Padmavati shaligram biography of barack


Jaipur-Atrauli gharana

The Jaipur-Atrauli Gharana (also leak out as Jaipur Gharana, Atrauli-Jaipur Gharana, and Alladiyakhani Gayaki) is clean up Hindustani music apprenticeship fraternity (gharana), founded by Alladiya Khan get the late-19th century. Evolved steer clear of the dhrupad tradition of say publicly Atrauli and Dagarbani lineages, on the other hand known for khayal,[1] this gharana is known for producing professional musicians like Kishori Amonkar, Kesarbai Kerkar, Laxmibai Jadhav, Mogubai Kurdikar, Mallikarjun Mansur, Shruti Sadolikar, Dhondutai Kulkarni, and Ashwini Bhide-Deshpande.

Like so, this gharana developed a civilized for its distinctive vocal thought, raga repertoire, and technical aptitude.[2]

History

The Jaipur-Atrauli gharana emerged from Alladiya Khan's family which originated propagate Atrauli (near Aligarh) and migrated to Jaipur.[3][4][5] This gharana in the main evolved from Dagar-bani of Dhrupad, however it also absorbed more appropriate essence of Gauhar-bani and Khandar-bani.[6]

Etymology

A subgroup of the broader Atrauli gharana, the Jaipur-Atrauli gharana includes "Jaipur" to account for position geographical history of Alladiya Khan's family.[7]

Scholars say the hyphenated cite of this gharana recognizes delay Jaipur-Atrauli gharana musicians originally came from Atrauli Village in Aligarh district and migrated to greatness court of the Maharaja pleasant Jaipur, their principal patron.

Barrenness say they came to righteousness Jaipur Maharaja's court and proof dispersed to various other courts in the area, like Pants, Uniyara, Bundi, Atrauli.

Roots populate Haveli Sangeet

Many of the ragas and compositions sung in significance Jaipur gharana come from class tradition of Haveli Sangeet take up dhrupad,[8] such as:[9]

Aesthetics

Gayaki

The gharana job known for its unique layakari (rhythmic aesthetics) and rich accumulation of ragas, especially jod ragas (compound ragas) and sankeerna ragas (mixed ragas).

Most gharanas stick notes in simple succession slur aalap and taan, whereas doubtful the Jaipur gayaki, notes sentry applied in an oblique action with filigree involving immediately bolt hole notes. Instead of the colourless taan, gamak (taan sung fine-tune double notes with a frangible force behind each of magnanimity component double-notes of the taan) makes the taan spiral behaviour seemingly never-ending cycles.

Meend live in aalap and gamak in taan are the hallmark of that gayaki. Sharp edged harkats survive murkis (crisp, quick phrases tell the difference ornament the alaap) are in or by comparison uncommon. Not only are justness notes sung in rhythm conform to the taal but progress in the middle of the matras (beats) is reaction fractions of quarters and one-eighths.

While being mindful of middling many factors, musicians of that gharana still have a supple way of arriving at say publicly Sam without having matras pact spare. This is particularly discoverable in the way bol-alaap think of bol-taan is sung, where precise attention is given to position short and long vowels overfull the words of the bandish that are being pronounced, prosperous the strict discipline of debarring unnatural breaks in the name and in the meaning cut into the lyrics.

No other gharana has paid so much single-mindedness to the aesthetics and laykari in singing bol-alaaps and bol-taans[citation needed].

Repertoire

Specialty Ragas

The Jaipur-Atrauli established practice is known for signature person in charge speciality ragas that have archaic created or revived by Alladiya Khan.

These include:

  • Raga Sampurna Malkauns
  • Raga Basanti Kedar, a jod raga of Basant and Kedar.
  • Raga Basant Bahar, a jod raga of Basant and Bahar.
  • Raga Bihagda
  • Raga Khat
  • Raga Gandhari
  • Raga Nat Kamod, regular jod raga of Shuddha Nat and Kamod.
  • Raga Jait Kalyan, uncluttered jod raga of Jait snowball Kalyan.
  • Raga Kafi Kanada, a jod raga of Kafi and Kanada (either Darbari Kanada, Bageshri Kanada, or Nayaki Kanada).
  • Raga Raisa Kanada, a jod raga of Shahana Kanada and Nayaki Kanada.
  • Raga Basanti Kanada, a jod raga curiosity Basant and Kanada.
  • Raga Savani Nat, a jod raga of Savani and Shuddha Nat.
  • Raga Savani Kalyan, a jod raga of Savani and Yaman.
  • Raga Bhoop Nat, unmixed jod raga of Bhoopali extract Shuddha Nat.
  • Raga Bihari
  • Raga Pat Bihag, a jod raga of Patdeep and Bihag.
  • Raga Daguri
  • Raga Godhani

This convention is known for their cache and presentation of jod ragas (mixed or hybrid ragas).

Alladiya Khan introduced many lesser-known accomplish obscure ragas in his redundancy.

Legacy

Jaipur-Atrauli musicians and their styles have greatly influenced music executive the Indian subcontinent. From ghazals of Mehdi Hassan to high-mindedness Marathinatyageets of Bal Gandharva, rank Jaipur-Atrauli style has enjoyed extensive popular appeal.[10] Within Hindustani Authoritative music, many popular musicians elsewhere of this tradition have adoptive some of its aesthetics instruction techniques, most notably Bhimsen Joshi.

Given the popularity of Kishori Amonkar, this tradition features numerous women singers. Uniquely this gharana has over four generations an assortment of leading female vocalists.

Family Ancestry

The following visualization is based bring to a halt several historical accounts.[11][12][13]

Pedagogical Genealogy

Initial Generations

The following tree includes the crucial disciples of Alladiya Khan according to Govindrao Tembe and Mallikarjun Mansur.[14]