Dhrupad is a genre in Hindustani classical music from the Indian subcontinent . It is the oldest known style of major vocal styles associated with Hindustani classical music, Haveli Sangeet of Pushtimarg Sampradaya and also related to the South Indian Carnatic tradition. It is a term of Sanskrit origin, derived from dhruva (ध्रुव, immovable, permanent) and pada (पद, verse). The roots of Dhrupad are ancient. It is discussed in the Hindu Sanskrit text Natyashastra (~200 BCE – 200 CE), and other ancient and medieval Sanskrit texts, such as chapter 33 of Book 10 in the Bhagavata Purana (~800–1000 CE), where the theories of music and devotional songs for Krishna are summarized.
39-590: Divisions Sama vedic Yajur vedic Atharva vedic Vaishnava puranas Shaiva puranas Shakta puranas The term denotes both 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
78-411: A movable root note or tonic ( moveable do ). The four melody strings are tuned to the ma a fifth below the tonic; the tonic ( sa ); the pa a fifth above the tonic; and the sa an octave above the tonic. Thus, if the lowest ma string was tuned to D 2 , then the four melody strings would be tuned to D 2 , A 2 , E 3 , and A 3 ; if the lowest ma string was instead tuned to B♭ 1 , then
117-463: 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
156-403: A fifth. A modern rudra veena has a total of seven or eight strings: four main melody strings, two or three chikari strings (which are used in rhythmic sections of the rag to delineate or emphasize the pulse, or taal ), and one drone ( laraj ) string. These strings are made of steel or bronze, and run from the pegs (and over the nut if coming from the pegbox) down to the peacock, passing over
195-698: A large plucked string instrument used in Hindustani Music , especially dhrupad . It is one of the major types of veena played in Indian classical music, notable for its deep bass resonance. The rudra veena is seen in temple architecture predating the Mughals . It is also mentioned in court records as early as the reign of Zain-ul Abidin (1418–1470), and attained particular importance among Mughal court musicians. Before Independence , rudra veena players, as dhrupad practitioners, were supported by
234-479: 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
273-519: A name for the Lord Shiva ; rudra vina means "the veena of Shiva" (compare Saraswati veena ). Lord Shiva's inspiration for creating the Rudra Veena is often attributed to his desire to communicate the profound cosmic vibrations and divine rhythms that govern the universe. According to legend, the instrument was created to convey the deep, transcendental sounds and melodies that resonate with
312-476: 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
351-413: 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
390-410: 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
429-487: Is derived from the preexisting root "veena," the term generally used today to refer to a number of South Asian stringed instruments. While the origins of "veena" are obscure, one possible derivation is from a pre-Aryan root meaning "bamboo" (possibly Dravidian, as in the Tamil veṟam, "cane," or South Indian bamboo flute, the venu ), a reference to early stick or tube zithers —as seen in the modern bīn, whose central dandi tube
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#1732783498857468-625: 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
507-464: 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
546-554: Is still sometimes made from bamboo. The rudra veena is classified either as a stick zither or tube zither in the Sachs-Hornbostel classification system. The veena's body ( dandi ) is a tube of bamboo or teak between 137 and 158 cm (54 and 62 in) long, attached to two large tumba resonators made from calabash gourds. The tumba s on a rudra veena are around 34 to 37 cm (13 to 15 in) in diameter; while veena players once attached tumba s to
585-480: 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
624-634: 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
663-491: 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
702-419: 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) -
741-426: The dandi with leather thongs, modern instruments use brass screw tubes to attach the tumba s. Traditionally, the bottom end of the dandi , where the strings attach below the bridge ( jawari ), is finished with a peacock carving. This peacock carving is hollow, to enhance the resonance of the instrument. This hollow opens into the tube of the dandi , and is covered directly by the main jawari . The other end of
780-422: The dandi , each about two to four centimeters (0.75-1.5 inches) high. While these frets were once attached to the instrument with wax, contemporary veena players use waxed flax ties to attach the frets. This allows for players to adjust the frets to the individual microtones ( shruti ) of a raga . By pulling the string up or down alongside the fret, the veena player can bend the pitch ( meend ) by as much as
819-524: The jawari near the peacock. A rudra veena will have three jawari ; a main one covering an opening on the hollow peacock, and two smaller ones on the sides of the peacock, supporting the chikari and drone strings. These jawari and other strings supports are traditionally made of Sambar stag antler ; however, India has banned trade in Sambar deer antler since 1995, due to the deer's declining population and vulnerable status. Strings are tuned by turning
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#1732783498857858-495: The princely states ; after Independence and the political integration of India , this traditional patronage system ended. With the end of this traditional support, dhrupad's popularity in India declined, as did the popularity of the rudra veena. However, in recent years, the rudra veena has seen a resurgence in popularity, driven at least partly by interest among non-Indian practitioners. The name "rudra veena" comes from Rudra ,
897-873: 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
936-774: 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 is an ancient tradition of dhrupad music nearly 500 years old. This gharana flourished under
975-474: 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
1014-440: The ebony pegs to tighten or loosen the strings; the antler string supports can be moved for fine tuning. Unlike European stringed instruments, where strings are almost always tuned to the same notes on all instruments—a modern cello , for example, will usually have its open strings tuned to C 2 (two octaves below middle C ), followed by G 2 , D 3 , and then A 3 —the rudra veena follows Hindustani classical practice of
1053-418: The essence of creation and destruction. The Rudra Veena represents the primal sound (Nada) and is meant to express the profound spiritual truths and the divine presence in the universe. The curved shapes can be seen as representing the cyclical nature of time and the cosmic cycles of creation, preservation, and dissolution. The instrument's form and structure are a manifestation of the divine rhythm and harmony of
1092-463: 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
1131-541: 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
1170-419: 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
1209-411: The four melody strings would be tuned to B♭ 1 , F 2 , C 3 , and F 3 The rudra veena declined in popularity in part due to the introduction in the early 19th century of the surbahar , which allowed sitarists to more easily present the alap sections of slow dhrupad -style ragas . In the 20th century, Zia Mohiuddin Dagar modified and redesigned the rudra veena to use bigger gourds,
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1248-399: The instrument, holding most or all of the pegs, is finished with a carved makara . Like the peacock at the other end and the dandi tube connecting them, the makara pegbox is also hollow. The rudra veena has twenty-one to twenty-four moveable frets ( parda ) on top of the dandi . These frets are made of thin plates of brass with flat tops but curved wooden bases to match the shape of
1287-472: 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
1326-445: 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
1365-478: 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,
1404-626: 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 the Dumraon Gharana tradition. He usually played Shahnai in Dhrupad style. Famous living singers of Dumraon Gharana (Buxar) include Pt. Ramjee Mishra,
1443-652: The practice of the musical form. Hindu deities Too Many Requests If you report this error to the Wikimedia System Administrators, please include the details below. Request from 172.68.168.226 via cp1108 cp1108, Varnish XID 229186886 Upstream caches: cp1108 int Error: 429, Too Many Requests at Thu, 28 Nov 2024 08:44:59 GMT Rudra Veena The Rudra veena ( Sanskrit : रुद्र वीणा ) (also spelled Rudraveena or Rudra vīnā )—also called Bīn in North India —is
1482-570: 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
1521-453: The universe that Lord Shiva embodies. However it is strongly believed that Shiva created the rudra veena for the entertainment of the other gods as Shiva always enjoyed dancing and singing. Another explanation is that the asura Ravana is said to have invented the rudra veena; inspired as he was with his devotion to Lord Shiva, or Rudra, he named the instrument Rudra veena. The North Indian vernacular name "bīn" (sometimes written "bīṇ")
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