Music Research
Music Research
Music Research
Khayal, the Principal Classical Form of modern times is a unique and rich form of
Hindustani Classical Music, which embodies the gravity of the Dhruvapada, the
romanticism of the Thumri and the lyricism of the lighter forms like Dadra and even
Ghazal. Khayal; a classico-romantic form eschewed some off the redundant rigidities of
the Dhruvapada and imbibed some of the aesthetic excellences of the Thumri. Khayal is a
highly specialized art form, whose composition today is quite intricate in spite of the vast
latitude it enjoys in comparison with the Dhruvapada. There are several steps in its
elaboration; each of these steps is meant to emphasize a specific point of aesthetic and
musical excellence. Having rich classical background, Alaps, Various Tanas, Bol-Tanas,
Various Ghamaks, Wide variety of rhythmic patterns and creative variations of the words
of the composition with appropriate combinations of notes, add significant sentimental
enrichment to it. Khayal thus has something interesting and attractive to offer to almost
every variety of listeners. Dhruvapada was a purely classical form of music whereas the
Khayal was a classic-romantic form which incorporated the classicism of the Dhruvapada
and the romanticism of the Thumri. Khayal abstained from using redundant rigidities of
the Dhruvapada and accepted some of the aesthetic excellences of the Thumri1. Khayal
chose Sadharni Shaili for its structure. It means that Khayal incorporated into itself the
unique properties of all Gayan Shailies. These also included various Ghamaks like Khatka,
Murki, Meend, Kampan, and Andolan. This resulted in a unique structure and aesthetic of
Khayal2.
There are a lot of opinions about the origin of khayal. There is no single opinion among
the music experts about its origin, development and circumstances. The main reason behind
it is the absence of any information about Khayal music in the medieval texts although its
origin occurred in this time period only3. Eminent scholar Vim Wan der Meer in his book
‘Hindustani Music in the 20th Century’ wrote, “If we do a historical analysis about the
origin of khayal, it is observed that in18th century Khayal was quite similar to Dhrupad in
many ways. This style of Khayal was considered as a new type of presentation of Dhrupad
sung by Sadarang4. Mr. Viney Chandra Maudgill wrote in his paper ‘Evolution of Khayal’,
“The Khayal of today, though based on Dhrupada, was a revolt against the Dhrupada itself
which was becoming too rigid, mechanical and losing its aesthetic appeal5.”
This thing is quite clear that the first attempt to create a serious form of Khayal was
based on the Dhruvpada Shaili. It was simple in structure and later on it was developed in
various ways and its ornamentation was done6. Some people believe that Khayal originated
from the Gitis prevalent in the Ancient times. Thakur Jaideva Singh wrote in his essay
Captain Willard in his book- Treatise on the Music of Hindustan has said That Sultan
Hussain Sharque of Jaunpur was the innovator of this class of song2. A.H. Fox-Srangways
in his book-The Music of Hindostan has said that the mst common type of Khayal was a
later form of Dhruvapada and was supposed to be evolved from Muhammad (Sultan)
Sharque in 1401-1440 A.D3.Some believe that it was Sultan Hussain Sharque who
developed Khayal on the basis of an older form of folk song that was prevalent in North
India in the early part of the mediaeval times4. Husain Sharque was not only a matchless
musician, but also a great inventor. He was one of the greatest exponents of the Khayal. In
many books he has been credited to be the founder of Khayal. Ironically while Dhrupad
was growing in stature, an anti-Dharupad movement was underway in Jaunpur. The ruler
here at that time was Hussain Shah Sharqi (1458-1528 A.D.) who was also a good
musician. For a long time people felt that the Dharupad style was too formal and what
Indian music required was a less formal and more imaginative style. So Hussain Shah
Sharque and his fellow musicians invented the Khayal Style. The Khayal offered wide
scope for technical Brilliance, invention & imaginative treatment of secular & religious
themes. Even this form of Khayal was not acceptable to the classical musicians of the
period as they were not prepared to accept the liberties taken by this form over the
Prabandha. Therefore sultan Sharque's Khayal although comparatively strongly based on
So Khayal is neither a new or foreign importation in Indian music, nor did Amir Khusro
invent it in the 13th century rather it was current mostly among the Muslim musicians of
the Arab-Persian stock3. Amir Khusro flourished in 13th century and at the same time
Sharangadeva flourished and completed his epoch-making treatise on music,
Sangitaratnakara. Amir Khusro was a man of extraordinary merit and intelligence, and he
was well-versed in Urdu, Hindi, Persian, Sanskrit and other languages. So it might be the
fact that, being a scholar and a music-loving man himself, he was quite aware of the
colorful form of the Shastric Sadharani-Ragagiti, together with the imaginative style of the
Rupakalapti, full of so much embellishment, as described by Sharangadeva's
Sangitaratnakara. It is most probable that he thought it better to designate the fanciful type
and style of Qawwali of his time as Khayal for better understanding and sweet rendering.
But we do not know whether he can be credited for doing that. And if that be so, then it is
also possible that the newly introduced type and style gradually attracted the attention of
all music and beauty-loving people of that time and consequently attained refinement
through gradual novel process during the time of the Sharqi Rulers in 15th century A.D.
The Sharqi rulers were great lovers as well as patrons of fine arts like architecture, painting
and music, and so it can be assumed that Khayal got their support, and it was much
improved and better understood during the time of Sultan Hussain Sharqi4.
Khayal singing got proper recognition and support in the Court of Mughal King
Mohammad Shah Rangile through Adarang and Sadarang. Due to this it took a firm
position in Indian Music2. Pt. Bhatkhande said: “in my opinion it is not ok to assume that
Khayal was invented and then propagated by a single person. Singing styles like Khayal
existed in society already but they were not very popular. In further time sultan Hussain
Sharque liked this singing style. He encouraged singers to use this style and thus Khayal
became more popular3. Prof. B.R. Devdhar wrote, “For the first time Khayal composition
was started by Amir Khusro but it did not get popular at that time. After that sultan Hussain
Sharque, Chanchal Sen, Chand Khan and Suraj Khan made a lot of efforts to make it more
interesting but they could not succeed to achieve it. Niyamat Khan also put in his efforts4.”
In this way, the present form of Khayal came into existence during these centuries with the
contribution of so many artists and musicologists and became the main singing style of
modern times leaving behind Dhrupad. "This was an era of Muslim domination where an
unfortunate downfall of Sanskrit and Hindu tradition occured. This version of the Khayal
was in a way a mixture of the orthodox Hindu tradition and the newer trend of liberalism
in the arts, especially in music. This liberalism or freedom of expression can be thought to
be a direct result of the Muslim influence. This influence definitely had an unwelcome
effect on Indian music, especially the Hindustani music. Although it got enriched
enormously by addition of some of beneficial features of Persian music and by allowing
musicians freedom and an increased scope for artistic and aesthetic expression but it altered
the existing sysytem. The Khayal gradually took deep roots in the musical soil and began
displacing its predecessor, the Dhruvapada."
A Short history of the origin of the Khayal in three different stages has already been given.
Now the musical aspects of the Khayal will be discussed which operate in its actual
rendering. The word Khayal means an idea, whim, imagination- 'Kalpana'. Today the
Khayal is the staple form of Hindustani classical music. It embodies the gravity of the
Dhruvapada, the romanticism of the Thumari and the lyricism of the lighter forms like
Dadra and even Ghazal. The Khayal is a highly specialized art form. Its composition today
is quite intricate in spite of the vast latitude it enjoys in comparison with the Dhruvapada.
There are several steps in its elaboration; each of these steps is meant to emphasize a
specific point of aesthetics and musical excellence. It basically follows the pattern of
tension and resolution, comparison and contrast, and variation and repetition, as in all other
Khayal Presentation Starts with Alap, a kind of slow melodic phrases, sung before the
Bandish starts as a preface, or as improvisation while elaborating on the Bandish. Let us
first consider prefatory Alaps sung before the Bandish (and the Theka) start. These Alaps
are either seen as a vehicle to create the atmosphere of the raga, or the Pakad (signature) of
the raga is sung to help the listener identify it. In my opinion prefatory Alaps should
introduce not only the raga but also the notes of the Mukhra and the tempo, the artist plans
to use. Some Khayal singers prefer the Nom-Tom style of Alap characteristic of dhrupad
singing2. Vilambit Bandishes are found in popular Talas such as Ektal, Teental, Jhoomra,
Tilwada, and Jhaptal. How slow should Vilambit tempo be, to some extent, this is a matter
of individual taste. Each singer decides the tempo for his singing considering his training,
aesthetic sense, and the quality and capability of her voice. However, there are some basic
principles one must observe. Many traditional Bandishes almost demand a particular
tempo. The beauty of the Bandish and the balance of its form comes alive only if the right
Tala and tempo are used. One hears much slower Vilambit tempo today than our tradition
recommends. The Sathayis of many traditional Khayals are composed to be sung over two
Avartans of the Tala. It is considered best to keep the traditional tempo if one is singing a
traditional bandish3. In Khayal, Sathayi opens with a characteristic phrase known as
Mukhda, which illustrates, as it were, the striking facial features of the Raga which is
usually between the Mandra Saptaka and the Tara Sadja. But within this range the Sathayi
usually covers most of the aesthetic centers of the Raga. And any other peculiar Meenda
After the Sathayi is fully rendered, the Mukhada is taken while coming back to the Sama.
Sama is the beginning of the rhythmic cycle, where one has to steadily return after tracing
the diverse courses of the Raga and Tala. After the Satahyi and the Mukhada are concluded,
the various steps of development of the Khayal are taken up systematically. The first step
is known as Bhadhat. Here the Raga is elucidated Swara by Swara. The singer Halts at each
Swara; not only he take the same Swara in divergent ways using different Gamakas or
aesthetic graces, he also takes short attractive phrases which highlight a particular Swara-
which must be one of the most important Swaras of the Raga. The singer now moves on to
the next important Swara; on the way he explores all possible avenues of melodic delight1.
In words of Veena Sahasrabuddhe, some artists use the phrases of the Bandish as the basis,
varying and decorating these in numerous ways as they go. This style is known as Upaj
Ang. Others go from note to successively higher note in the octave, highlighting each note
in order. This style is called Merukhanda Paddhati2. In the Badhat the combinations are
taken very slowly, each Swara being spaciously explored. Of course certain fast adorning
embellishments like Khatka, Murki and various types of Ghamkas are taken to create a
disparity with the slow movement. In this way the Tara Shadja is reached. When the singer
reaches the Tara Shadja, the Mukhada of the Antara is sung, after which comes the
amplification of the Antara portion of the Raga through Alaps3. After Alap comes Bol-
Alap. When the words are repeated while improvising slow phrases, we call the form Bol-
alap. In this type of improvisation, the words are to be treated as meaningful entities.
Neither individual words nor word order should be so disfigured as to disturb the meaning
of the song. Simultaneously, the tempo of utterance must follow the tempo of the melody4.
After the Alaps, the Antara is then completed, and the Mukhada is taken again. Here, one
The singer winds up the Firat with a typical fast straight Tana covering from half an octave
to a little over an octave, and takes the Mukhada with a flourish. Another point about the
Firat is the peculiar cyclic movement of the Svara patterns. They rotate and revolve around
certain Svaras which are taken as nucleus for expansion of decorative combinations. The
Firat is a crucial part of the Khayal, and is performed with Akara or with the use of words
and different vowels1. After Firat comes Layakari or rhythmic variations. Here the singer's
command over Tala is exhibited. The singer cross-accents, modifies and sometimes follows
a particular rhythmic meter, and comes on the Sama with a Tihayi. The Tihayi is typical
three-even-set rhythmic figures which is taken by the singers at the end of the Avartana
while coming to the Sama. This can be a complicated operation. Sometimes very different
fractions of the beats are produced all along the way from Sama to Sama, testing the
command of artists over the Laya. This is done a few times to add variety and emphasis to
the Tala. In Layakari, the text of the Khayal is utilized to highlight the rhythmic patterns2.
After Layakari comes the Bol-Tanas. These are melodic figures which use the words off
Khayal. These are in the form of metric patterns, and converge on the Sama with imposing
force. Bol-Tanas usually follow the matras of the Tala, thus granting scope for the Tabla
player to join the rhythmic display. Both the singer and Tabla player, keeping a close count
of the beats of Tala, land on the Sama with great plume. Bol-Tanas lighten the atmosphere
of the recital, and the interest of the audience is at one focused. One more thing we want
to mention here that even those who are unable to understand the actual details of the
Swaras and Tala can appreciate and enjoy the overall flow of the Bol-Tanas. Very few
Gharanas sing Bol-Tanas. Agra Gharana specializes in Bol-Tanas. We must say this must
be made a mandatory part of the Khayal for making it more tempting and engrossing3 and
After the display of the flurry of Tanas, the fast or Druta Khayal is performed. In this
Khayal, after singing the Sathayi and Antara, the musician generally does the Bola-Upaj.
This is a very extravagant play of the words of the song, swaying with the rhythmic beats
of the Tala. Here there is no restriction on any fixed pattern of Matras. It is basically a
melodic operation using the words and Tala as an aid to heighten the effect of the Upaj.
This has a lilting cadence of its own and can be extremely attractive3. After vilambit khyal,
usually a madhya laya or drut bandish is sung. Most often two bandishes are sung in a raga,
Here music exploration is an experience where the performer has to depersonalize him i.e.
when the creation is free from the creator. In Indian music specially, this aspect is all the
more crucial, because it is by and large improvised, and therefore, the total dissolution of
the ego in the creative process is very essential. This is possible, and it is here that the
function of music becomes spiritual. All spiritual approaches aim at the disintegration of
the ego and the understanding of one’s true self. Indian music is an excellent and enjoyable
way of achieving this2. Creativity is an ineluctable adjunct of all true art; and in this surge
of creativity, no amount of newness is impossible. But it must always be remembered that
creativity in classical music has to take place within the environs of the Raga. It is like
yogic discipline: in the beginning there is rigid control and direction is everything physical
and mental; but all is calculated to bring about total release from the thralldom of the flesh
and the ego. Similarly in the exposition of the Raga, the initial grim of form and the stress
on virtuosity goes only up to the point of artistic effluence. At this stage, the rigidity and
inhibitory nature of the Raga vanishes. The musician dives deep into that ocean of ethereal
melody, or Nada, and is dissolved in it. It is because of this truth that Ragas like Yaman,
Bhairav, Todi, Puriya, Malkaun, etc. which have been sung hundreds of thousands times,
in the hands of gifted musicians still transport the listeners to transcendental delight3.
Thus the Khayal is much richer than all the other musical forms. But any extravagant
combination of any particular form is likely to distort its overall structure and artistic
balance. For instance, the admixture of Thumari embellishments to excess is likely to
disturb the gravity of the Khayal and too much of the somber grim of the Dhruvapada is
likely to destroy the romantic air of the Khayal. It is like excessive ornamentation of the
Whenever we talk about Hindustani Classical music, the term Gharana always comes up.
The importance and contributions of the Gharana system to the field of music cannot be
ignored in any way. This is all because of the effort, concentration and the guidance of
various gurus who are a part of the Gharana system2. The Gharana system has played a
great role in the creation and maintenance of our musical tradition. The history of
Hindustani classical music is actually the history of various musical Gharanas that existed
at different times throughout the history. Gharanas existed all over India just the
terminology used was different. In north, they were called as Gharanas. In south, they were
called Sampardays. Some examples are Shivmat and Bharatmat3. Although on one hand
Gharana system had lot of positive effects but it had some negative effects on the Indian
music as well. Some light needs to be shed on this aspect as well.
2.7 Meaning of Gharana:
The word Gharana originates from Hindi word Ghar (from the Sanskrit word Grah) which
means ‘of the house’4. In normal usage the word Gharana has many meanings; Ghar,
Kutumb, Parivar, Sampardaye, Vansh Prampara etc. Gharana generally refers to a family
of musicians, a school of music or a musical lineage connected by the name of a particular
person or place. The characteristic feature of a Gharana is its special style of teaching and
presentation. Musicians of a particular Gharana have their own individual styles of
presentation, but their training and conditioning is distinguishable by style that they
present. Gharana leaves indelible marks on the presentation of the performer5.
1 http://www.ragaculture.com/gharana.html
2 http://www.culturalindia.net/indian-music/hindustani-gharanas.html
3http://www.itcsra.org/sra_story/sra_story_guru/sra_story_guru_links/sra_story_guru_gh
arana/sra_story_guru_gharana_index.html
4 Kaur D, Samajak Vigyan Pattar, p.18
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2.8 Evolution of Gharana System
It may be interesting to trace the history of the tradition of the Gharana, which came to be
of such importance from the sixteenth century onwards. This was not purely an event of
the mediaeval period. Right from the earliest times, there have always different schools of
music in our country1. In the ancient times, the word used for gharana was "samuday".
During the times old dhrupad, the word "bani" came into vogue and after the advent of
khayal, the concept of Gharana came into light. In this way the presence of different classes
originated in Hindustani Music2.
It is believed that the ancient knowledge hubs had their own distinct Gitiyans like Shuddha,
Bhinna, Gaudi, Vesra, and Sadharni. During Dhrupad period, Gobarhar, Dagur, Nauhar
and Khandar Vaniyan became popular. After dhrupad when Khayal came up, it gave rise
to the advent of Gharanas3.
The emergence of Gharana system has its roots in the Guru-Shishya Parampara which is
the hallmark of learning traditional art forms in the Indian subcontinent. The seeds of
Gharana system were planted in the 16th century with the advent of Banis or styles
associated with the dhrupad. Even today a number of Gharanas trace their origin to these
Banis. Further evolution of Gharana system came from the process of the gradual
disintegration of the Mughal Empire. The modern Khayal Gharanas are generally traceable
to the period of the collapsing of the Mogul empire. Gharanas were found throughout the
North in every field-dance, vocal and instrumental music. They tend to be enunciated
among themselves. In the professional sense, a Gharana had some of the characteristics of
a guild. It was always understood that tracing one’s linage to a major Gharana was a
prerequisite for obtaining a position in the royal courts. The Gharanas were entrusted with
the duty of maintaining a certain standard of musicianship4.
According to Dr. Sumati Mutatkar “During the medium ages, singers got allocated in
various kingdoms like Gwalior, Rampur, Udaipur, Lakhnow, Baroda, etc. over here they
practised and propagated their own style of music. But due to lack of awareness they
Large areas of India were under the control of various kings and Nawabs. These states were
generally had enough resources to support artists and musicians in their courts, which was
very conducive to growth of arts and music. They ued to appoint musicians innthier courts1.
For this Research work it was very necessary to have basic knowledge about every
Gharana, its specifications and main artists. Gharana system deeply influenced Hindustani
music. Study of Gharans system revealed lot of information about the artists, their
perception regarding Hindutani music and the position of Khayal. Every Gharana has their
own style of rendering a Khayal and critical analysis of every Gharana which will help in
deciding the ideal structure and presentation of Khayal today. Study of Gharana also give
future guidelines and help in deciding the modifications in presentation of Khayal in future
2.9.1.1 Origin
Gwalior gharana is universally acknowledged as the parent of all the gharanas, due to their
obvious reasons for being the oldest, the largest, and one of the most permanent of all the
surviving gharanas. Their distinguishable facets make them even more celebrated in this
genre. This is a pioneer Gharana in Hindustani Classical Khayal Singing. It is supposed to
have evolved through Dhrupad Singing and also through the music of Sufi-Saints and
“Quwaal-Baches” (Qawaal-Singers). Some believe that this Gharana was created by
Natthan Pir Baksh who was patronized by Gwalior-Naresh Jayaji Rao, the king of Gwalior
State2. According to late Ustad Vilayat Husaain Khan, this Gharana originated from
Abdullah Khan and Kadir Bux Khan, who were brothers. They were deemed singers of
Khayals and were considered Ustads. They were said to hail from a village near Delhi, but
their ancestors came from Gwalior and had very close connection with the Gwalior court.
These two brothers were court musicians in the time of Maharaja Jhinkuji Rao Scindia.
After them came the two sons of Kadir Bux-Nathan Khan and Pir Bux. These two were
Gwalior Gharana Gayki is replete the profound serenity of the Dhrupad Gayaki. Singing
in multiple rhythms is a pertinent feature of Dhrupad, viz double, triple, quadruple as well
as contra-rhythm. This Gharana lays great importance on clear indication of the character
of Raga in a very first “Alaapa” i.e slow development of prominent notes. All these features
are present as in this Gharana, as also is its natural, easy and full-throated way of singing.
. In an Interview with Sahapedia online Ustad Abdul Rashid Khan Saheb (Rasan Piya)
explained some characteristics of Gwalior Gharana. He told that lyrics or poetry was of
great importance and stress was given on clear pronunciation in Khayal. He told that
Gwalior Gharana Gayaki was Ashtanga Pradhan Gayaki.
Voice:
Open-throated and bold voice production
Ragas:
Gwalior Gayaki is inclined towards the contemporary and pure Ragas.2
Preference for "Shuddha Raga" as against "Sankirna Raga" and "Chhayalag Raga"
Tala:
Preference for the Simple Vilambit Laya than Ati-Vilambit laya.3
Another noteworthy feature is repeating the refrain, thrice and then pouncing upon
the ‘Sama’ very dramatically.
1 http://www.indianetzone.com/27/gwalior_gharana_khayal_indian_music.html seen on
13-apr-2014
2 Bangre, A, Gwalior Ki Sangeet Prampara, 2011, P-258
3 Ibid
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Layakari in Bol-Tanas.1
Employment of cross-rhythm against the Tabla Theka.
Aalap:
Long introductory Alap before the Bandish.
They perform the Aalap mostly with aakaar or the vowel sound and afterwards
employ the words of the composition.
Bandish:
Gwalior Gharana Gayaki puts priority on compositions (Bandish). Bandish and its
proper development is prominent and is thus, laid emphasis upon. In fact, given
their rich repertoire of bandishes, they believe that many facets in aesthetically
pleasing ways. The rendition of the sthayi and antara of the bandish, or the song-
text one after another, correctly and methodically. This is only to imprint the idea
of the raaga fully in the listener's mind by contrasting the mood of the former with
the latter. Pandit Om Parkash Thaper, Exponent of Gwalior Gharana and disciple
of Pandit Balwant Rai Jaswal told researcher that rendering bandish with full
aesthetic value and Gravity are main feature of Gwalior Gharana.2
The elaboration of the raaga is referred to by the Gwalior singers as sthayi-bharna
or 'filling the sthayi'. Gravity, simplicity and sobriety, characterize their approach
to ragas.
Systematic phrase-wise development of the Raga.
Pandit Om Parkash thaper give stress on systematic Badhat and tells the
significance that systematic Badhat is very important in development of the Raga.3
Importance of vowels in Badhat. Vast use of Aakar. Vowels often coalesced with
words. Sharp vowels like EE and OO employed in the higher notes.
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Use of Behlava or singing of the notes of the raaga in aakaar, after singing the
antara, beginning with the lower octave and concluding with the pleasing ways.
Tan Pattern:
The Tanas are sung in ascending and descending (Aarohi and Awarohi) orders.
They are strait, plane and have great reach.
Use of Larajdar or weighty Tana, mostly Alankarik, in Vilambit Laya before fast
Tana
Forceful and simple Tana, mostly Sapat and Choot, produced with Vazan at a
moderately high speed.
Abundance of Boltana.
Other Specifications:
Compositions like Tarana, Triwat, Chatrang, and Tappa can be heard in this
Gayaki.
Preference for Tarana instead of Thumri
Employment of Gamak throughout. Ghamak is a cardinal grace of this Gharana.
Ghamak like Humphita, Plavita, Ahata, Ulhasita are used.
Gravity and sobriety are important features of this Gharana1.
Elongation of the Anunasik Svara (nasals), especially for staying on the higher
notes.
It is not that this Gayaki high-lights only one certain aspect. It balances all different
aspects of singing. It is an eight-dimensional (Ashtanga Pradhan Gayaki) Style. It
employs Gamaka, Andolana, Kampa, Meend, Murki, Patak, Khatak, Jamjama etc.
as and when an occasion demands. It is simple and straightforward and yet it is very
scintillating. There is no exquisite artistry, yet there being a beautiful fusion of
Swara and Tala, the listener acquires complete pleasure and satisfaction.2
2.9.1.3 Eminent Artists of Gwalior Gharana
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Pandit Vishnu Digambar Paluskar
Nissar Hussain Khan
Shankar Rao Pandit
Krishna Rao Shankar Pandit
Rajabhaya Punchwale
Mehndi Hussain Khan
Bhaiya Ganpat Rao
B.R. Deodhar
Natayan Rao Vyas
D.V. Paluskar
Onkar Nath Thakur
Vinayak Rao Patwardhan
Veena Sahasrabuddhe
Shashwati Mandal Paul
Meeta Pandit
2.9.2 Agra Gharana
2.9.2.1 Origin:
Agra gharana is noted as the second wonder of Agra, only after the elegant Taj Mahal. The
founders of this gharana owe much to the dhrupad-dhammar singers, as it was from them
that the Agra gharana members bestowed the major portion of their skillfulness. However,
borrowing ingenuity from the dhrupadi singers, the Agra gharana was hugely successful in
establishing a permanent position in the musical history. Agra is the only gharana, who
boldly exhibit their dhrupadic roots1. According to Vilayat Hussain Khan Agra Gharan had
two branches. One sprang from Shyamrang and Sarasrang around 1780, and the other from
Imdad Khan around 18002. The former line was the one which produced a constant string
of masters for over a hundered years, while the latter drifted towards light classical music
like Thumri and Dadra. We shall therefore take up the first line. Shyamrang and Sarasrang
1 http://www.indianetzone.com/27/khayal_gharanas_indian_music.htm 16-may-15
2 Gautam, M.R, The Musical Heritage of India, 2001, p.135
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were supposed to be the heirs of Haji Sujan Khan. These two were expert in Alapa,
Dhruvapada and Dhamar, and belonged to Nauhar Bani, the Bani in which Tansen was a
specialist. After these two there was a stream of brilliant musicians starting from Ghagge
Khuda Bux. Ghagge Khuda Bux went to Gwalior to learn from two famous brothers Nathan
Khan and Pir Bux. He worked very hard under his teachers and after returning to Agra he
sang in front of his own people. They were astonished to hear Khuda Bux’s voice moving
over all the octaves flawlessly and smoothly. From then on, his name and fame spread all
over India1. After him came his two sons, Ghulam Abbas Khan and Kallan Khan. Both of
them were great artists. Ustad Ghulam abbas Khan was master of Alapa, Dhruvapada,
Dhamar and Khayal. He was also a very hardworking teacher. He trained three people
mainly. They were his nephew Nathan Khan, his younger brother Kallan Khan and Faiyaz
Khan, who established himself as one of the finest musicians of the century and also made
the Agra Gharana widely recognized as one of the best in the country. Kallan Khan learned
music from his elder brother Ghulam Abbas Khan. He had a naturally sweet and smooth
voice, he was also a very good teacher and had a long list of disciples. Nathan Khan
belonged to that tradition which was famous for the Nauhar Bani. One of the main
lineaments of his singing was his ati-vilambit laya (exteremely slow tempo)2.
Nathan Khan’s two sons Abdullah Khan and Vilayat Hussain Khan made a name in the
field of Hindustani Classical Music. After them Ustad Faiyaz Khan was the flag bearer of
Agra Gharana. He, from his early years, had rigorous training under his maternal
grandfather Ghulam Abbas Khan at Agra. He was gifted with a majestic yet melodious
voice. He was a unique artist as he combined most of the righteousness of a vocalist. He
was one of the very few musicians who aptly and adequately used the words of the Khayal
to enhance the theme of the composition and expressed them with apt patterns of Swaras.
His pronunciation of words was excellent; his Svara-ochaar (inflexion of notes) was
superb; his articulation of the tonal colours, very aesthetic and appealing. He knew the art
of making an impact on the audience. Khan Sahib was a great performing musician and
had a long list of outstanding disciples who distinguished themselves. Pandit Dilipchandra
Voice Quality:
Emphasis is laid on bold, full-throated and robust voice production. The gharana adopts a
kind of voice production which relies on a flatter version of the vowel sound "a"', which
makes its music agreeable to rhythmic variations and is best suited for a deep masculine
voice.
Alap:
Singers following Faiyaz Khan's style resort to the dhrupadic nom tom alaap. Long
Nome-Tome Alap before commencing upon the Khayal composition as practised
by Dhrupadiya.
Ghamak:
Keeping in tune with its dhrupadic origins, the singers use broad and powerful
ornamentations (gamaks), extensive glides (meends), and resonant articulations of
notes.
Khayal Gayaki:
Dhrupad based development of Khayal.
Emphasis on the purity of the Raga Little use of "lighter" improvisational tools e.g.
Khatka, Murki, etc.
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Ustad Ata Hussain Khan,
Pandit Jagannath Purohit,
Dr. Sumati Mutatkar,
Mogubai Kurdikar,
Durga Khote.
Pt. S.N. Ratanjankar,
Swami Vallabhdas,
Dipali Nag,
Dilip Chandra Vedi,
Yunus Hussain Khan,
Jagannathbua Purohit,
K.G. Ginde
Shauqat Khan.
Dinakar Kaikini,
Smt. Sumati Mutatkar,
Shrikrishna Haldankar
Lalith Rao
Famous musicologist M. R. Gautam
2.9.3.1 Origin:
Kirana is a village in western U.P. This Gharana claims its origin from the famous Beenkar
Ustad Bande Ali Khan1. Late Ustad Abdul Karim Khan Sahib and Ustad Abdul Wahid
Khan Saheb took this Gharana to new heights by their calibre2. The founding members of
Kirana gharana were essentially Sarangi players, which laid huge leverage in their style of
performance. However, it is Ustad Abdul Karim Khan, who can be called the most
substantial member to have contributed whole-heartedly to make Kirana gharana stand,
Voice Quality:
A soft and sensitive voice capable of subtle tonal manipulation. Voice production
in this Gharana is very distinct. Of the two registers in human voice-lower and
upper, the upper is tirelessly developed, almost to the neglect of the lower. The
result is that most of the singers (male as well as female) of this Gharana, excepting
Bhimsen Joshiand Gangubai Hungal, have thin, piping voices with restricted range,
although they are extremely tuneful and melodious1. Vamanrao Deshpande, in his
book "Indian Music Traditions - An Aesthetic Study of the Gharanas in Hindustani
Music" has in one place described the Kirana voice- "The Kirana tone is delicate
and tender; it resembles a soft silken thread and possesses a sharp point." However,
he has also said, "In Kirana the voice emerges from a deliberately constricted throat
and has a nasal twang." This, however, it is respectfully agreed to, is not entirely
true. In fact, none of the Kirana stalwarts had or has a nasal voice, as is evident
from the available recordings of Abdul Karim Khan, Hirabai Barodekar, Gangubai
Hangal, Sawai Gandharva, Bhimsen Joshi, Roshanara Begum, Amir Khan and
Prabha Atre. As far as the voice production from a deliberately constricted throat is
concerned, it can be said that only Abdul Karim Khan had this tendency to some
extent, otherwise the voice production in the Kirana Gharana is soft and supple in
relation to the other Gharanas, although it is both natural and effortlessly full, quite
in keeping with the requirements of Khayal singing2.
More emphasis to the Swara:
To sing the Svara as accurately as possible is what this gharana specialises in. Their
entire attention is concentrated on singing in sur, and all their practical exercises
2.9.4.1 Origin
The Jaipur-Atrauli Gharana (also known as the Jaipur Gharana) is a Khayal-based Gharana,
founded by Ustad Alladiya Khan in the late 19th century. His family belonged to Atrauli
near Aligarh, and later migrated to Jaipur, giving the gharana its name. This Gharana is
also nearly 150 years old. It has had assorted musicians of eminence. Some of them became
famous all over India, while others were greatly respected as very knowledgeable
musicians with very pervasive repertoires1. The Jaipur-Atrauli Gharana is the only
Voice Quality:
Full-throated voice production; much use of the chest voice.
Alap:
Prolonged use of open-throated aakaar singing in all three octaves.
Raga Badhat:
Predominance of Aakar in Raga Badhat. The integrated movement and progression
of swara and laya. Complex note patterns are rendered with precision and
spontaneity within the framework of a steady medium tempo. The surprising ways,
in which they swoop on the sam using all their musical and rhythmical skills, is
indeed an eagerly awaited treat. Prominence of Tana and rhythmic Behlava in the
course of Vistar2.
1 http://www.indianetzone.com/27/khayal_gharanas_indian_music.htm
2 http://www.indianetzone.com/27/jaipuratrauli_gharana_khayal_indian_music.htm
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Less Importance to Bandish:
Generally, there are short compositions. The song-text and its articulation are only
of secondary importance to a number of singers. Note combinations using the
words, rather than the literary or semantic content of the song-text, form the focus
of their interest1.
Laya-based Gayaki:
The Vistar portions strictly adheres to the Tala and progresses totally in relation to
its beats and sub-beats.
Bol-Bant:
Importance of Bol-Ang and employment of Bolbant before approaching fast Tana.
Unorthrodox way of Raga Rendering:
Some scholears profess that the Alladiya Gayaki is based upon Tana structures as
against the Alap base of other Gharana like the Gwalior and the Kirana Gharana2.
Rendering of rare Ragas is a special feature of this Gharana3.
Aesthetics:
Intellectual and convoluted approach to presentation with special emphasis on
aesthetics4.
Tana Structure:
Use of elaborate ornaments and complex taans. They spiral and criss-cross against
the set framework of the tala in breath-taking manners. Employment of short
Penchdar (rolling or twisted/difficult) Tana even in Vistar portions. Alankaric and
ornamental patterned Tanas5. Unlike other gharanas, they abstain from singing
sargams or sargam taans during raaga elaboration6.
1 http://www.indianetzone.com/27/jaipuratrauli_gharana_khayal_indian_music.htm
2 http://www.culturalindia.net/indian-music/hindustani-gharanas.html
3 Gautam, M.R, The Musical Heritage of India, p.133
4 http://www.culturalindia.net/indian-music/hindustani-gharanas.html
5 Gautam, M.R, The Musical Heritage of India, p.133
6 http://www.indianetzone.com/27/jaipuratrauli_gharana_khayal_indian_music.htm
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Ragas:
Likeness towards intricate, unique and compound ragas, rather than the simple and
popular ones. A penchant for rare (mostly Salag and Sankirna) Raga, i.e., Raga
neither commonly presented by the other Gharana nor well-known to the concert
going public at large1. Primary emphasis on aesthetics relating to the form of the
genre of the song, i.e., the artistic and intellectual variety of development of its
various components such as Vistar, Bolbant, Layakari, Tanas.
2.9.4.3 Eminent Artists of Jaipur-Atrauli Gharana
Alladdiya Khan
Haider Khan
Abid Hussain Khan
Keasrbai Kerkar
Mogubai Kurdikar
Nivruttibua Sarnaik
Vamanrao Sadolikar
Mallikarjun Mansoor
Kishori Amonkar
Dhondutai Kulkarni
Ashwini Bhide Deshpande
Padma Talwalkar
Shruti Sadolikar
Four major Gharanas are recognised in Hindustani Classical Khayal music are Gwalior,
Agra, Kirana and Jaipur-Atrauli. Others are less pervasive, but no less enchanting, such as
Indore, Rampur, Mewati, Patiala, and Bhendi-Bazar. Brief account of these Gharanas is as
follows.
1 http://www.culturalindia.net/indian-music/hindustani-gharanas.html
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2.9.5 Bhendi Bazar Gharana:
2.9.5.1 Origin
In the context of Bhendibazaar Gharana, the lineage can be traced to Ustad Dilawar
Hussain Khan. His three sons, Ustad Chhajjoo Khan, Ustad Nazeer Khan and Ustad
Khadim Hussain Khan (the Founders of Bhendibazaar Gharana) shifted in the year 1870
from Bijnaur, near Moradabad in Uttar Pradesh to Mumbai. The locality close to the Fort
area was referred to as “Behind the bazaar” by the British, which in local language came
to be known as Bhendibazaar. The trio had received training in music, initially from their
father, Ustad Dilawar Hussain Khan, and later from Inayat Hussain Khan of Rampur
Sahaswan Gharana and from Ustad Inayat Khan of the Dagar Gharana. The three brothers
developed their own style and gained reputation as singers from “Bhendibazaar” and their
style was called “Bhendibazaar Gayaki”1. Although, this school did not just find things
smoothly; one had to toil for it. And the man behind all the credits is Ustad Aman Ali Khan.
Otherwise a man of humble and reticent disposition, Aman Ali was possessed with an
extraordinary voice quality that he tried to put to full use. He was also a talented composer
with several excellent compositions, still in today's usage. He picked up the shades of
Khayal singing, thus popularising the style of rhythm and tempo during the rendition of
sargam-raaga elaboration2. Aman Ali was strongly influenced by certain aspects of
Karnatic music, especially the rendering of complex note patterns (swaraprasthas) in
aesthetically agreeable ways. He, along with Abdul Karim Khan, was largely responsible
for popularising the use of sargams during raaga elaboration3. Though not the most popular
or widely-known of Gharanas, the Bhendi Bazaar style make a noticeable impact on North
Indian classical music during the first half of the 20th century through the efforts of its
most gifted exponents like Shiv Kumar Shukla ji.
1https://saxonianfolkways.wordpress.com/2013/12/20/gharanas-of-india-the-bhendi-
bazaar-gharana/ seen on 16/6/114
2 http://www.indianetzone.com/27/khayal_gharanas_indian_music.htm seen on 26/7/14
3 http://www.indianetzone.com/27/bhendi_bazaar_gharana_khayal_indian_music.htm
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2.9.5.2 Specifications of Bhendi Bazar Gharana
Delicate Aesthetic Tonal inflexions involving quick slides from one note to another.
Use of Merukhand method of singing notes and note combinations. The singers
incorporate the complex Merukhand permutations into their raga elaboration.
Use of certain aesthetic ornaments imported from the Karnatic system. These are
like some short, swift and razor-sharp executions of melodic ideas during raga
elaboration.
Sargams are sung with great aesthetic feeling and finesse. According to M.R.
Gautam, this Gharana used Sargam for the first time in Hindustani music in large
measure and popularized it. Today this has become almost a necessary feature of
Hindustani Classical music1.
Particular stress on the proper articulation and enunciation of the words of the
Bandish.The beauty of the Swara-structure of the Khayals with particular emphasis
on the literary aspect of their texts is another special feature. The words of the
Khayal are beautifully woven into the Raga and The Tala creating a memerizing
2
atmosphere
Rich Poetic Bandishes: Most of the compositions (Bandishes) of this Gharana are
gems of poetry and fine pieces of literature.
Preference to Madhya Laya (medium tempo): The most significant characteristic
of this Gharana is that it specializes in Madhya Laya Khayal. The exponents of this
Gharana seldom sing Vilambit Khayals. With the Madhyalaya Khayal they do all
their Raga, Tala and Tana development3. Pt Ishwarchandra told that singing in Ati-
Vilambit laya affects the poetry of the Bandish and words loose their sense because
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of slow tempo and also general public sometimes feel unable to connect with that
beat. 1
Nazir Khan
Chhajju Khan
Ustad Aman Ali
Anjanibai Malpekar,
Prof. Shivkumar Shukla,
Ramesh Nadkarni
T.D. Janorikar.
Suhasini Koratkar
Dr. Pandit Ishwarchandra.
Vasnat Rao Deshpande
Master Navrang
Dwarkanath Bhosle
Vasanti Sathe
Dayananda Devgandharva
Pt. Ramesh Nadkarni
2.9.6 Patiala Gharana
2.9.6.1 Origin:
The Patiala Gharana, fundamentally a Sarangi Gharana, does not need much further
introduction, owing to the presence of the excelled Ustad Bade Ghulam Ali Khan. Patiala
Gharana has come to a full circle with the untiring effort and diligence in work by him.
Patiala Gharana is well-known for its lively and instantly entertaining Gayaki. This is a
style which incorporates almost every known tool of embellishment in Khayal, making
1 Personal Interview with Dr. Pt. Ishwarchandra (disciple of Pandit Shiv Kumar Shukla)
at Vadodara on 22-August-2014.
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itself immediately appealing to all types of listeners. In fact, it is Patiala Gharana who are
the pioneers in inaugurating the feisty and colourful style of singing within Khayal and the
extremely conservative air of South India1. The founders of this gharana were the brothers
Ali Baksh and Fateh Ali, popularly known as 'Aliya-Fattu'. They had learnt music from
Miyan Kallu, a well-known sarangi player in the Patiala court, who also taught them
dhrupad. The Aliya-Fattu pair, also popularly called 'Karnail' (Colonel) and 'Jarnail'
(General) owing to their relentless powerful way of singing extremely fast taans, were
popular performers. Patiala Gharana achieved its all-round distinction and excellence in
the hands of its greatest and yet-to-be-surpassed genius, Ustad Bade Ghulam Ali Khan.
Bade Ghulam was initially trained by his father and later by Miyan Kallu. Yet Bade
Ghulam belongs to that class of extraordinary singers, the dazzle of whose native gifts by
far exceeded what he received from the tradition he inherited. Bade Ghulam is also credited
with fashioning the Punjab-Ang style of singing thumri. His proficiency in light classical
forms, more than his other innate gifts, paved the way for his deification in the hearts of
innumerable numbers in this country. Following his death, Bade Ghulam's gifted son,
Munnawar Ali Khan, continued the legacy until his death in 1989. Today singers like
Jagdish Prasad, the Pakistani representatives, Fateh Ali, Ammant Ali and Hameed Ali
Khan, Ajoy Chakravorty and the dazzling duo Javaad and Mazhar Ali Khan continue the
Patiala legacy2.
2.9.6.2 Specifications of the Patiala Gharana:
Voice Quality:
Mellifluous and resonant voice production. The voice culture of Patiala Gharana
employs the use of strong and full throated voice. Its speciality lies in the use of
rich, sweet, melodious and intricate use of notes in three octaves. The use of notes
in analytical style is expressive. There are the minimal differences which
distinguish this style from other gharanas.
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2.9.7 Rampur-Sahaswan Gharana
2.9.7.1 Origin:
1 http://www.indianetzone.com/27/rampursahaswan_gharana_khayal_indian_music.htm
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Use of the lyrics of the song in all stages of the vilambit khayal in preference to
aakar. The words of the song, moreover are presented in the natural order and over-
emphasis on any single word is generally avoided.
Use of exquisite techniques beautifully.
Rampur Sahaswan emphasis on taankari in preference to bol-bant and layakari.
Extensive use of bol-alaap (raaga elaboration using select phrases from the song-
text) to evoke the appropriate rasa associated with raaga.
Dexterity in singing different varieties of taans worth great clarity, power and
speed.
Mastery over tarana. In fact, the singers of this gharana are considered the masters
of this form. They have a unique style of rendering Tarana1. Rampur-Sehasvan
Gharana has specialization in Taranas. Bahadur Hussain was a great composer of
Tarana.
2.9.7.3 Eminent Artists of Rampur Sehasvan Gharana
1 http://www.indianetzone.com/27/rampursahaswan_gharana_khayal_indian_music.htm
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Maqbool Hussain
Ustad Rashid Khan
2.9.8 Mewati Gharana
2.9.8.1 Origin
India has a great heritage of Hindustani classical singing family hood (Gharanas). Mewati
Gharana is one of them. Over the years this Mewati Gharana has made its own exceptional
place in Hindustani classical music arena. The Mewati Gharana was founded in the late
19th century by Ustad Ghagge Nazir Khan Sahib who was born in a small village in Mewat.
Since then, 6 generations have contributed for the progress of Mewat Gharana. The Mewati
Gharana acquired its name after the region from which its founding exponents hailed: the
Mewar region of Rajasthan. Unlike other Gharanas which has a family lineage, Mewati
Gharana Gayaki has a distinct quality. The Gharana has a mix of both hindu and muslim
influence in its music. This Ghrana gives stress on the mood (Rasa, Bhava) of the Raga.
This is why this school is considered to be Bhava-pradhan. Mewati Gharana singing is
hugely influenced by Ghamak and Meend style of singing. That is why this style of Gayaki
is also Bhakti pradhan and sShabd pradhan. Mewati Gharana has a history of more than
161 years and it still continues to contribute to the vast Hindustani classical music heritage
of India1. The Mewati gharana is one style that shot into fame during the second half of the
20th century to the fame of its most celebrated singer, Pt. Jasraj. Ustad Ghagge Nazir Khan,
who hailed from the Mewat region in Rajasthan, is regarded its progenitor. Ghagge passed
on his legacy to two disciples, Nathulal and Chimanlal. Nathulal's legacy passed on to his
nephew, Motiram, father of Pt. Jasraj. Though they share the same musical inheritance,
their technical approaches and vocal gifts are on vastly dissimilar planes. Of the three,
Jasraj's style is highly ornate and lyrically polished. He pays painstaking attention to the
words in the bandish - their meaning and poetic content and arouses their dominant moods
using the framework of the raga. He, more than anyone, brought the Haveli Sangeet sung
in many Khayal Gharanas, Indian Music Vaishnava temples in North India to public
attention through his resonant voice, without any assistance. The Mewati Gharana gives
1 http://www.panditjasrajacademy.com/about.html
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importance to developing the mood of the raga through the notes forming it. Its style is
Bhava Pradhan. The meaning of the text is equally given importance1.
2.9.8.2 Special features of Mewati Gharana:
Although it has ancestry in the style and trends of the Gwalior gharana, the Mewati Gharana
gayaki has some distinct qualities.
Voice quality: Bold and clear voice capable of going freelhy in all the three Saptaka.
Importance to Nom –Tom Alap.
Importance to Both Sargam and Aaakar.
Layakari
Extensive use of ornamental techniques like Meend, Ghaseet, Ghamak. Dr.
Ashwini Kumar Singh an exponent of Mewati Gharana told Mewati Gharana add
full emotions in the performance byadding Meend and other ornamental
techniques, which make it very attractive. 2
Lyrics of the Bandish are taken care of. Emotional content was developed through
words of the bandish3
Importance to Mood (Rasa, Bhaava).
Ragas: Jaiwanti Todi, Din ki Puriya, Odhav Bageshree, Khanaj Bahar and Bhavani
Bahar.
2.9.8.3 Eminent Artists of Mewati Gharana
1 http://www.indianetzone.com/27/khayal_gharanas_indian_music.htm
2 Conclusion of Interview with Dr. Ashwini Kumar Singh an exponent of Mewati
Gharana at Vadodara on 03-sept-2014.
3 Kaur, D, Samajak Vigyan Pattar, 2007, p.132
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Ustad Munawar Ali Khan
Ustad Gulam Kadir Khan
Pandit Jasraj
Sanjeev Abhyankar
Rattan Mohan Sharma
Dr. Ashwini Kumar Singh
Dr. Shobha Abhyankar
Sandeep Ranade
Jatin Pandit & Lalit Pandit
There are some other Gharanas also, which are prevalent in Khayal singing style of
Hindustani Music, like Indore Gharana, Delhi Gharana, Sham Chaurasi Gharana, Banaras
Gharana etc. These also have contributed a lot to Hindustani Music.
2.10 Merits & Demerits of Gharana System
1. The Gharana system aided in the preservation of Hindustani Classical Music. Due to
rigorous practice and limitless Guru Worship the formal education always remained
connected to music. Had Gharanas not been there, the Music tradition would not have
survived the middle ages and the British rule. It is because of Gharanas that our musical
art and heritage has been preserved to this day1.
2. In a way Gharanas have acted as flag bearers for the development and protection of our
music heritage and tradition.
3. Gharanas produced lot of eminent artists. Under one guru for years produced great artists
of Indian Classical Music.
4. In Gharanas Guru had the responsibility of his pupils due to which he do his best to give
his students what they needed to become good artists.
5. Generally Gurus/Ustads used to take their studentswith them to events and concerts
which provide them experience and pratical tips for good performance also they get
opportunity to listen to eminent artists there.
1. Narrow mindedness among the Gharanas was a big demerit. Initially Gharanas were
terribly closed groups either reinforced by marriage or bonded by blood ties. All musical
secrets were then zealously guarded. Outsiders were not permitted to watch or even audit
a music training session. It was till the end of the 19th century and the beginning of the
20th century, the students who didn’t share a blood-tie with gharanedar musicians were
refused to be taken or taught1.
2. Gharanas emerged from the competition and narrow mindedness prevalent among the
artistes and singers of middle ages. The competition emerged to achieve the topmost level
of musical field. This ranged from being the best in the field to being a well-paid and well
respected court singer in the courts of maharajas and Nawabs of the time. This divided the
musical development into various classes which were based on a pretext that was
distributive and divisive in nature. Due to this a holistic development of the Indian music
as a whole was never allowed or given a chance.
3. Gharanas originated and grew in the various royal kingdoms present during the middle
ages. The diplomatic relations and the tension among these kingdoms also had adverse
effect on the music as well. The court singers were the property of the kings and were not
allowed to sing anywhere without their permission. The singers of respective kingdoms
faced each other in various competitions time and again. This was a divisive practice and
it never let them be together and inculcated a feeling of competition and rivalry among
them. They praised and tried to show superiority of their own Gharana whenever possible2.
These things lead to jealousy among artists of various Gharanas. The division was to this
extent that the artistes did not even allow their disciples to listen to music of other
Gharanas. This led to isolation of Gharanas from each other.
1 http://www.indianetzone.com/35/gharanas_hindustani_vocal_music.htm seen on
12/08/14
2 Kaur, D, Samajak Vigyan Pattar, 2007, p.2
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4. The music Gurus were more interested to keep the knowledge of the Gharanas within
the families and the interest of teaching people outside the Gharanas was quite less and was
even forbidden. The disciples were made to go through tough tests and their lives were
spent in an aimless and goalless way. A big part of their lives sometimes went into do the
Guru Sewa1 without any musical progress.
2. Specialization only in one technique only. In the 20th century the Gharana system had
an adverse impact on the standard of musicianship. Advancements in communications
made it a professional imperative for musicians to have as broad of a background as
possible. The secretive nature of the Gharana system coupled with the fact that Gharanas
tended to specialize in only one technique or approach. This was inconsistent with modern
pedagogic and professional requirements2.
3. Gharana System made artists very much conservative in nature. Artists were generally
seen hiding things from artists of other Gharanas as they don’t want to share their
knowledge with other artists. Artists were of the opinion that other Gharana can surpass
them. As this was very important for one Gharana to maintain their supremacy among the
society so that they may get good job opportunities among kings and Nawabs of that time.
This resulted in more and more conservativeness among the artists.
4. Confusions in Ragas: Non-Standardization of Raga System: However, in the Gharana
system, two Raga bearing the same name could have completely different features, and
hence completely dissimilar moods. Gharanas were responsible for creating confusion in
Raga System. As sometimes we find that different Gharanas use different notes (Swaras)
in Ragas with same name. For Example: In Raga Rageshwari some Gharana use both
Nishada (Ni, ni) while some Gharanas sing it with only Nishad Komal (ni). The
consequence of all this was that the system of Raga became quite confusing, since it lost a
good deal of the standardization of earlier times. Same is the case with many other Ragas
also. There were contradictions regarding Ragas all the time among different Gharanas, all
Gharanas claimed to be right in rendering the Raga, but never sat together to sort out the
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