Bharata Muni is considered the father of Indian music criticism due to his seminal work, the 'Natya Shastra', which is an ancient treatise on the performing arts that includes a detailed analysis of music and dance.

Abhinavabharati is a prominent form of Indian dance criticism that was developed by the renowned scholar and critic Abhinavagupta. It is a commentary on Bharata Muni's 'Natya Shastra' and provides a detailed analysis of the various aspects of dance.

Formalist criticism is a major critical approach in Indian music criticism that focuses on the analysis of the musical structure, form, and technique. It examines the elements of music such as melody, rhythm, and harmony, and how they contribute to the overall aesthetic experience.

Ravi Shankar is considered one of the most influential Indian music critics of the 20th century. He was a renowned sitar player and composer who also wrote extensively about Indian music and its cultural significance.

Kapila Vatsyayan is a prominent Indian dance critic and scholar who has made significant contributions to the field of dance criticism. She has written extensively about Indian dance and its various forms, and has also served as the Director of the National School of Drama in New Delhi.

Marxist criticism in Indian music and dance focuses on the social and political context in which the music or dance is created and performed. It examines how the music or dance reflects the social and political realities of the time and how it is influenced by the power structures and ideologies of the society.

Hybridity is a key concept in postcolonial Indian music and dance criticism. It refers to the blending of different cultural elements and influences in music and dance, resulting in new and unique forms of expression. This concept challenges traditional notions of authenticity and purity, and recognizes the dynamic and evolving nature of Indian music and dance.

Structuralist criticism in Indian music and dance aims to identify underlying patterns and relationships within the music or dance. It examines how the various elements of music or dance, such as melody, rhythm, and movement, are organized and structured to create a coherent and meaningful whole.

Ali Akbar Khan is known for his influential book 'The Music of India', which provides a comprehensive overview of Indian classical music, its history, and its various forms. The book is considered a valuable resource for musicians, scholars, and enthusiasts of Indian music.

Shanta Serbjeet Singh is a prominent Indian dance critic and scholar who has written extensively about Bharatanatyam. She is known for her insightful analysis of the dance form and her contributions to the field of dance criticism.

Feminist criticism in Indian music and dance focuses on gender roles and representations in music and dance. It examines how music and dance reflect and shape gender identities, power dynamics, and social norms. Feminist critics analyze how women are portrayed in music and dance, and how their experiences and perspectives are expressed through these art forms.

Unity in diversity is a key concept in nationalist Indian music and dance criticism. It emphasizes the idea that Indian music and dance represent the diverse cultural heritage of India, and that these art forms can be used to promote national unity and pride. Nationalist critics often focus on the unique and distinctive features of Indian music and dance, and how they contribute to the country's cultural identity.

Kapila Vatsyayan is known for her influential book 'The Dance of India', which provides a comprehensive overview of Indian classical dance, its history, and its various forms. The book is considered a valuable resource for dancers, scholars, and enthusiasts of Indian dance.

Sudha Gupta is a prominent Indian dance critic and scholar who has written extensively about Kathak. She is known for her insightful analysis of the dance form and her contributions to the field of dance criticism.

Post-structuralist criticism in Indian music and dance focuses on deconstructing binary oppositions that are often used to categorize and evaluate music and dance. It challenges traditional notions of authenticity, purity, and hierarchy, and examines how these concepts are constructed and maintained within the field of music and dance criticism.