Mingling of Islamic and Indigenous Traditions in Indian Music

Summary

In this essay the author charts how Islamic musical traditions blended with indigenous Indian music to create the composite Hindustani tradition. The narrative begins with the Arab conquest of Sindh in the 8th century and the subsequent establishment of Turkish and Mughal dynasties in North India. Medieval Muslim writers such as al‑Jāḥiẓ and al‑Masʿūdī admired Indian music, and the Sufi acceptance of music as a path to God allowed Muslim rulers and nobles to patronise this arthttps://www.britannica.com/art/South-Asian-arts/The-Islamic-period#:~:text=The%20Muslim%20conquest%20of%20India,very%20much%20attracted%20by%20it. During the reigns of Sultan Ala‑ud‑din Khilji and the later Mughal emperors, Hindu court musicians were employed in imperial workshops, and Persian, Afghan and Kashmiri musicians interacted with Indian counterparts. The essay quotes the 14th‑century poet Amir Khusrow, who was proficient in Persian and Indian music and proclaimed Indian music superior to that of other countrieshttps://www.britannica.com/art/South-Asian-arts/The-Islamic-period#:~:text=In%20the%20beginning%20of%20the,the%20Deccan%20under%20Malik%20K%C4%81f%C5%ABr. Following Khusrow, Muslim musicians took an active interest in Indian music and enriched the repertoire by inventing new rāgas, tālas and musical forms as well as modifying instrumentshttps://www.britannica.com/art/South-Asian-arts/The-Islamic-period#:~:text=After%20the%20example%20set%20by,as%20well%20as%20new%20instruments. At the Mughal courts of Akbar, Jahāngīr and Shāh Jahān, legendary Indian maestros such as Swami Haridas and Tansen flourished under royal patronagehttps://www.britannica.com/art/South-Asian-arts/The-Islamic-period#:~:text=Jah%C4%81ng%C4%ABr%20%2C%20and%20%20273%2C,and%20innovators%20of%20this%20period. Indian music was most favoured even though Persian and Afghan musicians were also presenthttps://www.britannica.com/art/South-Asian-arts/The-Islamic-period#:~:text=Jah%C4%81ng%C4%ABr%20%2C%20and%20%20273%2C,and%20innovators%20of%20this%20period. The article analyses how Islamic influence de‑emphasised Sanskrit lyrics and devotional content in favour of songs in Hindi dialects, Braj Bhāṣā, Bhojpuri, Dakhani and Urduhttps://www.britannica.com/art/South-Asian-arts/The-Islamic-period#:~:text=this%20influence%20was%20to%20de,Nevertheless%2C%20the%20problems%20of. Sufi and Bhakti movements shared a devotional emphasis that softened orthodox opposition to music and fostered new genres such as qawwālī and dhrupad. The essay emphasises that the Mughal period saw the development of khayāl and thumrī, forms that allowed improvisation and ornamentation. It points out that the shift to vernacular lyrics broadened the audience and allowed poetry about human love to serve as allegory for divine lovehttps://www.britannica.com/art/South-Asian-arts/The-Islamic-period#:~:text=A%20new%20approach%20to%20religion,for%20Krishna%2C%20a%20popular%20incarnation. The mingling of traditions also extended to instruments: the Persian setār evolved into the sitār, and the rabāb influenced the sarod. The author concludes that Islamic influence, though pronounced in North India, did not displace older traditions. Rather, the Mughal courts provided space where Hindu and Muslim musicians collaborated, leading to a hybrid style that forms the basis of modern Hindustani classical music. By tracing historical evidence and musical forms, the article illustrates how cultural exchange can produce enduring artistic syntheses rather than cultural domination.