Lec-Dem on North Indian Vocal Music
: Oldest form sung with Pakhawaj in pre-mughal times
: Influence of mughal culture, this is modern form
Uses nom-tom bols instead of words
Indian musical (plays)
Khayaal in Madhya Jhaptaal, sung in dhrupad style
: Light form that uses romantic themes. Famous singers: Siddheshwari Devi,
Girija Devi, Begum Akhtar, Nirmala Devi (Arun)
Light form that has lots of small, fast taans
Light form similar to thumri sung in taaldadra
Light form with themes similar to blues music.
: Combination of Taraana, words or lyrics, sargam, tabla bol.
Literally means dynasty. A style of singing, usually named after the geographical location it evolved from. Each gharaana has its own focus on presentation, its own characteristic compositions, and its own interpretation of different raags. A gharaana requires at least a 3-generation continuity before it is recognized as a major gharaana.
unadulterated style, focus on correctness, laya-pradhan because of origins in Dhrupad-Dhamar gayaki.
Taansen, Faiyyaz Khan (doyen), V.N.Bhatkhande, Jagannath Buva Purohit (Gunidas), S.N.Ratanjankar (Padma Bhushan), K.G.Ginde, S.C.R.Bhat. Dinkar Kaikini
: Focus on purity of notes & melody. Swara-oriented. Has few taans.
Abdul Karim Khan (doyen), Sawai Gandharva, RoshanAra Begum, Hirabai Barodekar, Bhimsen Joshi, Prabha Atre.
: Great subtlety & complexity in presentation of swaras. Perfect interlinking of notes with a continuous rhythmic swing.
Kesarbai Kerkar, Mallikarjun Mansur, Nivruttibua Sarnaik, Kishori Amonkar. Ustad Alladiya Khan started the Atrauli-Jaipur offshoot.
: Taan-pradhan gayaki. Popular style that takes the best elements from other gharaanas.
Vishnu Digambar Paluskar (doyen), D.V.Paluskar, Yeshwant Bua Joshi, Veena Saharabuddhe
: Beautiful, strong tone of voice. Known for thumris. Lots of harkats (small taans). Emotionally appealing.
Kale Khan, Bade Ghulam Ali, Ajoy Chakraborty.
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