The tradition was born out of the Vedic chant tradition dating back to thousands of years. Various other influences were absorbed along the way. The terms used are North Indian Classical Music or Shastriya Sangeet.
Hindustani classical music diverged from what eventually came to be identified as Carnatic classical music. The central notions in both these systems are that of a melodic mode or RAAGA, sung to a rhythmic cycle or TAAL. The tradition dates back to the ancient Samaveda, (ritual chant), which deals with the norms for chanting of Srutis or Hymns such as the Rig Veda. These principles were refined in the Natyashastra by Bharata (2nd-3d BC).
In medieval times, many of the melodic systems were fused with ideas from Persian music, particularly through the influence of Sufi composers like Amir Khusro, and later in the Moghul courts. Noted composers such as Tansen flourished, along with religious groups like the Vaishnavites. After the 16th century, the singing styles diversified into different Gharanas patronized in different princely courts. Around 1900, Vishnu Narayan Bhatkhande consolidated the musical structures of Hindustani classical music into a number of Thaats / Ɵa: t /. In the 20th century, Hindustani classical music has become popular across the world through the influence of artistes like Ravi Shankar, Ali Akbar Khan and many others.
Indian classical music has seven basic notes, SA RE GA MA PA DHA NI, with five interspersed half-notes called KOMAL SWAR, resulting in a 12-note scale. Unlike the 12-note scale in Western music, the base frequency of the scale is not fixed, and inter tonal gaps (temper) may also vary; however, with the gradual replacement of the Sarangi by the harmonium, an equal tempered scale is increasingly used. The performance is set to a melodic pattern called a Raga (also spelled as Raag) characterized in part by specific ascent (Aaroha) and descent (Avaroha) sequences, which may not be identical. Other characteristics include Key Note (Vaadi) and Secondary Key Note (Samvaadi) notes and characteristic phrases (Pakad). In addition each raga has its natural register (Ambit) and glissando (Meend) rules, as well as features specific to different styles and compositions within the Raaga structure. Performances are usually marked by considerable improvisation within these norms
In Karnataka, Hindustani Classical Music has been pioneered and popularized by legend Pdt.Ganayogi Panchakshara Gavai.With the blessings of Sri Haangalla Gurukumareshwara Swamiji he has founded his institution Veereshwara Punyashrama at Gadag.Veereshwara Punyashrama a dedicated institution not only for Indian Classical Music it has extended services to the society by offering shelter and education to the orphans and blind children. It has produced thousands of musicians, given life to thousands of orphans and blind children. The popular disciple of Ganayogi are Padmabhushana Pdt Puttaraj Gavai are Pdt.Basavaraj Rajguru,Pdt.Panchakhari Gavai Mattikatti,Pdt.Sheshadri Gavi Pdt.Arjuna sa Nakod,etc.After Ganayogi Panchakshara Gavai,Pdt Padmabhushana Puttaraj Gavai has continued his services at Veereshwara Punyashrama by heading the institution after Panchakshara Gavai. Veereshwara Punyashrama has reached its new height in producing Indian classical vocalists under his guidance and serving the orphans and blind children of the society. Some of the popular disciples of Puttaraj Gavai are Pdt.Rajguru Guruswami Kalikeri,Pdt.M Venkatesh Kumar,Chittaragi Basavaraj,Veereshwar Madri,Kumar Da,Eshwar Morgere, 