The Legacy of Muslim Rule in India c12.s1.2

c12.s1.2

Be that as it may, all Muslim rulers and nobles had musicians - singers and players on instruments - in their courts.¹ They patronised the meritorious by giving them high salaries and rich rewards. They got a number of books on music translated from Sanskrit into Persian. Some of them used to get so much involved in poetry and music that sometimes it was done at the cost of state work. There are many reasons for this phenomenon. The Indian system of notation is perhaps the oldest and most elaborate.² There are *ragas* meant to be sung in winter, in summer, in rains and in autumn. There are month-wise *ragas* meant to be sung during the twelve months of the year (*baramasa*). There are ragas meant for singing in the morning, early noon, afternoon and in the evenings. There are *ragas*, it is claimed, that can light a lamp or bring about downpour of rain. Then there are *ragas* and *raginis* designated for dance. Dance in its art form is as elaborate as music, and is based on Hindu *natya-shastra*. Sculptures of dancers and musicians carved on ancient and medieval temples, now mostly surviving in south India, bear testimony to their excellence, popularity and widespread practice.