This article is about a form of Indian classical music. For the mythical character, see Drupada.
Dhrupad is a genre in Hindustani classical music from the Indian subcontinent. It is the oldest known style of major vocal styles associated with Hindustani classical music, Haveli Sangeet of Pushtimarg Sampradaya and also related to the South Indian Carnatic tradition.[1][2] 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),[3][4] and other ancient and medieval Sanskrit texts, such as chapter 33 of Book 10 in the Bhagavata Purana (~800–1000 CE), where the theories of music and devotional songs for Krishna are summarized.[4]
The term denotes both the verse form of the poetry and the style in which it is sung.[5] It is spiritual, heroic, thoughtful, virtuous, embedding moral wisdom or solemn form of song-music combination.[6][7] Thematic matter ranges from the religious and spiritual (mostly in praise of Hindu deities) to royal panegyrics, musicology and romance.
A Dhrupad has at least four stanza, called Sthayi (or Asthayi), Antara, Sanchari and Abhoga. The Sthayi part is a melody that uses the middle octave's first tetrachord and the lower octave notes.[7] The Antara part uses the middle octave's second tetrachord and the higher octave notes.[7] 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.[7] 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).[8] Sometimes a fifth stanza called Bhoga is included. Though usually related to philosophical or Bhakti (emotional devotion to a god or goddess) themes, some Dhrupads were composed to praise kings.[6][8]
The tradition of Dhrupad is recorded back to saints of Braj (Mathura) namely Swami Haridas, Surdas, Govind Swami, Asht Sakha of Haveli Sangeet and followed by Tansen and Baiju Bawara. When Dhrupad composition are based on Bhagwan Shri Vishnu or his incarnations thereof, is called Vishnupad.
History
Dhrupad probably obtained its name from dhruvapada mentioned in Natyashastra to denote structured songs.[9] 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.[6][7] 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 of Abu Fazl (1593).[10] Later works attribute much of the material to musicians in the court of Man Singh Tomar (fl. 1486–1516) of Gwalior.[11] 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.[12]Ravi Shankar[13] 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 Krishna. It became the court music in the Mughal court with Swami Haridas' pupil Tansen famous, among other things, for his Dhrupad compositions.[14]
Dhrupad is ancient, and another genre of music called Khyal (it have only two parts Sthayi and Antara) evolved from it.[7] Dhrupad is solemn music, uplifting and heroic, pure and spiritual. Khyal adds ornamental notes, shorter, moody and celebratory.[15]
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.[16]
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 rather than the tabla. The vocalist is usually accompanied by two tanpuras, the players sitting close behind, with the percussionist at the right of the vocalist. Traditionally the primary instrument used for dhrupad has been the Rudra Veena, 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.
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 (tala) 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.
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.
The Gauhar Bani was founded by Gopal Nayak. Shamsuddin Faridi Desai and his sons, follow the Gauhar Bani.
There are a number of dhrupad Gharanas: "houses", or family styles.
The best-known gharana is the Dagar family [17] 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.
From the state of Bihar comes the Darbhanga gharana, Dumraon Gharana (Buxar) and the Bettiah gharana. The Mallicks of the Darbhanga gharana are linked to the Khandar vani and Gauharvani. Ram Chatur Mallick, Vidur Mallick, Abhay Narayan Mallick, Late Pandit Sanjay Kumar Mallick,Laxman Bhatt Tailang and Siyaram Tiwari were 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 Nandy, Ashoka Dhar, Madhu Bhatt Tailang, the Pakistani singer Aliya Rasheed, and the Italian singer Amelia Cuni.[18]
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 Raj when it was founded. T'he 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.
Many books have been written by this gharana, like Shree Krishn Ramayan, by Pt. Ghana rang Dubey, Sur-prakash, Bhairav, Prakash, Rash-Prakash, 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.[19]
The Mishras practised Gaurhar, Dagur, Nauhar and Khandar styles. This gharana flourished under the patronage of the kings of Bettiah Raj. Pandit Falguni Mitra is an exponent of this Gharana in the present generation.
In an effort to link tradition and scientific methodologies, the ITC Sangeet Research Academy's Scientific Research Department has been organizing symposia and workshops since 1987. The objective of these workshops/symposia is to create awareness of research in various fields of music.[20] In 2013 the academy conducted a Dhrupad seminar in association with the National Centre for the Performing Arts (India) (NCPA, Mumbai) where Dr. Puru Dadheech participated as speaker to discuss the origin and predecessors of Dhrupad.[21]
Prof. Richard Widdess (Head, Department of Music, School of Oriental and African Studies, University of London, UK) and Dr. Dadheech, (Indore, India) discussed the origin of Dhrupad at length. The latter established that Dhrupads are older than the times of Raja Mansingh Tomar.[22]
Khyal or Khayal 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 and is sung with the tabla instead of the pakhavaj. In khyal, ragas are extensively ornamented, and the style calls for more technical virtuosity.
Indian classical music is the classical music of the Indian subcontinent. It is generally described using terms like Shastriya Sangeet and Marg Sangeet. It has two major traditions: the North Indian classical music known as Hindustani and the South Indian expression known as Carnatic. These traditions were not distinct until about the 15th century. During the period of Mughal rule of the Indian subcontinent, the traditions separated and evolved into distinct forms. Hindustani music emphasizes improvisation and exploration of all aspects of a raga, while Carnatic performances tend to be short composition-based. However, the two systems continue to have more common features than differences. Another unique classical music tradition from the eastern part of India is Odissi music, which has evolved over the last two thousand years.
The Alap is the opening section of a typical North Indian classical performance. It is a form of melodic improvisation that introduces and develops a raga. In dhrupad singing the alap is unmetered, improvised and unaccompanied, and started at a slow tempo. For people unfamiliar with the raga form, it introduces the thaat to the listener. It defines the raga, its mood, and the emphasized notes and notes with a secondary role.
Hindustani classical music is the classical music of the Indian subcontinent's northern regions. It may also be called North Indian classical music or Uttar Bhartiya shastriya sangeet. The term shastriya sangeet literally means classical music, and is also used to refer to Indian classical music in general. It is played on instruments like the veena, sitar and sarod. It diverged in the 12th century CE from Carnatic music, the classical tradition of Southern India. While Carnatic music largely uses compositions written in Sanskrit, Kannada, Telugu, Tamil, Malayalam, Hindustani music largely uses compositions written in Hindi, Urdu, Braj, Avadhi, Bhojpuri, Bengali, Rajasthani, Marathi and Punjabi.
Ravi Kichlu, popularly known as Pandit Ravi Kichlu, was a prominent classical Hindustani vocalist of Agra gharana, who formed a well-known duo with his brother Vijay Kichlu. He studied Dhrupad under the Dagar Brothers, Ustad Moinuddin and Ustad Aminuddin Dagar and was later a 'shagird' of Ustad Latafat Hussain Khan, a doyen of the Agra Gharana. He thus imbibed a unique style, a mix of 'Dagar Bani' and Agra 'Gharana'. Pandit Ravi Kichlu was well known not only as a classical vocalist, but as a leading exponent of semi classical and folk forms - such as Thumri, Dadra, Kajri, Chaiti - and a collection of Ghazals, the music of which he composed himself.
In Hindustani music, a gharānā is a system of social organisation in the Indian subcontinent, linking musicians or dancers by lineage or apprenticeship, and more importantly by adherence to a particular musical style.
Pandit Ritwik Sanyal is an Indian classical singer and the Dhrupad maestro from Varanasi. He is a retired professor and former dean from the department of vocal music at the faculty of performing arts at Banaras Hindu University. On 5 April 2023, Pandit (Dr.) Ritwik Sanyal was conferred the Padma Shri award for 2023 in recognition of his outstanding contributions to the revival and propagation of the Dhrupad tradition, both as an academician and performer. A recipient of the esteemed Kendriya Sangeet Natak Akademi award in 2013, presented by the then Hon. President of India, Pranab Mukherjee, Pandit Ritwik Sanyal has now received the 4th highest civilian award, the Padma Shri, from President of India, Droupadi Murmu.
The Gwalior Gharana is first and the oldest Khyal Gharana in Indian Classical Music. The Gwalior Gharana is known as the "Gangotri" of Khyal raga and is considered the most ancient school of hindustani classical music. Other gharanas follows the lineage of the Gwalior Gharana.
Ustad Nasir Aminuddin Dagar, of Dagar Gharana of Dhrupad singing was an Indian dhrupad singer in the dagar-vani style, the second-eldest among four Dhrupad singing brothers.
The sursingar, sursringar or surshringar, is a musical instrument originating from the Indian subcontinent having many similarities with the sarod. It is larger than the sarod and produces a deeper sound. It precedes the sarod chronologically.
Sthayi or Asthaayi is an initial phrase or line of a fixed, melodic composition in Hindustani music. It is a way of systematizing the parts of a composition. The Sthayi part of a Dhrupad is the first of four stanzas and uses the middle octave's first tetrachord and the lower octave notes.
Siyaram Tiwari was an Indian classical singer and leading exponent of Dhrupad-genre of Hindustani classical music. He belonged to the Darbhanga gharana and was based in Patna. Though Darbhanga gharana is known for its laykari techniques, he was the first exponent of the gharana to promote fast-paced laykari in Dhrupad, which developed in the second half of 20th-century.
The Dagar vani is a tradition of the classical dhrupad genre of Hindustani classical music spanning 20 generations, tracing back to Swami Haridas, and including Behram Khan of Jaipur (1753-1878). For some generations its members were associated with the courts of Jaipur, Udaipur, and Mewar.
The Dhrupad Kendra Bhopal is an institution for training Dhrupad singers, established by the Government of Madhya Pradesh in the state capital Bhopal in 1981 to impart training in the Indian teacher-apprentice or Guru-shishya tradition of education in Dhrupad one of the oldest surviving genres of Indian classical music.
Gokulotsavji Maharaj is a Hindustani classical musician, specializing in Khayal, Dhrupad Dhammar, Prabandh Gayaki and various other ancient indian musical styles. He is also a singer-cum-composer, writer, poet, and musicologist.
Ram Chatur Mallick (1902–1990) was an Indian classical musician and an exponent and founder to the outside world of the Darbhanga gharana of the Dhrupad tradition, one of the oldest genres of Hindustani vocal music. Known to be the last main court musician at the court of The Darbhanga Royals, following his immediate & direct ancestors from the last 14 generations and one of the closest to the King of the Dharbanga Maharaja Sir Kameshwar Singh, he also was the closest ADC to his highness and responsible for all music related activities on behalf of the King and King's brother, he was a member of the Mallick family of singers. He was honoured by the Government of India in 1970 with Padma Shri, the fourth highest Indian civilian award.
Darbhanga gharana is a gharana, or tradition, of the Hindustani classical music dhrupad thought to have been started in the eighteenth century by Radhakrishna and Kartaram, musicians in the court of the Maharaja of Darbhanga. The style is notable for its vocal delivery and energetic performances, as well how the songs are sung after the alap. Notable singers of the Darbhanga gharana include Ram Chatur Mallick,Siyaram Tiwari, Pandit Vidur Mallick, Padmashri Pandit Ram Kumar Mallick Pt. Prem kumar Mallik, Pt. Prashant Mallick & Pt. Nishant Mallick collectively known as Mallick Brothers, Dr. Priyanka Mallick, Dr. Samit Mallick.
Pandit Pushparaj Koshti is an eminent exponent of the surbahar and sitar and one of the senior lineage holders in the Dagar dhrupad tradition. He was born on 3 November 1951 in a musician’s family.
Pandit Falguni Mitra is an Indian Hindustani classical vocalist who is known as a Dhrupad exponent of India. Mitra belongs to the Bettiah gharana.
Bande Ali Khan, more commonly known as Ustad Bande Ali Khansaheb or Bande Ali Khan Beenkar, was an Indian classical rudra veena player. Known for being the most historically celebrated exponent of the been, Khan was an ancestor to major contemporary Hindustani Classical music gharanas including Indore, Mewati, Kirana, and Dagarbani.
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