google.com/books?id=vO_-AgAAQBAJ&pg=PA11}}</ref><ref>{{cite encyclopedia | title = The spread of Hinduism in Southeast Asia and the Pacific | encyclopedia = Britannica | date = 2 September 2024 | url = https://www.britannica.com/topic/Hinduism/The-spread-of-Hinduism-in-Southeast-Asia-and-the-Pacific}}</ref><ref>{{cite book|author1=Kapur|author2=Kamlesh|title=History of Ancient India (portraits of a Nation), 1/e|url=https://books.google.com/books?id=9ic4BjWFmNIC&pg=PA465|year=2010|publisher=Sterling Publishers Pvt. Ltd|isbn=978-81-207-4910-8|page=465}}</ref> and the [[Silk Road transmission of Buddhism]]<ref name="college">{{cite journal |last=Fussman |first=Gérard | title= History of India and Greater India |journal=La Lettre du Collège de France |issue=4 |pages=24–25 |year=2008–2009 |url=https://journals.openedition.org/lettre-cdf/756  |access-date=20 December 2016|doi=10.4000/lettre-cdf.756 |doi-access=free }}</ref><ref name=Coedes>{{cite book|last= Coedès|first= George|author-link= George Coedès|editor= Walter F. Vella|others= trans.Susan Brown Cowing|title= The Indianized States of Southeast Asia|year= 1968|publisher= University of Hawaii Press|isbn= 978-0-8248-0368-1}}</ref> leading to [[Indianization of Southeast Asia]] through formation of non-Indian southeast Asian native [[Indianized kingdom]]s<ref>{{citation |first=Pierre-Yves |last=Manguin |chapter=From Funan to Sriwijaya: Cultural continuities and discontinuities in the Early Historical maritime states of Southeast Asia |title=25 tahun kerjasama Pusat Penelitian Arkeologi dan Ecole française d'Extrême-Orient |location=Jakarta |publisher=Pusat Penelitian Arkeologi / EFEO |year=2002 |pages=59–82 |chapter-url=https://books.google.com/books?id=NJBwAAAAMAAJ}}</ref> which adopted [[Sanskritization|sanskritized language]]<ref name="academia edu">{{citation |last=Lavy |first=Paul | title= As in Heaven, So on Earth: The Politics of Visnu Siva and Harihara Images in Preangkorian Khmer Civilisation |journal=Journal of Southeast Asian Studies |volume=34 |pages=21–39 |number=1 |year=2003 |url=https://www.academia.edu/2635407  |access-date=23 December 2015|doi=10.1017/S002246340300002X |s2cid=154819912 }}</ref> and other Indian elements<ref>{{Cite book|title=A history of India|first=Hermann|last=Kulke|date=2004|publisher=Routledge|others=Rothermund, Dietmar |isbn=0203391268|edition= 4th|location=New York|oclc=57054139}}</ref> such as the [[Indian honorifics|honorific titles]], [[Indian name#Global Indian influence in names|naming of people]], [[Place names in India#Global Indian influence in place name|naming of places]], mottos of organisations and educational institutes as well as adoption of [[Hindu temple architecture#Southeast Asia as part of Greater India|Indian architecture]], [[Indian martial arts#Influence|martial arts]], [[#Globalization of Indian music|Indian music and dance]], [[Clothing in India|traditional Indian clothing]], and [[Indian cuisine#Outside India|Indian cuisine]], a process which has also been aided by the ongoing historic expansion of [[Indian diaspora]].<ref name=diasind1>{{Cite book|title=A history of India|first=Hermann|last=Kulke|date=2004|publisher=Routledge|others=Rothermund, Dietmar|isbn=0203391268|edition= 4th|location=New York|oclc=57054139}}</ref>

===== Indonesian and Malay music =====
In [[Indonesian music|Indonesian]] and [[Music of Malaysia|Malaysian]] music, the [[Dangdut]] a genre of folk music is partly derived and fused from [[Hindustani Classical Music|Hindustani]] music. It is a very popular because of its melodious instrumentation and vocals. Dangdut features a [[tabla]] and [[gendang]] beat.<ref name="billboard1998">{{Citation | last=Campbell | first=Debe | date=18 April 1998 | magazine=Billboard | title=Dangdut thrives in SE Asia – music rules Indonesia | volume=110 | page=1 }}</ref><ref name="billboard1998B">{{Citation | last=Nuvich | first=Alexandra | date=18 April 1998 | magazine=Billboard | title=Dangdut thrives in SE Asia – Malaysia embraces genre | volume=110 | page=1}}</ref> Indonesians dance in somewhat similar to the [[ghoomar]] while listening to dangdut music, but in a much slower version.

===== Thai music =====
[[Thai literature]] and [[Thai art|drama]] draws great inspiration from [[Indian art]]s and [[Hindu mythology|Hindu legend]]s. Epic of [[Ramayana]] is as popular in Thailand as the [[Ramakien]]. Two of the most popular classical thai dances the [[Khon]], performed by men wearing ferocious masks, and the [[Dance in Thailand#Lakhon|Lakhon]] ([[Lakhon nai]], [[Lakhon chatri]] and [[Lakhon nok]]), performed by women who play both male and female roles draws inspiration primarily from the Ramakien. Percussion instruments and [[Piphat]], a type of woodwind accompany the dance.<ref name="indthai">{{cite web| url = http://www.esamskriti.com/essay-chapters/Historical-Ties-India-and-Thailand-1.aspx| title = Historical Ties India and Thailand}}</ref> [[Nang talung]], a Thai [[shadow play]] inspired by [[South India]]n Bommalattam, has shadows made from the pieces of cow or water buffalo hide cut to represent human figures with movable arms and legs are thrown on a screen for the entertainment of spectators.

===== Philippines =====
* Filipino epics and chants inspired by the Indian [[Hindu]] religious epics [[Ramayana]] and [[Mahabharta]].
** [[Ifugao#Alim and Hudhud Oral traditions of Ifugao|Alim and Hudhud Oral traditions of Ifugao]] of [[Ifugao people]] of the [[Cordillera Administrative Region]] in [[Luzon]] island of [[Philippines]], 11 [[Masterpieces of the Oral and Intangible Heritage of Humanity]] in 2001 and formally inscribed as a UNESCO Intangible Cultural Heritage in 2008. See also [[Rice Terraces of the Philippine Cordilleras#The Ifugao epic Hudhud|Hudhud – the Ifugao epic]].
** [[Biag ni Lam-ang]] ({{Langx|en|"The Life of Lam-ang"}}) is an [[epic poem]] of the [[Ilocano people]] from the [[Ilocos]] region.
** [[Ibalong]] epic of [[Bicol Region|Bikol region]] of southeast Luzon.
** ''"Aginid, Bayok sa atong Tawarik"'', a Bisayan epic of Cebu.
** Bayok, an epic of Marano people of northwestern Mindanao .
* Music instrument
** [[Kudyapi]], native Filipino guitar of [[Maranao]], [[Manobo]] and [[Maguindanao people]], is influenced by the [[Indian classical music]] concepts of melody and scale.

==== Fusion with traditional music of other nations ====

Sometimes, the music of India is fused with the native traditional music of other countries. For example, [[Delhi 2 Dublin]], a band based in Canada, is known for fusing Indian and [[music of Ireland|Irish]] music, and Bhangraton is a fusion of [[Bhangra (music)|Bhangra]] music with [[reggaeton]].<ref name=bang1>[http://www.reggaetonline.net/luny-tunes-04262006_inside-reggaeton reggaetonline.net]</ref>

==== Western world music ====

=====Film music=====
Indian film composer [[A. R. Rahman]] wrote the music for [[Andrew Lloyd Webber]]'s ''[[Bombay Dreams]]'', and a musical version of ''[[Hum Aapke Hain Koun]]'' was staged in London's West End. The Bollywood [[sports film]] ''[[Lagaan]]'' (2001) was nominated for the [[Academy Award for Best Foreign Language Film]], and two other Bollywood films (2002's ''[[Devdas (2002 Hindi film)|Devdas]]'' and 2006's ''[[Rang De Basanti]]'') were nominated for the [[BAFTA Award for Best Film Not in the English Language]].

[[Danny Boyle]]'s ''[[Slumdog Millionaire]]'' (2008) was inspired by Bollywood films.<ref name=Kumar>{{cite web|author=Amitava Kumar|title=Slumdog Millionaire's Bollywood Ancestors|work=[[Vanity Fair (magazine)|Vanity Fair]]|date=23 December 2008|url=http://www.vanityfair.com/online/oscars/2008/12/slumdog-millionaires-bollywood-ancestors.html|access-date=4 January 2008}}</ref><ref name=Age>{{cite news|title=Slumdog draws crowds, but not all like what they see|work=[[The Age]]|date=25 January 2009|url=http://www.theage.com.au/world/slumdog-draws-crowds-but-not-all-like-what-they-see-20090124-7p33.html|access-date=24 January 2008|location=Melbourne}}</ref>

=====Hip hop and reggae=====
Bhangraton is a fusion of [[Bhangra (music)|Bhangra]] music with [[reggaeton]], which itself is a fusion of hip hop, reggae, and traditional [[Latin American music]].<ref name=bang1/>

===== Jazz =====
{{Main| Indo jazz }}

In early 1960s [[Jazz]] pioneers such as [[John Coltrane]]—who recorded a composition entitled 'India' during the November 1961 sessions for his album [[Village Vanguard|''Live at the Village Vanguard'']] (the track was not released until 1963 on [[John Coltrane|Coltrane]]'s album ''[[Impressions (John Coltrane album)|Impressions]]'')—also embraced this fusion. [[George Harrison]] (of [[the Beatles]]) played the [[sitar]] on the song "[[Norwegian Wood (This Bird Has Flown)]]" in 1965, which sparked interest from Shankar, who subsequently took Harrison as his apprentice. [[Jazz]] innovator [[Miles Davis]] recorded and performed with musicians like Khalil Balakrishna, Bihari Sharma, and Badal Roy in his post-1968 electric ensembles. Virtuoso jazz guitarist John McLaughlin spent several years in Madurai learning Carnatic music and incorporated it into many of his acts including Shakti which featured prominent Indian musicians. Other Western artists such as the [[Grateful Dead]], [[Incredible String Band]], [[the Rolling Stones]], [[the Move]] and [[Traffic (band)|Traffic]] soon incorporated Indian influences and instruments, and added Indian performers.

Legendary Grateful Dead frontman [[Jerry Garcia]] joined guitarist [[Sanjay Mishra (musician)|Sanjay Mishra]] on his classic CD "Blue Incantation" (1995). Mishra also wrote an original score for French Director Eric Heumann for his film ''Port Djema'' (1996) which won best score at Hamptons film festival and [[The Golden Bear]] at [[Berlin]]. in 2000 he recorded ''Rescue'' with drummer [[Dennis Chambers]] ([[Carlos Santana]], [[John McLaughlin (musician)|John McLaughlin]] et al.) and in 2006 [[Chateau Benares]] with guests [[DJ Logic]] and [[Keller Williams]] (guitar and bass).

=====Musical film=====
Since the early 2000s, Bollywood began influencing [[musical film]]s in the Western world and was instrumental role in reviving the American musical film. [[Baz Luhrmann]] said that his musical film, ''[[Moulin Rouge!]]'' (2001), was inspired by Bollywood musicals;<ref>{{cite web|url=http://movies.about.com/library/weekly/aa030902a.htm|title=Baz Luhrmann Talks Awards and 'Moulin Rouge'}}</ref> the film incorporated a Bollywood-style dance scene with a song from the film ''[[China Gate (1998 film)|China Gate]]''. The critical and financial success of ''Moulin Rouge!'' began a renaissance of Western musical films such as ''[[Chicago (2002 film)|Chicago]]'', ''[[Rent (film)|Rent]]'', and ''[[Dreamgirls (film)|Dreamgirls]]''.<ref>{{cite web|title=Guide Picks – Top Movie Musicals on Video/DVD|publisher=[[About.com]]|url=http://movies.about.com/library/weekly/aatpmusicals.htm|access-date=15 May 2009}}</ref>

===== Psychedelic and trance music =====
{{main | Psychedelic music }}

[[Psychedelic music|Psychedelic trance]] developed from [[Goa trance]].<ref name=PsyBook2010/>

===== Rock and roll =====
{{ main | Raga rock }}

In the late 1970s and early 1980s, [[rock and roll]] fusions with Indian music were well known throughout [[Europe]] and [[North America]]. [[Ali Akbar Khan]]'s 1955 performance in the [[United States]] was perhaps the beginning of this trend. In 1985, a beat-oriented, [[Raga Rock]] hybrid called Sitar Power by [[Ashwin Batish]] reintroduced sitar in western nations. Sitar Power drew the attention of a number of record labels and was snapped up by [[Shanachie Records]] of [[New Jersey]] to head their [[Worldbeat|World Beat]] Ethno Pop division.

=====Technopop=====
The influence of ''[[filmi]]'' may be seen in [[popular music]] worldwide. [[Electropop|Technopop]] pioneers [[Haruomi Hosono]] and [[Ryuichi Sakamoto]] of the [[Yellow Magic Orchestra]] produced a 1978 [[Electronic music|electronic]] album, ''Cochin Moon'', based on an [[Experimental music|experimental]] [[Fusion (music)|fusion]] of electronic music and Bollywood-inspired Indian music.<ref>{{cite web|author=Dominique Leone|date=19 July 2005|title=Hosono & Yokoo: Cochin Moon|work=[[Pitchfork (website)|Pitchfork]]|url=http://pitchfork.com/reviews/albums/4016-cochin-moon/|access-date=26 May 2011}}</ref> [[Truth Hurts (singer)|Truth Hurts]]' 2002 song "[[Addictive (song)|Addictive]]", produced by [[DJ Quik]] and [[Dr. Dre]], was taken from [[Lata Mangeshkar]]'s "Thoda Resham Lagta Hai" in ''Jyoti'' (1981).<ref name=VH1>{{cite web|title=Truth Hurts |publisher=[[VH1]] |date=19 September 2002 |url=http://www.vh1.com/artists/news/1457672/09192002/truth_hurts.jhtml |access-date=18 May 2009 |url-status=dead |archive-url=https://web.archive.org/web/20090413172839/http://www.vh1.com/artists/news/1457672/09192002/truth_hurts.jhtml |archive-date=13 April 2009 }}</ref> [[The Black Eyed Peas]]' [[Grammy Award]] winning 2005 song "[[Don't Phunk with My Heart]]" was inspired by two 1970s [[Bollywood songs]]: "Ye Mera Dil Yaar Ka Diwana" from ''[[Don (1978 film)|Don]]'' (1978) and "Ae Nujawan Hai Sub" from ''[[Apradh]]'' (1972).<ref name=Apradh>{{YouTube|id=fWsSXjIDL3Q|title=ae naujawan hai sub kuchh yahan – Apradh 1972}}</ref> Both songs were composed by [[Kalyanji Anandji]], sung by [[Asha Bhosle]], and featured the dancer [[Helen (actress)|Helen]].<ref name=Denselow>{{cite news|author=Robin Denselow|title=Kalyanji Anandji, The Bollywood Brothers|work=The Guardian|date=2 May 2008|url=https://www.theguardian.com/music/2008/may/02/worldmusic1|access-date=1 March 2009 | location=London}}</ref>

=====Western classical music=====
Some prominent Indians in Western [[classical music]] are: 
* [[Andre de Quadros]]- [[conducting|conductor]] and music educator, 
* [[Zubin Mehta]], conductor
* [[Mehli Mehta]], father of Zubin, violinist and founding conductor of the Bombay Symphony Orchestra
* [[Anil Srinivasan]], pianist
* [[Ilaiyaraaja]], the first Indian to compose a full symphony performed by the [[Royal Philharmonic Orchestra]] in London's Walthamstow Town Hall
* [[Naresh Sohal]], British Indian-born composer
* [[Param Vir]], British Indian-born composer
* [[Beno]], Indian-born composer

=== Influence on national music scene ===
{{expand section |date=April 2020}}

Bollywood has been a significant form of [[soft power]] for India, increasing its influence and changing overseas perceptions of India.<ref>{{cite news|title=Baahubali 2, Dangal's overseas box office success is a testimony to Indian film industry's soft power|url=http://www.firstpost.com/entertainment/baahubali-2-the-conclusion-bahubali-2-dangals-overseas-box-office-success-is-a-testimony-to-indian-film-industrys-soft-power-3500555.html|work=[[Firstpost]]|date=31 May 2017}}</ref><ref name="indianexpress">{{cite news|title=A window to India's rising soft power – Bollywood|url=http://indianexpress.com/article/lifestyle/books/a-window-to-india-rising-soft-power-bollywood-4611855/|work=[[The Indian Express]]|date=13 April 2017}}</ref> According to author Roopa Swaminathan, "Bollywood cinema is one of the strongest global cultural ambassadors of a new India."<ref name="indianexpress"/><ref>{{cite book|last=Swaminathan|first=Roopa|title=Bollywood Boom: India's Rise as a Soft Power|date=2017|publisher=Random House Publishers|isbn=978-9386495143|url=https://books.google.com/books?id=zDfCDgAAQBAJ}}</ref> Its role in expanding India's global influence is comparable to Hollywood's similar role with American influence.<ref name="desiblitz">{{cite news|title=Impact of Bollywood on Indian Culture|url=https://www.desiblitz.com/content/impact-bollywood-indian-culture|work=DESIblitz|date=15 January 2014}}</ref>

==== Africa ====

[[Kishore Kumar]] is popular in [[Egypt]] and [[Somalia]].<ref name="Baru">{{cite book|last=Baru|first=Sanjaya|title=Strategic Consequences of India's Economic Performance|year=2013|publisher=Routledge|isbn=978-1-134-70973-1|page=442|url=https://books.google.com/books?id=rXE3cEqRcDoC}}</ref>

Hindi films were originally distributed to some parts of Africa by Lebanese businessmen, and ''[[Mother India]]'' (1957) continued to be screened in [[Nigeria]] decades after its release. Indian movies have influenced [[Hausa people|Hausa]] clothing, songs have been covered by Hausa singers, and stories have influenced Nigerian novelists. Stickers of Indian films and stars decorate taxis and buses in Nigeria's [[Northern Region, Nigeria|Northern Region]], and posters of Indian films hang on the walls of tailoring shops and mechanics' garages.<ref name="samar">{{cite web|last=Larkin |first=Brian |url=http://www.samarmagazine.org/archive/article.php?id=21 |title=Bollywood Comes To Nigeria |publisher=Samarmagazine.org |date=31 August 2002 |access-date=12 November 2010 |url-status=dead |archive-url=https://web.archive.org/web/20100731164710/http://www.samarmagazine.org/archive/article.php?id=21 |archive-date=31 July 2010 }}</ref>

In [[South Africa]], film imports from India were watched by black and [[Indian South Africans|Indian]] audiences.<ref name="Rajinder">{{cite book|last1=Rajinder|first1=Dudrah|last2=Jigna|first2=Desai|title=The Bollywood Reader|date=2008|publisher=[[McGraw-Hill Education]]|isbn=9780335222124|page=65|url=https://books.google.com/books?id=4Wz4AAAAQBAJ&pg=PA65}}</ref> Several Bollywood figures have travelled to Africa for films and off-camera projects. ''[[Padmashree Laloo Prasad Yadav]]'' (2005) was filmed in South Africa.<ref>{{cite news|author=Balchand, K.|title=Lalu Prasad, at home|date=26 September 2004|work=[[The Hindu]]|url=http://www.hindu.com/2004/09/26/stories/2004092600682000.htm|archive-url=https://web.archive.org/web/20041116044729/http://www.hindu.com/2004/09/26/stories/2004092600682000.htm|url-status=dead|archive-date=16 November 2004|access-date=9 December 2009|location=Chennai, India}}</ref> ''[[Dil Jo Bhi Kahey...]]'' (2005) was also filmed almost entirely in [[Mauritius]], which has a large ethnic-Indian population.

In Egypt, Bollywood films were popular during the 1970s and 1980s.<ref>{{cite web|title = Living the spectacle: Why Egyptians worship Bollywood |url = http://english.ahram.org.eg/NewsContent/5/0/127435/Arts--Culture/0/Living-the-spectacle-Why-Egyptians-worship-Bollywo.aspx|website = Ahram Online |access-date = 2015-12-02}}</ref><ref>{{cite web|title = Bollywood Rides Back to Egypt on Chennai Express|url = https://blogs.wsj.com/middleeast/2013/09/30/bollywood-rides-back-to-egypt-on-chennai-express/|website = WSJ Blogs - Middle East Real Time|date = 2013-09-30|access-date = 2015-12-02|first = Matt|last = Bradley}}</ref> [[Amitabh Bachchan]] has remained popular in the country<ref>{{cite news|title=Egypt's Amitabh Bachchan mania|url=https://timesofindia.indiatimes.com/india/Egypts-Amitabh-Bachchan-mania/articleshow/1315446.cms|work=[[The Times of India]]|date=2 December 2005}}</ref> and Indian tourists visiting Egypt are asked, "Do you know Amitabh Bachchan?"<ref name="bollywoodlife">{{cite news|last=Sudhakaran|first=Sreeju|title=Aamir Khan in China, Shah Rukh Khan in Germany - 7 Bollywood stars who have massive fan following in other countries|url=http://www.bollywoodlife.com/news-gossip/aamir-khan-in-china-shah-rukh-khan-in-germany-7-bollywood-stars-who-have-massive-fan-following-in-other-countries/|work=Bollywood Life|date=10 June 2017}}</ref>

==== Americas ====

===== Caribbean =====
{{main | Indo-Caribbean music | chutney music }}

[[Indo-Caribbean music]] of [[Indo-Caribbean]] people in [[Caribbean]] is most common in [[Trinidad and Tobago]], [[Guyana]], [[Jamaica]], and [[Suriname]], which reflects their [[Music of Bihar|Bhojpuri]] heritage. Main instrumentation are [[dhantal]], metal rod, clapper, [[dholak]], two-headed [[barrel drum]]. Women sing [[Hindu]] [[bhajan]]s and folk songs from the [[Music of Bihar|music of Bhojpur]] on various important life events, rituals, celebrations, festivals like [[phagwah]] and [[holi]]. Indo-Caribbean contributions to popular music are very important. The most well-known is the Indo-Trinidadian ''[[chutney music]]'' tradition. Chutney is a form of popular dance music that developed in the mid-to late 20th century. [[Baithak Gana]] is a similar popular form originating in [[Suriname]].<ref>{{cite book
|title     = Garland Encyclopedia of World Music
|chapter   = Indo-Caribbean Music
|first     = Peter
|last      = Manuel
|pages     = 813–818
|publisher = Garland Publishing
|location  = New York and London
|year      = 2001
|isbn      = 0-8240-6040-7
}}</ref><ref>Peter Manuel, East Indian Music in the West Indies: Tan-singing, Chutney, and the Making of Indo-Caribbean Culture.  Temple University Press, 2000.</ref>

===== Latin America =====

There is significant Indian diaspora communities in [[Suriname]]<ref>[http://swarit.com/pop_music.html] {{webarchive|url=https://web.archive.org/web/20150112152317/http://swarit.com/pop_music.html|date=12 January 2015}}</ref> and [[Guyana]], Indian music and Hindi-language movies are popular.<ref>Global Bollywood – Anandam P. Kavoori, Aswin Punathambekar</ref> In 2006, ''[[Dhoom 2]]'' became the first Bollywood film to be shot in [[Rio de Janeiro]].<ref>{{cite web|url=http://www.rediff.com/movies/2006/sep/15sfa.htm|title=Will Hrithik's Dhoom 2 prove lucky for Brazil?|date=15 September 2006|author=Firdaus Ashraf, Syed|work=[[Rediff.com]]|access-date=5 March 2008}}</ref>

===== North America =====
In the [[new millennium]], American [[hip hop music|hip-hop]] has featured Indian filmi and bhangra. [[wikt:mainstream|Mainstream]] [[hip-hop]] artists have sampled songs from [[Bollywood movies]] and have collaborated with [[List of Indian artists|Indian artists]].  Examples include [[Timbaland]]'s "Indian Flute", [[Erick Sermon]] and [[Redman (rapper)|Redman]]'s "React", Slum Village's "Disco", and [[Truth Hurts (singer)|Truth Hurts]]' hit song "Addictive", which sampled a [[Lata Mangeshkar]] song, and [[The Black Eyed Peas]] sampled [[Asha Bhosle]]'s song "Yeh Mera Dil" in their hit single "[[Don't Phunk With My Heart]]". In 1997, the British band [[Cornershop (band)|Cornershop]] paid tribute to [[Asha Bhosle]] with their song ''[[Brimful of Asha]]'', which became an international hit. [[United Kingdom|British]]-born Indian artist [[Panjabi MC]] also had a Bhangra hit in the US with "Mundian To Bach Ke" which featured rapper [[Jay-Z]]. [[Asian Dub Foundation]] are not huge mainstream stars, but their politically charged [[hip hop music|rap]] and [[punk rock]] influenced sound has a multi-racial audience in their native UK. In 2008, international star [[Snoop Dogg]] appeared in a song in the film [[Singh Is Kinng]]. In 2007, hip-hop producer [[Madlib]] released [[Beat Konducta Vol 3–4: Beat Konducta in India]]; an album which heavily samples and is inspired by the music of India.

==== Asia ====
{{see also | Music of Asia}}

===== South Asia =====
{{see also | List_of_Asian_folk_music_traditions#South_Asia | l1= Folk music of South Asia}}

Due to shared cultural heritage and language, Indian music and Bollywood films are also popular in [[Afghanistan]], [[Pakistan]], [[Bangladesh]], and [[Nepal]], where Hindustani is widely understood.<ref name="Pakistan">{{cite web |url=http://www.newindpress.com/NewsItems.asp?ID=IEE20051004061008&Page=E&Title=Startrek&Topic=0 |title=Despite official ban, Hindi movies are a craze in Pakistan |access-date=5 February 2008 |url-status=dead |archive-url=https://web.archive.org/web/20080224205938/http://www.newindpress.com/NewsItems.asp?ID=IEE20051004061008&Page=E&Title=Startrek&Topic=0 |archive-date=24 February 2008}}</ref><ref>[http://www.thehindubusinessline.com/2005/05/09/stories/2005050900561400.htm The Hindu Business Line: It's Bollywood all the way in Afghanistan] {{webarchive|url=https://web.archive.org/web/20070403082744/http://www.thehindubusinessline.com/2005/05/09/stories/2005050900561400.htm |date=3 April 2007 }}</ref>

===== Southeast Asia =====
{{see also | Music of Southeast Asia}}

Already covered in earlier section [[#musicsphere|Ancient influence on Southeast Asian music genre]].

===== West Asia =====
{{see also | Middle Eastern music}}

West Asia has large Indian diaspora population, who mainly consume Indian music. Indian music is also popular with native middle eastern people. 85% of Qatar's and 75% of UAE's total population are Indian citizens.<ref name="bq magazine">{{cite web |url=http://www.bqdoha.com/2013/12/population-qatar |title=Qatar's population by nationality |date=18 December 2013 |publisher=bqdoha.com  |access-date=19 November 2014 |url-status=usurped |archive-url=https://web.archive.org/web/20131222095738/http://www.bqdoha.com/2013/12/population-qatar |archive-date=22 December 2013}}</ref> Hindi films and music have become popular in [[Arab world|Arab countries]],<ref>{{cite news|url=http://timesofindia.indiatimes.com/ahmedabad-times/bollywood-films-gaining-popularity-in-gulf-countries/articleshow/2121632.cms|title=Bollywood films gaining popularity in Gulf countries|date=8 October 2006|access-date=21 November 2008|work=[[The Times of India]]|agency=Press Trust of India}}</ref> and imported Indian films are usually subtitled in Arabic when they are released. Bollywood has progressed in [[Israel]] since the early 2000s, with channels dedicated to Indian films on cable television;<ref>{{cite news|url=http://www.tribuneindia.com/2004/20041116/world.htm|title=Indian films swamp Israel|date=16 November 2004|access-date=21 November 2008|work=The Tribune|agency=Press Trust of India}}</ref>

==== Europe ====

=====Germany=====

In [[Germany]], [[Stereotypes of South Asians|Indian stereotypes]] included [[bullock cart]]s, beggars, sacred cows, corrupt politicians, and catastrophes before Bollywood and the [[Information technology in India|IT industry]] transformed global perceptions of India.<ref name="dnaindia">{{cite news|title=Shah Rukh Khan as popular as Pope: German media|url=http://www.dnaindia.com/entertainment/report-shah-rukh-khan-as-popular-as-pope-german-media-1150157|work=[[Daily News and Analysis]]|date=10 February 2008}}</ref>

===== UK =====
{{Main | Asian Underground |Bhangra (music) }}

In the late 1980s, Indian-British artists fused Indian and Western traditions to make the [[Asian Underground]]. Since the 1990s, Canadian born musician Nadaka who has spent most of his life in India, has been creating music that is an acoustic fusion of [[Indian classical music]] with western styles. One such singer who has merged the Bhakti sangeet tradition of India with the western non-Indian music is [[Krishna Das (singer)|Krishna Das]] and sells music records of his musical [[sadhana]]. Another example is the [[Indo-Canadian]] musician [[Vandana Vishwas]] who has experimented with western music in her 2013 album ''Monologues''.

In a more recent example of Indian-British fusion, [[Laura Marling]] along with [[Mumford and Sons]] collaborated in 2010 with the Dharohar Project on a four-song EP.<ref name=dharo1>{{cite news |publisher=BBC review |title=A triumphant experiment that feels surprisingly authentic |first= Colin |last=Irwin |date=2010-09-03 |url=https://www.bbc.co.uk/music/reviews/rqzb/}}</ref> The British band [[Bombay Bicycle Club]] also sampled the song "[[Nagin (1954 film)#Soundtrack|Man Dole Mera Tan Dole]]" for their single "[[So Long, See You Tomorrow (album)|Feel]]".<ref>{{cite news | newspaper=The Indian Express|title= A Little This, A Little That |first= Pallavi |last= Pundir | date= 15 March 2013}}</ref> Laxmikant-Pyarelal

==== Oceania ====
Due to large Indian diaspora population, Indian music and movies are very popular in [[Fiji]] especially among [[Indo-Fijians]].<ref name="Oceania">{{cite news|url=http://economictimes.indiatimes.com/News/News_By_Industry/ET_Cetera/Bollywood_clubs_popular_among_Australians/articleshow/2372640.cms|title=Bollywood clubs popular among Australians|work=[[The Times of India]]|date=15 September 2007|access-date=12 November 2007|agency=Indo-Asian News Service|archive-url=https://web.archive.org/web/20080212095151/http://economictimes.indiatimes.com/News/News_By_Industry/ET_Cetera/Bollywood_clubs_popular_among_Australians/articleshow/2372640.cms|archive-date=12 February 2008}}</ref>

[[Australia]] and [[New Zealand]] have 2 percent Indian population, as well as other a large South Asian diaspora, and Bollywood music and movies are popular amongst non-Asians in the country as well.<ref name="Oceania"/>

==Organisations promoting Indian music==

[[Sangeet Natak Akademi]] is the national level academy for [[performing arts]] set up by the [[Government of India]] in 1952, which bestows [[Sangeet Natak Akademi Award]] as the highest official Indian government's recognition given to practicing artists,<ref>{{cite news|title=Gursharan gets 'Akademi Ratna' |author=[[United News of India]], [[Press Trust of India]] |newspaper=[[The Tribune (Chandigarh)|The Tribune]] | location=Chandigarh |date=2007-03-01 |url=http://www.tribuneindia.com/2007/20070302/nation.htm#3 |access-date=2009-03-11 |url-status=dead |archive-url=https://web.archive.org/web/20070304065453/http://www.tribuneindia.com/2007/20070302/nation.htm#3 |archive-date=4 March 2007 }}</ref> It has established several institutions including the Manipur Dance Academy in [[Imphal]],<ref>{{cite web|url=http://sangeetnatak.org/sna/inst.htm|title=Institutions of the Sangeet Natak Akademi|publisher=SNA|access-date=8 November 2010|archive-url=https://web.archive.org/web/20110727234331/http://sangeetnatak.org/sna/inst.htm|archive-date=27 July 2011|url-status=dead}}</ref> Ravindra Rangshala Centers,<ref>{{cite web|url=http://sangeetnatak.org/sna/centres.htm|title=Centres of the Akademi|publisher=SNA|access-date=8 November 2010|archive-url=https://web.archive.org/web/20110727235028/http://sangeetnatak.org/sna/centres.htm|archive-date=27 July 2011|url-status=dead}}</ref> Sattriya Centre, [[Kathak Kendra]] ([[National Institute of Kathak Dance]]) at [[New Delhi]], Centre for Kutiyattam at [[Thiruvananthapuram]], Chhau Centre at [[Baripada]] in [[Jamshedpur]], Banaras Music Akademi, [[Varanasi]], and the Northeast Centre. '''[[Akhil Bharatiya Gandharva Mahavidyalaya Mandal]]''' ('''अखिल भारतीय गान्धर्व महाविद्यालय मंडल''') is an institution for the promotion and propagation of Indian classical music and dance.

==See also==
{{Portal|India|Music}}
{{col div|colwidth=30em}}
* [[Indian classical music]]
* [[Indian classical dance]]
* [[Indian musical instruments]]
* [[Indian Music Industry]]
* [[Military Music Wing]]
* [[Music of South Asia]]
* [[List of regional genres of music]]
{{colend}}

==References==
{{Reflist}}

===Works cited===
{{refbegin|2}}
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*{{cite book |last=MacDonell |first=Arthur Anthony |year=2004 |title=A Practical Sanskrit Dictionary |publisher=Motilal Banarsidass |isbn=978-81-208-2000-5}}
* {{cite book |author=Maurice Winternitz |author-link=Moriz Winternitz |title=History of Indian Literature Vol 3 (Original in German published in 1922, translated into English by VS Sarma, 1981) |year=2008 |publisher=Motilal Banarsidass |location=New Delhi |isbn=978-8120800564}}
* {{cite book |author=Patrick Olivelle |title=Dharmasutras: The Law Codes of Ancient India |url=https://books.google.com/books?id=gnVxqvPg9a0C |year=1999 |publisher=Oxford University Press |isbn=978-0-19-283882-7}}
* {{cite book |last1=Radhakrishnan |first1=S. |last2=Moore |first2=C. A. |author-link=Sarvapalli Radhakrishnan |year=1957 |title=A Source Book in Indian Philosophy |publisher=Princeton University Press |location=Princeton, New Jersey |isbn=978-0-691-01958-1 |url-access=registration |url=https://archive.org/details/sourcebookinindi00radh}}
* {{Citation |last=Rowell |first=Lewis |title=Scale and Mode in the Music of the Early Tamils of South India |journal=Music Theory Spectrum |volume=22 |pages=135–156 |year=2000 |issue=2 |doi=10.1525/mts.2000.22.2.02a00010 |jstor=745957}} 
* {{cite book |last1=Sorrell |first1=Neil |last2=Narayan |first2=Ram |title=Indian Music in Performance: A Practical Introduction |url=https://books.google.com/books?id=jNhRAQAAIAAJ |year=1980 |publisher=Manchester University Press |isbn=978-0-7190-0756-9}}
{{refend}}

==Further reading==
* {{cite journal|last=Day |author2=Joshi, O. P. |year=1982|title=The changing social structure of music in India| journal = International Social Science Journal | volume= 34|issue=94|page= 625 }}
* {{cite book|last=Day |first=Charles Russell |title=The Music and Musical instruments of Southern India and the Deccan|url=https://archive.org/stream/musicmusicalinst00dayc#page/n7/mode/2up|year=1891|publisher= Adam Charles Black, London}}
*{{cite book|last=Clements|first=Sir Ernest |title=Introduction to the Study of Indian Music |url=https://archive.org/stream/cu31924018413900#page/n5/mode/2up.|year=1913|publisher= Longmans, Green & Co., London}}
* {{cite book|last=Strangways|first=A.H. Fox |title=The Music of Hindostan|url=https://archive.org/stream/musicofhindostan00foxs#page/n7/mode/2up|year=1914|publisher=Oxford at The Clarendon Press, London}}
* {{cite book|last=Strangways|first=A.H. Fox |title=The Music of Hindostan|url=https://archive.org/stream/musicofhindostan00foxs#page/n7/mode/2up|year=1914|publisher=Oxford at The Clarendon Press, London}}
* {{cite book|last= Popley|first=Herbert Arthur|title=The Music of India |year=1921|publisher= Association Press, Calcutta}}
* {{cite book|author=Killius, Rolf|title=Ritual Music and Hindu Rituals of Kerala. New Delhi: B.R. Rhythms, 2006.}}
* {{cite book|author=Moutal, Patrick|title=Hindustāni Gata-s Compilation: Instrumental themes in north Indian classical music| publisher=Patrick Moutal Publisher|place=Rouen|year=2012|isbn=978-2-9541244-1-4}}
* {{cite book|author=Moutal, Patrick|title=A Comparative Study of Selected Hindustāni Rāga-s| publisher=Munshiram Manoharlal Publishers Pvt Ltd|place=New Delhi|year=1991|isbn=978-81-215-0526-0}}
* {{cite book|author=Moutal, Patrick|title=Hindustāni Rāga-s Index| publisher=Munshiram Manoharlal Publishers Pvt Ltd|place=New Delhi|year=1991}}
* {{cite book|author=Manuel, Peter|title=Thumri in Historical and Stylistic Perspectives. New Delhi: Motilal Banarsidass, 1989.}}
* {{cite book|author=Manuel, Peter|title=Cassette Culture: Popular Music and Technology in North India. University of Chicago Press, 1993|isbn=978-0-226-50401-8|date=May 1993|publisher=University of Chicago Press |url-access=registration|url=https://archive.org/details/cassetteculturep00manu}}
* Wade, Bonnie C. (1987). ''Music in India: the Classical Traditions''. New Dehi, India: Manohar, 1987, t.p.&nbsp;1994. xix, [1], 252 p., amply ill., including with examples in musical notation. {{ISBN|81-85054-25-8}}
*Maycock, Robert and Hunt, Ken. "How to Listen - a Routemap of India". 2000.  In Broughton, Simon and Ellingham, Mark with McConnachie, James and Duane, Orla (Ed.), ''World Music, Vol. 2: Latin & North America, Caribbean, India, Asia and Pacific'', pp.&nbsp;63–69. Rough Guides Ltd, Penguin Books. {{ISBN|1-85828-636-0}}
*Hunt, Ken. "Ragas and Riches". 2000.  In Broughton, Simon and Ellingham, Mark with McConnachie, James and Duane, Orla (Ed.), ''World Music, Vol. 2: Latin & North America, Caribbean, India, Asia and Pacific'', pp.&nbsp;70–78. Rough Guides Ltd, Penguin Books. {{ISBN|1-85828-636-0}}.
*"Hindu music." (2011). Columbia Electronic Encyclopedia, 6th Edition, 1.
*[[Emmie te Nijenhuis]] (1977), [https://books.google.com/books?id=kFkVJDlg-4IC ''A History of Indian Literature: Musicological Literature''], Otto Harrassowitz Verlag, {{ISBN|978-3447018319}}, {{oclc|299648131}}
*[https://archive.org/stream/NatyaShastra/natya_shastra_translation_volume_2_-_bharat_muni#page/n7/mode/2up Natya Sastra] ''Ancient Indian Theory and Practice of Music'' (translated by M. Ghosh)

==External links==
{{commons category}}
* [https://www.bbc.co.uk/programmes/p005xm48 BBC Radio 3 Audio (45 minutes): The Nizamuddin shrine in Delhi.] Accessed 25 November 2010.
* [https://www.bbc.co.uk/programmes/p005xm4c BBC Radio 3 Audio (45 minutes): A mahfil Sufi gathering in Karachi.] Accessed 25 November 2010.
* [https://www.bbc.co.uk/programmes/p005xjq8 BBC Radio 3 Audio (60 minutes): The Misra brothers perform Vedic chant.] Accessed 25 November 2010.
* [https://www.bbc.co.uk/programmes/p005xjqc BBC Radio 3 Audio (60 minutes): Rikhi Ram and sons, Nizami brothers.] Accessed 25 November 2010.
* [https://www.bbc.co.uk/programmes/p005xjqk BBC Radio 3 Audio (60 minutes): Rajasthan, Bombay and Trilok Gurtu.] Accessed 25 November 2010.
* [https://www.bbc.co.uk/programmes/p005xl8n BBC Radio 3 Audio (45 minutes): Gujarat - Praful Dave.] Accessed 25 November 2010.
* [https://www.bbc.co.uk/programmes/p005xl8s BBC Radio 3 Audio (45 minutes): Courtesan songs and music of the Bauls.] Accessed 25 November 2010.
* [https://www.bbc.co.uk/programmes/p005xm4k BBC Radio 3 Audio (60 minutes): Music from the Golden Temple of Amritsar.] Accessed 25 November 2010.
* {{in lang|en|fr}} [http://www.moutal.eu/indian-music.html Hindustani Rag Sangeet Online – A rare collection of more than 800 audio and video archives from 1902]
* Rabindra Sangeet - [https://www.brainwareuniversity.ac.in/celebrating-tagore/rabindra-sangeet-collection/ Celebrating Tagore] 

{{India topics}}
{{Music of Asia}}
{{Indian Music|South Indian Music=https://naasongs24.com/}}
{{Rāgas as per Performance Time}}

[[Category:Music of India| ]]
[[Category:Articles containing video clips]]