91-661: 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
182-715: A spiritual context, with the Beloved being a metaphor for God or the poet's spiritual master. It is the intense Divine Love of Sufism that serves as a model for all the forms of love found in ghazal poetry. Most ghazal scholars today recognize that some ghazal couplets are exclusively about Divine Love ( ishq-e-haqiqi ). Others are about earthly love ( ishq-e-majazi ), but many can be interpreted in either context. Traditionally invoking melancholy, love, longing, and metaphysical questions , ghazals are often sung by Afghan, Pakistani, and Indian musicians. The form has roots in seventh-century Arabia , and gained prominence in
273-623: 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
364-578: 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
455-400: A ghazal's couplets do not need a common theme or continuity. Each sher is self-contained and independent from the others, containing the complete expression of an idea. However, the shers all contain a thematic or tonal connection to each other, which may be highly allusive. A common conceit that traces its history to the origins of the ghazal form is that the poem is addressed to a beloved by
546-516: A gradually accepted part of the ghazal form, and by the time of Saadi Shirazi (1210–1291 AD), the most important ghazal poet of this period, it had become de rigueur. The second marked change from Arabian ghazal form in Persian ghazals was a movement towards far greater autonomy between the couplets. The ghazal later spread throughout the Middle East and South Asia. It was famous all around
637-409: A higher being or for a mortal beloved. Love is always viewed as something that will complete a human being, and if attained will lift him or her into the ranks of the wise or will bring satisfaction to the soul of the poet. Traditional ghazal law may or may not have an explicit element of sexual desire in it, and the love may be spiritual. The love may be directed to either a man or a woman. The ghazal
728-452: 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
819-569: 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 . Ghazal The ghazal is a form of amatory poem or ode, originating in Arabic poetry . Ghazals often deal with topics of spiritual and romantic love and may be understood as
910-701: A poetic expression of both the pain of loss or separation from the beloved and the beauty of love in spite of that pain. The ghazal form is ancient, tracing its origins to 7th-century Arabic poetry. The ghazal spread into the Indian subcontinent in the 12th century due to the influence of Sufi mystics and the courts of the new Islamic Sultanate , and is now most prominently a form of poetry of many Languages of South Asia and Turkey . A ghazal commonly consists of five to fifteen couplets, which are independent, but are linked – abstractly, in their theme; and more strictly in their poetic form. The structural requirements of
1001-434: 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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#17328015166251092-414: 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 ,
1183-580: A spread of the Arabic language in that country. In medieval Spain, ghazals written in Hebrew as well as Arabic have been found as far back as the 11th century . It is possible that ghazals were also written in the Mozarabic language . Ghazals in the Arabic form have also been written in a number of major West African literary languages like Hausa and Fulfulde . However, the most significant changes to
1274-474: A tribe or ruler, lampoons, or moral maxims. However, the qaṣīda's opening prelude, called the nasīb , was typically nostalgic and/or romantic in theme, and highly ornamented and stylized in form. In time, the nasīb began to be written as standalone, shorter poems, which became the ghazal. The ghazal came into its own as a poetic genre during the Umayyad era (661–750) and continued to flower and develop in
1365-506: A volume of "real Ghazals in English". Ghazals were also written by Moti Ram Bhatta (1866–1896), the pioneer of Nepali ghazal writing in Nepali . Ghazals were also written by Hamza Shinwari , He is known as the father of Pashto Ghazals. Enormous collections of ghazal have been created by hundreds of well-known poets over the past thousand years in Persian, Turkish, and Urdu as well as in
1456-606: 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
1547-411: 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
1638-414: Is always written from the point of view of the unrequited lover whose beloved is portrayed as unattainable . Most often, either the beloved has not returned the poet's love or returns it without sincerity or else the societal circumstances do not allow it. The lover is aware and resigned to this fate but continues loving nonetheless; the lyrical impetus of the poem derives from this tension. Representations of
1729-562: 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
1820-547: Is considered the most important Persian ghazal poet of this period, and the founder of classical Persian literature. The Persian ghazal evolved into its own distinctive form between the 12th and 13th centuries. Many of those innovations created what we now recognize as the archetypical ghazal form. These changes occurred in two periods, separated by the Mongol Invasion of Persia from 1219 to 1221 AD. The 'Early Persian poetry' period spanned approximately one century, from
1911-522: Is described as the " golden age of Persian literature in Bengal". Its stature is illustrated by the Sultan's own correspondence with the Persian poet Hafez . When the Sultan invited Hafez to complete an incomplete ghazal by the ruler, the renowned poet responded by acknowledging the grandeur of the king's court and the literary quality of Bengali-Persian poetry. It is said that Atul Prasad Sen pioneered
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#17328015166252002-466: 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
2093-458: 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
2184-573: 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
2275-825: 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
2366-471: 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
2457-523: Is pronounced [ˈɣazal] . In English, the word is pronounced / ˈ ɡ ʌ z əl / or / ˈ ɡ æ z æ l / . The ghazal is a short poem consisting of rhyming couplets, called bayt or sher . Most ghazals have between seven and twelve bayts . For a poem to be considered a true ghazal, it must have no fewer than five couplets. Almost all ghazals confine themselves to less than fifteen couplets (poems that exceed this length are more accurately considered as qasidas ). Ghazal couplets end with
2548-530: 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
2639-462: 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
2730-409: 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
2821-423: 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 ,
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2912-610: 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
3003-461: 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
3094-609: 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
3185-522: The Ghaznavid era (which lasted until 1187) till a little after the Mongol Invasion. Apart from the movement towards brevity, this period also saw two significant and lasting changes to the ghazal form. The first change was the adoption of the Takhallus , the practice of mentioning the poet's penname in the final couplet (called the ' maqta ' ' ). The adoption of the takhallus became
3276-537: 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
3367-552: 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
3458-564: The Ottoman Empire ; Mirza Ghalib and Muhammad Iqbal of North India ; and Kazi Nazrul Islam of Bengal . Through the influence of Goethe (1749–1832), the ghazal became very popular in Germany during the 19th century; the form was used extensively by Friedrich Rückert (1788–1866) and August von Platen (1796–1835). The Kashmiri poet Agha Shahid Ali was a proponent of the form, both in English and in other languages; he edited
3549-589: 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
3640-436: 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
3731-524: 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
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3822-674: The 19th century ghazals gained popularity in Germany with Goethe 's translations, as well as with Spanish ghazal writers such as Federico García Lorca . Despite often being written in strong Urdu and rendered with classical Indian Ragas along with complex terminology most usually accessible to the upper classes, in South Asia ghazals are nonetheless popular among all ages. They are most popular in Turkey and South Asia, and readings or musical renditions of ghazals—such as at mehfils and mushairas —are well attended in these countries, even by
3913-587: The Central Asian Turkic languages. Ghazal poems are performed in Uzbek-Tajik Shashmakom , Turkish Makam , Persian Dastgah and Uyghur Muqam . There are many published translations from Persian and Turkish by Annemarie Schimmel , Arthur John Arberry and many others. Ghazal "Gayaki", the art of singing or performing the ghazal in the Indian classical tradition, is very old. Singers like Ustad Barkat Ali and many other singers in
4004-462: 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
4095-917: 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
4186-769: 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
4277-473: The Indian subcontinent in the 18th and 19th centuries Vin bahs bā salāse-ye ghassāle miravad And with the three washers (cups of wine), this dispute goeth. Shekkar-shekan shavand hame tutiān-e Hind Sugar-shattering (excited), have become all the parrots (poets) of Hind , Zin qand-e Pārsi ke be Bangāle miravad. That this Persian candy [ode], that to Bengal goeth. – Jointly penned by Azam Shah and Hafez The ghazal
4368-495: 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
4459-629: 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
4550-629: 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
4641-538: 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
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#17328015166254732-467: 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 ,
4823-466: 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
4914-447: 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
5005-561: 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
5096-480: 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
5187-603: 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
5278-404: 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
5369-621: The early Abbasid era. The Arabic ghazal inherited the formal verse structure of the qaṣīda , specifically, a strict adherence to meter and the use of the qafiya , a common end rhyme on each couplet (called a bayt in Arabic and a sher in Persian). The nature of the ghazals also changed to meet the demands of musical presentation, becoming briefer in length. Lighter poetic meters, such as khafîf , ramal , and muqtarab were preferred, instead of longer, more ponderous meters favored for qaṣīdas (such as kâmil , basît , and rajaz ). Topically,
5460-602: 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
5551-596: 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
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#17328015166255642-557: The ghazal are similar in stringency to those of the Petrarchan sonnet . In style and content, due to its highly allusive nature, the ghazal has proved capable of an extraordinary variety of expression around its central themes of love and separation. The word ghazal originates from the Arabic word غزل ( ġazal ). This genre of Arabic poetry is derived from غَزَل (ḡazal) or غَزِلَ (ḡazila) - To sweet-talk, to flirt, to display amorous gestures. The Arabic word غزل ġazal
5733-410: The ghazal focus also changed from nostalgic reminiscences of the homeland and loved ones, towards romantic or erotic themes. These included sub-genres with themes of courtly love ( udharî ), eroticism ( hissî ), homoeroticism ( mudhakkar ), and as a highly stylized introduction to a larger poem ( tamhîdî ). During the Umayyad and early Abbasid eras, the ghazal blossomed. It inherited the structure of
5824-456: The ghazal occurred in its introduction into Iran in the 10th century. The early Persian ghazals largely imitated the themes and form of the Arabian ghazal. These "Arabo-Persian" ghazals introduced two differences compared to their Arabian poetic roots. Firstly, the Persian ghazals did not employ radical enjambment between the two halves of the couplet, and secondly, the Persian ghazals formalized
5915-698: The ghazal. Nusrat Fateh Ali Khan , Amanat Ali Khan , Begum Akhtar, Talat Mahmood , Mehdi Hassan , Abida Parveen , Jagjit Singh , Farida Khanum and Ustad Ghulam Ali , Moinuddin Ahamed, are popular classical ghazal singers. The ghazal has historically been one of the most popular poetic forms across the Middle East and South Asia. Even into the modern era the ghazal has retained its extreme popularity among South Asian royalty and nobility, among whom its education and patronisation has traditionally found shelter, especially with several Indian rulers including several Indian Emperors being profound composers of ghazals. In
6006-614: 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
6097-404: 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
6188-523: The introduction of Bengali ghazals. Residing in Lucknow , he was inspired by Persian ghazals and experimented with a stream of Bengali music which was later enriched profusely by the contribution of Kazi Nazrul Islam and Moniruddin Yusuf . "The ghazal was initially composed to a purely religious theme". Now in this era ghazals are more likely to have romantic themes. Can usually be interpreted for
6279-771: 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
6370-608: The lover's powerlessness to resist his feelings often include lyrically exaggerated violence. The beloved's power to captivate the speaker may be represented in extended metaphors about the "arrows of his eyes", or by referring to the beloved as an assassin or a killer. Take, for example, the following couplets from Amir Khusro 's Persian ghazal Nemidanam che manzel būd shab : namidanam chi manzil būd shab jayi ke man būdam; be har sū raqs eh besmel būd shab jayi ke man būdam. pari paikar negar eh sarv qaad e lalhaa rokhsar; sarapa afat-e del būd shab jayi ke man būdam. I wonder what
6461-655: 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,
6552-564: 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
6643-559: 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
6734-498: The narrator. Abdolhamid Ziaei considers the content of old Persian ghazal to include four elements: love, mysticism, education or excellence, and Qalandari. The Ghazal tradition is marked by the poetry's ambiguity and simultaneity of meaning. Learning the common tropes is key to understanding the ghazal. There are several locations a Urdu sher might take place in: hoon garmi-i-nishat-i-tasavvur se naghma sanj Main andalib-i-gulshan-i-na afridah hoon - Ghalib I sing from
6825-416: The past used to practice it, but the lack of historical records make many names anonymous. It was with Begum Akhtar and later on Ustad Mehdi Hassan that classical rendering of ghazals became popular in the masses. The categorization of ghazal singing as a form of "light classical" music is a misconception. Classical ghazals are difficult to render because of the varying moods of the "shers" or couplets in
6916-525: The poet and musician Ameer Khusrow is not only credited as the first Urdu poet but also created Hindustani as we know today by merging braj , khadhi boli , Hindi , Urdu , Persian and other local dialects. During the reign of the Sultan of Bengal Ghiyasuddin Azam Shah , the city of Sonargaon became an important centre of Persian literature , with many publications of prose and poetry. The period
7007-402: 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
7098-457: The qaṣīda, focusing on meter and end rhymes. With time, it adapted for musical presentation, becoming shorter. Lighter meters were preferred, and themes shifted towards romance and eroticism. With the spread of Islam , the Arabian ghazal spread both westwards, into Africa and Spain , as well as eastwards, into Persia . The popularity of ghazals in a particular region was usually preceded by
7189-486: 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
7280-562: 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,
7371-455: 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 ;
7462-409: The same rhyming pattern and are expected to have the same meter. The ghazal's uniqueness arises from its rhyme and refrain rules, referred to as the ' qafiya ' and ' radif ' respectively. A ghazal's rhyming pattern may be described as AA BA CA DA, and so on. In its strictest form, a ghazal must follow a number of rules: Other optional rules include: Unlike in a nazm ,
7553-491: 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
7644-502: The thirteenth and fourteenth centuries, thanks to such Persian poets as Rumi and Hafiz, and later to Indian poets such as Mirza Ghalib . In the eighteenth century, the ghazal was used by poets writing in Urdu. Among these poets, Ghalib is the recognized master . Ghazals were written by Rumi , Hafiz and Saadi Shirazi of Persia ; the Turkic poets Yunus Emre , Fuzuli and Nasimi in
7735-603: 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
7826-456: 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
7917-503: 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
8008-555: The use of the common rhyme in both lines of the opening couplet ( matla' ). The imitation of Arabian forms in Persia extended to the qaṣīda , which was also popular in Persia. Because of its comparative brevity, thematic variety and suggestive richness, the ghazal soon eclipsed the qaṣīda , and became the most popular poetry form in Persia. Much like Arabian ghazals, early Persian ghazals typically employed more musical meters compared to other Persian poetry forms. Rudaki (858–941 CE)
8099-578: The warmth of the passionate joy of thought I am the bulbul of a garden not yet created mir un neem-baaz ankhon men saari masti sharab ki si hai - Mir Taqi Mir 'Mir' is in those half-closed eyes all flirtation is a bit like wine The ghazal originated in Arabia in the 7th century, evolving from the qasida , a much older pre-Islamic Arabic poetic form. Qaṣīdas were typically much longer poems, with up to 100 couplets. Thematically, qaṣīdas did not include love, and were usually panegyrics for
8190-488: Was spread from Persia into Indian Subcontinent in the 12th century by the influence of Sufi mystics and the courts of the new Islamic sultanates . This period coincided with the early Islamic Sultanates in India, through the wave of Islamic invasions into the region in that period. The 13th century Chishti Sufi poet Hasan Sijzi is regarded as the originator of the Indo-Persian ghazal. Sijzi's contemporary,
8281-506: Was the place where I was last night, All around me were half-slaughtered victims of love, tossing about in agony. There was a nymph-like beloved with cypress-like form and tulip-like face, Ruthlessly playing havoc with the hearts of the lovers. Many of the major historical ghazal poets were either avowed Sufis themselves (like Rumi or Hafiz ), or were sympathizers with Sufi ideas. Somewhat like American soul music , but with melancholy instead of funk , most ghazals can be viewed in
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