Hindustani Music
Now let us focus on the northern tradition.
Hindustani music is practised predominantly in → Northern India, Eastern India, Central India
It is also called North Indian Classical Music.
Historical Evolution
By the 13th century, it began diverging from Carnatic music.
It absorbed → Persian influences, Central Asian elements, Sufi traditions
Thus, it became a syncretic musical system.
Role of Sufi Composers
The most prominent figure here is Amir Khusrau
He:
- Fused Indian melodic systems with Persian styles
- Contributed to musical innovation
- Helped shape early Hindustani music
This Indo-Persian synthesis laid the foundation of modern Hindustani tradition.
Contribution of Miyan Tansen
The brightest jewel of Hindustani music → Tansen
He:
- Was a master of Dhrupad
- Created new ragas
- Authored works like Sri Ganesh Stotra and Sangita Sara
He served in the court of Akbar. Tansen represents court refinement of classical music.
Development of Gharanas
After the 16th century, different princely courts patronised different musical styles.
This led to the emergence of Gharanas (lineage-based schools).
Each gharana:
- Has its own stylistic interpretation
- Maintains guru-shishya parampara
Examples include Gwalior, Jaipur, Agra gharanas.
Institutional Developments (Modern Phase)
Music moved from courts to public institutions.
Gandharva Mahavidyalaya (1901)
Founded by Vishnu Digambar Paluskar
Purpose:
- Democratise classical music
- Make it accessible to common people
This was revolutionary.
Contribution of Vishnu Narayan Bhatkhande
Another pillar of Hindustani systematisation:
Vishnu Narayan Bhatkhande
He:
- Wrote Swar Malika
- Published Hindustani Sangeet Paddhati
- Systematised ragas into thaat classification
His work provided theoretical clarity for students. Without Bhatkhande, modern Hindustani pedagogy would be incomplete.
Titles for Exponents
Traditionally:
- Hindu musician → Pandit
- Muslim musician → Ustad
This shows lineage-based recognition.
Religious Neutrality – A Defining Feature
Hindustani music transcends religious boundaries.
Examples:
- Muslim Ustads sing Hindu devotional compositions
- Hindu Pandits sing Islamic Sufi compositions
This shows music in India is above religious divisions. It embodies civilisational syncretism.
Languages of Composition
Hindustani compositions exist in → Hindi, Urdu, Braj, Avadhi, Bhojpuri, Bengali, Rajasthani, Marathi, Punjabi
This reflects regional diversity within classical unity.
Significant Features of Hindustani Music
The Foundational Base
Hindustani music is fundamentally based on:
- Raga → Melodic structure
- Tala → Rhythmic cycle
These are not decorative elements — they are the grammar of the system.
Popular Ragas
Some widely known ragas include
Bahar, Bhairavi, Sindhu Bhairavi, Darbari, Hamsadhwani, Megh Malhar, Tod, Yaman, Pilu, Shyam Kalyan, Khambaj
Each raga carries a specific emotional universe.
For example:
- Megh Malhar → Associated with monsoon
- Yaman → Evening serenity
- Darbari → Majesty and gravity
Indian music is thus time-sensitive and mood-sensitive.
Style of Presentation
Unlike Western classical music which follows written notation strictly, Hindustani music unfolds gradually.
It emphasises → Improvisation, Slow elaboration, Emotional build-up
A raga is not rushed. It is revealed.
Structural Progression in Instrumental Performance
The classical instrumental rendering typically follows:
- Alaap → Slow, rhythm-free exploration
- Jod → Introduction of pulse
- Jhala → Fast, climactic section
This movement from calm introspection to energetic climax reflects Indian aesthetic philosophy — from meditation to ecstasy.
Styles of Hindustani Music
Now we move to the major vocal forms.
These can be divided into
Pure classical forms | Semi-classical forms | Light classical forms
Dhrupad – The Oldest Surviving Form
Dhrupad is the most ancient surviving style of Hindustani classical music. It is solemn, majestic, and deeply devotional.
Accompaniment → Tambura, Pakhawaj
It primarily praises deities.
Historically, Dhrupad flourished in the court of Raja Man Singh Tomar
He is credited with refining Dhrupad and transposing it from Sanskrit (Dhruvapada) into Hindi.
The legendary Tansen was a Dhrupad exponent.
Sub-Forms:
- Dhamar → A lighter form sung during Holi
- Vishnupad → Dhrupad compositions dedicated to Vishnu
Dhrupad represents → Discipline, gravity, and spiritual austerity.
Khayal – The Dominant Modern Style
The word Khayal means “thought” or “imagination”. It allows greater freedom than Dhrupad.
It is believed to have evolved under the influence of Amir Khusrau. Today, Khayal is the most widely performed Hindustani vocal form.
Structure:
- Begins with slow Alaap (without rhythm)
- Then moves into compositions set to tala
It flourished during the reign of Muhammad Shah
His court musicians included → Sadarang (Naimat Khan), Adarang (Feroze Khan), Manrang
Khayal represents → Emotional flexibility and imaginative expansion.
Tarana – Rhythmic Energy
Tarana is:
- Medium to fast-paced
- Performed towards the end of concerts
- Based on mnemonic syllables (bols)
The singer improvises using these syllables. It creates a mood of elation and rhythmic excitement. The Carnatic equivalent is Tillana.
Tarana represents → Joyful culmination.
Thumri – Semi-Classical Expressiveness
Thumri emerged in the court of Wajid Ali Shah. It is semi-classical and lyrical.
Characteristics:
- Emphasis on lyrics; Romantic themes
- Use of rural dialects like → Brij Bhasha, Awadhi, Bhojpuri
Themes often revolve around → The love of a gopi for Lord Krishna
Thumri is closely linked with → Kathak dance tradition
Types → Poorab Ang, Lucknavi, Punjabi Thumri
Thumri represents sensuous devotion and lyrical storytelling.
Ghazal – The Poetic Ode
- The Ghazal originated in 7th-century Arabia. The word means → “Sweet talk” or “to flirt.”
It entered India through Sufi mystics and flourished under the Mughals. - Major Mughal-era poets → Mir Taqi Mir, Mirza Ghalib, Daagh, Zauq, Sauda
- Modern exponents include → Begum Akhtar, Jagjit Singh, Nusrat Fateh Ali Khan, Mehdi Hassan, Abida Parveen, Talat Mahmood
- Ghazal represents → Refined poetic emotion — spiritual and romantic.
Tappa – Fast and Knotty
- Tappa originated from → Folk songs of camel riders in Rajasthan
- It is → Fast, highly intricate, emotionally intense
- It was refined in the Mughal court of Muhammad Shah in the 18th century.
- Tappa represents → Sudden emotional outburst.
Qawwali – Sufi Devotional Music
- Qawwali is a form of Sufi devotional singing.
- It combines → Powerful vocals; Harmonium; Percussion; Rhythmic clapping
- Its performance gathering is called → Sama, Mehfil-e-Sama
- Amir Khusrau is credited with shaping its Indo-Persian fusion form.
- Modern icon → Nusrat Fateh Ali Khan
- Qawwali represents → Ecstatic spiritual surrender.
Gharanas of Hindustani Music
What is a Gharana?
The word Gharana comes from the Hindi word “ghar” (house).
But here “house” does not mean a building. It means a lineage — a musical family, a tradition, an aesthetic ideology.
A gharana represents:
- A distinct style
- A specific method of raga elaboration
- A unique approach to improvisation
- A lineage of guru-shishya transmission
It is both → A technical school and a cultural identity
Why Are Gharanas Important?
Gharanas serve three major roles:
- Preservation: They preserve centuries-old musical knowledge.
- Transmission: Through rigorous guru-shishya training, disciples inherit → Technical precision, Improvisational approach, Emotional depth, Repertoire (bandishes)
- Adaptation: Though rooted in tradition, gharanas remain dynamic and adaptable.
They are living traditions, not museum pieces.
Oldest Gharana
The Gwalior Gharana is considered the oldest Hindustani gharana.
Now let us examine major gharanas one by one.
1. Gwalior Gharana
It is the oldest and most traditional school.
Founders
- Ustad Hassu Khan | Ustad Haddu Khan
Characteristics:
- Simplicity | Clarity | Purity of raga | Traditional gayaki (singing style)
This gharana emphasises → Straightforward and structured raga development.
It is often regarded as the foundational khayal tradition.
2. Kirana Gharana
Origin: Kirana (Uttar Pradesh)
Founders:
- Ustad Abdul Karim Khan | Ustad Abdul Wahid Khan
Core Feature:
- Extreme emphasis on swara (note purity)
- Slow, elongated note development
- Deep emotional introspection
It focuses on → Microtonal precision and meditative unfolding.
Famous Exponents:
- Pandit Bhimsen Joshi | Gangubai Hangal | Sawai Gandharva | Firoz Dastur
3. Agra Gharana
Origin: Agra (Uttar Pradesh)
Lineage traced to:
- Ustad Ghagge Nazir Khan
Features:
- Strong voice projection | Clarity of diction | Precision in rhythm
- Use of both classical and semi-classical forms
Unlike Kirana (which emphasises swara), Agra emphasises → Bol-baant (rhythmic manipulation of words).
Notable Exponents:
- Ustad Faiyaz Khan | Ustad Vilayat Hussain Khan | Ustad Khadim Hussain Khan
4. Patiala Gharana
Origin: Patiala (Punjab)
Founders:
- Ustad Ali Baksh | Ustad Fateh Ali Khan
Characteristics:
- Rich vocal ornamentation | Emotional intensity
- Complex taans (fast passages) | Large repertoire of bandishes
It is more flamboyant and expressive.
Exponents:
- Bade Ghulam Ali Khan | Barkat Ali Khan | Amanat Ali Khan
Patiala style represents → Expressive richness and vocal virtuosity.
5. Jaipur-Atrauli Gharana
Founder: Ustad Alladiya Khan
Origin: Jaipur (Rajasthan)
Characteristics:
- Strict raga purity | Complex compositions | Intricate gamak ornamentation | Rare ragas
It is intellectually demanding and technically rigorous.
Exponents:
- Kishori Amonkar | Mallikarjun Mansur
Jaipur-Atrauli represents → Intellectual sophistication and complex raga architecture.
Instruments of Hindustani Music
Hindustani music uses a rich instrumental ensemble.
String Instruments:
- Veena | Sitar (Persian influence) | Sarod (Persian influence) | Tambura | Sarangi | Violin
| Surbahar | Sursringar | Santoor
Wind Instruments:
- Bansuri | Shehnai | Harmonium
Percussion:
- Tabla | Pakhawaj
Prominent Exponents
Some legendary figures include:
- Ravi Shankar (Sitar) | Zakir Hussain (Tabla) | Bhimsen Joshi (Vocal) | Bismillah Khan (Shehnai) | Hariprasad Chaurasia (Flute)
Amir Khusrau (1253–1325 CE)
Identity:
- Nickname: Tutiye Hind (Parrot of India)
- Born in Etah (UP)
- Disciple of Nizamuddin Auliya
Contributions:
- Regarded as father of Qawwali
- Introduced Ghazal to India
- Developed Tarana
- Associated with Khayal innovation
- Credited (traditionally) with inventing the Sitar
He praised Indian music as superior and complex. He died one day after his master and is buried near him.
He represents → Indo-Persian cultural synthesis.
Miyan Tansen (1493–1589 CE)
Original name: Ramtanu Pandey
Disciple of: Swami Haridas
He served:
- Raja Man Singh Tomar (Gwalior)
- Raja Ramchandra of Rewa
- Later joined Akbar
He became one of Akbar’s Navaratnas.
Legends:
- Deepak Raga → Lighting lamps
- Megh Malhar → Bringing rain
The Gwalior (Seniya) Gharana traces lineage to him.
He is buried near his Sufi master, Shaikh Muhammad Ghaus in Gwalior.
Annual Tansen Sangeet Samaroh is held in his memory.
He represents → The golden age of court classical music.