Gharana enhances the______________of hindustani classical music.

The Agra Gharana, one of the major streams of Hindustani classical music, is on the verge of extinction in the place of its birth. There are few patrons and the number of practitioners of this great musical tradition is dwindling. HT Image The last of the illustrious representatives of the four-century-old Agra Gharana, Ustad Aqeel Ahmad Sahab, is leading a life of penury with no support from any quarter. The ustad, about 80 years old, is no longer able to give musical performances. However, he continues to train a few passionate singers about the subtle nuances and variations that distinguish the Agra Gharana from other streams. But classical music aficionados wonder what is going to happen after him. Jyoti Khandelwal, a teacher at the Lalit Kala Sansthan, says the old traditions have to be preserved because they are part of our musical heritage. "Only when we learn the old Gharana sangeet and have a sound grounding in classical streams can we do well in other forms of music," she adds. Jitendra Raghvanshi, national secretary of the Indian People's Theatre Association (IPTA), laments the loss of interest in classical traditions. "The young ones are veering towards pop musical streams which are neither soul satisfying nor soothing to the senses. Unlike other summer camps, we hold workshops on traditional folk music for children," he said. Raghvanshi added that although the Agra Gharana was not popular in Agra, it had patrons all over India and was being kept alive by many ...

• v • t • e In gharānā is a system of social organisation in the The word gharana comes from the Hindi word 'ghar' which is derived from the Griha, which means 'house'. It typically refers to the place where the musical ideology originated; for example, some of the gharanas well known for singing Vocal gharanas [ ] See also: Khyal gharanas [ ] The gharana system in khyal was rooted in the Bani system. The gharana system was greatly influenced by the gradual fall of the The gharanas have distinct styles of presenting 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: Gharana Founding Artists Approximate founding date Famous Exponents Features & His 12 Student's 13th Century (Shah Bhikan) Taj Khan (Rang Rus) Sheikh Ajmal (Miyan Achpal) Mir Qutub Baksh (Miyan Tanras) Haji Muhammed Siddiq Khan, Muzaffar Khan The Qawwal Bacchon Ka Gharana is the oldest Members of this gharana approach Repertoire [ ] In addition to extensive khayal compositions, the gharana is known for its 13th century Oldest Khayal gharana, wide range of taans,bol baant,bol taan,fast taan pattern, gamak taan, emphasis on melody and laykari, structured badhat of raga Mid 16th Century T...

Othernames Aftab-e-Mausiqi ( the Sun of Music) Occupation Yearsactive 1924 – 1950 Spouse His wife died soon after their marriage. He never remarried. Family Childless Ustad Faiyaz Khan (8 February 1886 – 5 November 1950) was an Indian classical vocalist, an exponent of the Early life [ ] Born at Singing career [ ] Faiyaz Khan served for a long time as the court musician of Sir "Aftab-e-Mausiqi" (the Sun of Music) in 1908. "He was a frequent performer in the musical conferences and circles of The Gurukul lineage Some of his best-known students were Vidushi Dipali Nag, Personal life [ ] Considered a neo-classicist by some scholars of Indian classical music, Faiyaz Khan was known for his broadmindedness, kindness, humility and sudden fits of temper that cooled almost instantaneously. Simple at heart, he cared little for the gifts and rewards ("inam") that were showered upon him in almost every place he performed. His associate, a relative and a lifelong companion Ghulam Rasul accounts an incident in the 1930s when a thousand rupee currency note was still found tucked in the pocket of his sherwani (a long, collared and buttoned-down outer outfit), after it came back home after being washed, cleansed, dried and ironed by the washerman. When asked about it by Rasul, the Ustad retorted in utter innocence - "How do I know who is giving me what and how am I to know that a single currency note can be worth more than a hundred rupees?" In another incident which took place at Unaon, n...

• v • t • e Hindustani classical music is the North Indian classical music or, in shastriya sangeet. The term shastriya sangeet literally means classical music, and can also mean Hindustani classical music arose in subcontinent, especially the Northern parts. This music combines the Indian classical music tradition, resulting in a unique tradition of History [ ] Around the 12th century, Hindustani classical music diverged from what eventually came to be identified as In medieval times, the melodic systems were fused with ideas from Persian music, particularly through the influence of Sufi composers like After the 16th century, the singing styles diversified into different Distinguished musicians who are Sanskritic tradition [ ] [ citation needed]. While the term raga is articulated in the Jati in the Natya Shastra. The Dattilam is focused on Gandharva music and discusses scales ( grama in terms of 22 micro-tonal intervals ( Murchhana), the permutations and combinations of note-sequences ( tanas), and alankara or elaboration. Dattilam categorizes melodic structure into 18 groups called Jati, which are the fundamental melodic structures similar to the Andhri and Oudichya [ citation needed]. Music also finds mention in a number of texts from the Vamshi) and conch ( Shankha). Music also finds mention in [ citation needed]. [ citation needed]. In the 13th century, Sharangadeva composed the Turushka Todi ("Turkish Hindustani music’s influence during the Delhi Sultanate [ ] The a...

When it comes to Hindustani classical music and various styles, ‘gharanas’, that evolved within it, there is one undeniable fact that it all began with the Gwalior Gharana. As I have mentioned in one of my earlier articles in this series, the current style of ‘ khyal’ singing evolved from ‘ dhrupad’, the norm earlier. The khyal used a systematic method of presenting music in an orderly form or sequence and became popular in the early 18th and 19th century. But who were the pioneers of khayal? It is widely believed that Ustad Naththan Peer Buksh, son of Ustad Makhkhan Khan the qawwal, was instrumental in giving a distinct identity to this style and popularise it. Ustad Makhkhan Khan and his brother Ustad Shakkar Khan, both trained under Ustad Ghulam Rasool Khan (Lucknow), and were known as ‘ qawwal bachchas’. While both trained under the same mentor, Shakkar Khan was also the son-in-law of Ghulam Rasool and was, naturally, the ‘favoured one’. Sometime down the line, it is believed, a rivalry developed between the two disciples and they drifted apart. Subsequently, Makhkhan Khan bagged the position of Raj-Gayak at the Royal Court of Gwalior, a bigger and more respectable royalty of the time. While not much is known about Shakkar Khan’s journey here on, it is presumed that he died young and his son Ustad Bade Mohammed Khan carved a niche for himself and became the royal court singer at the court of Maharaja of Rewa. He was also destined to play an important role in the develo...

Question Download Solution PDF Match the gharanas of Hindustani classical music given in Column 1 with their famous exponent given in Column 2 and provide the correct answer from the options given below: Column 1 Column 2 1. Jaipur Gharana a. Ali Akbar Khan 2. Patiala Gharana b. Rajan and Sajan Mishra 3. Banaras Gharana c. Kishori Amonkar 4. Maihar Gharana d. Vinayakrao Patwardhan The correct answer is 1 - c, 2 - a, 3 - b, 4 - d. Key Points Column 1 Column 2 1. Jaipur Gharana c. Kishori Amonkar 2. Patiala Gharana a. Ali Akbar Khan 3. Banaras Gharana b. Rajan and Sajan Mishra 4. Maihar Gharana d. Vinayakrao Patwardhan • Hence, option 2is correct. Additional Information • Jaipur Gharana : • The Jaipur-Atrauli Gharana emerged from Alladiya Khan's family which originated from Atrauliand migrated to Jaipur. • The Jaipur-Atrauli Gharana is Hindustani music founded by Alladiya Khan (1855–1946) in the late-19th century. • The Gharana is known for its distinctive vocal aesthetics, raga repertoire, and technical aptitude. • The chief exponents of the Jaipur Gharana are Alladiya Khan, Mallikarjun Mansur, Kesarbhai Kerkar, Kishori Amonkar, Shruti Sadolikar, Padma Talwalkar and Ashwini Bhide Deshpande. • Patiala Gharana : • ‘Patiala Gharana’ is one of the Gharanas in Indian Classical Music, which was founded by Ustad Fateh Ali Khan, and also Ustad Ali Baksh. • Patiala Gharana has both kinds of singing – ‘Thumri’ and ‘Khyal’. • The most famous exponents of Patiala Gharana are Pakistani ...

4. What is the ‘gharana tradition’ in Hindustani music? Discuss. Does such tradition also lie in Carnatic music? Is gharana tradition facing a crisis? Examine. हिंदुस्तान संगीत में ‘घराना परंपरा’ क्या है? चर्चा करें। क्या ऐसी परंपरा कर्नाटक संगीत में भी है? क्या भारत में घराना परंपरा संकटग्रस्त है? जांच करें। Synopsis: Indian Classical Music is one of the finest ancient art forms of the world. Part from its beauty and entertaining qualities as a pure performing art, its spiritual propensity as well as its ability to positively affect and enhance one’s mental intellectual capacities in multiple ways is well acknowledged. Styles of Indian classical music: There are two main styles of Indian classical music, Hindustani Classical Music and Carnatic Classical Music, each of these styles has a unique set of instruments and sonic characteristics. The intention behind the music, however, is the same. Historically, in the early years, Indian music traditions would be carried on through a lineage known as a gharana, literally meaning ‘family’. In the early 19th century, gharanas came to be formed by adhering to stylistic peculiarities and innovations of certain musicians by other musicians within their families or regions. The name chosen for each gharana usually reflected the kingdoms or regions to which the musicians came from to indicate their roots. Hence, a few of the most prominent gharanas are referred to by such names as Agra, Jaipur and Gwalior. Concept behind Gharanas: • I...

Individual expression is highly valued in an artist, and this is no different within the context of Indian classical music. But whilst being allowed to develop a personal style, the Indian music tradition is firmly rooted in the idea of guru-shishya - referring to the relationship between the master and student. Traditionally, extended (often lifelong) close contact with the master meant that their personal style was firmly imprinted on the student. The Northern Hindustani and Southern Carnatic traditions take slightly different approaches to this idea. Most Hindustani musicians train under the umbrella of a certain style, known as a gharana. The word means family, and is derived from the Urdu for ‘house’. In the context of music, it refers to a musical lineage with a consistent and special approach to presentation. Within a fashion house, different designers may create and innovate various styles of garment, but according to their training and the house style, their work normally has recognisable stylistic link with their fashion origins. Just as connoisseurs of fashion can distinguish Chanel from Prada, an experienced listener can quite quickly pick out the salient features that identify one gharana from another. A gharana can be named after a person or family, as in the Senia gharana (named for saint-musician Tansen), or a place, as in the Gwalior or Jaipur gharanas. But before you get any ideas, a gharana can’t be created on a whim. If you wanted to create your own, yo...

When it comes to Hindustani classical music and various styles, ‘gharanas’, that evolved within it, there is one undeniable fact that it all began with the Gwalior Gharana. As I have mentioned in one of my earlier articles in this series, the current style of ‘ khyal’ singing evolved from ‘ dhrupad’, the norm earlier. The khyal used a systematic method of presenting music in an orderly form or sequence and became popular in the early 18th and 19th century. But who were the pioneers of khayal? It is widely believed that Ustad Naththan Peer Buksh, son of Ustad Makhkhan Khan the qawwal, was instrumental in giving a distinct identity to this style and popularise it. Ustad Makhkhan Khan and his brother Ustad Shakkar Khan, both trained under Ustad Ghulam Rasool Khan (Lucknow), and were known as ‘ qawwal bachchas’. While both trained under the same mentor, Shakkar Khan was also the son-in-law of Ghulam Rasool and was, naturally, the ‘favoured one’. Sometime down the line, it is believed, a rivalry developed between the two disciples and they drifted apart. Subsequently, Makhkhan Khan bagged the position of Raj-Gayak at the Royal Court of Gwalior, a bigger and more respectable royalty of the time. While not much is known about Shakkar Khan’s journey here on, it is presumed that he died young and his son Ustad Bade Mohammed Khan carved a niche for himself and became the royal court singer at the court of Maharaja of Rewa. He was also destined to play an important role in the develo...

The Agra Gharana, one of the major streams of Hindustani classical music, is on the verge of extinction in the place of its birth. There are few patrons and the number of practitioners of this great musical tradition is dwindling. HT Image The last of the illustrious representatives of the four-century-old Agra Gharana, Ustad Aqeel Ahmad Sahab, is leading a life of penury with no support from any quarter. The ustad, about 80 years old, is no longer able to give musical performances. However, he continues to train a few passionate singers about the subtle nuances and variations that distinguish the Agra Gharana from other streams. But classical music aficionados wonder what is going to happen after him. Jyoti Khandelwal, a teacher at the Lalit Kala Sansthan, says the old traditions have to be preserved because they are part of our musical heritage. "Only when we learn the old Gharana sangeet and have a sound grounding in classical streams can we do well in other forms of music," she adds. Jitendra Raghvanshi, national secretary of the Indian People's Theatre Association (IPTA), laments the loss of interest in classical traditions. "The young ones are veering towards pop musical streams which are neither soul satisfying nor soothing to the senses. Unlike other summer camps, we hold workshops on traditional folk music for children," he said. Raghvanshi added that although the Agra Gharana was not popular in Agra, it had patrons all over India and was being kept alive by many ...