{"id":6310,"date":"2023-02-22T11:13:46","date_gmt":"2023-02-22T11:13:46","guid":{"rendered":"http:\/\/lltonline.org\/?p=6310"},"modified":"2023-02-22T11:20:54","modified_gmt":"2023-02-22T11:20:54","slug":"arts-_-culture-compilations-part-1-chapter-4-hindustani-music","status":"publish","type":"post","link":"https:\/\/lltonline.org\/index.php\/2023\/02\/22\/arts-_-culture-compilations-part-1-chapter-4-hindustani-music\/","title":{"rendered":"Arts _ Culture Compilations Part 1 (Chapter 4 HINDUSTANI MUSIC)"},"content":{"rendered":"\t\t<div data-elementor-type=\"wp-post\" data-elementor-id=\"6310\" class=\"elementor elementor-6310\">\n\t\t\t\t\t\t<section class=\"elementor-section elementor-top-section elementor-element elementor-element-81c206d elementor-section-boxed elementor-section-height-default elementor-section-height-default\" data-id=\"81c206d\" data-element_type=\"section\">\n\t\t\t\t\t\t<div class=\"elementor-container elementor-column-gap-default\">\n\t\t\t\t\t<div class=\"elementor-column elementor-col-100 elementor-top-column elementor-element elementor-element-5cb7e36\" data-id=\"5cb7e36\" data-element_type=\"column\">\n\t\t\t<div class=\"elementor-widget-wrap elementor-element-populated\">\n\t\t\t\t\t\t<div class=\"elementor-element elementor-element-18f3777 elementor-widget elementor-widget-text-editor\" data-id=\"18f3777\" data-element_type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t<style>\/*! elementor - v3.20.0 - 20-03-2024 *\/\n.elementor-widget-text-editor.elementor-drop-cap-view-stacked .elementor-drop-cap{background-color:#69727d;color:#fff}.elementor-widget-text-editor.elementor-drop-cap-view-framed .elementor-drop-cap{color:#69727d;border:3px solid;background-color:transparent}.elementor-widget-text-editor:not(.elementor-drop-cap-view-default) .elementor-drop-cap{margin-top:8px}.elementor-widget-text-editor:not(.elementor-drop-cap-view-default) .elementor-drop-cap-letter{width:1em;height:1em}.elementor-widget-text-editor .elementor-drop-cap{float:left;text-align:center;line-height:1;font-size:50px}.elementor-widget-text-editor .elementor-drop-cap-letter{display:inline-block}<\/style>\t\t\t\t<p><strong><em>There are 10 styles of singing &amp; compositions. <\/em><\/strong><\/p><p><strong>1. Dhrupad-<\/strong><\/p><ul><li>oldest &amp; grandest form of Nibaddha Sangeet.<\/li><li>Believed to be an elaboration of prabandha structure. Name derived from &#8220;dhruv&#8221; and &#8220;pada&#8221; (verse). Denotes both verse style of poetry and style in which it is sung. In structure, dhrupad has 2 parts, anibaddha section &amp; the sanchari proper.<\/li><li>The first is a free alaap. The dhrupad proper is a song in 4 parts: the asthayee, the antara, the sanchari &amp; the abhoga. The instruments &#8220;been&#8221; and &#8220;Pakhwaj&#8221; were closely associated with the dhrupad.<\/li><li>Alaap is largest portion of the performance.<\/li><li>Dhrupad is in decline since 18th Century.<\/li><\/ul><p><strong>2. Khayal-<\/strong><\/p><ul><li>Literally means &#8220;story thought&#8221;\/ &#8220;imagination&#8221;. Scholars believe its roots in the ancient Indian rupaka alaps.<\/li><li>2 Types- Vilambit(slow) &amp; Drut(fast) Khayal. Comparable to the vanis in Dhrupad, we have gharanas in Khayal.<\/li><li>Khayal is also composed in a particular raga and tala &amp; has a brief text.<\/li><li>The Khayal texts range from praise of Kingsor seasons, description to the pranks of Lord Krishna, divine love &amp; sorrow of separation.<\/li><li>There are 6 mains gharanas in Khayal: Delhi, Patiala, Agra, Gwalior, Kirana, Atrawli-Jaipur. Gwalior-oldest gharana\/ mother of all gharana.<\/li><\/ul><p><strong>3. Thumri-<\/strong><\/p><p>a) It is love song &amp; hence textual beauty is very important.<\/p><p>b) 2 styles of singing- Poorab or Banaras(slow), Punjabi Style.<\/p><p>c) very lyrical in the structure &amp; presentation.<\/p><p>d) believed to have been influenced by hori, kajri &amp; dadra.<\/p><p>e) 18th Century, Eastern UP(mainly Lucknow &amp; Benaras).<\/p><p>f) also called &#8220;lyric of Indian classical music&#8221;.<\/p><p>g) Love, separation &amp; devotion. Various episodes of Lord Krishna &amp; Radha.<\/p><p>h) Usually performed as last item of Khayal concert.<\/p><p>i) 3 main gharanas of Thumri- Benaras, Lucknow &amp; Patiala.<\/p><p><strong>4. Dhamar-Hori- <\/strong><\/p><p>a) compositions similar to Dhrupad but chiefly associated with their festival.<\/p><p>b) specifically in praise of Lord Krishna.<\/p><p>c) sung in Dhamar tale (festivals Janmasthami, Ram Navami &amp; Holi)<\/p><p>d) description of spring season &amp; Radha Krishna love.<\/p><p><strong>5. Tappa- <\/strong><\/p><p>a) consists of songs uttered in fast note patterns.<\/p><p>b) difficult composition &amp; needs practice.<\/p><p>c) late 8th Century AD from folk songs of camel drivers.<\/p><p>d) Tappa literally means &#8220;jump&#8221; in Persian.<\/p><p>e) Folklore of love+passion; written in Punjabi.<\/p>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<section class=\"elementor-section elementor-top-section elementor-element elementor-element-30e7667 elementor-section-boxed elementor-section-height-default elementor-section-height-default\" data-id=\"30e7667\" data-element_type=\"section\">\n\t\t\t\t\t\t<div class=\"elementor-container elementor-column-gap-default\">\n\t\t\t\t\t<div class=\"elementor-column elementor-col-100 elementor-top-column elementor-element elementor-element-487605c\" data-id=\"487605c\" data-element_type=\"column\">\n\t\t\t<div class=\"elementor-widget-wrap elementor-element-populated\">\n\t\t\t\t\t\t<div class=\"elementor-element elementor-element-35c307a elementor-widget elementor-widget-text-editor\" data-id=\"35c307a\" data-element_type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t<p><strong>6. Dadra- <\/strong><\/p><p>a) bears a close resemblance to Thumri.<\/p><p>b) texts are as amorous as those of Thumri.<\/p><p>c) major difference as that of Dadras have more than one antara &amp; are in dadra tala.<\/p><p>d) Singers usually sing of dadra after a thumri.<\/p><p><strong>7. Ragasogar-<\/strong><\/p><p>a) 8-12 ragas; lyrics indicate change of ragas.<\/p><p>b) musical passages in different ragas as 1 song composition.<\/p><p>c) depends on how smoothly the musical passages change along with the ragas.<\/p><p><strong>8. Tarana-<\/strong> is a style consisting of peculiar syllables woven into rhythmical patterns as a song. It is usually sung in faster tempo.<\/p><p><strong>9. Chaturang-<\/strong> denotes 4 colours as composition of a song in 4 parts: Fast Khayal, Tarana Sangam &amp; &#8220;Paran&#8221; of Tabla or Pakhwaj.<\/p><p><strong>10. Ghazal-<\/strong><\/p><p>a) mainly a poetic form than a musical form, but it is more song like than the thumri.<\/p><p>b) described as &#8220;pride of Urdu poetry&#8221;.<\/p><p>c) originated in Iran in 10th Century AD.<\/p><p>d) never exceeds 12 Shers (couplets) and on average has 7 shers.<\/p><p>e) found an opportunity to grow &amp; develop in India around 12th century AD when Mughal influences came to India &amp; Persian gave way to Urdu as a language of poetry &amp; literature.<\/p><p>f) developed and evolved in the courts of Golconda &amp; Bijapur under patronage of Muslim rulers.<\/p><p>g) 18th &amp; 19th Century AD- golden period of Ghazals with Delhi &amp; Lucknow as main centres.<\/p>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<\/div>\n\t\t","protected":false},"excerpt":{"rendered":"<p>There are 10 styles of singing &amp; compositions. 1. Dhrupad- oldest &amp; grandest form of Nibaddha Sangeet. Believed to be an elaboration of prabandha structure. Name derived from &#8220;dhruv&#8221; and &#8220;pada&#8221; (verse). Denotes both verse style of poetry and style in which it is sung. In structure, dhrupad has 2 parts, anibaddha section &amp; the [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"om_disable_all_campaigns":false,"footnotes":""},"categories":[52],"tags":[],"post_folder":[53],"aioseo_notices":[],"_links":{"self":[{"href":"https:\/\/lltonline.org\/index.php\/wp-json\/wp\/v2\/posts\/6310"}],"collection":[{"href":"https:\/\/lltonline.org\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/lltonline.org\/index.php\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/lltonline.org\/index.php\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/lltonline.org\/index.php\/wp-json\/wp\/v2\/comments?post=6310"}],"version-history":[{"count":4,"href":"https:\/\/lltonline.org\/index.php\/wp-json\/wp\/v2\/posts\/6310\/revisions"}],"predecessor-version":[{"id":6314,"href":"https:\/\/lltonline.org\/index.php\/wp-json\/wp\/v2\/posts\/6310\/revisions\/6314"}],"wp:attachment":[{"href":"https:\/\/lltonline.org\/index.php\/wp-json\/wp\/v2\/media?parent=6310"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/lltonline.org\/index.php\/wp-json\/wp\/v2\/categories?post=6310"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/lltonline.org\/index.php\/wp-json\/wp\/v2\/tags?post=6310"},{"taxonomy":"post_folder","embeddable":true,"href":"https:\/\/lltonline.org\/index.php\/wp-json\/wp\/v2\/post_folder?post=6310"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}