DRUPAD VARIOUS FORM OF MUSIC

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Ashutosh Roushan <ashutoshroushan@gmail.com> Mon, 28 Feb 2022 at 21:34

  Name - Ashutosh Roushan 

Registration no - 12106141

Topic - DRUPAD : MEANING,  ORIGIN ,DEVELOPMENT & ITS APPLICATION IN MODERN PERIOD.

SUBMITTED TO- DR.AMANDEEP SINGH 

COURSE NAME - INDIAN MUSIC STYLE 

COURSE CODE- PAR614

The word Dhrupad is the Hindi form of

the original Sanskrit, Dhruvapada, a
combination of;

1. Dhruva = structured/unmoving
2. Pada = word/poem.

Conceptually, however, it has a different meaning: it refers to and

emphasises the cyclical construction of the music. It implies the return of
the Swara (tonal), Kala (time) and Shabda (textual) trajectories to a fixed
point. 

Origin from - Veda 1 Swara to 7 Swara.

Jati  - According to gayan 

# Nibaddh # Anibaddh 

Veda  To Parbandh to Drupad .

Samveda - Dedicated to Rhythm,  Chant of Vedic Mantra .

# Chand / Verse  ( Matra )  # Prabandh # Metre 

Nature and practice

Dhrupad as it is known today is performed by a solo singer or a

small number of singers in unison to the beat of the Pakhavaj or
mridang rather than the tabla. The vocalist is usually accompanied
by two of tanpura, the players sitting close behind, with the
percussionist at the right of the vocalist. Traditionally the primary
instrument used for dhrupad has been the RudraVeena, but the
surbahar and the sursringar have also long been used for this
music. Preferably, any instrument used for dhrupad should have a
deep bass register and long sustain.

* In Indian tradition music was equaled with truth & truth with God "
Satyam Sivam Sundaram ".

* From this reach lore originated Drupad. Whose roots can be traced
to the vedic scripture in Samveda .

It is also said that the chant of the epics , The Mahabharata & The
Ramayana by the Rishis ,Auspicious activities of yajana perform by
the proper rhythmical intonation & mantra ( Pada)

Drupad - Yoga - Sond of The Supreme Brahman. 

" Aum Anant Narayan Hari " Hey Anant Hari.

* It soon assumed the status of yoga - Nad Brahma ( Sound).

* A yogic meditation was pursued by the Rishis to attain purity of

sound .Drupad  seems to be related to the tradition of the yogic
sadhana .

According to Wikipedia-

🇮🇳
Dhrupad is a genre in pure Indian Classical Music from the India  
Subcontinent. It is the oldest known style of major vocal styles associated
with Hindustani classical music,  Haveli Sangeet of  Pustimarg Sampraday
and also related to the South Indian Karnatak music.[It is a term of Sanskrit
origin, derived from dhruva (ध्रुव, immovable, permanent) and pada (पद,
verse). The roots of Dhrupad are ancient. It is discussed in the Hindu
Sanskrit text Natyashastra(200 BCE – 200 CE)and other ancient and
medieval Sanskrit texts, such as chapter 33 of Book 10 in the Bhgvad
Purana (800–1000 CE), where the theories of music and devotional songs
for Krishna are summarized.

The term denotes both the verse form of the poetry and the style in which it
is sung.It is spiritual, heroic, thoughtful, virtuous, embedding moral wisdom
or solemn form of song-music combination.[Thematic matter ranges from
the religious and spiritual (mostly in praise of Hindu God& Goddess) to royal
panegyrics musicology and romance.

PRABANDH TO DHRUPAD 

* The Drupad had strong classical & spiritual base as they evolved from
Salang Suda Prabandha,...

* Since it was this type of Prabandha that the Dhatu ( Divisions ) , Antara was
sung .

* Salang Suda Prabandha- 

Five Dhatu * Udgrah , Meelapak , Druva , Antara and Abhog .

* Dhatu of Dhrupad become - Udgrah , Meelapak , Antra ,Sanchari & Abhog. 

* Modern Drupad have four division- Sthayi,  Antra , Sanchari & Abhog.

A Dhrupad has at least four stanzas, called Sthayi , Antara, Sanchari and
Abhog. The Sthayi part is a melody that uses the middle octave's first
tetrachord the lower octave notes.The Antara part uses the middle octave's
second tetrachord and the higher octave notes. The Sanchari part is the
development phase, which holistically builds using parts of Sthayi and
Antara already played, and it uses melodic material built with all the three
octave notes. The Abhoga is the concluding section, that brings the listener
back to the familiar starting point of Sthayi, albeit with rhythmic variations,
with diminished notes like a gentle goodbye, that are ideally mathematical
fractions such as dagun (half), tigun (third) or caugun (fourth).Sometimes a
fifth stanza called Bhoga is included. Though usually related to philosophical
or Bhakti (emotional devotion to the supreme god or goddess) themes,
some Dhrupads were composed to darvari form its devoted to praise &
glorifies kings.
The tradition of Dhrupad is recorded back to saints of Braj language (Birth
Place Of Lord Krishna) namely Swami Haridas,  Surdas and  Govind Swami.

Raja Mansingh Tomar is known as historically founder of Drupad & Followed

by Baju Babara & Mrignayani.

Asht Sakha of Haveli Sangeet and followed by Tansen, Baiju Bawara. When
Dhrupad composition are based on Bhagvan  / Lord Vishnu or his
incarnations It Known as Vishnu Pad.

History
Dhrupad  origin found in  ancient text of Samaveda. The Samaveda was chanted with the help of
melody and rhythm called Samgana. Gradually this developed into other vocal style called
‘Chhanda’ and ‘Prabandha’ with introduction of verse and meter. The fusion of these two
elements led to the emergence of Dhrupad. 

Dhrupad probably derives from dhruvapada mentioned in Natyashastra to denote structured

songs.

Dhrupad claims the distinction of being the oldest form of Indian

Classical music heard today, its origin can be traced back to the
chanting of vedic hymns and mantras. It is said to be a form of the
Gandharva Veda, the Vedic science of music, which is a branch of Sama
Veda. The Sama Veda  was chanted with the help of melody and rhythm
called Samgana. Gradually this developed into other vocal styles called
‘Chhanda’ and ‘Prabandha’ with introduction of verse and meter. The
fusion of these two elements led to the emergence of Dhrupad.

The birth of Dhrupad as we know it today coincided with the Bhakti

movement (particularly that of the  Vallabh Sampradaya) and
consequently was more devotional in nature. It was rendered in temples
facing the the Divinity full of devotion and bhaav, this was the genesis of
what became known as Haveli Dhrupad/Sangeet.  

Famous proponents of this style-  Ashta chaap (8 primary poets of the

Vallabh Sampradaya), Swami Haridas (Nimbarka Sampradaya), Gurbani
(Sikh Tradition)
 This then evolved into a sophisticated classical form of music and in
the 1500's came to be patronized by the royal courts. Raja Man Singh
(King of Gwalior) in particular gave Dhrupad immense encouragement
and introduced many refinements, being a musician himself. This style
came to be known as the Darbari Dhrupad.  

Famous proponents of this form - Tanna Mishra (Miyan Tansen), Baiju

Bawra both of these received guidance from Swami Haridas. 

Here the nature of the compositions changed with some eulogizing the
emperors; others were elaborations on the music itself, while  others
still described heroic deeds or even elegant poetry in admiration of
female beauty, especially Shrimati Radharani. Given its roots the
original language of the music was Sanskrit  but later transitioned to
being primarily in Brij Bhasha (a dialect Hindi). The pristine nature of
Dhrupad has survived to this day and both majestic forms can be heard
just as it was more than 500 years ago, the Haveli form in Temples and
the Darbari form can in concerts.

Below is a famous painting of Swami Haridas teaching Miyan Tansen in

the presence of Emperor Akbar.

 It is one of the core forms of classical music found all over the Indian subcontinent. The word
comes from Dhruva which means immovable and permanent. It is spiritual, heroic, thoughtful,
virtuous, embedding moral wisdom or solemn form of song-music combination. The Yugala
Shataka of Shri Shribhatta in the Nimbarka Sampradaya written in 1294 CE, contains Dhrupad
lyrics.

The earliest source that mentions a musical genre called Dhrupad is Ain-i-Akbari Abu Fazl
(1593). Later works attribute much of the material to musicians in the court of Raja Man Singh 
(1486-1516) of Gwalior.

In these accounts from the Mughal court Dhrupad is portrayed as a musical form which is
relatively new; and according to Sanyal, most sources agree that Drupad owes its origin to the
court of Man Singh Tomar. Ravi  Sankar states that the form appeared in the fifteenth century as
a development from the prabandha, which it replaced. The 16th century Bhakti saint and poet-
musician Swami Haridas (also in the Nimbarka Sampradaya), was a well known dhrupad singer
with songs dedicated to Lord  Krishna. It became ornament of the court music in the
Mugal court with Swami Haridas' disciple Tansen famous , among other things, for his Dhrupad
compositions.
Dhrupad is ancient, and another genre of music called Khyal(it have only two parts Sthayi and
Antara) evolved from it.Dhrupad is solemn music, uplifting and heroic, pure and spiritual. Khyal
adds ornamental notes, shorter, moody and celebratory.

The ancient practice of dancing on Dhrupad has been reintroduced into recent times by Dr. Puru
Dadheech . Dr Dadheech is India's Kathak dancer to bring'Dhrupad' on the formal Kathak stage
and this composition in 28 matra.

D R U PA D M U S I C S O C I E T Y  

BRIEF HISTORY OF
DHRUPAD
Dhrupad claims the distinction of being the
oldest form of Indian Classical music heard
today, its origin can be traced back to the
chanting of vedic hymns and mantras. It is
said to be a form of the Gandharva Veda, the
Vedic science of music, which is a branch of
Sama Veda. The Sama Veda  was chanted with
the help of melody and rhythm called
Samgana. Gradually this developed into other
vocal styles called ‘Chhanda’ and ‘Prabandha’
with introduction of verse and meter. The
fusion of these two elements led to the
emergence of Dhrupad.

The birth of Dhrupad as we know it today

coincided with the Bhakti movement
(particularly that of the  Vallabh Sampradaya)
and consequently was more devotional in
nature. It was rendered in temples facing the
the Divinity full of devotion and bhaav, this
was the genesis of what became known
as Haveli Dhrupad/Sangeet.  

Famous proponents of this style-  Ashta chaap

(8 primary poets of the Vallabh
Sampradaya), Swami Haridas (Nimbarka
Sampradaya), Gurbani (Sikh Tradition)

This then evolved into a sophisticated

classical form of music and in the 1500's
came to be patronized by the royal
courts. Raja Man Singh (King of Gwalior) in
particular gave Dhrupad immense
encouragement and introduced many
refinements, being a musician himself. This
style came to be known as the Darbari
Dhrupad.  

Famous proponents of this form - Tanna

Mishra (Miyan Tansen), Baiju Bawra both of
these received guidance from Swami Haridas. 

Here the nature of the compositions changed

with some eulogizing the emperors; others
were elaborations on the music itself, while
 others still described heroic deeds or even
elegant poetry in admiration of female
beauty, especially Shrimati Radharani. Given
its roots the original language of the music
was Sanskrit  but later transitioned to being
primarily in Brij Bhasha (a dialect Hindi). The
pristine nature of Dhrupad has survived to
this day and both majestic forms can be
heard just as it was more than 500 years ago,
the Haveli form in Temples and the Darbari
form can in concerts.

Below is a famous painting of Swami Haridas

teaching Miyan Tansen in the presence of
Emperor Akbar. 
As the Haveli form is only practised in
temples, for the remainder of this we will
primarily focus on the Darbari tradition as
this is what is performed on the concert
circuit. 

As with most Indian classical music the artist

is accompanied by a tanpura (drone), which
can be seen in the image above in Swami
Haridasji's hand as well as beside Miyan
Tansenji. The tanpura enables the singer’s
voice to be precisely pitched. 

For rhythmic accompaniment the pakhawaj

is tradtionally used and is a barrel shaped
drum from which the tabla originated 

Maestro Bhavani Shankar created magic on a

morning of September 2011 at India's first
festival dedicated to Rhythm. Accompanied by
a tabla player, he started with the bols of the
Tandav Dance and moved ahead mesmerising
the 5k strong audience with his unique style
and energy.Other than vocal the Dhrupad
style is also performed on stringed
instruments such as the Rudra Veena,
 Surbahar, Sursringar and can actually be
performed on any instrument that is able to
produce micro-tones and slides between the
notes of a scale 

                         
  STRUCTURE  OF  DHRUPAD 

* Evolved as result of an attempt

to relax the rigidity of Prabandha. 
* Contains of two phrases.,
Nibaddha,Anibaddha,give
importance both chief strength. 
* Free exposition & development of
the raga through initial alap (
Anibaddha ) as well as the
rhythmical form ( Nibaddha ).

COMPONENTS OF
A DHRUPAD
PERFORMANCE

 There are two main

components of Dhrupad 

1. Alaap

One of Dhrupad's distinct

characteristics is its long
elaborate alaap which can last up
to an hour. It is generally broken
up into 3 sections; alap
(unmetered), the jor (with steady
rhythm) and the jhala
(accelerating strumming). Here
specific syllables are used rather
than Aakar (Aa) or sargams
(SRGMPDNS).

“The exclusive use of aakar

(producing an “Aa” sound while
singing) and sargam (singing notes
by their names: Sa, Re, Ga, Ma,
Pa, Dha, Nee) is avoided. Aalap
calls for a subtle and delicate
treatment of notes in the raag,
while also allowing them complete
freedom of expression. Different
 shades of the raag manifest in the
renditions of the jod and jhala
following the aalap.” - Uday
Bhawalkar - Ek Vichar

The main syllables used in

Dhrupad alaaps are : Aa  - Ra Na
- Naa, Ra Naa, Num Na, Te Ta - Ra
Na Na, Ri Naa Ra NaNa, Ta Ra Ra
Na, Ri Ra - Ra Na Na, Num - Ra Na
Na, Naa - Ra Na Na, A Na Na, Te
Ta - Ra Na Na, Taa Ra Na Na, Ri
Naa Num - Ra Na Na, Ta Na, Tum
Na.

These syllables were derived

from Sanskrit mantras for
example  Ri- Hari , Narayana - Na
Ra Na Naa, Num - OM. This
syllable construction has been
attributed to Behram Khan Dagar
(Dhrupad Gharanas section) 

The alaap is a skilful unfolding of

the raga, where the artist slowly
reveals its form, carefully
rendering each note in a
progressive fashion whilst also
working in its key phrases.  Much
emphasis is placed on note purity
and clarity in Dhrupad and this
takes a lifetime of dedication and
practice to develop.

"Application of right pitch. Every

note has a correct placement ( ‘sahi
jagah’) , a specific distance
(‘shrutiantar’) from the ones
preceding and following it and a
specific movement (‘meend’) by
 which it arrives. It is only when
these very subtle conditions are met
that the combination of notes
creates a certain raga: their beauty
and true character emerge and the
intended mood or ‘rasa’ of the raga
is established." - Understanding
Dhrupad by Pandit Ramakant
Gundecha Bhopal, March 3rd to 6th
 2009.

The artist can also playfully tease

by deliberately delaying the
revealing of some aspects of the
raga,  leaving the listener often on
edge eagerly awaiting it. This
concept is called Tirobhav -
concealed aspects of the raga and
the opposite being Avirbhav -
exhibiting aspects. 

This slow and deliberate melodic

development gradually
introduces a rhythmic pulse
which slowly increases in pace.
When a steady pulse is
introduced into the alap, it is
called jor; when the tempo has
been greatly increased, or when
the rhythmic element overtakes
the melodic, it is called jhala also
sometimes refered to as nomtom.

2. Composition

The climax of a Dhrupad

performance is the composition
which traditionally consists of 4
main sections (although there are
some with just 2):
 1. Sthaayi (Base) - Named as the
artist returns back to it after
rendering each component  
2. Antara (Different /
Intermediate) - This comes
between Sthaayi
 and Sanchari.
3. Sanchari (free flowing) - In
this section the singers has
freedom to sing it in any
register, hence its name.
4. Aabhog (Completion) - This
feature the poet/writers
name. 

The Tālas or cycles of beats

commonly used are Choutāla (12
beats), Dhamāra (14 beats),
Jhaptāla (10beats), Sūltāla
(10beats) and Tīvrā (7 beats).

"The predominant themes are

Bhakti (devotion), Shringar (love)
or descriptions of sangeet shastra.
Performance of the bandish,
comprises largely of spontaneous
improvisations within the taal
framework, called upaj. 

Upaj gives the musician plenty of

scope to creatively paint the mood
of the Raag and composition using
the lyrics, notes and rhythm. It is
hence not limited to doubling or
tripling the rhythm, or even just
finishing on the sam (first beat of
the taal)."
 Uday Bhawalkar - Ek Vichar

There is  also a more playful form

called Dhamara, as it is set to the
14-beats taal Dhamara. The
compositions are associated with
the play between Lord Krishna
and the Gopi's of Vraj during Holi
, the Spring Festival of colours
celebrated in India.

Teaching of Dhrupad 

Ancient system of Guru-shishya

parampara. 

DHRUPAD GHARANAS

The Guru- Shishya Parampara

The teaching of Dhrupad is very

closely tied to the ancient system
of guru-shishya parampara (the
teacher-disciple tradition). It is an
oral tradition that dates back
thousands of years, where the
students lived in the home of
their Guru and devoted
themselves to riyaz (practice) of
music. The lives of students were
focused on learning music and
helping with the household
chores of their teacher. This is
what has 

Classical texts mentioned four

branches of Dhrupad sangeet are
famous:
 Gobarhani bani - according
to Krishna tradition.
Associatedwith Haveli
Sangeet
Nauhaari bani - according
to Shankar tradition.
Daguri bani - according
to Bharat tradition.
Khandaari bani - according
to Hanumat tradition.

Dagar Gharana
The Dagar lineage began with
Baba Gopal Das Pandey in the
18th century.  After a
performance in Delhi he was
ostracised by his Pandey Bramin
community, for accepting a 'paan'
given to him by the then Emperor
of Delhi - Muhammad Shah
Rangile, following a brilliant
rendition of Dhrupad. As a result
he moved to Delhi, where he
embraced Islam and was
rechristened Baba Imam Khan
Dagar. Baba Gopal Das Pandey is
said to have some connection
back to the great Swami Haridas.
He has two sons  Haider Khan
and Behram Khan, it was the
latter who is credited with
establishing the gayaki and
passing down the pure form of
Dagarbani. Dagarbani is known
for preserving the purity and
spiritual/devotional aspect of the
raga. It's alaaps are deep and
meditative, whilst the
compositions showcase intricate
rhythmic patterns.

The main representatives of the

present-day Dagar gharana are
the descendants of Ustad
Zakiruddin Khan as well as of
Ustad Allabande Khan’s four sons,
Nasiruddin, Rahimuddin,
Imamuddin and Husseinuddin:
all of them extremely gifted and
highly respected Dhrupad
musicians. Nasir Moinuddin
Dagar (1919-1966) and Nasir
Aminuddin Dagar (1923-2000),
now referred to as the Senior
Dagar Brothers, were the elder
sons of Nasiruddin and grandsons
of Allabande Khan. Their
jugalbandhi captivated audiences
all over India and even in Europe
bringing about a major revival of
the dying genre. After the death
of Moinuddin, their younger
brothers, Nasir Zaheeruddin
(1932-1994) and Nasir
Fayyazuddin (1934-1989) also
gained fame as a duo. Major
contributions to the upkeep of
this tradition also came from the
sons of Rahimuddin and
Husseinuddin, Rahim
Fahimuddin (1927-2011) and
Hussein Sayeeduddin
respectively, as well as the
grandsons of Zakiruddin Khan,
Ustad Zia Mohiuddin (1929-1990 -
who revived the majestic Rudra
Veena as a concert instrument)
and Zia Fariduddin (1932-2013).

The rich heritage of the Dagar

tradition lives on in the
remaining Dagar brothers and
their sons and well-groomed
disciples from outside the family.

Wasifuddin Dagar, Uday
Bhawalkar, Bahauddin Dagar,
Gundecha Brothers, Ritwik Sanyal,
Pushpraj Koshti and Nancy Lesh

Darbhanga Gharana

Darbhanga tradition is one of the

two main living Dhrupad
gharanas, besides Dagar tradition.
The Mallik family represents
Darbhanga gharana of Dhrupad.
Radha Krishna and Karta Ram,
the court musicians for the
Nawab of Darbhanga, are
considered the founders of the
tradition. A link to the musical
line of Tansen is traced through
Bhupat Khan, the teacher of the
founders of the family. The
performance of the Darbhanga
Gharana of Dhrupad singers can
be distinguished mainly by the
way compositions are sung after
the alap. A major emphasis is
placed on the rhythmic aspect of
the singing. According to Abhaya
Narayan Mallik, the Darbhanga
tradition is associated with
Gauhar Bani. The family has a
rich stock of compositions to
draw upon. Prominent singers
include (late) Ram Chatur Mallik,
Vidur Mallik, Abhaya Narayan
Mallik, and Prem Kumar Mallik.

Talwandi Gharana

The Talwandi tradition is

associated with the western parts
of India, specifically, Punjab.
Presently, the tradition has very
few singers, all living in Pakistan.
Prominent singers of the tradition
include Muhammad Hafiz Khan
and Muhammad Afzal Khan.
Hafiz Khan claims that Talwandi
gharana represents Khandar
bani. Dilip Chandra Vedi, who
learnt from Talwandi Gharana
members in 1920's, claimed that
Nayak Chand Khan and Suraj
Khan were the founders of
Talwandi Gharana. Contrary to
other opinions regarding
Dhrupad, Hafiz Khan places Islam
at the center of Dhrupad
philosphy. The mantra sung by
him during the alap is "nita
tarana tarana Allah (Almighty in
Islam) tero nam. The talwandi
gharana appears to have
similarities to the darbhanga
gharana described above. A few
recordings that exist show
extremely fast concluding
portions of the alap. The
 compositions display highly
complex rhythmic variations.

Bettiah Gharana

According to Falguni Mitra, the

main proponent of Bettiah
Gharana, Bettiah Gharana has
compositions available from all
the Vanis, though more emphasis
is placed on Khandar Vani. The
ornamentations and rhythmic
variations are strictly applied
during the rendition of Dhrupad.
He states that the Gharana
originated in the royal state of
Bettiah in Bihar. Pyar Khan of
Seni Gharana and Haider Khan
are considered to be the major
influence on this Gharana

As for concern of Drupad information-

As the Haveli form is only practised in temples, for the remainder of

this we will primarily focus on the Darbari tradition as this is what is
performed on the concert circuit. 

As with most Indian classical music the artist is accompanied by a

tanpura (drone), which can be seen in the image above in Swami
Haridasji's hand as well as beside Miyan Tansenji. The tanpura enables
the singer’s voice to be precisely pitched. 

For rhythmic accompaniment the pakhawaj is tradtionally used and is a

barrel shaped drum from which the tabla originated.
Like all Indian classical music , dhrupad is modal monophonic, with a single melodic line and no
chordprogression. Each raga has a modal frame a wealth of micro-tonal ornamentations (
Gamak) are typical.

The text is preceded by a wholly improvised section, the alap. The alap in dhrupad is sung using
a set of syllables, popularly derived from a Vedic mantras and beejakshars, in a recurrent, set
pattern: a re ne na, té te re ne na, ri re re ne na, te ne toom ne (this last group is used in the end
of a long phrase). These syllables are also used widely in different permutations and
combinations. Dhrupad styles have long elaborate alaps, their slow and deliberate melodic
development gradually bringing an accelerating rhythmic pulse. In most styles of dhrupad
singing it can easily last an hour, broadly subdivided into the alap proper (unmetered),
the jor (with steady rhythm) and the jhala (accelerating strumming) or nomtom, when syllables
are sung at a very rapid pace. Then the composition is sung to the rhythmic accompaniment:
the four lines, in serial order, are termed sthayi, antara, sanchari and aabhog.

Compositions exist in the metres talas  tivra (7 beats), sul (10 beats) and chau (12 beats) - a

composition set to the 10-beat jhap tala is called a sadra while one set to the 14-beat dhamar is
called a dhamar. The latter is seen as a lighter musical form, associated with the Holi spring
festival.

Alongside concert performance the practice of singing dhrupad in temples continues, though
only a small number of recordings have been made. It bears little resemblance to concert
dhrupad: there is very little or no alap; percussion such as bells and finger cymbals, not used in
the classical setting, are used here, and the drum used is a smaller, older variant called mrdang,
quite similar to the mridangam.

Gharanas and style

There are said to be four broad stylistic variants (vanis or banis) of classical dhrupad – the Gauri
(Gauhar), Khandar, Nauhar, and Dagar, tentatively linked to five singing styles (geetis) known
from the 7th Century: Shuddha, Bhinna, Gauri, Vegswara, and Sadharani.

There are a number of dhrupad Gharanas: "houses", or family styles.

The best-known gharana is the Dagar family who sing in the Dagar Vani or Dagar Gharana. The
Dagar style puts great emphasis on alap and for several generations their singers have
performed in pairs (often pairs of brothers). The Dagars are Muslims but sing Hindu texts of
Gods and Goddesses.

The Bishnupur Gharana features Manilal Nag, MitaNag, and  Madhuvanti Pal, among others.

From the state of Bihar comes the Darbhanga gharana, Dumraon Gharana (Buxar) and the
Bettiah gharana. 

DARBHANGA GHARANA 
The Mallicks of the Darbhanga gharana are linked to the Khandar vani and Gauharvani. Ram
ChaturMallick, Vidur Mallick, Abhay Narayan Mallick, Late Pandit Sanjay Kumar Mallick,Laxman
Bhatt Tailang and Siyaram Tiwari well known personalities of Darbhanga gharana in the 20th
century. Dhrupad of the Darbhanga gharana has a strong representation in Vrindaban owing to
late Pandit Vidur Mallik, who lived and taught in Vrindaban during the 1980s and 1990s. Great
female Dhrupad artists include Asgari Bai,  Alaka Lahiri , Ashok Nandy, Madhu Bhatt Tailang, the
Pakistani singer AliyaRasheed, and the Italian singer Amelia Cuni.

DUMARON GHARANA 

Dumraon Gharana - Dhrupad traditions of Bihar Dumraon gharana is an ancient tradition of

dhrupad music nearly 500 years old. This gharana flourished under the patronage of the kings
of Dumraon Rajwhen it was founded. The Drupad style (vanis) of this gharana
is Gauhar, Khandar, and Nauharvani. The founder of this gharana was Pt. Manikchand Dubey and
Pt. Anup chand Dubey. Both artists were awarded by Mugal Emperor Shahjahan. The father of
Bharat Ratna Ustad Bismillah Khan who also belonged to the Dumraon Gharana tradition. He
usually played Shahnai in Dhrupad style. Famous living singers of Dumraon Gharana (Buxar)
include Pt. Ramjee Mishra, a representative of Dumraon Gharana.Pt. Kamod Mishra- Vrindavan
also a representative of Dumraon Gharana.

Many books have been written by this gharana, like Shree Krishn Ramayan, by Pt. Ghana rang
Dubey, Surprakash, Bhairav, Prakash, Rashprakash, written by Jay Prakash Dubey and Prakash
Kavi. Abishek Sangit Pallav by Dr. Arvind Kumar.

Much work has been done on this gharana and many items of this Dumraon Gharana are
subjects of research.

BETTIAH GHARANA 

The Mishras practised Gaurhar, Dagur, Nauhar and Khandar styles. This gharana flourished
under the patronage of the kings of Bettiah Raj Pandit Falguni Mitra an exponent of this Gharana
in the present generation.

Some of the illustrious Dhrupad exponents and virtuosos are Pandit Gokulotsavji Maharaj , 
Uday Bhawalkar, Ritwik Sanyal, NirmalyaDey, Pt.Kshitipall Mallick, Pandit Ram Chatur Mallick the
Gundecha Brothers.

Seminars ITC Sangeet   Research

Academy's    Scientific Research
Department, in their effort to
link tradition to scientific
methodologies, has been
organizing symposia and
workshops from 1987. The
objective of these 
 workshops/symposia is to
create awareness of research in
various fields of music.In 2013
they have conducted Dhrupad
 Seminar in association with
National Centre for the
PerformingArts India (NCPA,
Mumbai) where Dr. Puru
Dadheech participated as
speaker to discuss the origin
and predecessors of Dhrupad.

Prof. Richard Widdess (Head, Department of Music, School of Oriental and African Studies,
University of London, UK) and Dr. Puru Dadheech, (Indore, India) discussed the origin of Dhrupad
at length. Dr. Puru Dadheech established that Dhrupads are older than the times of Raja
Mansingh Tomar.

The filmmaker Mani Kaul while

under tutelage of Ustad Zia
Mohiuddin Dagar and Ustad Zia
Fariduddin Dagar made one of
the first documentaries on
Dhrupad music in 1983 called
“Dhrupad.” This Hindi language
full-length documentary
features both his gurus along
Documentaries
with the young Bahauddin
Dagar- the son of Zia Mohiuddin
Dagar The film produced by the
Films Division was shot in
locations associated with history
of Dhrupad in – Fatehpur
Sikri Jaipur's Jantar
Mantar articulating the theory
and practice of dhrupad music .

SOURCE - 

LPU CLASS LACTURE .

WIKIPEDIA. COM

http://www.itcsra.org/

http://www.dhrupad.info/

http://www.raga.com/text/dhrupad.html
http://dagarvani.org/

http://dhrupad.com/