Misplaced Pages

#145854

32-583: The Gundecha Brothers are Indian classical singers of the dhrupad genre of the Dagar vani . From 1985 to 2019 the duo consisted of brothers Umakant Gundecha and Ramakant Gundecha and were awarded the Padma Shri for art for 2012. Following the death of Ramakant Gundecha in 2019, his son Anant began to perform with Umakant in the Gundecha bandhu . They studied at the local Madhav Music College. Umakant has

64-463: 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

96-605: A music school in the Dhrupad tradition, according to the guru-shishya style of teaching that is prevalent in India for teaching of the arts. They have recorded many cassettes and CDs by H.M.V., Music Today, Rhythm House, IPPNW Concerts Berlin, Navras and Audio Rec London. They have also sung for many television channels in India and have been broadcast on British, U.S., German and French Radio as well. As well as being an integral part of all of India's prestigious music festivals,

128-483: 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

160-471: A post-graduate degree in music and economics and the younger Ramakant in music and commerce. They moved to Bhopal in 1981 for training in Dhrupad music under Zia Fariduddin Dagar and his brother Zia Mohiuddin Dagar . Both gurus were second cousins of the two major Dhrupad forces in the second half of the 20th century; two duos known as the senior Dagar Brothers ( Nasir Moinuddin & Nasir Aminuddin ) and

192-439: A student of Dhrupad Sansthan (training school run by Gundecha brothers) accused the late Ramakant Gundecha and Akhilesh Gundecha of sexual abuse. Following this event, several more students came forward with their allegations of abuse in discussions with the media. The school announced Akhilesh Gundecha would be stepping down while the accusations were investigated by the internal committee. As part of an internal probe conducted by

224-416: 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

256-448: 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

288-412: 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

320-625: 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

352-465: 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

SECTION 10

#1732782969146

384-480: 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

416-635: 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

448-491: 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

480-419: 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) -

512-598: The brothers have also performed at many important international music festivals and institutions in Europe, U.S.A., Australia, Singapore, Bangladesh, U.A.E. and Hong Kong. They have received M.P. Govt. Scholarship from 1981 to 1985, National Fellowship from 1987 to '89, Ustad Allauddin Khan Fellowship in 1993, Sanskriti Award in 1994 and Kumar Gandharva Award in 1998 by Govt. of Madhaya Pradesh and Dagar Gharana Award by Mewar Foundation in 2001. On 4 September 2020,

544-771: 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

576-681: 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

608-694: 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

640-658: The Madhya Pradesh high court challenging the ICC report and recommendations. In response,12 women filed an intervening application in support of the ICC. Rhythm House (MCs): Music Today (MCs and CDs) HMV (MCs and CDs) Naad Sugandh Raga – Bihag, Night Melody- Raga IPPNW – CONCERTS, Germany −1995 Raga – Komal Rishabh Asawari Sense world Music, UK – 2003 Dhrupad Divisions Sama vedic Yajur vedic Atharva vedic Vaishnava puranas Shaiva puranas Shakta puranas The term denotes both

672-529: 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

SECTION 20

#1732782969146

704-417: The dhrupad repertoire by incorporating texts by Hindi poets such as Tulsidas , Padmakar and Nirala . The Gundecha Brothers also sing the Dhrupad compositions of India's senior Kathak exponent Mahamahopadhyay Dr. Pandit Puru Dadheech , in particular, his famous Shankar Pralayankar composition. They have set up a Dhrupad institute outside Bhopal where they teach students from all over the world. They run

736-466: 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

768-542: 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

800-420: 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

832-402: The institution, an ICC was constituted to investigate the allegations. The ICC passed adverse recommendations against Akhilesh Gundecha. Among many other recommendations, it advised reconstitution of the institute's board of trustees to include a majority of non-family members,as well as penalties on the institute, disciplinary action and measures for reparation. The Gundecha Brothers approached

864-587: The junior Dagar Brothers (Nasir Zahiruddin & Nasir Faiyazuddin) respectively. Ramakant Gundecha died in Bhopal on 8 November 2019 from a heart attack at the age of 57. He was married and had a son. He was cremated on 9 November 2019 in Bhopal. After training for four years, they performed in public for the first time in May 1985, at the Uttaradhikar dance and music festival in Bhopal. They have worked to expand

896-475: 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

928-447: 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

960-478: 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,

992-570: 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

Gundecha Brothers - Misplaced Pages Continue

1024-436: 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

#145854