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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).
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.{{which lang|date=June 2020}}
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),{{which lang|date=June 2020}} extensive glides (meends),{{which lang|date=June 2020}} 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{{which lang|date=June 2020}} or the rhythmic component. In fact, layakari is the foundation on which the singers build the edifice of the bandish. Agra singers' [[tihai]]s{{which lang|date=June 2020}} 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 ==
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*Mehboob Khan daraspiya
⚫
*[[Faiyaz Khan]] (1886–1950) "Prempiya"
*Nathan Khan
⚫
*[[Zohrabai]] (1868–1913)
⚫
*[[Faiyaz Khan]] "Prempiya" (1886–1950)
*[[Vilayat Hussain Khan]] "[[Pran Piya]]" (1895–1962)
*[[Vilayat Hussain Khan]] "[[Pran Piya]]" (1895–1962)
⚫
*[[Shrikrishna Narayan Ratanjankar]] "Sujan" (1899–1974)
*[[Khadim Hussain Khan]] "Sajan Piya" (1907–1993)
*[[Khadim Hussain Khan]] "Sajan Piya" (1907–1993)
⚫
*[[Sharafat Hussain Khan]] "Prem Rang" (1930–1985)
⚫
*[[Shrikrishna Narayan Ratanjankar]] "Sujan" (1900–1974)
⚫
*[[Babanrao 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>
⚫
*[[Zohrabai]] (1868–1913)
⚫
*Pt. [[Yashpaul]] "[[Sagun Piya]]" (b. 1937)
*[[Ramarao V. Naik]] (1909–1998)
*[[Ramarao V. Naik]] (1909–1998)
* [[Dhruvatara Joshi]] "Premrang" (1912-1993)
⚫
*[[Lalith J. Rao]] (b. 1942)
*[[Sumati Mutatkar]] (1916–2007)
* [[Sumati Mutatkar]] (1916–2007)
* Dipali Talukdar Nag (1922-2009)
⚫
*[[Subhra Guha]] (b. 1956)
⚫
* [[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>
*[[Ustad Waseem Ahmed Khan]] (1988-present)
* Sharafat Hussain Khan[1930-1985]
⚫
* Ustad Mohsin Ahmed Khan Niazi (1965-2020)
⚫
*[[Yashpaul]] "[[Sagun Piya]]" (1937 - ?)
⚫
*[[Lalith J. Rao]] (1942 - ?)
⚫
*[[Subhra Guha]] (1956 - )
* Shaukat Hussain Khan (1962 - ?)
⚫
* Mohsin Ahmed Khan Niazi (1965-2020)
* Bande Hassan Khan
⚫
*Latafat Hussain Khan "Prem Das"
*Ata Hussain Khan "Ratan Piya"
*Kaale Khan "Saras Piya"
*Abdullah Khan "Manhar Piya'
*Bashir Ahmed Khan
*Aqeel Ahmed Khan
*Wasi Ahmed Khan
*Shabbir Ahmed Khan
*Naseem Ahmed Khan
*Yunus Hussain Khan
*Yaqoob Hussain Khan
*Yusuf Hussain Khan
*Nasir khan
*Shamim Ahmed Khan
*Ghulam Rasool Khan
*Anwar Hussain Khan
*Ghulam Hussain Khan Raja Miyan
*Arif Hussain


==Bibliography==
==Bibliography==

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

[edit]

Bibliography

[edit]
  • 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

[edit]
  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.
[edit]
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