Indian Classical Music And Gharana Tradition
Today, only two varieties of the veena are in use - the rudra veena and the vichitra veena. This venerable instrument, sonorous in quality was especially popular during the Moghul period. The seni rabab, which is extinct today, and not to be confused with the Afghan rabab, was a variation of the veena, with a skin covering the resonating chamber instead of wood. It had a fretless fingerboard. The Seni Rabab was later modified by Jafar Khan, one of the descendants of Tansen, by the addition of a metal fingerboard, a wooden membrane covering the resonating chamber and metal strings.
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This instrument came to be known as sursringar and was a forerunner of the sarode. In the late 18th century, as the khayal introduced romanticism in North Indian vocal music, by refashioning the dhrupad styles of the period, the sitar came into being, as a derivative of the tritantri veena, to counter this new dimension in vocal music.
A similar aspiration towards both dhrupad and khayal, the ideal that instrumentalists always attempt to approach, later led to the evolution of the sarode from the Afghan rabab and the sursringar. A larger version of the sitar was the surbahar, which came into existence in the 19th century.
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An instrument that has the unique distinction of being the closest to the human voice in its richness and melodiousness, is the Sarangi. Though, it is one of the most expressive and versatile instruments that has evolved on the Indian soil, it is faced with oblivion today.
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Santoor, a Persian word, meaning a hundred strings has been referred to as the shata tantri veena in Indian musical history. Until very recently, in India, it was only heard in the hills and valleys of Kashmir, played in a style of music known as the Sufiana Mausiqi, as an accompaniment to the hymns of the Sufi mystics. Chief among Indian wind instruments are the flute and the shehnai. The Indian flute or bansuri began as a humble folk instrument. Its classical name is vanshi, as it is made from bamboo or vans.
What is a Music Gharana? Schools of Hindustani Music in India
Gharanas, however, are bound to a certain rules and regulation of Gayaki in which one has to be chained, but are significant for uplifting the age-old Guru-Shishya Parampara. And the credit goes to the Gharanas. Today, the maestro disciples of the early musicians, touch their ear in respect while speaking out the name of their Guru. Competent personalities like Pt.
Srinivas Joshi are known to be the disciples of Pt.
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Hari Prasad Chaurasiya, Pt. Bhimsen Joshi respectively and then as a musicians. Lets discuss how Gharanas own their special characteristics and how they are different from each other: King of Jaipur Ramsingh was a great music lover and appointed many skilled musicians with respect and honour.
Jaipur Daagar Gharana is said to be started by one of them known as Mangal Pandey and his descendants which was eventually continued by the Muslim disciples Haider Khan, Behram Khan etc. Jaipur Gharana is popular for exceptional innovations in Music world.
Started by Allahbaksh, this gharanas inculcated the raga purity and abide by the rules properly.
Gharanas of Hindustani Music
Dilli Gharana style represents the rhythmic raga elaboration and improvisations; it demonstrates the short rhythmic swaras innovative sequence and weighty tenor voice. Ornamnetations like Sut, Meend, gamak, lehek, etc. Prolific Khyala Bandish like paalki, suhaag, khanapuri, Taan-bandhaav are vocalized with overwhelming ease by the great early stalwarts like Ustad Iqbal Ahmed Khan, Ust. Present eminent personalities of Delhi Gharana are Dr. Again, Gwalior gharanas introduced two different styles of singing thus it emerged as: Earlier legendary musician and musicologist Pt.