Major Styles
The major style of
Hindustani Shastriya Sangeet is associated with Dhrupad, Dhamar, Sadra, Khyal,
Thumri, Tappa, Trivat, Chaturanga, Tarana, etc. Some folk musical traditions
smarten up to semi-classical based on some typical Ragas like Khamaj, Bhairavi,
Kafi, Desh, Pahadi, Mand, Pilu, Tilang, Sarang, etc. These Ragas are sometimes
called upgraded versions of folk melodies to systematic music form. The
refurbished semi-classical compositions like Kajri, Chaiti, Bhajan, Jhula,
Kirtan and Geet Ghazals, etc are also the upgraded form to the classical/
semi-classical form from the living tradition of Folk repertoire now popularly
based on melodies of Ragas
Dhrupad:-
Dhrupad is one of the distinctive forms of Hindustani
Classical Music supposed to emerge in the medieval period. Dhrupad means - Dhru
- A consistent Star Dhruva star in the Northern Corner of the sky and pad
means the text or the literature sung in this format. So the entire meaning of
Dhrupad is a composition or text like Dhruva star with the devotional value
composed in a unique way of singing with raga melody. It is supposed to emerge
from the Astapadi Gaan of Prabandha (Sharma,
2010). Dhrupad is one of the oldest styles in Hindustani Classical Music
form. Initially, it was dominated by the male singer accompanying with Pakhawaj
and composition were in Sanskrit and regional languages like Avadhi and Braj
Bhasha (widdess, 2004).
The tradition of Dhrupad style emerges in West Uttar Pradesh,
Gwalior, and Vrindavan. Gwalior Court was
one of the fertile places for the Dhrupad where it emerges from the Astapadi
Recital of Prabandha. Raja Mansingh Tomar was the promoter where swami Haridas
was supposed to be the generator of the tradition of dhrupad. It is distinctly
a different style of Classical singing that gradually started with Alap, Jood, and
Jhala, slow medium, and fast speed of the rhythmic cycle. Alap is always in slow
speed, a melodic portion intricates the Raganga of a particular raga with Kaan,
Gamak, and Meed. The rhythmic section called Jod and Jhala is extraordinary to unfold of notes and elaboration of gamak and meed. Devotional theme and content
are the particular compositions dedicated to the deities that began with the Nom-Tom Alap,
Om Anantam Hari Narayan - Tribute to Lord Vishnu.
Dhrupad is a style of Hindustani classical music, which
accepts four Vani, a tradition of adopting the notes in its own style. Vani
means the singing style of Dhrupad or the way of making melody during the
recital. All four Vani has their own destiny and variation from one another.
Dagar Vani, Nahar Vani, Gauhar Vani, and Khandahan Vani are the traditional
acceptance style of dhrupad called the Vani or technique of dhrupad practice and
performance.
The compositions of Dhrupad are generally sung in the time
cycle of 12 beats called Chautal. The other taals commonly accompany Dhrupad
recitals are Sul Taal of 10 beats cycle and Tevra Taal of 7 beats cycle. The
composition in dhrupad is of four divisions or four aang called Sthai, Antara
Sanchari, and Aabhog (widdess, 2004).
Dhrupad is often called as a composition of four dimensions (Charo pat-IV), a complete singing style of
all dimensions. The compositions are sung in various laytakari (varied tempo) of
which determination defines the ability of the singer during the dhrupad recital.
Mostly Dhrupad singer performs in Dugun, Tigun, Chaugun, Aaad, and layakari,
perhaps some rare layakaries are Kuaad, Viaad with a variety of mathematical
calculation to meet the sama- the first beat of the composition. It is an extraordinary singing style which haulage from the generations with devotion
determination and sacrifice to became sacred musical essence of Dhrupad which
is not to entertain the public but to pray the Lord Narayana with the Garlands
of notes and the feeling through the embodiment of melody and literature.
Dhamar:-
Dhamar is a singing style that comes under the Dhrupad Aang
Gayaki Tradition of Hindustani Classical Music. The composition, layakari are
as similar as in dhrupad but the time cycle of Taal and aesthetical expression
of literature is special expressing the beauty of Holi, the moods of seven
colors. Usually, Dhamar is a composition having the text relating Holi and Rasa-Leela of Gopi and Krishna of
Vrindavan usually sung in the 14 beat cycle of Dhamar Taal (Sharma, 2010). The Raga expansion (Badhat)
and various layakri are composed as similar as in Dhrupad tradition with Tha,
Dugun Tigun, Chaugun, Aad, and other various rhythmic variations with the
ability of the artist. It is supposed to be the lighter form than Dhrupad so
deep nom tom aalap in very slow tempo are usually not in practice with Dhamar
tradition.
It is supposed that the
tradition was begun in Vrindavan and its periphery in the medieval era when the
Bhakti Andolan was highly flourished. The concept of Dhamar singing is highly
based on the colors and the beauty of love and attraction. The fragrance of the
literature shows the attraction and expression of love, adore, devotion, worship, and admire happiness towards beloved ones in tribute to the love and engagement
of Lord Krishna, Radha, and Gopiya of Braj and occasionally sung in Vasant Ritu (Spring Season).
Khayal:-
Khyal in the modern innovation merely popularized in the 16th
Century. Khyal literally means the 'through' or the imagination which a singer improvises
and expresses the eternal feeling and emotion in language or in tune. The concept
of Khyal singing was probably established, flourished, and popularized by Sadarang
and Adarang, Darbari Gayak (Court musician and singer) of Mohammad Shah
Rangeele of Agra Darbar (Prajnananda, 2002)
Khyal is complete singing handy imagination set with in the
particular raga. The emotions the improvisation and the expression are
inspired. Within the peculiar raga to depict the Khyal. The importance of
literature is highly accepted in Khyal. It has usually Sthai and one Antara, composed of one Raga following the Vilambit laya in Teentaal, Jhumra, Tilwada, Ada Chautaal,
Ektall, and Jhaptal. Sometime Vilambit laya is also composed in Rupak Taal.
Vilambit Khyal is also called Bada Khyal. It has a wide range of innovation and
creativity in vilambit laya. The medium tempo of khyal singing is called chota
khyal (small khyal). The tempo of chota khyal is usually 120 beats per minute.
Expression and innovation of lyrical beauty in the major component of Khyal
singing. Both patterns of khyal singing are based on creativeness, expressions, and innovation. The Alap, Taan, Bol Taan, Tehai are the part that decorates the
entire singing (Sharma, 2010). Drut khyal
followed by high-speed taan reflects the extensive preparation of singers.
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