73-656: The Jaipur-Atrauli Gharana (also known as Jaipur Gharana , Atrauli-Jaipur Gharana , and Alladiyakhani Gayaki ) is a Hindustani music apprenticeship fraternity ( gharana ), founded by Alladiya Khan in the late-19th century. Evolved from the dhrupad tradition of the Atrauli and Dagarbani lineages, but known for khayal , this gharana is known for producing acclaimed musicians like Kishori Amonkar , Kesarbai Kerkar , Laxmibai Jadhav , Mogubai Kurdikar , Mallikarjun Mansur , Shruti Sadolikar , Dhondutai Kulkarni , and Ashwini Bhide-Deshpande . Consequently, this gharana developed
146-462: A New Delhi concert that she reportedly said, " Aisa lagta hai ke unke gale mein bhagwan boltein hain " (it seems as though like God is singing through his voice). On 18 July 2018, the day of his 91st birthday, Google featured Hassan on its homepage doodle. Pakistani Prime Minister Yousuf Raza Gilani paid tribute to Hassan, calling him "an icon who mesmerized music lovers" for decades. Indian Prime Minister Manmohan Singh stated that Hassan "brought
219-474: A bicycle shop Mughal Cycle House and later became a car and diesel tractor mechanic. Despite the financial hardships, he kept up his singing practice on a daily basis. In 1957, Hassan was again given the opportunity to sing on Radio Pakistan , primarily as a thumri singer and later as a ghazal performer, which earned him recognition within the musical fraternity. He had a passion for Urdu poetry, and therefore, he began to experiment by singing ghazals on
292-618: A clearer expression in what is called Jati in the Dattilam , a text composed shortly after or around the same time as Natya Shastra . The Dattilam is focused on Gandharva music and discusses scales ( swara ), defining a tonal framework called grama in terms of 22 micro-tonal intervals ( shruti ) comprising one octave. It also discusses various arrangements of the notes ( Murchhana ), the permutations and combinations of note-sequences ( tanas ), and alankara or elaboration. Dattilam categorizes melodic structure into 18 groups called Jati , which are
365-567: A few generations (e.g. the Sham Chaurasia gharana). Meanwhile, the Bhakti and Sufi traditions continued to develop and interact with the different gharanas and groups. Until the late 19th century, Hindustani classical music was imparted on a one-on-one basis through the guru-shishya ("mentor-protégé") tradition. This system had many benefits but also several drawbacks. In many cases, the shishya had to spend most of his time, serving his guru with
438-675: A few years before his death. He also received treatment for lung, urinary tract, and chest ailments at several hospitals in Pakistan for about 12 years prior to his death. Towards the end of 2000, he suffered his first stroke while in Kerala , India . In 2005, he was taken to India for ayurvedic treatment where he was welcomed by A.B. Vajpayee , Dilip Kumar , Lata Mangeshkar and many of his Indian fans. He suffered his second stroke soon after he returned from India which left him with speech impairments and limited his physical mobility. Hassan developed
511-451: A film Farangi , "Gulon mein rang bharay, baad-e-naubahar chale" written by renowned Pakistani poet Faiz Ahmed Faiz and composed by Rasheed Attre , gave him a major breakthrough into the Pakistani film industry and he never looked back after that. Even the original ghazal poet Faiz Ahmed Faiz stopped reciting it in his 'mushairas' (poetry reciting events) and, instead, recommended that
584-452: A mood of elation and are usually performed towards the end of a concert. They consist of a few lines of bols either from the rhythmic language of Tabla , Pakhawaj , or Kathak dance set to a tune. The singer uses these few lines as a basis for fast improvisation. The tillana of Carnatic music is based on the tarana, although the former is primarily associated with dance. Tappa is a form of Indian semi-classical vocal music whose specialty
657-407: A part-time basis. He cites radio officers Z.A. Bukhari and Rafiq Anwar as additional influences in his progression as a ghazal singer. He first sang on Radio Pakistan in 1952. His first film song was "Nazar Milte Hi Dil Ki Bat Ka Charcha Na Ho Jaye" film Shikhar in 1956. This song was written by poet Yazdani Jalandhari and its music was composed by Asghar Ali M. Husain. In 1964, his ghazal for
730-490: A perfect match, which, before Thumri became a solo form, were performed together. Some recent performers of this genre are Abdul Karim Khan , the brothers Barkat Ali Khan and Bade Ghulam Ali Khan , Begum Akhtar , Nirmala Devi , Girija Devi , Prabha Atre , Siddheshwari Devi , Shobha Gurtu , and Chhannulal Mishra . Mehdi Hassan Mehdi Hassan Khan NI PP TI HI ( Urdu : مہدی حسن خاں ; 18 July 1927 – 13 June 2012), known mononymously as Mehdi Hassan ,
803-434: A rendition of bandish, with the pakhawaj as an accompaniment. The great Indian musician Tansen sang in the dhrupad style. A lighter form of dhrupad called dhamar , is sung primarily during the spring festival of Holi . Dhrupad was the main form of northern Indian classical music until two centuries ago when it gave way to the somewhat less austere khyal, a more free-form style of singing. Since losing its main patrons among
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#1732935402400876-414: A reputation for its distinctive vocal aesthetics, raga repertoire, and technical aptitude. The Jaipur-Atrauli gharana emerged from Alladiya Khan's family which originated from Atrauli (near Aligarh ) and migrated to Jaipur . This gharana mainly evolved from Dagar-bani of Dhrupad, however it also absorbed finer essence of Gauhar-bani and Khandar-bani . A subgroup of the broader Atrauli gharana ,
949-473: A severe chest infection and breathing difficulties in the days preceding his death. He died of multiple organ failure on 13 June 2012 at Aga Khan University Hospital in Karachi . Hassan is widely regarded as one of the greatest singers in the sub-continent and is said to have revolutionized the way ghazals were sung. In 1977, Indian playback singer Lata Mangeshkar was so moved by his dulcet vocals during
1022-587: Is Gauhar, Khandar and Nauharvani.The living legends of this gharana is Pt. Ramjee Mishra A section of dhrupad singers of Delhi Gharana from Mughal emperor Shah Jahan 's court migrated to Bettiah under the patronage of the Bettiah Raj , giving rise to the Bettiah Gharana. Khyal is the modern Hindustani form of vocal music. Khyal, literally meaning "thought" or "imagination" in Hindustani and derived from
1095-411: Is a Sanskrit scripture describing the theory of music and its applications in not just musical form and systems but also in physics, medicine and magic. It is said that there are two types of sound: āhata (struck/audible) and anāhata (unstruck/inaudible). The inaudible sound is said to be the principle of all manifestation, the basis of all existence. There are three main 'Saptak' which resemble to
1168-556: Is an integral part of the culture of India and is performed across the country and internationally. Exponents of Hindustani classical music, including Ustad Bismillah Khan , Pandit Bhimsen Joshi , and Ravi Shankar have been awarded the Bharat Ratna , the highest civilian award of India, for their contributions to the arts. Around the 12th century, Hindustani classical music diverged from what eventually came to be identified as Carnatic classical music .The central notion in both systems
1241-651: Is estimated that Hassan sang for over 300 films during his career. For his contributions to the arts, Hassan was awarded the Nishan-e-Imtiaz , Tamgha-e-Imtiaz , Pride of Performance , and Hilal-e-Imtiaz by the Government of Pakistan. Hassan was born on 18 July 1927 in a village called Luna (Shekhawati) (Near Mandawa) in Jhunjhunu district in Undivided India into a family of traditional musicians. He claims to be
1314-466: Is given to the short and long vowels in the words of the bandish that are being pronounced, and the strict discipline of avoiding unnatural breaks in the words and in the meaning of the lyrics. No other gharana has paid so much attention to the aesthetics and laykari in singing bol-alaaps and bol-taans. The Jaipur-Atrauli tradition is known for signature and speciality ragas that have been created or revived by Alladiya Khan . These include: This tradition
1387-453: Is into "melodic modes" or "parent scales", known as thaats , under which most ragas can be classified based on the notes they use. Thaats may consist of up to seven scale degrees, or swara . Hindustani musicians name these pitches using a system called Sargam , the equivalent of the Western movable do solfege : Both systems repeat at the octave. The difference between sargam and solfege
1460-562: Is its rolling pace based on fast, subtle, knotty construction. It originated from the folk songs of the camel riders of Punjab and was developed as a form of classical music by Mian Ghulam Nabi Shori or Shori Mian, a court singer for Asaf-Ud-Dowlah , the Nawab of Awadh . "Nidhubabur Tappa", or tappas sung by Nidhu Babu were very popular in 18th and 19th-century Bengal. Thumri is a semi-classical vocal form said to have begun in Uttar Pradesh with
1533-800: Is known for their repertoire and presentation of jod ragas (mixed or hybrid ragas). Alladiya Khan introduced many lesser-known or obscure ragas in his repertoire. Jaipur-Atrauli musicians and their styles have greatly influenced music on the Indian subcontinent. From ghazals of Mehdi Hassan to the Marathi natyageets of Bal Gandharva , the Jaipur-Atrauli style has enjoyed broad popular appeal. Within Hindustani Classical music , many popular musicians outside of this tradition have adopted some of its aesthetics and techniques, most notably Bhimsen Joshi . Given
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#17329354024001606-471: Is primarily vocal-centric, insofar as the musical forms were designed primarily for a vocal performance, and many instruments were designed and evaluated as to how well they emulate the human voice. The major vocal forms or styles associated with Hindustani classical music are dhrupad , khyal , and tarana . Light classical forms include dhamar , trivat , chaiti , kajari , tappa , tap-khyal , thumri , dadra , ghazal and bhajan ; these do not adhere to
1679-580: Is set to a melodic pattern called a raga characterized in part by specific ascent ( aroha ) and descent ( avaroha ) sequences, "king" ( vadi ) and "queen" ( samavadi ) notes and characteristic phrases ( pakad ). Ragas may originate from any source, including religious hymns, folk tunes, and music from outside the Indian subcontinent . For example, raga Khamaj and its variants have been classicized from folk music, while ragas such as Hijaz (also called Basant Mukhari) originated in Persian maqams. The Gandharva Veda
1752-462: Is that of a melodic musical mode or raga , sung to a rhythmic cycle or tala . It is melodic music, with no concept of harmony. These principles were refined in the musical treatises Natya Shastra , by Bharata (2nd–3rd century CE), and Dattilam (probably 3rd–4th century CE). In medieval times, the melodic systems were fused with ideas from Persian music, particularly through the influence of Sufi composers like Amir Khusro , and later in
1825-409: Is that re, ga, ma, dha, and ni can refer to either "Natural" ( shuddha ) or altered "Flat" ( komal ) or "Sharp" ( teevra ) versions of their respective scale degrees. As with movable do solfege, the notes are heard relative to an arbitrary tonic that varies from performance to performance, rather than to fixed frequencies, as on a xylophone. The fine intonational differences between different instances of
1898-471: Is the classical music of the Indian subcontinent 's northern regions. It may also be called North Indian classical music or Uttar Bhartiya shastriya sangeet . The term shastriya sangeet literally means classical music, and is also used to refer to Indian classical music in general. It is played on instruments like the veena , sitar and sarod . It diverged in the 12th century CE from Carnatic music ,
1971-589: Is the goddess of music. Gandharvas are presented as spirits who are musical masters, and the gandharva style looks to music primarily for pleasure, accompanied by the soma rasa. In the Vishnudharmottara Purana , the Naga king Ashvatara asks to know the swaras from Saraswati . While the term raga is articulated in the Natya Shastra (where its meaning is more literal, meaning "color" or "mood"), it finds
2044-461: Is used in instrumental music in dhrupad. Dhrupad music is primarily devotional in theme and content. It contains recitals in praise of particular deities. Dhrupad compositions begin with a relatively long and acyclic alap, where the syllables of the following mantra is recited: " Om Anant tam Taran Tarini Twam Hari Om Narayan, Anant Hari Om Narayan ". The alap gradually unfolds into more rhythmic jod and jhala sections. These sections are followed by
2117-595: The Gandharva Mahavidyalaya music school that he opened in Lahore in 1901, helped foster a movement away from the closed gharana system. Paluskar's contemporary (and occasional rival) Vishnu Narayan Bhatkhande recognized the many rifts that had appeared in the structure of Indian classical music. He undertook extensive research visits to a large number of gharanas, Hindustani as well as Carnatic, collecting and comparing compositions. Between 1909 and 1932, he produced
2190-525: The ITC Sangeet Research Academy . Meanwhile, Hindustani classical music has become popular across the world through the influence of artists such as Ravi Shankar and Ali Akbar Khan . Indian classical music has seven basic notes with five interspersed half-notes, resulting in a 12-note scale. Unlike the 12-note scale in Western music, the base frequency of the scale is not fixed, and intertonal gaps ( temperament ) may also vary. The performance
2263-542: The Mughal courts, noted composers such as Tansen flourished, along with religious groups like the Vaishnavites . Artists such as Dalptaram , Mirabai , Brahmanand Swami and Premanand Swami revitalized classical Hindustani music in the 16-18th century. After the 16th century, the singing styles diversified into different gharanas patronized in different princely courts. Around 1900, Vishnu Narayan Bhatkhande consolidated
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2336-580: The maharajahs and nawabs declined in the early 20th century, so did their patronage. With the expulsion of Wajid Ali Shah to Calcutta after 1857, the Lucknavi musical tradition came to influence the music of the renaissance in Bengal , giving rise to the tradition of Ragpradhan gan around the turn of the century. Raja Chakradhar Singh of Raigarh was the last of the modern-era Maharajas to patronize Hindustani classical musicians, singers and dancers. Also, at
2409-417: The ragas in an innovative way. Born into a family of Kalawant musicians, Hassan was naturally inclined towards music from a young age. He influenced generations of singers from diverse genres, from Jagjit Singh to Parvez Mehdi . He earned numerous awards and accolades during his lifetime and remained a leading singer of Pakistani film industry , along with contemporary playback singer Ahmed Rushdi ; it
2482-436: The sitar ) were also introduced in his time. Amir Khusrau is sometimes credited with the origins of the khyal form, but the record of his compositions does not appear to support this. The compositions by the court musician Sadarang in the court of Muhammad Shah bear a closer affinity to the modern khyal. They suggest that while khyal already existed in some form, Sadarang may have been the father of modern khyal. Much of
2555-517: The 'Octaves' in Western Music except they characterize total seven notes or 'swaras' instead of eight. These are-- low ( mandra), medium ( madhya) and high ( tāra ) . Each octave resonates with a certain part of the body, low octave in the heart, medium octave in the throat and high octave in the head. The rhythmic organization is based on rhythmic patterns called tala . The melodic foundations are called ragas. One possible classification of ragas
2628-455: The 16th generation of hereditary musicians hailing from the Kalawant clan of musicians. Hassan started training in classical music at the age of eight and completed his musical training with his father Ustad Azeem Khan and uncle Ustad Ismail Khan who were both traditional Dhrupad singers. Hassan started performing at a young age and by the time he was 18 years old, Hassan is said to have mastered
2701-457: The Dhrupad vocalists of this tradition. A Very ancient 500 years old Dhrupad Gharana from Bihar is Dumraon Gharana, Pt. Tilak Chand Dubey , Pt. Ghanarang Baba was founder of this prestigious Gharana.Dumraon Gharana Dist-Buxar is an ancient tradition of Dhrupad music nearly 500 years old. This Gharana flourished under the patronage of the king of Dumraon Raj. The dhrupad style (vanis) of the gharana
2774-887: The Gandharva Mahavidyalaya, a school to impart formal training in Hindustani classical music with some historical Indian Music. This was a school open to all and one of the first in India to run on public support and donations, rather than royal patronage. Many students from the School's early batches became respected musicians and teachers in North India. This brought respect to musicians, who were treated with disdain earlier. This also helped spread of Hindustani classical music to masses from royal courts. Ravana and Narada from Hindu tradition are accomplished musicians; Saraswati with her veena
2847-753: The Hindu culture from their kingdoms. This helped spur the fusion of Hindu and Muslim ideas to bring forth new forms of musical synthesis like qawwali and khyal . The most influential musician of the Delhi Sultanate period was Amir Khusrau (1253–1325), a composer in Persian , Turkish and Arabic , as well as Braj Bhasha . He is credited with systematizing some aspects of Hindustani music and also introducing several ragas such as Yaman Kalyan , Zeelaf and Sarpada . He created six genres of music: khyal, tarana , Naqsh, Gul, Qaul and Qalbana. A number of instruments (such as
2920-491: The Jaipur gayaki, notes are applied in an oblique manner with filigree involving immediately neighbouring notes. Instead of the flat taan, gamak (taan sung with double notes with a delicate force behind each of the component double-notes of the taan) makes the taan spiral into seemingly never-ending cycles. Meend in aalap and gamak in taan are the hallmark of this gayaki. Sharp edged harkats and murkis (crisp, quick phrases to ornament
2993-620: The Jaipur-Atrauli gharana according to various sources. This family tree includes the heirs of Alladiya Khan's disciples from his time in Kolhapur . This family tree includes the heirs of Alladiya Khan's disciples from his son and student, Bhurji Khan. This family tree includes the heirs of Alladiya Khan's disciples from his student, Mogubai Kurdikar. This family tree includes the heirs of Alladiya Khan's disciples from his time in Bombay . Hindustani classical music Hindustani classical music
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3066-612: The Jaipur-Atrauli gharana includes "Jaipur" to account for the geographical history of Alladiya Khan's family. Scholars say the hyphenated moniker of this gharana recognizes that Jaipur-Atrauli gharana musicians originally came from Atrauli Village in Aligarh district and migrated to the court of the Maharaja of Jaipur , their principal patron. Others say they came to the Jaipur Maharaja's court and then dispersed to various other courts in
3139-527: The Mughal Empire came into closer contact with Hindus, especially under Jalal ud-Din Akbar , music and dance also flourished. In particular, the musician Tansen introduced a number of innovations, including ragas and particular compositions. Legend has it that upon his rendition of a nighttime raga in the morning, the entire city fell under a hush and clouds gathered in the sky so that he could light fires by singing
3212-460: The Persian/Arabic term, is a two- to eight-line lyric set to a melody. Khyal contains a greater variety of embellishments and ornamentations compared to dhrupad . Khyal 's features such as sargam and taan as well as movements to incorporate dhrupad-style alap have led to it becoming popular. The importance of the khyal's content is for the singer to depict, through music in the set raga ,
3285-463: The alaap) are relatively uncommon. Not only are the notes sung in rhythm with the taal but progress between the matras (beats) is in fractions of quarters and one-eighths. While being mindful of so many factors, musicians of this gharana still have a graceful way of arriving at the Sam without having matras to spare. This is particularly evident in the way bol-alaap or bol-taan is sung, where meticulous attention
3358-447: The area, like Jodhpur , Uniyara , Bundi , Atrauli . Many of the ragas and compositions sung in the Jaipur gharana come from the tradition of Haveli Sangeet and dhrupad, such as: The gharana is known for its unique layakari (rhythmic aesthetics) and rich repertoire of ragas , especially jod ragas (compound ragas) and sankeerna ragas (mixed ragas). Most gharanas apply notes in simple succession in aalap and taan, whereas in
3431-424: The audience ask Hassan to sing it for them because the poet jokingly used to say that the ghazal belonged to Hassan after its popularity. In October 2010, HMV Label released "Sarhadein" in which his first and last duet song Tera Milna featuring Hassan and Lata Mangeshkar was released. This song was composed by Hassan and written by Farhat Shahzad. Hassan recorded it in Pakistan in 2009, and Mangeshkar later heard
3504-470: The classical singing forms of dhrupad , dadra , thumri , and khayal , and started performing at royal courts with his brother Ghulam Qadir. Hassan started his career primarily as a thumri exponent. His first concert of dhrupad and khayal with his elder brother is reported to have been held in Fazilka Bungla, near present DC House (1935) of Undivided Punjab . His elder brother Ustad Ghulam Qadir also
3577-552: The classical tradition of Southern India . While Carnatic music largely uses compositions written in Sanskrit , Kannada , Telugu , Tamil , Malayalam , Hindustani music largely uses compositions written in Hindi , Urdu , Braj , Avadhi , Bhojpuri , Bengali , Rajasthani , Marathi and Punjabi . Knowledge of Hindustani classical music is taught through a network of classical music schools, called gharana . Hindustani classical music
3650-480: The court of Nawab Wajid Ali Shah , (r. 1847–1856). There are three types of thumri: poorab ang, Lucknavi, and Punjabi thumri. The lyrics are primarily in older, more rural Hindi dialects such as Brij Bhasha , Awadhi , and Bhojpuri . The themes covered are usually romantic in nature, hence giving more importance to lyrics rather than Raag, and bringing out the storytelling qualities of music. The need to express these strong emotional aesthetics makes Thumri and Kathak
3723-583: The earliest musical composition sung in the classical tradition called Ashtapadi music . In the 13th century, Sharangadeva composed the Sangita Ratnakara , which has names such as the Turushka Todi ("Turkish Todi "), revealing an influx of ideas from Islamic culture. This text is the last to be mentioned by both the Carnatic and the Hindustani traditions and is often thought to date the divergence between
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#17329354024003796-404: The earliest periods of the common era . Narada 's Sangita Makarandha treatise, from about 1100 CE, is the earliest text where rules similar to those of current Hindustani classical music can be found. Narada actually names and classifies the system in its earlier form before the Persian influences introduced changes in the system. Jayadeva 's Gita Govinda from the 12th century was perhaps
3869-602: The emotional significance of the khyal. The singer improvises and finds inspiration within the raga to depict the khyal. The origin of Khyal is controversial, although it is accepted that this style was based on dhrupad and influenced by other musical traditions. Many argue that Amir Khusrau created the style in the late 14th century. This form was popularized by Mughal Emperor Mohammad Shah through his court musicians; some well-known composers of this period were Sadarang , Adarang , and Manrang . Another vocal form, taranas are medium- to fast-paced songs that are used to convey
3942-583: The fundamental melodic structures similar to the raga . The names of the Jatis reflect regional origins, for example Andhri and Oudichya . Music also finds mention in a number of texts from the Gupta period ; Kalidasa mentions several kinds of veena (Parivadini, Vipanchi ), as well as percussion instruments ( mridang ), the flute ( Vamshi ) and conch ( Shankha ). Music also finds mention in Buddhist and Jain texts from
4015-610: The government-run All India Radio , Bangladesh Betar and Radio Pakistan helped bring the artists to public attention, countering the loss of the patronage system. The first star was Gauhar Jan , whose career was born out of Fred Gaisberg 's first recordings of Indian music in 1902. With the advance of films and other public media, musicians started to make their living through public performances. A number of Gurukuls , such as that of Alauddin Khan at Maihar , flourished. In more modern times, corporate support has also been forthcoming, as at
4088-404: The hope that the guru might teach him a " cheez " (piece or nuance) or two. In addition, the system forced the music to be limited to a small subsection of the Indian community. To a large extent, it was limited to the palaces and dance halls. It was shunned by the intellectuals, avoided by the educated middle class, and in general, looked down upon as a frivolous practice. First, as the power of
4161-751: The junior Dagar brothers, Nasir Zahiruddin and Nasir Faiyazuddin Dagar ; and Wasifuddin , Fariduddin , and Sayeeduddin Dagar . Other leading exponents include the Gundecha Brothers and Uday Bhawalkar , who have received training from some of the Dagars. Leading vocalists outside the Dagar lineage include the Mallik family of Darbhanga tradition of musicians; some of the leading exponents of this tradition were Ram Chatur Mallick, Siyaram Tiwari , and Vidur Mallick. At present Prem Kumar Mallick, Prashant and Nishant Mallick are
4234-645: The monumental four-volume work Hindustani Sangeeta Paddhati , which suggested a transcription of Indian music, and described the many traditions in this notation. Finally, it suggested a possible categorization of ragas based on their notes into a number of thaats (modes), subsequent to the Melakarta system that reorganized Carnatic tradition in the 17th century. The ragas that exist today were categorized according to this scheme, although there are some inconsistencies and ambiguities in Bhatkande's system. In modern times,
4307-558: The musical forms innovated by these pioneers merged with the Hindu tradition, composed in the popular language of the people (as opposed to Sanskrit) in the work of composers like Kabir or Nanak . This can be seen as part of a larger Bhakti tradition (strongly related to the Vaishnavite movement) which remained influential across several centuries; notable figures include Jayadeva (11th century), Vidyapati (fl. 1375 CE), Chandidas (14th–15th century), and Meerabai (1555–1603 CE). As
4380-559: The musical structures of Hindustani classical music, called ragas , into a few thaats based on their notes. This is a very flawed system but is somewhat useful as a heuristic. Distinguished musicians who are Hindu may be addressed as Pandit and those who are Muslim as Ustad . An aspect of Hindustani music going back to Sufi times is the tradition of religious neutrality: Muslim ustads may sing compositions in praise of Hindu deities, and Hindu pandits may sing similar Islamic compositions. Vishnu Digambar Paluskar in 1901 founded
4453-402: The popularity of Kishori Amonkar , this tradition features many women singers. Uniquely this gharana has over four generations of leading female vocalists. The following visualization is based on several historical accounts. The following tree includes the immediate disciples of Alladiya Khan according to Govindrao Tembe and Mallikarjun Mansur . The following includes recent branches of
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#17329354024004526-480: The raga "Deepak". At the royal house of Gwalior , Raja Mansingh Tomar (1486–1516 CE) also participated in the shift from Sanskrit to the local idiom ( Hindi ) as the language for classical songs. He himself penned several volumes of compositions on religious and secular themes and was also responsible for the major compilation, the Mankutuhal ("Book of Curiosity"), which outlined the major forms of music prevalent at
4599-785: The recipient of numerous awards and recognitions: the Tamgha-i-Imtiaz granted to him by Gen Ayub Khan ; the Pride of Performance bestowed on him by Gen Ziaul Haq ; and the Hilal-i-Imtiaz conferred by Gen Pervez Musharraf . Besides the Nigar Film and Graduate Awards from Pakistan, he was presented the Saigal Award in Jalandhar, India, in 1979, whereas the Gorkha Dakshina Bahu Award
4672-550: The rigorous rules of classical music. Dhrupad is an old style of singing, traditionally performed by male singers. It is performed with a tambura and a pakhawaj as instrumental accompaniments. The lyrics, some of which were written in Sanskrit centuries ago, are presently often sung in brajbhasha , a medieval form of North and East Indian languages that were spoken in Eastern India. The rudra veena , an ancient string instrument,
4745-451: The royalty in Indian princely states, dhrupad risked becoming extinct in the first half of the twentieth century. However, the efforts by a few proponents, especially from the Dagar family, have led to its revival. Some of the best known vocalists who sing in the Dhrupad style are the members of the Dagar lineage, including the senior Dagar brothers, Nasir Moinuddin and Nasir Aminuddin Dagar ;
4818-491: The same swara are called srutis . The three primary registers of Indian classical music are mandra (lower), madhya (middle) and taar (upper). Since the octave location is not fixed, it is also possible to use provenances in mid-register (such as mandra-madhya or madhya-taar) for certain ragas. A typical rendition of Hindustani raga involves two stages: Tans are of several types like Shuddha, Koot, Mishra, Vakra, Sapaat, Saral, Chhoot, Halaq, Jabda, Murki Hindustani classical music
4891-510: The sub-continental Sufi sensibilities to life through his songs," and that "the influence of his passion for Urdu poetry and initial grooming in Dhrupad tradition earned for him a special place in the world of music." Some of the musicians who are associated with him : Some of his students are: Mehdi Hassan had 14 children. As many as 8 of his sons are active in the field of music. They are: The following civilian honours have been conferred on him, in chronological order. He had been
4964-594: The time. In particular, the musical form known as dhrupad saw considerable development in his court and remained a strong point of the Gwalior gharana for many centuries. After the dissolution of the Mughal empire, the patronage of music continued in smaller princely kingdoms like Awadh , Patiala , and Banaras , giving rise to the diversity of styles that is today known as gharanas . Many musician families obtained large grants of land which made them self-sufficient, at least for
5037-424: The track and recorded her part in India in 2010, and the song was later mixed for a duet. The same duet was also sung by Hassan and Noor Jehan . Following a severe illness in the late 1980s, Hassan cut back on his singing, eventually stepping down from playback singing altogether. Later, due to the severity of his illness, he completely departed from music. Hassan suffered from a serious chronic lung condition for
5110-456: The turn of the century, Vishnu Digambar Paluskar and Vishnu Narayan Bhatkhande spread Hindustani classical music to the masses in general by organizing music conferences, starting schools, teaching music in classrooms, devising a standardized grading and testing system, and standardizing the notation system. Vishnu Digambar Paluskar emerged as a talented musician and organizer despite being blind from age of 12. His books on music, as well as
5183-496: The two. The advent of Islamic rule under the Delhi Sultanate and later the Mughal Empire over northern India caused considerable cultural interchange. Increasingly, musicians received patronage in the courts of the new rulers, who, in turn, started taking an increasing interest in local musical forms. While the initial generations may have been rooted in cultural traditions outside India, they gradually adopted many aspects from
5256-513: Was a Pakistani ghazal singer and playback singer of great renown. Widely considered one of the greatest and most influential figures in the history of ghazal singing, Hassan is referred to as the Shahenshah-e-Ghazal ( شہنشاہِ غزل , "Emperor of Ghazal"). Known for his "haunting" baritone voice, Hassan is credited with bringing ghazal singing to a worldwide audience. He is unique for his melodic patterns and maintaining integrity of
5329-436: Was instrumental in sharpening his skills. After the partition of India in 1947, the 20-year-old Hassan and his family migrated to Pakistan, carrying little with them by way of material belongings. The family proceeded to his paternal aunt's house who lived in a village, Chak No 111/7R, near Chichawatni. They suffered severe financial hardships in their new country. Hassan initially started working in nearby Chichawatni , in
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