Agra gharana

The Agra gharana is a tradition of Hindustani classical vocal music descended from the Nauhar Bani. So far, Nauhar Bani has been traced back to around 1300 AD, during the reign of Emperor Allauddin Khilji of Delhi.

The first known musician of this tradition is Nayak Gopal. The style prevalent then in the Gharana was "Dhrupad-Dhamar". Ghagghe Khudabuksh (1790–1880 AD) introduced the "Khayal" style of Gwalior Gharana into Agra gharana which Khudabaksh learnt from Natthan Paribaksh of Gwalior.

Pedagogical genealogy

The following maps are based on recorded accounts by Vilayat Hussain Khan and Yunus Hussain Khan.

Gopal
Nayak
Gauharbani Guru
Parampara		Nauharbani Guru
Parampara		Kirana Gharana
Parampara
Swami
Haridas		Lohang
Das		Alakh
Das		Khalak
Das		Malukh
Das
TansenSujan
Singh		Bichitra
Khan
DaughterSurgyan
Khan
Qader Shah
(Jogi Bacche)
Hyder Shah
(Gond puriye)
Dayam Khan
("Saras-rang")		Gwalior Gharana
Guru Parampara
Qayam Khan
("Sham-rang")		Nathan Peer
Baksh		Rangile Gharana
Parampara
Junggu
Khan		Ghagge Khuda
Baksh		Ramzan Khan
("Rangile")
Sher
Khan		Mohammed
Khan		Ghulam Haider
"Kallan" Khan		Ghulam Abbas
Khan		Mohammed Ali
Khan
Nisar Hussain
"Natthan" Khan		Tassaduq
Hussain Khan		DaughterSafdar
Hussain Khan
Mohammed
Khan		Altaf
Hussain Khan		Faiyaz
Hussain Khan
Abdullah
Khan		Mohammed
Siddiq Khan

Distinguishing characteristics

The gayaki (style of singing) of the Agra Gharana is a blend of khayal gayaki and dhrupad-dhamar. In training, both the khayal and dhrupad components run hand in hand and are not taught in an isolated fashion. This is obvious from the method of singing notes of the Agra Gharana which demands that the projection of voice be more forceful and voluminous than usually encountered in khayal gayaki, as well as uttering notes open and bare (without grace notes).

Most khayal performances by artists of Agra gharana commence with the nom-tom alaap, a tradition unique to the Agra gharana. Different facets of a raga are displayed with the help of bandish while the raga is elaborated using vistaar.

The gharana adopts a kind of voice production which relies on a flatter version of the vowel sound "a", which makes its music agreeable to rhythmic variations and is best suited for a deep masculine voice. Emphasis is laid on bold, full-throated and robust voice production, and singing in the lower register (mandra) is favoured. Keeping in tune with its dhrupadic origins, the singers use broad and powerful ornamentations (gamaks), extensive glides (meends), and resonant articulations of notes. As with the Gwalior gharana, the Agra singers accentuate the importance of the bandish and its methodical exposition. Singers following Faiyaz Khan's style resort to the dhrupadic nom-tom alaap before singing the bandish. The singers of this gharana are also great masters over layakari or the rhythmic component. In fact, layakari is the foundation on which the singers build the edifice of the bandish. Agra singers' tihais are eagerly awaited, as are their nifty ways of arriving at the same, by building up anticipation within the listener.

This is the only Gharana that has still continued to sing Dhrupad-Dhamar along with Nom-Tom Alap, Khayal, Thumri, Tappa, Tarana, Hori,

Some prominent exponents
  • Faiyaz Khan (1880–1950) "Prempiya"
  • Ghagghe Khudhabaksh
  • Kale Khan "Saras Piya"
  • Ghulam Abbas Khan-"Sabrang"
  • Natthan Khan "Shyam"
  • Tasadduk Hussain Khan "Vinod Piya"
  • Abdullah Khan "Manhar Piya"
  • Vilayat Hussain Khan "Pran Piya" (1895–1962)
  • Nanne Khan "Shakeel Piya"
  • Yunus Hussain Khan "Darpan" (1927-1991)
  • Khadim Hussain Khan "Sajan Piya" (1907–1993)
  • Anwar Hussain Khan "Rasrang"
  • Raja Miyan
  • Latafat Hussain Khan "Prem Das" (1920–1986)
  • Sharafat Hussain Khan "Prem Rang" (1930–1985)
  • Ata Hussain Khan "Ratanpiya" (1899–1980)
  • Basheer Ahmed Khan
  • Aqeel Ahmed Khan
  • Naseem Ahmed Khan
  • Ustad Shafi Ahmad Khan
  • Waseem Ahmed Khan
  • Yaqub Hussain Khan (b. 1936)
  • Shrikrishna Narayan Ratanjankar "Sujan" (1900–1974)
  • Dilip Chandra Vedi (1901–1992)
  • Babanrao Haldankar "Raspiya" (1927–2016)[1]
  • Arun Kashalkar "Rasdas" (b. 1943)
  • Dr. Deepali Nag (1922–2009)
  • K.G. Ginde (1925-1994)
  • S.C.R. Bhat (1918-2008)
  • M.R. Gautam (b. 1924)
  • Purnima Sen (b. 1937)
  • Sudhindra Bhaumik (b. 1945)
  • Y.M. Mahale
  • Zohrabai (1868–1913)
  • Madhusudan Joshi of Baroda
  • Indudhar Nirody (b. 1935)
  • Manik Varma (1926–1996)
  • Pt. Yashpaul "Sagun Piya" (b. 1937)
  • Ramarao V. Naik (1909–1998)
  • Lalita Shivaram Ubhayaker (1928–2012)
  • Harish Chander Bali (1906–1976)
  • Lalith J. Rao (b. 1942)
  • Meera Savoor (b. 1932)
  • Soumya Madanagopal (b. 1946)
  • Dinkar Kaikini "Din Rang" (1927–2010)
  • Sumati Mutatkar (1916–2007)
  • Jitendra Abhisheki (1929–1998)
  • Rajesh Kelkar
  • Bharti Pratap
  • Subir Mallick
  • Harvinder Singh
  • Kashish Mittal
  • Vrinda Mundkur
  • Subhra Guha (b. 1956)
  • Pt. Tushar Dutta
  • Sabina Mumtaz Islam

Bibliography
  • Bonnie C. Wade (1984). "Agra gharana". Khyāl: Creativity Within North India's Classical Music Tradition. CUP Archive. pp. 101–129. ISBN 978-0-521-25659-9.
  • Babanrao Haldankar; Padmaja Punde (2001). Aesthetics of Agra and Jaipur Traditions. Popular Prakashan. ISBN 978-81-7154-685-5.
  • Tapasi Ghosh (2008). Pran Piya Ustad Vilayat Hussain Khan: His Life and Contribution to the World of Music. Atlantic Publishers & Dist. ISBN 978-81-269-0855-4.
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References
  1. Jeffrey Michael Grimes (2008). The Geography of Hindustani Music: The Influence of Region and Regionalism on the North Indian Classical Tradition. ProQuest. p. 139. ISBN 978-1-109-00342-0.
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