Music in the courts of Akbar

The era between the 16th to the 18th century is regarded as the most opulent in the history of South Asia with Mughals being the dominant force clasping the empire spanning across modern-day India, Pakistan, and Afghanistan. The dominance was not just because of the power and military might but also due to the greater patronage to the arts and culture influenced by a strong and stable economy. 

In Mughal history, Emperor Akbar’s court is assessed as one of the most progressive and exceptionally enlightened in terms of influencing the course of Indian history. During his rule, the Mughal Empire tripled in size and wealth. It is estimated that Emperor Abkar’s net worth at his peak would translate to a staggering $21 trillion today, with control over 25% of the world’s GDP! 

This money was generously diverted to the arts and artists that thrived under the Mughal rulers. In addition to the miniatures, Mughal art (a distinct amalgamation of Indo-Persian elements) included lavish architecture (such as the Taj Mahal, and Humayun’s Tomb) as well as immaculately manicured gardens (Shalimar gardens, Verinag spring, etc.), and these were often portrayed in the miniature paintings. 

Furthermore, Mughals in India encountered diverse musical traditions far more developed and synchronised with the everyday lives of the people. Ultimately, it became an indispensable part of court life, especially during the reign of Emperor Akbar. Not just him but the extended imperial families indulged in music and sought excellence in every form of it.

One of the prominent musicians during Akbar’s reign was Mian Tansen(1500 – 1586) who epitomises the height of talent and skill in Indian classical music even today. His voice and his compositions in a way reflected Mughal presence in the everyday day lives of common people in medieval India. Mian Tansen’s versions of the ancient ragas are now the backbone of the rich Hindustani classical tradition and are referred to by his name – Mian ki Todi and Mian ki Malhar amongst others. Dhrupad remained the favoured style of singing in the Mughal courts and Tansen was a master of the form.

Read more: The Sangeet Samrat Tansen