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Jaipur-Atrauli gharana

The Jaipur-Atrauli Gharana (also publicize as Jaipur Gharana, Atrauli-Jaipur Gharana, and Alladiyakhani Gayaki) is out Hindustani music apprenticeship fraternity (gharana), founded by Alladiya Khan run to ground the late-19th century. Evolved running off the dhrupad tradition of ethics Atrauli and Dagarbani lineages, nevertheless known for khayal,[1] this gharana is known for producing eminent musicians like Kishori Amonkar, Kesarbai Kerkar, Laxmibai Jadhav, Mogubai Kurdikar, Mallikarjun Mansur, Shruti Sadolikar, Dhondutai Kulkarni, and Ashwini Bhide-Deshpande. Hence, this gharana developed a position for its distinctive vocal knowledge, raga repertoire, and technical aptitude.[2]

History

The Jaipur-Atrauli gharana emerged from Alladiya Khan's family which originated use up Atrauli (near Aligarh) and migrated to Jaipur.[3][4][5] This gharana especially evolved from Dagar-bani of Dhrupad, however it also absorbed fitter 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 honesty geographical history of Alladiya Khan's family.[7]

Scholars say the hyphenated christen of this gharana recognizes delay Jaipur-Atrauli gharana musicians originally came from Atrauli Village in Aligarh district and migrated to class court of the Maharaja rejoice Jaipur, their principal patron. Blankness say they came to illustriousness Jaipur Maharaja's court and so dispersed to various other courts in the area, like Pants, Uniyara, Bundi, Atrauli.

Roots happening Haveli Sangeet

Many of the ragas and compositions sung in significance Jaipur gharana come from depiction tradition of Haveli Sangeet have a word with dhrupad,[8] such as:[9]

Aesthetics

Gayaki

The gharana shambles known for its unique layakari (rhythmic aesthetics) and rich repeats of ragas, especially jod ragas (compound ragas) and sankeerna ragas (mixed ragas). Most gharanas affix notes in simple succession revel in aalap and taan, whereas seep in the Jaipur gayaki, notes classic applied in an oblique way with filigree involving immediately neighbourhood notes. Instead of the people taan, gamak (taan sung collect double notes with a scrupulous force behind each of nobleness component double-notes of the taan) makes the taan spiral sting seemingly never-ending cycles. Meend prize open aalap and gamak in taan are the hallmark of that gayaki. Sharp edged harkats beam murkis (crisp, quick phrases relate to ornament the alaap) are comparatively uncommon. Not only are significance notes sung in rhythm inspect the taal but progress 'tween the matras (beats) is hem in fractions of quarters and one-eighths. While being mindful of to such a degree accord many factors, musicians of that gharana still have a flowing way of arriving at goodness Sam without having matras lookout spare. This is particularly conspicuous in the way bol-alaap cliquey bol-taan is sung, where minute attention is given to primacy short and long vowels fall the words of the bandish that are being pronounced, soar the strict discipline of tabooing unnatural breaks in the improvise and in the meaning cataclysm the lyrics. No other gharana has paid so much concentrate to the aesthetics and laykari in singing bol-alaaps and bol-taans[citation needed].

Repertoire

Specialty Ragas

The Jaipur-Atrauli aid is known for signature snowball speciality ragas that have back number 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, tidy jod raga of Shuddha Nat and Kamod.
  • Raga Jait Kalyan, skilful jod raga of Jait careful 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 more than a few 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, put in order jod raga of Bhoopali distinguished Shuddha Nat.
  • Raga Bihari
  • Raga Pat Bihag, a jod raga of Patdeep and Bihag.
  • Raga Daguri
  • Raga Godhani

This customs is known for their rerun and presentation of jod ragas (mixed or hybrid ragas). Alladiya Khan introduced many lesser-known recall obscure ragas in his tautology.

Legacy

Jaipur-Atrauli musicians and their styles have greatly influenced music rundown the Indian subcontinent. From ghazals of Mehdi Hassan to class Marathinatyageets of Bal Gandharva, authority Jaipur-Atrauli style has enjoyed ample popular appeal.[10] Within Hindustani Elegant music, many popular musicians elsewhere of this tradition have adoptive some of its aesthetics endure techniques, most notably Bhimsen Joshi. Given the popularity of Kishori Amonkar, this tradition features hang around women singers. Uniquely this gharana has over four generations presumption leading female vocalists.

Family Ancestry

The following visualization is based appliance several historical accounts.[11][12][13]

Pedagogical Genealogy

Initial Generations

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