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{{Short description|Type of Hindustani classical vocal music}}
{{Use dmy dates|date=August 2018}}
{{Use dmy dates|date=May 2020}}
{{Use Indian English|date=August 2018}}
{{Use Indian English|date=August 2018}}
[[File:Dadurwa Bolay Mor Shor Karat .ogg|thumb|Recording by [[Zohrabai]] (1910).]]
[[File:Dadurwa Bolay Mor Shor Karat .ogg|thumb|Recording by [[Zohrabai]] (1910).]]
'''The Agra Gharana''' is a tradition of [[Hindustani classical music|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 '''Agra gharana''' is a tradition of [[Hindustani classical music|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 (music)|Dhamar]]". Ghagghe Khudabuksh (1790-1880 AD) introduced the "Khayal" style of [[Gwalior Gharana]] into Agra gharana which Khudabaksh learnt from Natthan Paribaksh of Gwalior.
The first known musician of this tradition is Nayak Gopal. The style prevalent then in the Gharana was "[[Dhrupad]]-[[Dhamar (music)|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==
==Pedagogical genealogy==
The following maps are based on recorded accounts by [[Vilayat Hussain Khan]] and [[Yunus Hussain Khan]].
The following maps are based on recorded accounts by [[Vilayat Hussain Khan]] and [[Yunus Hussain Khan]].<ref>{{cite book |last1=Ghosh |first1=Tapasi |title=Pran Piya: Ustad Vilayat Hussain Khan |date=2008 |publisher=Atlantic Publishers and Distributors |location=India |isbn=978-81-269-0855-4 |page=Appendix}}</ref>

{{familytree/start|style=font-size:80%;line-height:100%;}}
===Ancestral Lineage===
{{familytree| |:| | | | | | | | | |:| | | | | | | |}}
{{tree chart/start|style=font-size:80%;line-height:100%;}}
{{familytree| |:| | | | | | | | |GOPAL|GOPAL=[[Gopal Nayak|Gopal<br>Nayak]]}}
{{familytree| |:| | | | | | | | | |D|~|~|~|~|~|7| |}}
{{tree chart| | |:| | | | | | | | | |:| | | | | | | |}}
{{familytree|GAUHA| | | | | | | |NAUHA| | | |KIRAN|GAUHA=[[Dhrupad|''Gauharbani Guru<br>Parampara'']]
{{tree chart| |GAUHA| | | | | | | |GOPAL
|GAUHA=[[Dhrupad|''Gauharbani Guru<br />Parampara'']]
|NAUHA=[[Dhrupad|''Nauharbani Guru<br>Parampara'']]
|GOPAL=[[Nayak Gopal|Nayak<br />Gopal]]}}
{{tree chart| | |:| | | | | | | | | |D|~|~|~|~|~|7| |}}
|KIRAN=[[Kirana Gharana|''Kirana Gharana<br>Parampara'']]}}
{{familytree| |:| | | |F|~|~|~|V|~|A|~|V|~|~|~|7| |}}
{{tree chart| |HARID| | | | | | | |NAUHA| | | |KIRAN
{{familytree|HARID| |LOHAN| |ALAKH| |KHALA| |MALUK|HARID=[[Swami Haridas|Swami<br>Haridas]]
|HARID=[[Swami Haridas|Swami<br />Haridas]]
|LOHAN=Lohang<br>Das
|NAUHA=[[Dhrupad|''Nauharbani Guru<br />Parampara'']]
|ALAKH=Alakh<br>Das
|KIRAN=[[Kirana Gharana|''Kirana Gharana<br />Parampara'']]}}
{{tree chart| | |:| | | |F|~|~|~|V|~|A|~|V|~|~|~|7| |}}
|KHALA=Khalak<br>Das
{{tree chart| |TANSE| |LOHAN| |ALAKH| |KHALA| |MALUK
|MALUK=Malukh<br>Das}}
|TANSE=[[Tansen|Miyan<br>Tansen]]
{{familytree| |:| | | |F|~|~|~|A|~|~|~|7| | | | | |}}
|LOHAN=Lohang<br />Das
{{familytree|TANSE| |SUJAN| | | | | |BICHI| | | | |TANSE=[[Tansen]]
|SUJAN=Sujan<br>Singh
|ALAKH=Alakh<br />Das
|BICHI=Bichitra<br>Khan}}
|KHALA=Khalak<br />Das
{{familytree| |:| | | |:| | | | | | | | | | | | | |}}
|MALUK=Malukh<br />Das}}
{{familytree|DAUGH| |SURGY| | | | | | | | | | | | |DAUGH=''Daughter''
{{tree chart| | |:| | | | | |F|~|A|~|~|~|7| | | | | |}}
{{tree chart| |DAUG1| | | |SUJAN| | | |BICHI| | | |
|SURGY=Surgyan<br>Khan}}
|DAUG1=''Daughter''
{{familytree| |L|~|V|~|J| | | | | | | | | | | | | |}}
{{familytree| | |QADER| | | | | | | | | | | | | | |QADER=Qader Shah<br>(Jogi Bacche)}}
|SUJAN=Sujan<br />Singh
{{familytree| | | |:| | | | | | | | | | | | | | | |}}
|BICHI=Bichitra<br />Khan}}
{{familytree| | |HYDER| | | | | | | | | | | | | | |HYDER=Hyder Shah<br>(Gond puriye)}}
{{tree chart| | |L|~|~|~|V|~|J| | | | | | | | | | | |}}
{{familytree| | | |:| | | | | | | | | | | | | | | |}}
{{tree chart| | | | | |SURGY
{{familytree| | |DAYAM| | | | |GWALI| | | | | | | |DAYAM=Dayam Khan<br>("Saras-rang")
|SURGY=Surgyan<br />Khan}}
{{tree chart| | | | | | |:| | | | | | | | | | | | | | | | |}}
|GWALI=[[Gwalior Gharana|''Gwalior Gharana<br>Guru Parampara'']]}}
{{familytree| | | |:| | | | | | |:| | | | | | | | |}}
{{tree chart| | | | |F|~|A|~|7| | | | | | | | | | |}}
{{tree chart| | | |QADER| |DAUG2
{{familytree| | |QAYAM| | | | |NATHA| | | | |RANGI|QAYAM=Qayam Khan<br>("Sham-rang")
|NATHA=[[Gwalior Gharana#Pedagogical Genealogy|Nathan Peer<br>Baksh]]
|QADER=Qader Shah<br />(Jogi Bacche)
|RANGI=''Rangile Gharana<br>Parampara''}}
|DAUG2=''Daughter''}}
{{familytree| |F|~|A|~|~|~|~|7| |:| | | | | | |:| |}}
{{tree chart| | | | |:| | | |:| | | | | | | | | | | |}}
{{tree chart| | | |HYDER| |WAZIR
{{familytree| |:| | | | | | |L|V|J| | | | | | |:| |}}
|HYDER=Hyder Shah
{{familytree|JUNGG| | | | | |GHAGG| | | | | |RAMZA|JUNGG=Junggu<br>Khan
|GHAGG=[[Ghagge Khuda Baksh|Ghagge Khuda<br>Baksh]]
|WAZIR=Wazir<br>Khan}}
{{tree chart| | | | |:| | | |:| | | | | | | | | | | |}}
|RAMZA=[[Ramzan Khan Rangile|Ramzan Khan<br>("Rangile")]]}}
{{familytree| |)|-|-|-|.| | | |)|-|-|-|.| | | |!| |}}
{{tree chart| | | |DAYAM| |HASAN| | | | |GWALI
|DAYAM=Dayam Khan<br />("Saras-rang")
{{familytree|SHERK| |MOHAM| |GHHAI| |GHABB| |MOHAL|SHERK=Sher<br>Khan
|MOHAM=Mohammed<br>Khan
|HASAN=Hasan & Saiyad<br>Khan
|GHHAI=Ghulam Haider<br>"Kallan" Khan
|GWALI=[[Gwalior Gharana|''Gwalior Gharana<br />Guru Parampara'']]}}
{{tree chart| | | | |:| | | |:| | | | | | |:| | | | | | | | |}}
|GHABB=[[Ghulam Abbas Khan|Ghulam Abbas<br>Khan]]
{{tree chart| | | |QAYAM| |FAIZM| | | | |NATHA| | | | |RANGI
|MOHAL=Mohammed Ali<br>Khan}}
|QAYAM=Qayam Khan<br />("Sham-rang")
{{familytree| |!| | | | | | | |!| | | |!| | | |!| |}}
|FAIZM=Faiz Mohammed<br>Khan (Barodewale)
{{familytree|NATTH| | | | | |TASAD| |DAUGH| |SAFDA|NATTH=Nisar Hussain<br>"Natthan" Khan
|TASAD=[[Tassaduq Hussain Khan|Tassaduq<br>Hussain Khan]]
|NATHA=[[Gwalior Gharana#Pedagogical Genealogy|Nathan Peer<br />Baksh]]
|DAUGH=''Daughter''
|RANGI=''Rangile Gharana<br />Parampara''}}
{{tree chart| | | | |:| | | | | | | | | | |:| | | | | | |:| |}}
|SAFDA=[[Safdar Hussain Khan|Safdar<br>Hussain Khan]]}}
{{familytree| |)|-|v|-|v|-|.| |:| | | |`|-|v|-|'| |}}
{{tree chart| | |F|~|A|~|V|~|~|~|V|~|~|7| |:| | | | | | |:| |}}
{{familytree|MOHMD|!|ALTAF|!| |:| | | | |FAIYA| | |MOHMD=Mohammed<br>Khan
{{tree chart| | |:| | | |:| | | |:| | |L|V|J| | | | | | |:| |}}
{{tree chart| |JUNGG| |SOOSA| |GULAB| |GHAGG| | | | | |RAMZA
|ALTAF=[[Altaf Hussain Khan|Altaf<br>Hussain Khan]]
|FAIYA=[[Faiyaz Khan|Faiyaz<br>Hussain Khan]]}}
|JUNGG=Junggu<br />Khan
{{familytree| |:|ABDUL|:|SIDDI|:| | | | | |:| | | |ABDUL=Abdullah<br>Khan
|SOOSA=Soosa<br>Khan
|SIDDI=Mohammed<br>Siddiq Khan}}
|GULAB=Gulab<br>Khan
|GHAGG=[[Ghagge Khuda Baksh|Ghagge Khuda<br />Baksh]]
{{familytree| |:| | | |:| | | |:| | | | | |:| | | |}}
|RAMZA=[[Ramzan Khan Rangile|Ramzan Khan<br />("Rangile")]]}}
{{familytree| |:| | | |:| | | |:| | | | | |:| | | |}}
{{tree chart| | |)|-|-|-|.| | | |,|-|-|-|^|-|-|-|.| | | |!| |}}
{{familytree/end}}
{{tree chart| |SHERK| |MOHAM| |GHHAI| | | | | |GHABB| |MOHAL
|SHERK=Sher<br />Khan
|MOHAM=Mohammed<br />Khan
|GHHAI=Ghulam Haider<br />"Kallan" Khan
|GHABB=Ghulam Abbas<br />Khan
|MOHAL=Mohammed Ali<br />Khan}}
{{tree chart| | |!| | | |,|-|-|-|(| | | |,|-|-|-|(| | | |!| |}}
{{tree chart| |NATTH| |HYDOR| |TASAD| |QADRI| |ABBAS| |SAFDA
|NATTH=Nisar Hussain<br />"Natthan" Khan
|HYDOR=Hydori Begum
|TASAD=[[Tassaduq Hussain Khan|Tassaduq<br />Hussain Khan]]
|QADRI=Qadri Begum
|ABBAS=Abbasi Begum
|SAFDA=[[Safdar Hussain Khan|Safdar<br />Hussain Khan]]}}
{{tree chart| | |:| | | |:| | | |:| | | |:| | | |`|-|v|-|'| |}}
{{tree chart| | |:| | | |:| | | | :| | | |:| | | | |FAIYA
|FAIYA=[[Faiyaz Khan|Faiyaz<br />Hussain Khan]]}}
{{tree chart| | |:| | | |:| | | |:| | | |:| | | | | |:| | | |}}
{{tree chart/end}}


==Distinguishing characteristics==
==Distinguishing characteristics==
The gayaki 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 demands that the projection of voice be more forceful and voluminous than usually encountered in khayal gayaki, as well as uttering notes open and bare (without grace notes).
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 demands that the projection of voice be more forceful and voluminous than usually encountered in khayal gayaki, as well as uttering notes open and bare (without grace notes).


Most khayal performances by artists of Agra gharana commence with the nom-tom alaap, a tradition unique to the Agra gharana. Different facets of a raga are displayed with the help of [[bandish]] while the [[raga]] is elaborated using vistaar.
Most khayal performances by artists of Agra gharana commence with the nom-tom alaap, a tradition unique to the Agra gharana. Different facets of a raga are displayed with the help of [[bandish]] while the [[raga]] is elaborated using {{transl|hi|vistaar}}.


The gharana adopts a kind of voice production which relies on a flatter version of the vowel sound "a", which makes its music agreeable to rhythmic variations and is best suited for a deep masculine voice. Emphasis is laid on bold, full-throated and robust voice production, and singing in the lower register (mandra) is favoured. Keeping in tune with its dhrupadic origins, the singers use broad and powerful ornamentations (gamaks), extensive glides (meends), and resonant articulations of notes. As with the Gwalior gharana, the Agra singers accentuate the importance of the bandish and its methodical exposition. Singers following Faiyaz Khan's style resort to the dhrupadic nom-tom alaap before singing the bandish. The singers of this gharana are also great masters over layakari or the rhythmic component. In fact, layakari is the foundation on which the singers build the edifice of the bandish. Agra singers' [[tihai]]s are eagerly awaited, as are their nifty ways of arriving at the same, by building up anticipation within the listener.
The gharana adopts a kind of voice production which relies on a flatter version of the vowel sound "a", which makes its music agreeable to rhythmic variations and is best suited for a deep masculine voice. Emphasis is laid on bold, full-throated and robust voice production, and singing in the lower register (mandra) is favoured. Keeping in tune with its dhrupadic origins, the singers use broad and powerful ornamentations ({{transl|hi|gamaks}}), extensive glides ({{transl|hi|meends}}) and resonant articulations of notes. As with the Gwalior gharana, the Agra singers accentuate the importance of the bandish and its methodical exposition. Singers following Faiyaz Khan's style resort to the dhrupadic nom-tom alaap before singing the bandish. The singers of this gharana are also great masters over {{transl|hi|layakari}} or the rhythmic component. In fact, layakari is the foundation on which the singers build the edifice of the bandish. Agra singers' {{transl|hi|tihais}} are eagerly awaited, as are their nifty ways of arriving at the same, by building up anticipation within the listener.


This is the only Gharana that has still continued to sing Dhrupad-Dhamar along with Nom-Tom Alap, [[Khayal]], [[Thumri]], [[Tappa]], [[Tarana]], [[Hori (music)|Hori]],
This is the only Gharana that has still continued to sing Dhrupad-Dhamar along with Nom-Tom Alap, [[Khayal]], [[Thumri]], [[Tappa]], [[Tarana]], [[Hori (music)|Hori]],


== Exponents ==
== Some prominent exponents ==
<!-- People who have Wikipedia articles about them only. If there's no article, create one before adding the name here. -->
*[[Faiyaz Khan]] (1880–1950) "Prempiya"
*Mehboob Khan daraspiya
*[[Ghagghe Khudhabaksh]]
*[[Kale Khan]] "Saras Piya"
*Nathan Khan
*[[Zohrabai]] (1868–1913)
*[[Ghulam Abbas Khan]]-"Sabrang"
*[[Vilayat Hussain Khan]] "[[Pran Piya]]"
*[[Faiyaz Khan]] "Prempiya" (1886–1950)
*[[Khadim Hussain Khan]] "Sajan Piya"
*[[Vilayat Hussain Khan]] "[[Pran Piya]]" (1895–1962)
*[[Shrikrishna Narayan Ratanjankar]] "Sujan" (1899–1974)
*[[Latafat Hussain Khan]] "Prem Das"
*[[Sharafat Hussain Khan]] "Prem Rang"
*[[Khadim Hussain Khan]] "Sajan Piya" (1907–1993)
*[[Ata Hussain Khan]] "Ratanpiya"
*[[Ramarao V. Naik]] (1909–1998)
* [[Dhruvatara Joshi]] "Premrang" (1912-1993)
*[[Babanrao Haldankar]] "Raspiya" (b. 1927) <ref>{{cite book|author=Jeffrey Michael Grimes|title=The Geography of Hindustani Music: The Influence of Region and Regionalism on the North Indian Classical Tradition|url=https://books.google.com/books?id=8eoNVmfGBLoC&pg=PA280|accessdate=17 July 2013|year=2008|publisher=ProQuest|isbn=978-1-109-00342-0|page=139|ref=Gr}}</ref>
* [[Sumati Mutatkar]] (1916–2007)
*[[Arun Kashalkar]] "Rasdas"
* Dipali Talukdar Nag (1922-2009)
*[[Yunus Hussain Khan]] "Darpan"
* [[Babanrao Haldankar|Shrikrishna Haldankar]] "Raspiya" (1927–2016)<ref>{{cite book|author=Jeffrey Michael Grimes|title=The Geography of Hindustani Music: The Influence of Region and Regionalism on the North Indian Classical Tradition|url=https://books.google.com/books?id=8eoNVmfGBLoC&pg=PA280|year=2008|isbn=978-1-109-00342-0|page=139|ref=Gr}}</ref>
*[[Purnima Sen]]
* Sharafat Hussain Khan[1930-1985]
*[[Zohrabai]] (1868–1913)
*[[Yashpaul]] "[[Sagun Piya]]" (1937 - ?)
*[[Madhusudan Joshi of Baroda]]
*[[Lalith J. Rao]] (1942 - ?)
*[[Yashpaul]] "[[Sagun Piya]]"
*[[Ramarao Naik]]
*[[Subhra Guha]] (1956 - )
* Shaukat Hussain Khan (1962 - ?)
*[[Lalita Shivaram Ubhayaker]]
* Mohsin Ahmed Khan Niazi (1965-2020)
*[[Harish Chander Bali]]
* Bande Hassan Khan
*[[Lalith J. Rao]]
*Latafat Hussain Khan "Prem Das"
*[[Shrikrishna Narayan Ratanjankar]] "Sujan"
*Ata Hussain Khan "Ratan Piya"
*[[Dinkar Kaikini]] "Din Rang"
*Kaale Khan "Saras Piya"
*[[Sumati Mutatkar]]
*Abdullah Khan "Manhar Piya'
*[[Dr. Deepali Nag]]
*Bashir Ahmed Khan
*[[Jitendra Abhisheki]]
*[[Ustad Shafi Ahmad Khan]]
*Aqeel Ahmed Khan
*Wasi Ahmed Khan
*[[Rajesh Kelkar]]
*Shabbir Ahmed Khan
*[[Vrinda Mundkur]]
*Naseem Ahmed Khan
*[[Subhra Guha]]
*[[Wasim Ahmed Khan]]
*Yunus Hussain Khan
*Yaqoob Hussain Khan
*[[Sabina Mumtaz Islam]]
*Yusuf Hussain Khan
*Nasir khan
*Shamim Ahmed Khan
*Ghulam Rasool Khan
*Anwar Hussain Khan
*Ghulam Hussain Khan Raja Miyan
*Arif Hussain


==Bibliography==
==Bibliography==
* {{cite book|author=Bonnie C. Wade|title=Khyāl: Creativity Within North India's Classical Music Tradition|chapter=Agra gharana|url=https://books.google.com/books?id=MiE9AAAAIAAJ&pg=PA102|year=1984|publisher=CUP Archive|isbn=978-0-521-25659-9|pages=101–129}}
* {{cite book|author=Bonnie C. Wade|title=Khyāl: Creativity Within North India's Classical Music Tradition|chapter=Agra gharana|chapter-url=https://books.google.com/books?id=MiE9AAAAIAAJ&pg=PA102|year=1984|publisher=CUP Archive|isbn=978-0-521-25659-9|pages=101–129}}
* {{cite book|author=Babanrao Haldankar|authorlink=Babanrao Haldankar|title=Aesthetics of Agra and Jaipur Traditions|url=https://books.google.com/books?id=ktS00KztX3YC|author2=Padmaja Punde|date=2001|publisher=Popular Prakashan|isbn=978-81-7154-685-5}}
* {{cite book|author=Babanrao Haldankar|authorlink=Babanrao Haldankar|title=Aesthetics of Agra and Jaipur Traditions|url=https://books.google.com/books?id=ktS00KztX3YC|author2=Padmaja Punde|date=2001|publisher=Popular Prakashan|isbn=978-81-7154-685-5}}
* {{cite book|author=Tapasi Ghosh|title=Pran Piya Ustad Vilayat Hussain Khan: His Life and Contribution to the World of Music|url=https://books.google.com/books?id=aa_gH_MNZesC&pg=PA23|year=2008|publisher=Atlantic Publishers & Dist|isbn=978-81-269-0855-4}}
* {{cite book|author=Tapasi Ghosh|title=Pran Piya Ustad Vilayat Hussain Khan: His Life and Contribution to the World of Music|url=https://books.google.com/books?id=aa_gH_MNZesC&pg=PA23|year=2008|publisher=Atlantic Publishers & Dist|isbn=978-81-269-0855-4}}
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{{DEFAULTSORT:Agra Gharana}}
{{DEFAULTSORT:Agra Gharana}}
[[Category:Agra gharana| ]]
[[Category:Vocal gharanas]]
[[Category:Vocal gharanas]]
[[Category:Agra]]
[[Category:Agra]]
[[Category:Music of Uttar Pradesh]]

Latest revision as of 17:05, 14 September 2024

Recording by Zohrabai (1910).

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

[edit]

The following maps are based on recorded accounts by Vilayat Hussain Khan and Yunus Hussain Khan.[1]

Ancestral Lineage

[edit]
Gauharbani Guru
Parampara		Nayak
Gopal
Swami
Haridas		Nauharbani Guru
Parampara		Kirana Gharana
Parampara
Miyan
Tansen		Lohang
Das		Alakh
Das		Khalak
Das		Malukh
Das
DaughterSujan
Singh		Bichitra
Khan
Surgyan
Khan
Qader Shah
(Jogi Bacche)		Daughter
Hyder ShahWazir
Khan
Dayam Khan
("Saras-rang")		Hasan & Saiyad
Khan		Gwalior Gharana
Guru Parampara
Qayam Khan
("Sham-rang")		Faiz Mohammed
Khan (Barodewale)		Nathan Peer
Baksh		Rangile Gharana
Parampara
Junggu
Khan		Soosa
Khan		Gulab
Khan		Ghagge Khuda
Baksh		Ramzan Khan
("Rangile")
Sher
Khan		Mohammed
Khan		Ghulam Haider
"Kallan" Khan		Ghulam Abbas
Khan		Mohammed Ali
Khan
Nisar Hussain
"Natthan" Khan		Hydori BegumTassaduq
Hussain Khan		Qadri BegumAbbasi BegumSafdar
Hussain Khan
Faiyaz
Hussain Khan

Distinguishing characteristics

[edit]

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 demands that the projection of voice be more forceful and voluminous than usually encountered in khayal gayaki, as well as uttering notes open and bare (without grace notes).

Most khayal performances by artists of Agra gharana commence with the nom-tom alaap, a tradition unique to the Agra gharana. Different facets of a raga are displayed with the help of bandish while the raga is elaborated using vistaar.

The gharana adopts a kind of voice production which relies on a flatter version of the vowel sound "a", which makes its music agreeable to rhythmic variations and is best suited for a deep masculine voice. Emphasis is laid on bold, full-throated and robust voice production, and singing in the lower register (mandra) is favoured. Keeping in tune with its dhrupadic origins, the singers use broad and powerful ornamentations (gamaks), extensive glides (meends) and resonant articulations of notes. As with the Gwalior gharana, the Agra singers accentuate the importance of the bandish and its methodical exposition. Singers following Faiyaz Khan's style resort to the dhrupadic nom-tom alaap before singing the bandish. The singers of this gharana are also great masters over layakari or the rhythmic component. In fact, layakari is the foundation on which the singers build the edifice of the bandish. Agra singers' tihais are eagerly awaited, as are their nifty ways of arriving at the same, by building up anticipation within the listener.

This is the only Gharana that has still continued to sing Dhrupad-Dhamar along with Nom-Tom Alap, Khayal, Thumri, Tappa, Tarana, Hori,

Exponents

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Bibliography

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  • Bonnie C. Wade (1984). "Agra gharana". Khyāl: Creativity Within North India's Classical Music Tradition. CUP Archive. pp. 101–129. ISBN 978-0-521-25659-9.
  • Babanrao Haldankar; Padmaja Punde (2001). Aesthetics of Agra and Jaipur Traditions. Popular Prakashan. ISBN 978-81-7154-685-5.
  • Tapasi Ghosh (2008). Pran Piya Ustad Vilayat Hussain Khan: His Life and Contribution to the World of Music. Atlantic Publishers & Dist. ISBN 978-81-269-0855-4.

References

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  1. ^ Ghosh, Tapasi (2008). Pran Piya: Ustad Vilayat Hussain Khan. India: Atlantic Publishers and Distributors. p. Appendix. ISBN 978-81-269-0855-4.
  2. ^ Jeffrey Michael Grimes (2008). The Geography of Hindustani Music: The Influence of Region and Regionalism on the North Indian Classical Tradition. p. 139. ISBN 978-1-109-00342-0.
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