Famous Women Composers in Indian Classical Music History

Music in India has always been rich and diverse. It has carried voices from temples, courts, homes, and stages. For a long time, the stories of women in this tradition have not been told enough. Many women composers performed, created, and influenced generations, even when society did not recognise their contributions. This blog looks at such women, from early devotional poets to contemporary figures in Indian classical music.

Early Women Composers in Bhakti and Sufi

Before Indian classical music took formal shape, India had devotional traditions that gave women a strong voice. Many saints and poets used music to express love and devotion. Women composed verses and songs that are listened to even today.

1. Meerabai (16th Century, Rajasthan)

Meerabai, a Rajput princess who became a saint and poet, was a devotee of Lord Krishna. The Bhajans and songs written by her are filled with love and longing. Her compositions reflect her devotion towards Lord Krishna. Even today, still after centuries, they are sung in homes, concerts and temples. Her devotion made her a timeless figure in Indian music and culture.

2. Akka Mahadevi (12th Century, Karnataka)

Belonging to the Veershaiva tradition in Karnataka, Akka Mahadevi wrote short poetic verses popularly known as Vachanas. Mahadevi’s compositions use bold words and strong images that reflect the soul’s connection with God. These verses are often sung in music traditions even today.

3. Andal (7-8th Century, Tamil Nadu)

Andal is the only woman among the twelve Alvar saints of Tamil Nadu. Her works, the Tiruppavai and Nachiyar Tirumozhi, are devotional hymns to Lord Vishnu. These songs are sung in temples, especially during the Tamil month of Margazhi. Andal’s compositions combine deep faith with lyrical beauty.

4. Bibi Fatima (13th Century, Delhi) and Shah Begum (17th Century, Delhi)

In the Sufi tradition, women also created poetry and music. With verses filled with spirituality and love, Bibi Fatima and Shah Begum’s compositions were performed in gatherings that were a combination of music and poetry. These written compositions show how women were a part of Sufi creative circles.

5. Latafat Ali Khan’s Contemporaries (18th–19th Century, North India)

In royal courts and private gatherings, women composed ghazals and devotional songs. Many individuals witnessed compositions by musicians such as Latafat Ali Khan. Their works were shared in mehfils and carried forward through oral tradition. Even if many of their names are forgotten, their music left a lasting mark on the culture of that era.

6. Hazrat Khadija (7th Century, Arabian Peninsula)

Even today, spiritual poetry in the Sufi tradition often reminds us of Hazrat Khadija. Her works highlight devotion and surrender. Like many women saints, her compositions were preserved in oral forms. They remind us that women were part of devotional and spiritual music across regions.

Women Composers in Indian Classical Music

As classical music traditions grew, women began to take visible roles. Many women artists became famous performers and composed and created new works. Carnatic and Hindustani music both hold examples of women who left strong musical legacies.

A. Women Composers in Carnatic Music

Carnatic music has a deep history of women performers and composers. Some of them influenced art so strongly that their names remain important even today.

• Veena Dhanammal: Veena Dhanammal was one of the most respected figures in Carnatic music. She built a distinct style that emphasised slow pace, fine detail, and deep emotion. Known for the grace with which she played the veena, she also composed Javalis and Padams. Her family kept her tradition alive, and her work left a strong influence on Carnatic music during the 20th century.
• M.S. Subbulakshmi: M.S. Subbulakshmi, also known as MS, became a household name in India. She was the first musician to receive the Bharat Ratna. She popularised Carnatic music across the world. While she is most celebrated as a singer, she also contributed to devotional compositions. Her recordings brought classical music into everyday life for many listeners.
• Dr. M.S. Sheela: Dr. M.S. Sheela is a modern Carnatic vocalist who has worked on both performance and teaching. She is known for her wide repertoire and clear style. While she is more recognised for singing, she has also introduced new compositions in her concerts and academic work.
• Tanjore Sisters: The Tanjore Sisters, Brinda and Muktha, were disciples of the Dhanammal school. They specialised in Padams and Javalis and preserved many rare compositions. Their role as performers and preservers of older works made them important in Carnatic history. Their music showed the subtle depth of compositions by earlier women.

B. Women Composers in Hindustani Music

In Hindustani music, women have also played leading roles. Where some became famous singers, other women artists created Bandishes and Ghazals. Their influence can be seen in the richness of tradition.

• Begum Akhtar: Renowned for her expressive Thumris and graceful Dadras, Begum Akhtar brought rare emotional depth and subtlety to every performance. Her artistry blended technical mastery with heartfelt expression, shaping the evolution of light classical music and inspiring countless musicians who followed.
• Kesarbai Kerkar: Kesarbai Kerkar was a leading exponent of the Jaipur gharana. She was known for her powerful khayal singing. Her interpretations gave life to many compositions. Although not always recognised as a composer, her style and additions shaped the way these pieces are sung.
• Kishori Amonkar: Kishori Amonkar was among the most respected classical singers of the 20th century. She created new compositions and also reworked existing bandishes. She expanded the Jaipur gharana style by blending ideas from other schools. Her work showed how a singer can also be a composer.
• Prabha Atre: Prabha Atre belongs to the Kirana gharana. She is known both as a performer and as a composer. She has written new bandishes and also books on music. Her role as a teacher has spread her compositions to many students. She combined tradition with fresh ideas in her works.
• Kaushiki Chakraborty: Kaushiki Chakraborty, daughter of renowned singer Pandit Ajoy Chakraborty, belongs to the Patiala-Kirana gharana of Hindustani classical music. She performs classical styles like Khayal and Thumri, along with devotional Bhajans. Starting young, she has won several awards, including the 2005 BBC Radio 3 World Music Award (Asia-Pacific). Known for her performances and teaching, she brings freshness to traditional ragas. Her live collaborations, such as Pankh – A Leap of Faith with Shantanu Moitra, offer a soulful journey of imagination, emotion, and timeless melodies.

Contemporary Women Composers

In modern times, more women have entered the field of composition. They compose classical, semi-classical, and even film music. Names like Kalyani Varadarajan stand out for creating works in all 72 melakarta ragas of Carnatic music. By blending classical with modern styles, contemporary women also bring fresh perspectives. The recognition of women as composers is growing, though there is still a long way to go.

Challenges and Breakthroughs

The journey of women composers in India has not been easy. They faced many social and cultural barriers. Yet they also achieved breakthroughs that changed music history.

Challenges

• Social norms and gender roles: Historically, public performance and composition were considered unfitting for women in many communities. Many women had to confine their music to private or temple settings.
• Hereditary musician systems: Many women who became musicians came from families of musicians (devadasis, temple musicians, etc.). Outside that lineage, it was hard to break in. As Reform and Revival: The Devadasi and Her Dance notes, women who had no family tradition of music often found it difficult to make music a life’s work.
• Recognition gap: Even when women composed, their names rarely got attached to compositions. Many compositions by women circulated anonymously or were preserved under disciples’ names.
• Archival neglect: Many manuscripts and records by women were lost or not preserved. Female voices often exist in oral tradition, which made documentation harder.
• Balancing multiple roles: Women artists often had to balance family, societal expectations, and musical training. This reduced the time for composition, experimentation, and travel.

Breakthroughs

• Recording and publication: Phonograph and Gramophone technology in the early 20th century helped women reach wider audiences. Veena Dhanammal’s handful of recordings and M.S. Subbulakshmi’s records are examples.
• Sabhas, concerts, and awards: Women began to perform in public sabhas (musical associations) and later received national awards. These formal stages gave them space and recognition.
• Scholars retrieving names: Music scholars, archivists, and articles like “What Women Wrote” are bringing forgotten women composers to light.
• Women teaching and transmitting: Many women musicians became teachers, passing down compositions and style. Their students often continue the lineage, preserving compositions by women.
• New composition in modern times: Contemporary women composers (in classical or semi-classical genres) are more visible today. The boundaries are shifting.

Despite obstacles, women carved space for composition, teaching, and performance. Their breakthroughs were gradual, but they created a new path for future generations.

Conclusion

The history of famous women composers in Indian classical music is a story of persistence. From Andal and Meerabai in devotional traditions to Veena Dhanammal, M.S. Subbulakshmi, Begum Akhtar, Kesarbai Kerkar, Kishori Amonkar, and Prabha Atre in classical schools, their presence has been steady. Today’s women composers are building on this foundation and carrying the music forward. Women have written, composed, and sung with equal devotion. Recognising them gives us a fuller, richer picture of Indian music history.