Misplaced Pages

#153846

40-523: Lores Genres Institutions Awards Folk genres Devotional Classical genres Modern genres People Instruments Dance Theater Organizations People Radio Television Internet The Bishnupur gharana (alternatively spelt Vishnupur gharana) is a form of singing that follows the dhrupad tradition of Hindustani music , one of the two forms of Indian classical music . The gharana originated in Bishnupur , West Bengal , India in

80-693: A gharānā is a system of social organisation in the Indian subcontinent , linking musicians or dancers by lineage or apprenticeship, and more importantly by adherence to a particular musical style. The word gharana comes from the Hindi word 'ghar' which means 'house'. It typically refers to the place where the musical ideology originated; for example, some of the gharanas well known for singing khyals are: Delhi, Agra, Gwalior, Indore, Atrauli-Jaipur, Kirana and Patiala. Four famous kathak gharanas are: Lucknow, Atrauli-Jaipur, Benares and Raigarh. The gharana system in khyal

120-459: A composition set to the 10-beat jhap tala is called a sadra while one set to the 14-beat dhamar is called a dhamar . The latter is seen as a lighter musical form, associated with the Holi spring festival. Alongside concert performance the practice of singing dhrupad in temples continues, though only a small number of recordings have been made. It bears little resemblance to concert dhrupad: there

160-576: A great openness in the teaching and evolution within this gharana. This gharana has the ragas , many of them are now very popular by their names, but their notes and chalans are different. For example this gharana's Purvi, Sohini, Shyam, Bibhas and many many more ragas with popular names have different notes and chalans. The Sohini, Purvi, Bibhas, Shyam , used by Rabindranath Tagore, are from this gharana. Because, his gurus-Jadu Bhatta, Bishnu Chakraborty belonged to this gharana. v. Bhn. Nn Gharana In Hindustani music (North Indian classical music),

200-479: A musical genre called Dhrupad is Ain-i-Akbari of Abu Fazl (1593). Later works attribute much of the material to musicians in the court of Man Singh Tomar (fl. 1486–1516) of Gwalior. In these accounts from the Mughal court Dhrupad is portrayed as a musical form which is relatively new; and according to Sanyal, most sources agree that Drupad owes its origin to the court of Man Singh Tomar. Ravi Shankar states that

240-416: Is a melody that uses the middle octave's first tetrachord and the lower octave notes. The Antara part uses the middle octave's second tetrachord and the higher octave notes. The Sanchari part is the development phase, which holistically builds using parts of Sthayi and Antara already played, and it uses melodic material built with all the three octave notes. The Abhoga is the concluding section, that brings

280-565: Is also known for its versatility, not only known for its Khayal singing but also for venturing into other forms of classical music and placing a strong foothold there as well. Emphasis on voice development, roughly similar emphasis on melody and rhythm, bol-baant-like sargam with occasional tonic transpositions, occasional use of bol-taan, variety of taans, fast sargam and taan patterns, may or may not include antara, influence of tappa style The dhrupad tradition includes four original styles: Today's surviving dhrupad traditions are descendants of

320-448: Is an ancient tradition of dhrupad music nearly 500 years old. This gharana flourished under the patronage of the kings of Dumraon Raj when it was founded. T'he Drupad style (vani s) of this gharana is Gauhar , Khandar , and Nauharvani . The founder of this gharana was Pt. Manikchand Dubey and Pt. Anup chand Dubey. Both artists were awarded by Mugal Emperor Shahjahan. The father of Bharat Ratna Ustad Bismillah Khan who also belonged to

360-412: Is ancient, and another genre of music called Khyal (it have only two parts Sthayi and Antara) evolved from it. Dhrupad is solemn music, uplifting and heroic, pure and spiritual. Khyal adds ornamental notes, shorter, moody and celebratory. The ancient practice of dancing on Dhrupad has been reintroduced into recent times by Dr. Puru Dadheech . Dr Dadheech is India's Kathak dancer to bring 'Dhrupad' on

400-574: Is contradicted by some historians, who claim that Bahadur Khan could not have attended the Durbar of King Raghunath Singh Deo II because of anachronism, as there is a gap of at least 50 years (2 generations) between them. In practice, Bishnupur Gharana has got some characteristic features in the improvisations of some Ragas which are different from the practice of the Betiya school of the Seniya gharana. In this style,

440-421: Is perfect intonation of notes and emphasis on melody, Also, Slow-tempo raga development, long and sustained pitches, usually traditional ragas, use of sargam, very little bol-baant, clarity of text pronunciation, use of some Carnatic ragas and raga features, emphasis on vocal as opposed to instrumental form. Highly decorative and complex taans. Amir Khan (Highly Influenced from Bhendibazar Gharana) This Gharana

SECTION 10

#1733094482154

480-625: Is preceded by a wholly improvised section, the alap . The alap in dhrupad is sung using a set of syllables , popularly derived from a Vedic mantras and beejakshars, in a recurrent, set pattern: a re ne na, té te re ne na, ri re re ne na, te ne toom ne (this last group is used in the end of a long phrase). These syllables are also used widely in different permutations and combinations. Dhrupad styles have long elaborate alaps , their slow and deliberate melodic development gradually bringing an accelerating rhythmic pulse. In most styles of dhrupad singing it can easily last an hour, broadly subdivided into

520-459: Is recorded back to saints of Braj ( Mathura ) namely Swami Haridas , Surdas , Govind Swami, Asht Sakha of Haveli Sangeet and followed by Tansen and Baiju Bawara . When Dhrupad composition are based on Bhagwan Shri Vishnu or his incarnations thereof, is called Vishnupad. Dhrupad probably obtained its name from dhruvapada mentioned in Natyashastra to denote structured songs. It is one of

560-476: Is very little or no alap; percussion such as bells and finger cymbals, not used in the classical setting, are used here, and the drum used is a smaller, older variant called mrdang , quite similar to the mridangam. There are said to be four broad stylistic variants ( vanis or banis ) of classical dhrupad – the Gauri (Gauhar), Khandar, Nauhar, and Dagar, tentatively linked to five singing styles ( geetis ) known from

600-609: The ITC Sangeet Research Academy 's Scientific Research Department has been organizing symposia and workshops since 1987. The objective of these workshops/symposia is to create awareness of research in various fields of music. In 2013 the academy conducted a Dhrupad seminar in association with the National Centre for the Performing Arts (India) (NCPA, Mumbai) where Dr. Puru Dadheech participated as speaker to discuss

640-485: The Rudra Veena , but the surbahar and the sursringar have also long been used for this music. Preferably, any instrument used for Dhrupad should have a deep bass register and long sustain. Like all Indian classical music , dhrupad is modal and monophonic , with a single melodic line and no chord progression . Each raga has a modal frame - a wealth of micro-tonal ornamentations ( gamak ) are typical. The text

680-419: The alap proper (unmetered), the jor (with steady rhythm) and the jhala (accelerating strumming) or nomtom , when syllables are sung at a very rapid pace. Then the composition is sung to the rhythmic accompaniment: the four lines, in serial order, are termed sthayi , antara , sanchari and aabhog . Compositions exist in the metres ( tala ) tivra (7 beats), sul (10 beats) and chau (12 beats) -

720-854: The 7th Century: Shuddha, Bhinna, Gauri, Vegswara, and Sadharani. The Gauhar Bani was founded by Gopal Nayak. Shamsuddin Faridi Desai and his sons, follow the Gauhar Bani. There are a number of dhrupad Gharanas : "houses", or family styles. The best-known gharana is the Dagar family who sing in the Dagar vani or Dagar Gharana. The Dagar style puts great emphasis on alap and for several generations their singers have performed in pairs (often pairs of brothers). The Dagars are Muslims but sing Hindu texts of Gods and Goddesses. The Bishnupur gharana features Manilal Nag , Mita Nag, and Madhuvanti Pal among others. From

760-656: The Darbhanga gharana has a strong representation in Vrindaban owing to late Pandit Vidur Mallik, who lived and taught in Vrindaban during the 1980s and 1990s. Great female Dhrupad artists include Asgari Bai , Alaka Nandy, Ashoka Dhar, Madhu Bhatt Tailang, the Pakistani singer Aliya Rasheed , and the Italian singer Amelia Cuni. Dumraon Gharana - Dhrupad traditions of Bihar Dumraon gharana

800-737: The Dumraon Gharana tradition. He usually played Shahnai in Dhrupad style. Famous living singers of Dumraon Gharana (Buxar) include Pt. Ramjee Mishra, a representative of Dumraon Gharana. Many books have been written by this gharana, like Shree Krishn Ramayan, by Pt. Ghana rang Dubey, Sur-prakash, Bhairav, Prakash, Rash-Prakash, written by Jay Prakash Dubey and Prakash Kavi. Abishek Sangit Pallav by Dr. Arvind Kumar. Much work has been done on this gharana and many items of this Dumraon Gharana are subjects of research. The Mishras practised Gaurhar, Dagur, Nauhar and Khandar styles. This gharana flourished under

840-868: The Jaipur-Atrauli gharana, the Lucknow gharana, the Benares gharana (born in the courts of the Kachwaha Rajput kings, the Nawab of Oudh, and Varanasi respectively.) and the Raigarh gharana (born in the court of Maharaja Chakradhar Singh of Raigarh.) The Lucknow gharana remains the most popular throughout the country. However, in recent time the Atrauli-Jaipur gharana has caught up and today most performers throughout India perform techniques belonging to both styles. With amalgamation of

SECTION 20

#1733094482154

880-577: The Patiala gharana makes its impact, departing from the khyal -dominated Benares thumris and the dance-oriented Lucknow thumris . The Benares gharana was founded by Kirtankars in the 13th century and revived by Siddheshwari Devi , Rasoolan Bai , Badi Moti Bai, Mahadev Mishra, Girija Devi (mid-20th century) and Savita Devi. The following are the six widely accepted gharanas (ordered based on chronology of founding): In Kathak performers today generally draw their lineage from four major schools of Kathak:

920-521: The aforementioned four styles. In the Benares gharana, the words in the text of a song are musically embellished to bring out their meaning, while the Lucknow gharana presents intricately embellished and delicate thumris that are explicit in their eroticism. The principal feature of the thumri of the Patiala gharana is its incorporation of the tappa from the Punjab region. It is with this tappa element that

960-541: The artist elaborates on the raga through the alap in a simple fashion, devoid of ornamentation. It is free from intricate play with the rhythm. Layakari is however allowed in Dhamar , another form of vocalisation. The khyal of the Bishnupur gharana is noted for its sweet, lilting melody. It is adorned with the usual ornaments, which add variety to the melodic presentation of the raga . Its origins and development have led to

1000-516: The core forms of classical music found all over the Indian subcontinent. The word comes from Dhruva which means immovable and permanent. It is spiritual, heroic, thoughtful, virtuous, embedding moral wisdom or solemn form of song-music combination. The Yugala Shataka of Shri Shribhatta in the Nimbarka Sampradaya , written in 1294 CE, contains Dhrupad lyrics. The earliest source that mentions

1040-409: The dhrupad-informed gharanas, like Gwalior , Jaipur , and Agra . Emphasis on bhav and exposition are the hallmarks of this style. In addition to extensive khayal compositions, the gharana is known for its qawwals . Sawai Gandharva , Bhimsen Joshi , Prabha Atre , Hirabai Barodekar , Gangubai Hangal Amir Khan (Highly Influenced from Kirana Gharana) Foremost intention of this gharana

1080-555: The distinction of being the only vocal gharana in West Bengal. In the 17th century, during the reign of Mughal emperor Aurangazeb , many musicians moved to the court of the Maharaja of Bishnupur who was a known patron of the arts. The dhrupad singer Bahadur Khan of the Senia gharana, descendant of Tansen, fled to Bishnupur and made his gharana popular and sought refuge in the court. Bahadur Khan

1120-459: The first documentaries on Dhrupad music in 1982 called “Dhrupad”. This Hindi language full-length documentary features both his gurus along with the young Bahauddin Dagar - the son of Zia Mohiuddin Dagar . The film produced by the Films Division of India was shot in locations associated with history of Dhrupad in – Fatehpur Sikri and Jaipur's Jantar Mantar articulating the theory and

1160-529: The form appeared in the fifteenth century as a development from the prabandha , which it replaced. The 16th century Bhakti saint and poet-musician Swami Haridas (also in the Nimbarka Sampradaya ), was a well known dhrupad singer with songs dedicated to Krishna . It became the court music in the Mughal court with Swami Haridas' pupil Tansen famous, among other things, for his Dhrupad compositions. Dhrupad

1200-420: The formal Kathak stage and this composition in 28 matra. Dhrupad as it is known today is performed by a solo singer or a small number of singers in unison to the beat of the pakhavaj rather than the tabla . The vocalist is usually accompanied by two tanpuras , the players sitting close behind, with the percussionist at the right of the vocalist. Traditionally the primary instrument used for dhrupad has been

1240-517: The late 18th century with its roots dating back to the 13th-14th centuries CE. The name of the town means "city of Vishnu" in Bengali . In the ancient past, this area, known as Mallabhum was the abode of Malla Kings who were vassals to the Mughal Empire and were devotees of Vishnu and patrons of music. Historians suggest that 'Mallabhum' had once been the cultural centre of Eastern India. It also has

Bishnupur gharana - Misplaced Pages Continue

1280-475: The listener back to the familiar starting point of Sthayi, albeit with rhythmic variations, with diminished notes like a gentle goodbye, that are ideally mathematical fractions such as dagun (half), tigun (third) or caugun (fourth). Sometimes a fifth stanza called Bhoga is included. Though usually related to philosophical or Bhakti (emotional devotion to a god or goddess) themes, some Dhrupads were composed to praise kings. The tradition of Dhrupad

1320-447: The origin and predecessors of Dhrupad. Prof. Richard Widdess (Head, Department of Music, School of Oriental and African Studies, University of London, UK) and Dr. Dadheech, (Indore, India) discussed the origin of Dhrupad at length. The latter established that Dhrupads are older than the times of Raja Mansingh Tomar. The filmmaker Mani Kaul while under tutelage of Ustad Zia Mohiuddin Dagar and Ustad Zia Fariduddin Dagar made one of

1360-470: The patronage of the kings of Bettiah Raj . Pandit Falguni Mitra is an exponent of this Gharana in the present generation. Some of the illustrious Dhrupad exponents and virtuosos are Pandit Gokulotsavji Maharaj , Uday Bhawalkar , Ritwik Sanyal , Nirmalya Dey, Pt. Kshitipall Mallick, Pt. Ram Chatur Mallick and the Gundecha Brothers . In an effort to link tradition and scientific methodologies,

1400-555: The state of Bihar comes the Darbhanga gharana , Dumraon Gharana (Buxar) and the Bettiah gharana. The Mallicks of the Darbhanga gharana are linked to the Khandar vani and Gauharvani. Ram Chatur Mallick , Vidur Mallick, Abhay Narayan Mallick, Late Pandit Sanjay Kumar Mallick,Laxman Bhatt Tailang and Siyaram Tiwari were well known personalities of Darbhanga gharana in the 20th century. Dhrupad of

1440-420: The techniques and poses from other dance forms, the purity of the movements and gestures may be diluted or modified along with the contemporary trends. Raigarh gharana is famous for its own distinctive composition and thousands of followers. Dhrupad Divisions Sama vedic Yajur vedic Atharva vedic Vaishnava puranas Shaiva puranas Shakta puranas The term denotes both

1480-436: The verse form of the poetry and the style in which it is sung. It is spiritual, heroic, thoughtful, virtuous, embedding moral wisdom or solemn form of song-music combination. Thematic matter ranges from the religious and spiritual (mostly in praise of Hindu deities ) to royal panegyrics , musicology and romance. A Dhrupad has at least four stanza , called Sthayi (or Asthayi), Antara , Sanchari and Abhoga. The Sthayi part

1520-666: The words of the composition, when to sing the sthayi and antara , whether to sing an unmetered alap in the beginning, what kinds of improvisations to use, how much importance to give to the rhythmic aspect, and so on. However, an individual performer from a gharana may choose to borrow appealing stylistic aspects of another gharana in his or her gayaki (singing style). There are ten prominent khyal gharanas, and they are: & His 12 Students (Shah Bhikan) Taj Khan (Rang Rus) Sheikh Ajmal (Miyan Achpal) Mir Qutub Baksh (Miyan Tanras) Haji Muhammed Siddiq Khan, Muzaffar Khan Members of this gharana approach raagdari with more freedom than

1560-510: Was not only a vocalist but could also play the Veena , the rabab , and the surshringar. The king, Raghunath Singh Deo II, accepted him as a court singer. In time, a good number of students became the disciples of Bahadur Khan. Historical evidence points to Ramasharan Bhattacharya, a disciple of Bahadur Khan as the founder of the gharana. Bishnupur Gharana therefore has a strong link to Betiya Gharana through this unbroken relationship. However, this view

1600-463: Was rooted in the guru–shishya tradition and was similar to the Dhrupad Bani system. The gharana system was greatly influenced by the gradual fall of the Mughal Empire , which forced musicians to move from Delhi to princely states such as Gwalior, Lucknow, Hyderabad, Patiala and Rampur. The gharanas have distinct styles of presenting the khyal — how much to emphasize and how to enunciate

#153846