|
Agra Gharana
The Agra gharana is a tradition of Hindustani classical vocal music descended from the Nauhar Bani. So far, Nauhar Bani has been traced back to around 1300 AD, during the reign of Emperor Allauddin Khilji of Delhi. The first known musician of this tradition is Nayak Gopal. The style prevalent then in the Gharana was "Dhrupad- Dhamar". Ghagghe Khudabuksh (1790–1880 AD) introduced the "Khayal" style of Gwalior Gharana into Agra gharana which Khudabaksh learnt from Natthan Paribaksh of Gwalior. Pedagogical genealogy The following maps are based on recorded accounts by Vilayat Hussain Khan and Yunus Hussain Khan. Ancestral Lineage Distinguishing characteristics The gayaki (style of singing) of the Agra Gharana is a blend of khayal gayaki and dhrupad-dhamar. In training, both the khayal and dhrupad components run hand in hand and are not taught in an isolated fashion. This is obvious from the method of singing notes of the Agra Gharana which dema ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Safdar Hussain Khan
Safdar ( fa, صفدر, also Romanized as Şafdar) is a village in Jafarabad Rural District, Jafarabad District, Qom County, Qom Province, Iran Iran, officially the Islamic Republic of Iran, and also called Persia, is a country located in Western Asia. It is bordered by Iraq and Turkey to the west, by Azerbaijan and Armenia to the northwest, by the Caspian Sea and Turkmeni .... At the 2006 census, its population was 56, in 13 families. References Populated places in Qom Province {{Qom-geo-stub ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Shrikrishna Narayan Ratanjankar
Shrikrishna Narayan Ratanjankar born 31 December 1899 and died 14 February 1974. He was a distinguished scholar and teacher of Hindustani classical music, from the Agra gharana. Foremost disciple of Vishnu Narayan Bhatkhande and Faiyaz Khan of Baroda State, he also remained principal of Bhatkhande Music Institute (''Bhatkande Sangeet Sansthan''), Lucknow, for many years, where he trained many noted names in the field of music. Early life His father Narayan Govind Ratanjankar was born in Mumbai. Ratanjankar's grand father, Govindrao came to Mumbai in the middle of 19 th century. After graduation Shrikrishna's father, Narayanrao became a police officer in the then British regime. At the age of 7, S.N.Ratanjankar was trained under the guidance of Krishnam Bhatt of Karwar. He also received instruction from Anant Manohar Joshi (Gwalior gharana) and later under Faiyaz Khan of Agra gharana. In 1911, he started training with musicologist Vishnu Narayan Bhatkhande and is today his most ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Sharafat Hussain Khan
Sharafat Hussain Khan (1 July 1930 – 7 July 1985) was an Indian classical vocalist from the Agra Gharana (singing style)."Celebrated Masters" (click on Sharafat Hussain Khan from the shown Artistes Names list to read his Profile) on ITC Sangeet Research Academy website Retrieved 29 November 2019 Early life and background Sharafat Hussain Khan was born at a small city called in in July 1930. His father's name was Liaquat ...[...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Khadim Hussain Khan
Khadim Hussain Khan (1907 – 11 January 1993) was an Indian classical music singer born in Atrauli, United Provinces of Agra and Oudh, India. Early life Khadim Hussain Khan was born in Atrauli, United Provinces of Agra and Oudh in 1907. Initiated into music by his father Altaf Hussain Khan, he went on to learn from his grand uncle Ustad Kallan Khan. They were both court musicians of the Jaipur Kingdom in present-day Rajasthan, India. Musical career Khadim Hussain Khan settled in Bombay in the late twenties and was associated with musical life in Mumbai for several decades. He was a capable performer, with the ability to show forth the unique features of the Agra gharana style of singing and all its eight angs. However, it was as a music teacher that he will be remembered by. Although he had been a broadcaster since the inception of All India Radio (AIR), he made teaching music his life's mission. Among his students are Ustad Latafat Hussain Khan, Saguna Kalyanpur, Lalith J ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Pran Piya
Ustad Vilayat Hussain Khan (1895–1962) was an Indian classical singer and teacher belonging to the Agra gharana (singing style). Vilayat composed bandishes in many ragas under the pen name "Pran Piya".Tribute to a Maestro (Vilayat Hussain Khan) ITC Sangeet Research Academy website, Retrieved 14 August 2019Profile of Vilayat Hussain Khan on Parrikar.org website Retrieved 14 August 2019 Training Vilayat Khan received his early training in Hindustani classical music from his father Nathan Khan. After his father's death, he was trained by his uncles Kallan Khan and Mohammad Baksh. He ...[...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Hori (music)
Hori is a genre of semi-classical singing, popular in Uttar Pradesh and Bihar. It can be adorned with a Bhairavi, Thumri etc. It comes in the series of season songs, like Chaiti, Sawani and Kajari, and is traditionally sung in the villages and towns of Uttar Pradesh: around Banaras, Mirzapur, Mathura, Allahabad and the Bhojpur regions of Bihar Bihar (; ) is a state in eastern India. It is the 2nd largest state by population in 2019, 12th largest by area of , and 14th largest by GDP in 2021. Bihar borders Uttar Pradesh to its west, Nepal to the north, the northern part of West ....It is also called Dhamar, which is sung with Dhamar taal . Songs of Hori/ Dhamar are related to Radha-Krishna Leela in the festival of Holi. References Indian styles of music Hindustani music genres Music of Uttar Pradesh Music of Bihar Hindustani music terminology {{music-genre-stub ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Tarana
''Tarana'' is a type of composition in Hindustani classical vocal music in which certain words (e.g. "odani", "todani", "tadeem" and "yalali") based on Persian and Arabic phonemes are rendered at a medium (''madhya laya'') or fast (''drut laya'') rate. It was invented by Amir Khusro (1253-1325 CE), and is similar to the Qalbana form of Sufi poetry. In modern times, the singer Amir Khan helped popularize it and researched its origins and the syllables used. Nissar Hussain Khan was a tarana singer. Tarana was also used by Sikh tenth Guru Gobind Singh in his compositions. Form A second, contrasting melody, usually with higher notes, is introduced once before returning to the main melody. The tarana may include a Persian quatrain, and may use syllables from sitar or tabla A tabla, bn, তবলা, prs, طبلا, gu, તબલા, hi, तबला, kn, ತಬಲಾ, ml, തബല, mr, तबला, ne, तबला, or, ତବଲା, ps, طبله, pa, ਤਬਲਾ ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Tappa
Tappa is a form of Indian semi-classical vocal music. Its specialty is a rolling pace based on fast, subtle and knotty construction. Its tunes are melodious and sweet, and depict the emotional outbursts of a lover. Tappe (plural) were sung mostly by songstresses, known as baigees, in royal courts. History Tappa originated from the folk songs of the camel riders in Punjab. The tappa style of music was refined and introduced to the imperial court of the Mughal Emperor Muhammad Shah, and later by Mian Ghulam Nabi Shori or Shori Mian, a court singer of Asaf-Ud-Dowlah, Nawab of Awadh. In Bengal, Ramnidhi Gupta & Kalidas Chattopadhay composed Bengali tappa and they are called Nidhu Babu's Tappa. Tappa ''gayaki'' took new shape and over decades became ''puratani'', a semi-classical form of Bengali songs. Tappa, as a significant genre in Bengali musical styles, reached levels of excellence in lyrics and rendition (gayaki), arguably unmatched in other parts of India. Hugely popular in the ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Thumri
Thumri () is a vocal genre or style of Indian music. The term "thumri" is derived from the Hindi verb ''thumuknaa'', which means "to walk with a dancing gait in such a way that the ankle-bells tinkle." The form is, thus, connected with dance, dramatic gestures, mild eroticism, evocative love poetry and folk songs, especially from Uttar Pradesh, though there are regional variations. The text is romantic or devotional in nature, the lyrics are usually in Uttar Pradesh dialects of Hindi called Awadhi and Brij Bhasha. Thumree is characterized by its sensuality, and by a greater flexibility with the ''raga''. ''Thumri'' is also used as a generic name for some other, even lighter, forms such as Dadra, Hori, Kajari, Sawani, Jhoola, and Chaiti, even though each of them have their own structure and content — either lyrical or musical or both—and so the exposition of these forms vary. Like Indian classical music itself, some of these forms have their origin in folk literature and ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Khayal
Khyal or Khayal (ख़याल / خیال) is a major form of Hindustani classical music in the Indian subcontinent. Its name comes from a Persian/Arabic word meaning "imagination". Khyal is associated with romantic poetry, and allows the performer greater freedom of expression than dhrupad. In khyal, ragas are extensively ornamented, and the style calls for more technical virtuosity than intellectual rigour. Etymology (خیال) is an Urdu word of Arabic origin which means "imagination, thought, ideation, meditation, reflection". Hence khyal connotes the idea of a song that is imaginative and creative in either its nature or execution. The word entered India through the medium of the Persian language. Just as the word reflects ideas of imagination and imaginative composition, the musical form is imaginative in conception, artistic and decorative in execution and romantic in appeal.Francis Joseph Steingassخیال A Comprehensive Persian-English Dictionary Characteristics ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Tihai
''Tihai'' (pronounced ti-'ha-yi) is a polyrhythmic technique found in Indian classical music, and often used to conclude a piece. Tihais can be either sung or played on an instrument. Tihais are sometimes used to distort the listeners’ perception of time, only to reveal the consistent underlying cycle at the sam. Definition Tihai is the repetition of specific group of BOL or BEATS by three times. Usage Typically, a ''tihai'' is used as a rhythmic cadence, i.e., a rhythmic variation that marks the end of a melody or rhythmic composition, creating a transition to another section of the music. Structure The basic internal format of the ''tihai'' is three equal repetitions of a rhythmic pattern (or rhythmo-melodic pattern), interspersed with 2 (usually) equal rests. The ending point of the ''tihai'' is calculated to fall on a significant point in the rhythmic cycle (called '' tala''), most often the first beat (called '' sum'' and pronounced "some"). The other most co ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
