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Q16 (IAS/2019) History & Culture › Culture, Literature, Religion & Philosophy › Indian classical music Official Key

With reference to Mian Tansen, which one of the following statements is not correct?

Result
Your answer: —  ·  Correct: A
Explanation

The correct answer is option A because Akbar gave him the title "Mian," which is an honorific meaning learned man[2], not "Tansen." Tansen was his actual name, not a title bestowed by the emperor.

Option B is correct as he composed many songs in praise of Hindu deities[3]. Option C is also correct since he composed songs in praise of Kings and Emperors, including Islamic hymns in reverence to[4] Emperor Akbar[3]. Option D is correct as Tansen of Gwalior was credited with composing many ragas[5].

Therefore, option A is the only incorrect statement, making it the right answer to this question that asks which statement is "not correct."

Sources
  1. [1] https://en.wikipedia.org/wiki/Tansen
  2. [4] https://www.rudraveena.org/theBlogMusicFiles/Indian%20Music%20and%20Mian%20Tansen%20by%20Pt.%20Birendra%20Kishore%20Roy%20Chowdhury.pdf
  3. [5] History , class XI (Tamilnadu state board 2024 ed.) > Chapter 14: The Mughal Empire > Music and Dance > p. 218
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Q. With reference to Mian Tansen, which one of the following statements is not correct? [A] Tansen was the title given to him by Emperor Ak…
At a glance
Origin: Books + Current Affairs Fairness: Low / Borderline fairness Books / CA: 2.5/10 · 5/10

This is a classic 'Attribution Swap' trap. The question tests depth on a specific personality (Tansen) by mixing generic truths (B, C, D) with one specific historical falsehood (A). While standard books cover Tansen's ragas and patronage, the specific origin of his title requires reading the fine print in culture modules (CCRT/Nitin Singhania).

How this question is built

This question can be broken into the following sub-statements. Tap a statement sentence to jump into its detailed analysis.

Statement 1
Did Emperor Akbar give the title "Tansen" to the musician Mian Tansen?
Origin: Web / Current Affairs Fairness: CA heavy Web-answerable

Web source
Presence: 5/5
"Akbar considered him one of the Navaratnas ... and gave him the title Mian, an honorific, meaning learned man."
Why this source?
  • Explicitly states what Akbar bestowed: the passage says Akbar gave him the title 'Mian', an honorific.
  • This addresses the question by identifying the specific title Akbar conferred (Mian), rather than 'Tansen'.
Web source
Presence: 5/5
"Akbar, impressed by Tansen’s musical prowess, bestowed upon him the honorific title ‘Mian,’ signifying a learned man."
Why this source?
  • Directly reports that Akbar 'bestowed upon him the honorific title ‘Mian’', linking the emperor to the conferment of 'Mian'.
  • Supports answering whether Akbar gave the name 'Tansen' by showing the title credited to Akbar was 'Mian'.
Web source
Presence: 4/5
"Emperor Akbar accorded the title 'Mian' to Tansen, which translates to 'learned"
Why this source?
  • States that 'Emperor Akbar accorded the title 'Mian' to Tansen', again naming 'Mian' as the title from Akbar.
  • Reinforces the point that the imperial title from Akbar was 'Mian', not explicitly 'Tansen'.

History , class XI (Tamilnadu state board 2024 ed.) > Chapter 14: The Mughal Empire > Music and Dance > p. 218
Strength: 5/5
“According to Ain-i-Akbari, Tansen of Gwalior, credited with composing many ragas, was patronised by Akbar along with 35 other musicians. Jahangir and Shah Jahan were patrons of music. Though there is a popular misconception that Aurangzeb was against music, a large number of books on Indian classical music were written during his regime. His queens, princes and nobles continued to patronise music.”
Why relevant

Ain-i-Akbari explicitly mentions 'Tansen of Gwalior' as patronised by Akbar, showing the imperial record identifies the musician by the name 'Tansen'.

How to extend

A student could check whether Ain-i-Akbari or related court texts list this name as a formal title or as a personal/epithet, by consulting the primary text or modern editions/translations.

THEMES IN INDIAN HISTORY PART II, History CLASS XII (NCERT 2025 ed.) > Chapter 8: Peasants, Zamindars and the State > 8. The Ain-i Akbari of Abu'l Fazl Allami > p. 217
Strength: 4/5
“The Ain-i Akbari was the culmination of a large historical, administrative project of classification undertaken by Abu'l Fazl at the order of Emperor Akbar. It was completed in 1598, the forty-second regnal year of the emperor, after having gone through five revisions. The Ain was part of a larger project of history writing commissioned by Akbar. This history, known as the Akbar Nama, comprised three books. The first two provided a historical narrative. We will look at these parts more closely in Chapter 9. The Ain-i Akbari, the third book, was organised as a compendium of imperial regulations and a gazetteer of the empire.”
Why relevant

The Ain-i-Akbari is described as an official compendium compiled at Akbar's order, indicating that names and court designations were recorded in an authoritative source.

How to extend

One could use this to prioritize searching Ain-i-Akbari/Akbar Nama entries for wording that indicates a conferred title versus a popular name.

History , class XI (Tamilnadu state board 2024 ed.) > Chapter 14: The Mughal Empire > Literature > p. 219
Strength: 4/5
“administration. Abul Fazal, patronised by Akbar, compiled the history of Akbar in Akbar Nama and described Mughal administration in his work Ain-i-Akbari. The Ain-i-Akbari is commendable for its interest in science, statistics, geography and culture. Akbar Namah was emulated by Abdul Hamid Lahori and Muhammad Waris in their joint work Padshah Nama, a biography of Shah Jahan. Later Muhammad Kazim in his Alamgir Nama, a work on the reign of the first decade of Aurangzeb, followed the same pattern. poet of Akbar. The translation of Upanishads by Dara Shukoh, entitled Sirr-I-Akbar (the Great Secret), is a landmark. The Masnawis of Abul Faizi.”
Why relevant

Abu'l Fazl (patronised by Akbar) compiled Akbar Nama and Ain-i-Akbari, implying contemporaneous histories produced under Akbar's patronage are the right place to look for court-bestowed titles.

How to extend

Use this pattern to examine these specific works (or their translations/indices) for any phrase like 'given the title' or 'conferred the name' regarding musicians.

Rajiv Ahir. A Brief History of Modern India (2019 ed.). SPECTRUM. > Chapter 4: India on the Eve of British Conquest > Weak Rulers after Aurangzeb—An Internal Challenge > p. 64
Strength: 3/5
“Akbar II (1806-37) He gave the title of Raja to Rammohan Rai. In 1835, the coins bearing the names of Mughal emperors were stopped. Bahadur Shah II (1837-1857) Bahadur Shah II or Bahadur Shah Zafar (Zafar being his surname) was the last Mughal emperor. The Revolt of 1857 had made a futile attempt to declare him the Emperor of India. He was captured by the English and sent to Rangoon where he died in 1862. In legal terms, the Mughal Empire came to an end on November 1, 1858 with the declaration of Queen Victoria.”
Why relevant

An example is given of a Mughal emperor (Akbar II) conferring a title ('Raja' to Rammohan Rai), showing Mughal emperors did formally bestow titles.

How to extend

Apply this general practice to Akbar's reign: a student could look for documentary evidence that Akbar similarly conferred honorifics on courtiers and musicians.

History , class XI (Tamilnadu state board 2024 ed.) > Chapter 14: The Mughal Empire > 14.9 Mughal Society > p. 214
Strength: 3/5
“In Mughal social structure, the nobles came mostly from Central Asia and Iran. Afghans, Indian Muslims (shaikhzadas), Rajputs and Marathas also obtained the status of nobility. It is estimated that during the reign of Akbar 15% of the nobility consisted of Rajputs. Raja Man Singh, Raja Todar Mal and Raja Birbal were Rajput nobles of repute during Akbar. The Rajputs appointed Kayasths and Khatris for various positions in government administration. There were continuous migrations from Central Asia as there were better career prospects in India. These migrations led to the enrichment of culture through assimilation of diversity. Though the nobility was divided on ethnic lines they formed a composite class promoting a syncretic culture by patronising. painters, musicians and singers of both Persian and Indian origin.”
Why relevant

The Mughal court actively patronised musicians and promoted a syncretic culture, indicating prominent musicians like Tansen would have been publicly recognized at court.

How to extend

Combine this with a world/primary-source search to see if such public recognition took the form of formal titles, nicknames, or simply patronage records.

Statement 2
Did Mian Tansen compose Dhrupads dedicated to Hindu gods and goddesses?
Origin: Weak / unclear Fairness: Borderline / guessy
Indirect textbook clues
History , class XI (Tamilnadu state board 2024 ed.) > Chapter 14: The Mughal Empire > Music and Dance > p. 218
Strength: 4/5
“According to Ain-i-Akbari, Tansen of Gwalior, credited with composing many ragas, was patronised by Akbar along with 35 other musicians. Jahangir and Shah Jahan were patrons of music. Though there is a popular misconception that Aurangzeb was against music, a large number of books on Indian classical music were written during his regime. His queens, princes and nobles continued to patronise music.”
Why relevant

Identifies Tansen (of Gwalior) as a composer of many ragas and a prominent court musician under Akbar — showing he was an active composer in the classical tradition.

How to extend

A student could combine this with knowledge that court musicians often composed formal pieces (like dhrupad) to infer it was plausible he composed devotional works and then seek specific repertory records.

THEMES IN INDIAN HISTORY PART II, History CLASS XII (NCERT 2025 ed.) > Chapter 6: Bhakti-Sufi Traditions > 2.1 The Alvars and Nayanars of Tamil Nadu > p. 143
Strength: 4/5
“Some of the earliest bhakti movements (c. sixth century) were led by the Alvars (literally, those who are "immersed" in devotion to Vishnu) and Nayanars (literally, leaders who were devotees of Shiva). They travelled from place to place singing hymns in Tamil in praise of their gods. Ü Discuss... Find out about gods and goddesses worshipped in your town or village, noting their names and the ways in which they are depicted. Describe the rituals that are performed.”
Why relevant

Describes an established Indian tradition of travelling singer-devotees (Alvars/Nayanars) who composed and sang hymns in praise of gods — showing a cultural pattern of musicians producing devotional compositions.

How to extend

One could extend this pattern to suggest classical composers might also create devotional pieces (dhrupads) praising Hindu deities, then check historical catalogues of Tansen's works.

Exploring Society:India and Beyond. Social Science-Class VI . NCERT(Revised ed 2025) > Chapter 7: India's Cultural Roots > a. What are the Vedas? > p. 107
Strength: 3/5
“with hardly any alterations! DON'T MISS OUT the 5th to the 2nd millennium BCE. So, for anything between 100 and 200 generations, these texts have been committed to memory through rigorous training and passed on orally This meticulous transmission over thousands of years explains why, in 2008, UNESCO recognised Vedic chanting as 'a masterpiece of the oral and intangible heritage of humanity'. The Vedic hymns were composed by rishis (male seers or sages) and rishikas (female ones) in an early form of the Sanskrit language. They were addressed in poetical form to many deities (gods or goddesses), such as Indra, Agni, Varuṇa, Mitra, Sarasvatī, Uṣhas, and many more.”
Why relevant

Explains that Vedic hymns were composed in poetic form addressed to many deities — giving a long-standing precedent for composing musical/poetic works for gods and goddesses.

How to extend

Using the precedent that composers set poetic/musical texts for deities, a student could reasonably hypothesize similar practice in later classical genres (dhrupad) and investigate Tansen's repertoire for devotional texts.

Exploring Society:India and Beyond. Social Science-Class VI . NCERT(Revised ed 2025) > Chapter 7: India's Cultural Roots > c. Vedic schools of thought > p. 109
Strength: 3/5
“Vedic culture also developed many rituals (yajña, often read as 'yagya') directed towards various deities (gods or goddesses) for individual or collective benefit and wellbeing. Daily rituals were generally in the form of prayers and offerings to Agni, the deity associated with fire, but those rituals became more and more complex in the course of time. A group of texts known as 'Upaniṣhads' built upon Vedic concepts and introduced new ones, such as rebirth (taking birth again and again) and karma (our actions or their results). According to one school of thought, generally known as 'Vedanta', everything — human life, nature and the universe — is one divine essence called brahman (not to be confused with the god Brahmā) or sometimes just tat ('that').”
Why relevant

Notes ritual and textual traditions directed towards various deities, indicating composers and religious practitioners produced material for gods — a broader rule that musical/religious composition often serves devotional functions.

How to extend

A student can use this general rule to prioritize searching for devotional (thematic) attributions in sources on dhrupad and Tansen rather than assuming only secular composition.

THEMES IN INDIAN HISTORY PART II, History CLASS XII (NCERT 2025 ed.) > Chapter 7: An Imperial Capital: Vijayanagara > 5.1 Choosing a capital > p. 184
Strength: 2/5
“It is likely that the very choice of the site of Vijayanagara was inspired by the existence of the shrines of Virupaksha and Pampadevi. In fact the Vijayanagara kings claimed to rule on behalf of the god Virupaksha. All royal orders were signed "Shri Virupaksha", usually in the Kannada script. Rulers also indicated their close links with the gods by using the title "Hindu Suratrana". This was a Sanskritisation of the Arabic term Sultan, meaning king, so it literally meant Hindu Sultan. Even as they drew on earlier traditions, the rulers of Vijayanagara innovated and developed these. Royal portrait sculpture was now displayed in temples, and the king's visits to temples were treated as important state occasions on which he was accompanied by the important nayakas of the empire.”
Why relevant

Shows rulers and capitals (Vijayanagara) publicly linked to particular gods and temple culture, implying patronage environments where devotional music could be produced and valued.

How to extend

A student could infer that courtly environments often encouraged compositions honoring deities; thus, investigating Mughal-era court practices and Tansen's patrons might reveal devotional dhrupads.

Statement 3
Did Mian Tansen compose songs about or in praise of his patrons?
Origin: Web / Current Affairs Fairness: CA heavy Web-answerable

Web source
Presence: 5/5
"find also many outstanding songs composed by him in praise of the Kings and the Emperors."
Why this source?
  • Directly states Tansen composed songs that praised royal figures.
  • Specifically names 'Kings and the Emperors' as the subjects of his songs, which are patrons.
Web source
Presence: 4/5
"He composed many songs in praise of Hindu deities, as well as Islamic hymns in reverence to Emperor Akbar."
Why this source?
  • Says he composed hymns in reverence to Emperor Akbar, indicating works honoring his patron.
  • Also notes he composed songs of praise (for deities and for imperial figures), showing a pattern of composing in praise.

History , class XI (Tamilnadu state board 2024 ed.) > Chapter 14: The Mughal Empire > Music and Dance > p. 218
Strength: 5/5
“According to Ain-i-Akbari, Tansen of Gwalior, credited with composing many ragas, was patronised by Akbar along with 35 other musicians. Jahangir and Shah Jahan were patrons of music. Though there is a popular misconception that Aurangzeb was against music, a large number of books on Indian classical music were written during his regime. His queens, princes and nobles continued to patronise music.”
Why relevant

States that Tansen was patronised by Akbar and situates him among court musicians — establishing a patron–musician relationship common in courts.

How to extend

A student could use this to infer that, given court patronage, musicians often composed pieces for their patrons and then look for examples or texts (e.g., court chronicles) linking specific compositions to praise of rulers.

History , class XI (Tamilnadu state board 2024 ed.) > Chapter 5: Evolution of Society in South India > Political Ascendancy of the Vendar > p. 69
Strength: 5/5
“Titles such as Kadungo, Imayayaramban and Vanayaramban, and PeruVazhuthi distinguished themselves from the ordinary people and the Velirs. The patronization of bards and poets, and entertaining them in their courts (avaiyam), was probably a step undertaken by the kings to glorify their name and fame and also their territories and towns. For example, the Chola king Karikalan is said to have offered a huge amount of gold coins to Uruttirankannanar who composed Pattinappalai.”
Why relevant

Explains a general pattern: kings patronised bards and poets who composed works to glorify their patrons (gives Pattinappalai example).

How to extend

Apply this rule to Mughal court culture — if South Indian kings used poets to praise rulers, a student could reasonably check whether Mughal court musicians similarly composed laudatory songs for emperors.

History , class XI (Tamilnadu state board 2024 ed.) > Chapter 11: Later Cholas and Pandyas > Introduction > p. 155
Strength: 4/5
“The Cholas belonged to one of the three mighty dynasties that ruled the Tamizh country in the early historical period. Described as the Muvendhar in the Sangam literature, they were known for the valour and for their patronage of the Tamil language. Many songs were composed in high praise of their glories. However, after the Sangam period until about the ninth century CE, there are no records about them. The river valleys facilitated the expansion of agriculture leading to the emergence of powerful kingdoms. The agricultural boom resulted in the production of surplus food. grains. But this surplus in production resulted in unequal distribution of wealth.”
Why relevant

Notes that many songs were composed in high praise of Chola glories — another example of composers producing laudatory material for rulers.

How to extend

Use this as comparative evidence that composing praise-poems/songs for rulers was a recurring historical practice and therefore plausible in Tansen's case; then seek Mughal-period parallels or records.

History , class XI (Tamilnadu state board 2024 ed.) > Chapter 13: Cultural Syncretism: Bhakti Movement in India > Namadeva > p. 194
Strength: 3/5
“Namadeva, a son of a tailor and an inhabitant of the village of Naras-Vam in Satara district of Maharashtra, under the influence of Saint Janadeva, was converted to the path of bhakti. A staunch devotee of Vithala (avatar of Vishnu) of Pandarpur, Namdeva spent much of his time in worship. Along with his followers, chanting mostly in his own verses. He wrote many abhangs (songs composed and sung by saints in Maharashtra in praise of God's glory) in Marathi and Hindi. He travelled as far as Punjab where his teachings became so popular that they were later absorbed.”
Why relevant

Describes the genre of abhangs — songs explicitly composed and sung in praise (of God) — illustrating the cultural practice of composing devotional/praise songs.

How to extend

A student could generalise that composing praise was a recognized function of poets/musicians, so it would be plausible for court musicians like Tansen to compose praise-songs for patrons and then search for specific attributions.

History , class XI (Tamilnadu state board 2024 ed.) > Chapter 14: The Mughal Empire > I. Choose the Correct Answer > p. 221
Strength: 3/5
“Tansen was patronized by Akbar. (a) Agra (b) Gwalior • \mu is \mu: (c) Delhi; (v, v, \dots, v): (d) Mathura 10. Padshah Namah was a biography of • (a) Babur: (c) Shah Jahan; (b) Humayun: (d) Akbar 11. was an astrological treatise. • (a) Tajikānilakanthi • (b) Rasagangadhara • (c) Manucharita • (d) Rajavalipataka • 12. Meenakshiammai Pillai Tamil was composed by. • (b) Kumaraguruparar • (a) Thayumanayar • (c) Ramalinga Adigal • (d) Sivappirakasar • 13. Find out the incorrect statement • (a) Taj Mahal is the epitome of Mughal architecture, a blend of Indian, Persian and Islamic style. • (b) The new capital city of Akbar, Agra, enclosed within its walls several inspiring buildings. • (c) The Moti Masjid is made extensively of marble. • (d) The Purana Oila is a raised citadel. • 14.”
Why relevant

Reiterates that Tansen was patronised by Akbar (quiz format), reinforcing the court association that often motivates praise-compositions.

How to extend

Combine this repeated attestation of patronage with patterns of court poets composing laudatory works to justify targeted searches for compositions linked to Akbar or the court.

Statement 4
Did Mian Tansen invent many ragas?
Origin: Direct from books Fairness: Straightforward Book-answerable
From standard books
History , class XI (Tamilnadu state board 2024 ed.) > Chapter 14: The Mughal Empire > Music and Dance > p. 218
Presence: 5/5
“According to Ain-i-Akbari, Tansen of Gwalior, credited with composing many ragas, was patronised by Akbar along with 35 other musicians. Jahangir and Shah Jahan were patrons of music. Though there is a popular misconception that Aurangzeb was against music, a large number of books on Indian classical music were written during his regime. His queens, princes and nobles continued to patronise music.”
Why this source?
  • Ain-i-Akbari explicitly credits Tansen of Gwalior with composing many ragas.
  • The same passage places Tansen within Akbar's court, linking royal patronage to his musical activity.
Pattern takeaway: UPSC creates 'Not Correct' questions by taking a famous figure and swapping the 'Donor' of a title or the 'Author' of a book. Broad statements about an artist's skills (composed for gods, invented ragas) are rarely the incorrect option because they are hard to disprove definitively.
How you should have studied
  1. [THE VERDICT]: Trap. Statement A is a specific historical error (Title source swapped), while B, C, and D are broad cultural truths. Source: CCRT Website / Nitin Singhania (Indian Music Chapter).
  2. [THE CONCEPTUAL TRIGGER]: Mughal Era > Cultural Developments > The Navratnas (Nine Gems) > Tansen's Biography.
  3. [THE HORIZONTAL EXPANSION]: Memorize the Tansen Bio-Data: Original Name (Ramtanu Pande); Guru (Swami Haridas); Pre-Mughal Patron (Raja Ramchandra Baghela of Rewa); Title 'Tansen' (Given by Raja of Rewa/Gwalior, NOT Akbar); Title 'Mian' (Given by Akbar); Key Ragas (Mian ki Malhar, Mian ki Todi, Darbari Kanada).
  4. [THE STRATEGIC METACOGNITION]: When studying historical personalities, use the 'Attribute Checklist': 1. Original Name vs. Titles, 2. Who gave the title?, 3. List of Patrons (Chronological), 4. Key Creations (Books/Ragas). Never assume the most famous patron gave the most famous title.
Concept hooks from this question
📌 Adjacent topic to master
S1
👉 Akbar's patronage of musicians and court culture
💡 The insight

Emperor Akbar actively patronised musicians and incorporated music into court life, which is the context for any claim about titles or honours conferred on court artists.

High-yield for UPSC questions on Mughal cultural policy and court life; helps connect questions about royal patronage, cultural syncretism, and the status of artists under the Mughals. Mastery enables candidates to answer source-based and essay questions on imperial support for arts and its political/social implications.

📚 Reading List :
  • History , class XI (Tamilnadu state board 2024 ed.) > Chapter 14: The Mughal Empire > Music and Dance > p. 218
  • History , class XI (Tamilnadu state board 2024 ed.) > Chapter 14: The Mughal Empire > Literature > p. 219
  • History , class XI (Tamilnadu state board 2024 ed.) > Chapter 14: The Mughal Empire > 14.9 Mughal Society > p. 214
🔗 Anchor: "Did Emperor Akbar give the title "Tansen" to the musician Mian Tansen?"
📌 Adjacent topic to master
S1
👉 Ain-i-Akbari and Akbar Nama as primary records of court personnel
💡 The insight

Ain-i-Akbari and the Akbar Nama are principal compilations documenting court officials and cultural figures and therefore are key references when assessing names, titles, and patronage relationships.

Crucial for source-based questions and historiography in UPSC: knowing these works helps evaluate primary claims about Mughal administration and culture, and supports critical reading of later historical assertions about figures like Tansen.

📚 Reading List :
  • THEMES IN INDIAN HISTORY PART II, History CLASS XII (NCERT 2025 ed.) > Chapter 8: Peasants, Zamindars and the State > 8. The Ain-i Akbari of Abu'l Fazl Allami > p. 217
  • History , class XI (Tamilnadu state board 2024 ed.) > Chapter 14: The Mughal Empire > Music and Dance > p. 218
  • History , class XI (Tamilnadu state board 2024 ed.) > Chapter 14: The Mughal Empire > Literature > p. 219
🔗 Anchor: "Did Emperor Akbar give the title "Tansen" to the musician Mian Tansen?"
📌 Adjacent topic to master
S1
👉 Tansen's origin and association with Akbar's court
💡 The insight

Tansen is identified as being from Gwalior and as a musician patronised by Akbar, facts central to any inquiry into his status or titles at court.

Useful for biographical and cultural-history questions: understanding regional origins and imperial patronage helps place cultural figures within broader political and social contexts, enabling comparative questions about regional music centers and courtly patronage.

📚 Reading List :
  • History , class XI (Tamilnadu state board 2024 ed.) > Chapter 14: The Mughal Empire > Music and Dance > p. 218
🔗 Anchor: "Did Emperor Akbar give the title "Tansen" to the musician Mian Tansen?"
📌 Adjacent topic to master
S2
👉 Bhakti devotional hymn tradition (Alvars & Nayanars)
💡 The insight

Alvars and Nayanars composed hymns in praise of Vishnu and Shiva, illustrating a sustained tradition of devotional singing to Hindu gods.

High-yield for medieval cultural history: explains the musical and devotional practices that shaped regional bhakti movements and helps answer questions on continuity between devotional poetry and later musical genres. Connects religious history, literature and performance traditions useful for culture and art syllabi.

📚 Reading List :
  • THEMES IN INDIAN HISTORY PART II, History CLASS XII (NCERT 2025 ed.) > Chapter 6: Bhakti-Sufi Traditions > 2.1 The Alvars and Nayanars of Tamil Nadu > p. 143
🔗 Anchor: "Did Mian Tansen compose Dhrupads dedicated to Hindu gods and goddesses?"
📌 Adjacent topic to master
S2
👉 Musical patronage in Mughal courts (Tansen & raga composition)
💡 The insight

Tansen was a court musician credited with composing many ragas and was patronised by Akbar, showing the central role of court musicians in composing and systematising music.

Important for questions on cultural synthesis and institutional support for the arts under the Mughals; helps evaluate claims about composers' outputs and the contexts in which they worked. Links music history to political patronage and cultural policy.

📚 Reading List :
  • History , class XI (Tamilnadu state board 2024 ed.) > Chapter 14: The Mughal Empire > Music and Dance > p. 218
🔗 Anchor: "Did Mian Tansen compose Dhrupads dedicated to Hindu gods and goddesses?"
📌 Adjacent topic to master
S2
👉 Vedic hymns and deity-focused compositions
💡 The insight

Vedic hymns were composed addressing many deities, demonstrating a long-standing practice of composing poetic-musical works for gods and goddesses in Indian tradition.

Useful for tracing continuity from ancient ritual hymns to later devotional and musical forms, aiding answers on historical evolution of religious expression and performance genres. Connects ancient rituals, literature and later bhakti developments.

📚 Reading List :
  • Exploring Society:India and Beyond. Social Science-Class VI . NCERT(Revised ed 2025) > Chapter 7: India's Cultural Roots > a. What are the Vedas? > p. 107
🔗 Anchor: "Did Mian Tansen compose Dhrupads dedicated to Hindu gods and goddesses?"
📌 Adjacent topic to master
S3
👉 Royal patronage of court musicians
💡 The insight

Royal courts commonly patronised musicians such as Tansen, who served under rulers like Akbar.

High-yield for Mughal cultural history: explains how rulers supported artistic production and helps answer questions on court culture, patronage networks, and the institutional basis for musical developments.

📚 Reading List :
  • History , class XI (Tamilnadu state board 2024 ed.) > Chapter 14: The Mughal Empire > Music and Dance > p. 218
🔗 Anchor: "Did Mian Tansen compose songs about or in praise of his patrons?"
🌑 The Hidden Trap

The 'Next Logical Question' is about Tansen's lineage or Guru. Tansen was a disciple of Swami Haridas of Vrindavan. Unlike Tansen, Haridas refused to sing for the court, establishing the distinction between 'Darbari Sangeet' (Court Music) and 'Bhakti Sangeet' (Devotional Music).

⚡ Elimination Cheat Code

Apply the 'Linguistic Consistency' hack. 'Tansen' is a Sanskrit-derived name (Tan + Sen). 'Mian' is a Persian/Urdu honorific. It is historically inconsistent for Akbar (Persian-speaking court) to coin a Sanskrit title like 'Tansen'. It is far more logical that he added the Persian prefix 'Mian' to an existing name. Therefore, A is the suspicious outlier.

🔗 Mains Connection

Mains Theme: Cultural Syncretism as Statecraft. Tansen's music (Dhrupad) blended Hindu temple traditions with Persian court etiquettes, creating a 'National Culture' under Akbar. This is a prime example of Soft Power used for political legitimacy and national integration in a diverse empire.

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SIMILAR QUESTIONS

IAS · 2002 · Q49 Relevance score: 1.40

With reference to medieval Indian rulers, which one of the following statements is correct ?

NDA-I · 2021 · Q56 Relevance score: 1.33

Which one of the following statements about the Ain-i-Akbari is not correct?

CAPF · 2022 · Q78 Relevance score: 1.32

Which one of the following statements about Tolkappiyam is not correct?

IAS · 2003 · Q123 Relevance score: 1.24

Which one of the following statements is NOT correct?

CDS-I · 2009 · Q48 Relevance score: 1.18

Which one of the following was the original name of Tansen, the famous musician in the court of Akbar ?