DOCSLIB.ORG

Indian Journal of Arts• PERSPECTIVES

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Indian Journal of Arts• PERSPECTIVES PERSPECTIVESIndian Journal of Arts • PERSPECTIVES Indian Journal of Arts, Volume 3, Number 7, July 2013 r 687X Indian Journal of – 2320 EISSN Arts 6659 6659 – 2320 2320 ISSN Patterns and Signature of Gwalior Gharana in Indian Classical Music Deepak Kumar Mittal1☼, Santosh Purandare2, Neera Sharma3 1. Research Scholar, Dept. of Performing Arts, Raja Man Singh Tomar Music and Arts University, Gwalior, (M.P.), India 2. Assistant Professor, Dept. of Music, Madhav College, Gwalior, India 3. Professor, Dept. of Performing Arts,Vanasthali Vidyapeeth, Rajasthan, India ☼Correspondence to: Research Scholar, Raja Mansingh Tomar Music and Arts University, Gwalior, (M.P.), India, Email: [email protected] Mobile: (+91)9425771967 Received 11 May; accepted 19 June; published online 01 July; printed 16 July 2013 ABSTRACT In Medieval period of India, there was discipline of music called gharanas. The world gharana exactly means a family. So these families or guilds specialized in scrupulous styles or traditions of music. Gwalior gharana is regarded as the mother of all gharanas as it is the oldest, and one of the most enduring. Tansen, the famous musician, was the founder of this gharana and Raja Man Singh was one of the greatest patrons of Arts and Music. The aim of this study, Gwalior gharana is performed major patterns and signature of Indian classical music. Keywords: Gwalior, Khyal, Dhrupad, Tansen, Raja Mansingh Tomar. 1. INTRODUCTION Indian classical music is one of the oldest forms of music in the world. It has its roots in diverse areas such as the ancient religious Vedic hymns, tribal chants, devotional temple music, and folk music. The origins of Indian classical music can be found in the Vedas, which are the oldest scriptures in the Hindu tradition. Indian classical music has also been significantly influenced by, or syncretized with, Indian folk music, and Hindustani music has also been influenced by Persian music (Deva, 1981). Indian classical music is both elaborate and expressive. Like Western classical music, it divides the octave into 12 semitones of which the 7 basic notes are, in ascending tonal order, Sa Re Ga Ma Pa Dha Ni Sa for Hindustani music and Sa Ri Ga Ma Pa Da Ni Sa for Carnatic music, similar to Western music's Do Re Mi Fa Sol La Ti Do (omenad.net). Indian music is traditionally taught via oral methods and, until the 20th century, did not employ notations as the primary media of instruction, understanding, or transmission. The rules of Indian music and compositions themselves are taught from a guru to a shishya, in person (Joshi and Gandhar). 2. GWALIOR GHARANA (“Gwalior mein baccha bhi sur mein rota hai”) Gwalior Gharana started with the reign of the great Mughal emperor Akbar (1542–1605). The favorite singers of this patron of the arts, such as Miyan Tansen, first amongst the vocalists at the court, came from the town of Gwalior. During the time of Mughal kings Ustad Nathan Pir Bakhsh and his maternal grandsons were the legendary Haddu, Hassu and Nathu Khan. The main musician in the court at the time was Ustad Bade Mohammad Khan who was famous for his taanbaazi. Both Ustad Bade Mohammad Khan and Ustad Nathan Pir Bakhsh belonged to the same tradition of Shahi Sadarang (Neeta, 2011). Raja Man Singh was patron of Dhrupad gharana. The word Dhrupad is the Hindi form of the original Sanskrit, Dhruvapada, a combination of Dhruva = structured or rigid and Pada = word. He was pivotal in replacing Sanskrit with Hindi in music (Sanyal and Widdess). Some sources believe that Ustad Nathan Pir Bakhsh settled in Gwalior and evolved the style features that led to this gharana. Others claim that individuals named Nathan Pir Bakhsh and Nathu Khan founded the gharana. The accepted version is that Nathan Pir Baksh left Lucknow in Uttar Pradesh to escape the professional rivalry with Ustad Shakkar Khan that had taken an ugly turn. He arrived in Gwalior with his maternal grandsons Haddu Khan and Hassu Khan (Dhaneswar, 2012; Lalita, 2012). Another great khyal singer, also originally from Lucknow, was Ustad Bade Mohammed Khan who brought the Taan into khyal singing. Haddu Khan and Hassu Khan further enhanced the style of the Gwalior gharana as we recognize it today. Hassu Khan died prematurely. Haddu Khan's son, Rehmat Ali Khan (1852–1922) was a widely acclaimed singer who liberated the Gwalior style from the methodical form it followed to the emotional style that he preferred (Grimmes, 2008). 3. IMPORTANT FEATURES OF THE GWALIOR GHARANA This is a pioneer Gharana in Hindustani Classical Khayal Singing. It is supposed to have evolved through Dhrupad Singing and also through the music of Sufi-Saints and “Quwaal-Baches” (Qawaal-Singers). Some believe that this gharana was created by Natthan Pir Baksh who was patronized by Gwalior-Naresh Jayaji Rao, the king of Gwalior State. This Gharana 1 lays great importance on clear indication of the character of Raga in a very first “Alaapa” i.e slow development of prominent notes. Khayal Singing is completely based on notes, rhythm and compositions. Hence, Gwalior Gharana Gayaki puts priority on compositions (Bandishis). One finds a great verity of compositions in any given Raga, which can be sung by various types Page Deepak Kumar Mittal et al. Patterns and Signature of Gwalior Gharana in Indian Classical Music, Indian Journal of Arts, 2013, 3(7), 1-3, www.discovery.org.in http://www.discovery.org.in/ija.htm © 2013 Discovery Publication. All Rights Reserved Indian Journal of Arts • PERSPECTIVES of voices. The Raga made interesting by different developing styles suited to particular composition. The “Sama” and “Kala” of a composition is co-ordinate with some particular letters. A composition is presented in a well-defined style. “Sthayee” is sung twice, “Antara” only once, and then the “Raga-Vistara” (presenting different characteristics and aspects of the Raga) is presented. Gwalior Gharana Gayaki is replete the profound serenity of the “Dhrupad Dhamara” Gayaki. Singing in multiple rhythms is a salient feature of Dhrupad, viz double, triple, quadruple as well as contra-rhythm. Another noteworthy feature is repeating the refrain, thrice and then pouncing upon the ‘Sama’ very dramatically. All these features are present as in this Gharana, as also is its natural, easy and full-throated way of singing. As in Dhrupad, slow-moving compositions (Vilambit Bandish) sometimes contain a number of Sthayess and Antaras, with different moods and feelings, which are very dignified and satisfying aesthetically. In this Gharana, Khayal is mostly sung in medium pace (Madhyalaya). Tilwada and Zumra are the most popular talas. There was a time which Ektala also us. The weighatage and the structures of sections of Tala are in the main focus in this Gayaki. Thus the grace of the tala becomes manifest. Gwalior Gayaki gives preference to the contemporary and pure Ragas. It emphasizes the strong points and the resting points of Raga. The Tanas are sung in ascending and descending (Aarohi and Awarohi) orders. They are strait, plane and have great reach. Swings and oscillations of voice are also used (Behelava). It is not that this Gayaki high-lights only one certain aspect. It balances all different aspects of singing. It is an eight-dimensional (Ashtanga Pradhan Gayaki) Style. It employs Gamaka, Andolana, Kampa, Meend, Murki, Patak, Khatak, Jamjama etc. as and when an occasion demands. This Gayaki is without any guile or gimmicks. It is simple and straightforward and yet it is very scintillating. There is no subtle artistry, yet there being a beautiful fusion of Swara and Tala, the listener derives complete pleasure and satisfaction. This Gayaki lays emphasis on Virtuosity (Taiyari). That is why compositions like Tarana, Triwat, Chatrang, Tappa can be heard in this Gayaki. 4. ORNAMENTATIONS AND COMPOSITIONS OF GWALIOR GHARANA A distinguishing feature of the gharana is its simplicity, and one means to this is the selection of well-known ragas so that the listener is saved the effort of trying to identify the raga. While the khyal singer does include "Raga Vistar" (melodic expansion) and "Alankar" (melodic ornamentation) to enhance the beauty and meaning of the raga, there is no attempt to include the "Tirobhava" (using melodic phrases to obscure the identity of the raga) feature in the interest of adding interest or mystery to the listener's experience. The singing itself places Bandish (the composition) at the heart of the presentation because of the gharana's belief that the full melody of the raga and guidance on its singing is provided by the bandish. The asthayi section is sung twice before the antara, to be followed by swar-vistar in medium tempo. This slow rendition of the notes is known as the Behlava, and is sung from Ma in the lower register to Pa in the higher register, following the pattern of the Aaroha (ascent) and Avaroha (descent) of the raga. The behlava is divided into the asthayi (from Ma to Sa) and antara (from Ma, Pa, or Dha to Pa of the higher register). The Dugun-Ka-Alap follows in which groups of two or four note combinations are sung in quicker succession but the basic tempo remains the same. The Bol-Alap is next in which the different words of the text are sung in different ways, to be followed by Murkis in which notes are sung with ornamentation to a faster pace. Bol-Taans entail the formation of melodic sequences with the words of the song. The other Taans, including the Gamak, follow. The Sapat Taan is important to the Gwalior style and refers to the singing of notes in a straight sequence and at a Vilambit pace. Both Dhrupad and khyal singing evolved in Gwalior and there are many overlaps.
Load more

Recommended publications
  • Hindustani Percussion Syllabus Levels
    Level 1 IndianRaga Hindustani Percussion Curriculum Practical Sample Question Set 1. Basic strokes: individual & combination 1. Play the basic 2. Basic phrases: at the discretion of the teacher phrases with Suggested: Thirakita, thirakitathaka, some variations – thirakitathaka tha gegethita, 3. Phrases with variations: at the discretion of the thirakitathaka etc teacher as advised by Suggested: Gege thita gege nana, dhadha thita teacher dhadha thina 2. Play teental theka Dha dha thirakita dha dha thina etc. in 3 speeds and 4. Teental basic pattern (Theka) in 3 speeds recite with beat 5. Basic Qaida, Rhela based patterns : at the 3. Play a small qaida discretion of the teacher 4. Tell us about the different parts of the tabla and Theory Requirements what they are 1. Building blocks of tala and counting made of 2. Recitation of all the above practical requirements Evaluation Adherence to Laya (proper tempo, rhythm), Posture, precision of strokes as well as proper recitation. Level 2 IndianRaga Hindustani Percussion Curriculum Practical & Theory Requirements Sample Questions set 1. Tala dadra, roopak, jhaptaal – recite and play in 1. Play thekas of 3 speeds Dadra, roopak 2. 3 finger tirkit (& more complex thirkit phrases) and Teental in 3 3. Further development of basic phrases from speeds level 1 2. Play some thirkit 4. 2 qaidas with 3 variations each – thi ta, thirakita based phrases based and more at the discretion of teacher 3. Play a qaida based 5. 3 thihais and 2 simple tukdas in Teental in thi ta with some variations 4. Play some thihais Evaluation in Teental Adherence to Laya (proper tempo, rhythm), Posture, 5.
    [Show full text]
  • K-4 Curriculum Guide
    India and its Music Classical North Indian music comes began thousands of years ago before the Christian Era in world history. Since this musical tradition is taught by an oral method (spoken or sung), instead of written, there were not reliable written records of the music except in very ancient books called the Vedas. These were books that recorded stories and hymns and prescriptions for how to behave according to the Hindu religion and were written 3,200 to 4,000 years ago. Some people believe they were written thousands of years earlier, and scholars debate this subject. India: Home to the World’s Great Religions In India many of the world’s great religions got their start. These would include Hinduism, Buddhism, Jainism, and the Sikh religion. Also there are Indian Christians, and Islam is an important religion in the north of India. For many centuries Islamic culture had a big influence on music and mingled with the original music of India that existed before the Moslems conquered India. The result is a music that took elements of Islamic music from Persia, Turkey and Afghanistan and blended with the original music of India to become Hindustani music – the classical music of north India. The Hindu religion’s legends and mythology have many gods and goddesses, and these gods and goddesses are thought to be aspects of the One God Vishnu. Saraswati, Goddess of art, music, and learning One important goddess to Indian artists, scholars and musicians is Saraswati who is the goddess of art, music and learning. Mohandas K.
    [Show full text]
  • Shruti Sangeet Academy
    Shruti Sangeet Academy https://www.indiamart.com/shruti-sangeet-academy/ We provide Hindustani Classical,Semi Classical,Light Compositions,Sanskrit Shlokas and Compositions etc. About Us The Shruti Sangeet Academy is blessed to have a very motivated, sincere and dedicated group of students. Current Students are enrolled at one of three levels; Beginers, Intermediate and Advanced, based on their experience and comfort with the art form. Students follow a curriculum based on that offered by the Gandharva Mahavidhalaya . Gandharva Mahavidyalaya is an institution established in 1939 to popularize Indian classical music and dance. The Mahavidyalaya (school) came into being to perpetuate the memory of Pandit Vishnu Digamber Paluskar, the great reviver of Hindustani classical music, and to keep up the ideals set down by him. The first Gandharva Mahavidyala was established by him on 5 May 1901 at Lahore. The institution was relocated to Mumbai after 1947 and has subsequently established its administrative office at Miraj, Sangli District, Maharashtra. Gandharva Mahavidyalaya, New Delhi was established in 1939 by Padma Shri Pt. Vinaychandra Maudgalaya, from the Gwalior gharana, today it is the oldest music school in Delhi and is headed by noted Hindustani classical singer, Madhup Mudgal. At the Shruti Sangeet Academy, students up on completion of their curriculum successfully, have the option of applying and testing for the following certifications; (1) Sangeet Praveshika, equivalent to matriculation (generally a... For more information, please visit https://www.indiamart.com/shruti-sangeet-academy/aboutus.html F a c t s h e e t Nature of Business :Service Provider CONTACT US Shruti Sangeet Academy Contact Person: Manager A1-602 Parsvnath Exotica Sector 53 Gurgaon - 122001, Haryana, India https://www.indiamart.com/shruti-sangeet-academy/.
    [Show full text]
  • 12 NI 6340 MASHKOOR ALI KHAN, Vocals ANINDO CHATTERJEE, Tabla KEDAR NAPHADE, Harmonium MICHAEL HARRISON & SHAMPA BHATTACHARYA, Tanpuras
    From left to right: Pandit Anindo Chatterjee, Shampa Bhattacharya, Ustad Mashkoor Ali Khan, Michael Harrison, Kedar Naphade Photo credit: Ira Meistrich, edited by Tina Psoinos 12 NI 6340 MASHKOOR ALI KHAN, vocals ANINDO CHATTERJEE, tabla KEDAR NAPHADE, harmonium MICHAEL HARRISON & SHAMPA BHATTACHARYA, tanpuras TRANSCENDENCE Raga Desh: Man Rang Dani, drut bandish in Jhaptal – 9:45 Raga Shahana: Janeman Janeman, madhyalaya bandish in Teental – 14:17 Raga Jhinjhoti: Daata Tumhi Ho, madhyalaya bandish in Rupak tal, Aaj Man Basa Gayee, drut bandish in Teental – 25:01 Raga Bhupali: Deem Dara Dir Dir, tarana in Teental – 4:57 Raga Basant: Geli Geli Andi Andi Dole, drut bandish in Ektal – 9:05 Recorded on 29-30 May, 2015 at Academy of Arts and Letters, New York, NY Produced and Engineered by Adam Abeshouse Edited, Mixed and Mastered by Adam Abeshouse Co-produced by Shampa Bhattacharya, Michael Harrison and Peter Robles Sponsored by the American Academy of Indian Classical Music (AAICM) Photography, Cover Art and Design by Tina Psoinos 2 NI 6340 NI 6340 11 at Carnegie Hall, the Rubin Museum of Art and Raga Music Circle in New York, MITHAS in Boston, A True Master of Khayal; Recollections of a Disciple Raga Samay Festival in Philadelphia and many other venues. His awards are many, but include the Sangeet Natak Akademi Puraskar by the Sangeet Natak Aka- In 1999 I was invited to meet Ustad Mashkoor Ali Khan, or Khan Sahib as we respectfully call him, and to demi, New Delhi, 2015 and the Gandharva Award by the Hindusthan Art & Music Society, Kolkata, accompany him on tanpura at an Indian music festival in New Jersey.
    [Show full text]
  • (Micro Tonal Intervals) and Their Application in Hindustani Music
    On Mathematical Functions for Theoretical and Experimental Distributions for Shrutis (Micro Tonal Intervals) and Their Application in Hindustani Music Vishal Midya1 1Indian Statistical Institute, Delhi, India In this work, exact mathematical functions have been formulated for three important theoretical Shruti (micro tonal interval) distributions, i.e. for Western Compilation, Deval, and Nagoji Row in Hindustani music. A generalized mathematical function for Shrutis has also been formulated. This generalized function shows a very high order of conformity with the experimentally derived Shruti distribution, than those of the theoretical Shruti distributions. Keywords: Hindustani music, Shruti (micro tonal interval), Experimental and theoretical Shruti distributions, Mathematical functions for Shruti Distributions, Generalized Shruti function 1) Introduction The Indian Musical system is based on modal format, and here the relation between successive notes as well as, the relation between a fixed tonic and any note is of grave importance. Even in the absence of tonic, an isolated note can convey an expression, of course with respect to a memorized tonic or a previous note. Here each note leaves an impression in mind and the idea is revealed through the cumulative effect of successive notes. It should be kept in mind that, the tonic is not fixed, in terms of frequencies, rather can be specified at any position according to the performer. So, in the scale of Indian musical system, relation between successive notes has to be considered. The notion of Shruti or microtonal intervals has to be given importance. Musicological research on the existence of Shruti and their relevance to the performance or perception has been started long ago.
    [Show full text]
  • A Nonlinear Study on Time Evolution in Gharana
    Preprints (www.preprints.org) | NOT PEER-REVIEWED | Posted: 15 April 2019 doi:10.20944/preprints201904.0157.v1 A NONLINEAR STUDY ON TIME EVOLUTION IN GHARANA TRADITION OF INDIAN CLASSICAL MUSIC Archi Banerjee1,2*, Shankha Sanyal1,2*, Ranjan Sengupta2 and Dipak Ghosh2 1 Department of Physics, Jadavpur University 2 Sir C.V. Raman Centre for Physics and Music Jadavpur University, Kolkata: 700032 India *[email protected] * Corresponding author Archi Banerjee: [email protected] Shankha Sanyal: [email protected]* Ranjan Sengupta: [email protected] Dipak Ghosh: [email protected] © 2019 by the author(s). Distributed under a Creative Commons CC BY license. Preprints (www.preprints.org) | NOT PEER-REVIEWED | Posted: 15 April 2019 doi:10.20944/preprints201904.0157.v1 A NONLINEAR STUDY ON TIME EVOLUTION IN GHARANA TRADITION OF INDIAN CLASSICAL MUSIC ABSTRACT Indian classical music is entirely based on the “Raga” structures. In Indian classical music, a “Gharana” or school refers to the adherence of a group of musicians to a particular musical style of performing a raga. The objective of this work was to find out if any characteristic acoustic cues exist which discriminates a particular gharana from the other. Another intriguing fact is if the artists of the same gharana keep their singing style unchanged over generations or evolution of music takes place like everything else in nature. In this work, we chose to study the similarities and differences in singing style of some artists from at least four consecutive generations representing four different gharanas using robust non-linear methods. For this, alap parts of a particular raga sung by all the artists were analyzed with the help of non linear multifractal analysis (MFDFA and MFDXA) technique.
    [Show full text]
  • Bhimsen Joshi and the Kirana Gharana«
    Bhimsen Joshi and the Kirana Gharana« CHETAN KARNAN! I. INTRODUCIlON he Kirana ghariinii laid emphasis on melody rather than rhythm. In our times, Bhimsen Joshi has become the most popular artist of this gharana Tbecause he combines melody with vinuosity. His teacherSawaiGandharva combined melody with the euphony of his voice. Sawai Gandharva's teacher. Abdul Karim Khan, was a pioneer and the founder of the Kiranagharana. He had arare gift for making melodic phrases in any raga he chose to sing. Abdul Karim Khan had another notable disciple in Roshan Ara Begam, but Sawai Gandharva was by far his most distinguished disciple. Sawai Gandharva's important disciples are Bhimsen Joshi, Gangubai Hangal and Firoz Dastur. In later sections of this chapter I have emphasized the rugged masculinityof GangubaiHangal's voice. I have also discussed the systematic elaboration of ragas presentedby Firoz Dastur. Just as the Gwalior gharana has two lines represented by Haddu Khan and Hassu Khan, the Kirana gharana has two lines represented by Abdul Karim Khan and Abdul Wahid Khan. Abdul Wahid Khan combined melody with systematic elaboration of raga. He laid emphasis on the placid flow of music and preferred tosing in Jhoomra tala offourteen beats. By elaboratinga raga in slow tempo, he showed a facet of melody distinct from Abdul Karim Khan. His most di stinguished disciples were Hirabai Barodekar and Pran Nath, who sang with euphony in slow tempo. It is sheer good luck that the pioneers of the Kirana gharana, Abdul Karim Khan and Abdul Wahid Khan, were saved from oblivion by the gramophone COmpanies.
    [Show full text]
  • The Gwalior Gharana of Khayal
    THE GWALIOR GHARANA OF KHAYAL SusheeJa Misra The different gharanas in Khayal-singing have not only helped to preserve and perpetuate the older traditions through an unbroken lineage of Guru­ shishya-paratnpara, but also added much colour and infinite variety to Hindustani Music. In an article on "A spects of Karnatic Music", the late Sri G.N. Balasubramaniam (a famous performing artiste and scholar) wrote almost longingly:- "Unlike the Karnatak system, the Hindustani system is more elastic and flexible and comparatively free from inhibitions and restrictions. For instance, in the North there are several Gharanas--each one handling one and the same raga differently. In the South everywhere, every raga is ren­ dered alike". It is this scope for variety, choice of suitable style, and flights of fancy that have maintained the popul arity of the Khayal up till now. The precursors of the Khayal also used to be rendered in different styles. In ancient granthas, we come across mention of different types of "Geetis" such as "Shudhdha", "Bhinna", "Goudi", "Vesari", and "Saadhaarant", When the golden age of the Dhrupad began (during the Middle Ages), Dhrupad-gayan also had developed four "Baants" (meaning styles, or schools) namely, :-"Goudi" or "Gobarhari", "Daggur", "Khandar", and "Nowhar". When the majestic and ponderous Dhrupad had to give place to the .classico-romantic Khayal-form, the latter was developed and perfected into various styles which came to be known as "Gharanas", These "gharanas" gave an attractive variety to Khayal-singing,-each "gharana" developing its own distinctive features, although all of them were deeply rooted in a common underlying tradition or "Susampradaaya".
    [Show full text]
  • Transcription and Analysis of Ravi Shankar's Morning Love For
    Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2013 Transcription and analysis of Ravi Shankar's Morning Love for Western flute, sitar, tabla and tanpura Bethany Padgett Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Music Commons Recommended Citation Padgett, Bethany, "Transcription and analysis of Ravi Shankar's Morning Love for Western flute, sitar, tabla and tanpura" (2013). LSU Doctoral Dissertations. 511. https://digitalcommons.lsu.edu/gradschool_dissertations/511 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. TRANSCRIPTION AND ANALYSIS OF RAVI SHANKAR’S MORNING LOVE FOR WESTERN FLUTE, SITAR, TABLA AND TANPURA A Written Document Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in The School of Music by Bethany Padgett B.M., Western Michigan University, 2007 M.M., Illinois State University, 2010 August 2013 ACKNOWLEDGEMENTS I am entirely indebted to many individuals who have encouraged my musical endeavors and research and made this project and my degree possible. I would first and foremost like to thank Dr. Katherine Kemler, professor of flute at Louisiana State University. She has been more than I could have ever hoped for in an advisor and mentor for the past three years.
    [Show full text]
  • RAHIMAT KHAN, DISCOGRAPHY, KHYAL SINGER | Bajakhana
    bajakhana MICHAEL KINNEAR'S WEBSITE INTO EARLY SOUND RECORDINGS HOME RECORD LABELS DISCOGRAPHIES ARTICLES PUBLICATIONS CONTACT CHECKOUT ← Previous Next → RAHIMAT KHAN, DISCOGRAPHY, KHYAL SINGER Ustad RAHIMAT KHAN Sahib KHYAL SINGER, c. 1860 – 1922 A BIO – DISCOGRAPHY By Michael Kinnear Excerpt from “Sangeet Ratna – The Jewel of Music” Khan Sahib Abdul Karim Khan – A Bio Discography by Michael Kinnear, Published 2003 Rahimat Khan with Vishnupant Chhatre and his brother Vinayakra Chhatre Rahimat Khan at Dharwararkar https://bajakhana.com.au/wp- 00:00 00:00 content/uploads/2019/06/rahmatkhan_malkauns.mp3 Rahimat Khan – Malkauns https://bajakhana.com.au/wp-content/uploads/2019/06/rahmatkhan_yaman-1.mp3 RAHIMAT KHAN is one of the legendary figures of Hindustani music of the 19th centuryand a leading exponent of the Gwalior Gharana. Precise or factual information about his life is rather sketchy and for the most part appear to be anecdotal and the lineage of his family varies from one account to another. Rahimat Khan is believed to have been born at Gwalior in 1860 and was one of the sons of Haddu Khan, who along with his elder brother Hassu Khan had achieved fame as Khayal singers at the court of Gwalior. The ancestral home of this family was originally at Hussainpur, which later became known as Husanpur-Lohari, a twin village some twenty miles northwest of Muzaffarnagar in the district of the same name, and some twenty miles north of Kairana. This area north of Delhi is generally known as the ‘Bara-basti’. The area has produced a number of gifted families of musicians of Pathan origin, but it is notknown for certain if the generations of this particular family originally came from Husanpur Lohari, or had migrated there from Lucknow during the rulership of Nawab Saddat Ali Khan II (r.1797-1814).
    [Show full text]
  • Dr. Gagandeep Hothi • Designation: Assistant Professor
    ACADEMIC PROFILE OF FACULTY MEMBER Name: Dr. Gagandeep Hothi Designation: Assistant Professor – D.S.B. Campus, Kumaun University, Nainital. Qualification: M.A.; M.Phil; UGC-NET (JRF & SRF); Ph.D. Area of Specialization/Research field: Indian Classical Music – Instrumental (Sitar) Awards/Recognitions: At the age of 10, was awarded the prestigious National Scholarship by the Ministry of Culture, Government of India, for "Sitarwadan". Amongst the winners of "All India Radio Competition, year 2003." Awarded the Scholarship for Merit in Senior Secondary Examination by the H.P. Board of School Education Dharamshala. Awarded the Scholarship for Cultural Activities and Merit by the Centre of Excellence, Govt. College Sanjauli for BA-1, BA-2 & BA-3. Awarded the Scholarship for Cultural Activities and Merit by the H.P. University, Shimla for Graduation, Post Graduation & M.Phil. On September 07, 2009; was conferred with the “Kshitij Kala Samman” by “Smt. Prabha Rau”, “Honorable Governor of Himachal Pradesh.” Awarded the UGC-NET-Junior Research Fellowship (JRF) & Senior Research Fellowship (SRF) – June 2009. Presented the “Himotkarsh Award of Honor” by “Prof. Prem Kumar Dhumal”, ”Honorable Chief Minister of Himachal Pradesh.” For five consecutive years (i.e. 2003,04,05,06 & 07), won the first prize in the H.P. University Youth Festival. Excelled academically and secured Gold Medals in Graduation, Post Graduation and M.Phil from the Himachal Pradesh University, Shimla. Awarded as an “A-Grade” artist of All India Radio (A.I.R.) and
    [Show full text]
  • Annual Report-2004-2005
    2004-2005 THIS IS THE 44th Annual Report of the India International Centre for the year commencing February 2004 up to 31 January 2005. It will be placed before the 49th Annual General Body Meeting of the Centre, to be held on the 28th of March 2005. The tenure of the existing elected representatives on the Executive Committee and the Board of Trustees, from both the Individual and Corporate membership segments, will come to an end on the 31st of March 2005. The Centre would like to place on record its gratitude to the two outgoing Trustees, Shri S.K. Singh and Dr Arun Nigavekar, and to Shri Inder Malhotra, Lt. Gen. (retd) A. S. Kalkat, Dr S. M. Dewan, Dr R. K. Pachauri, Shri M. H. Ansari and Prof. (Mrs.) Sneh Bhargava (members of the Executive Committee), for the interest they have taken and the valuable support they provided towards the Centre’s functioning. The process of filling up the vacancies for the ensuing two-year period, 1 April 2005 to March 2007, has been underway since December 2004. The results of the elections will be announced in the forthcoming Annual General Body Meeting of the Centre. In the year’s national honours list, twenty-five of the Centre’s distinguished Members were vested with Padma awards. Dr Karan Singh, Member of Parliament and a Life Trustee was awarded the Padma Vibhushan. Earlier, Dr Kapila Vatsyayan, also a Life Trustee, and a Fellow of the Lalit Kala Akademi, was conferred the ‘Lalit Kala Ratna Award’ by the Akademi on the occasion of its golden jubilee celebrations.
    [Show full text]