Maihar gharana

In today's world, Maihar gharana has become increasingly relevant in different areas of society. Whether in the technological, cultural, political or social sphere, Maihar gharana has become a topic of constant interest and debate. There are many studies and research that have been carried out to fully understand the impact that Maihar gharana has on people's daily lives. In this article, we will explore different aspects related to Maihar gharana, analyzing its importance, its implications and the different perspectives that exist around this topic. Without a doubt, Maihar gharana is a topic that leaves no one indifferent and that deserves our attention and reflection.

The Maihar Gharana or Maihar-Senia Gharana is a gharana or school of classical music, a style of Indian classical music originating in the northern parts of the Indian subcontinent. The school was formed by Allaudin Khan in the princely state of Maihar, now in the central Indian state of Madhya Pradesh, and hence the name.[1] Allauddin Khan learnt music from Vina player Wazir Khan, an exponent of the Senia gharana. The Maihar gharana is therefore sometimes referred to as the Maihar-Senia gharana.[2]

It is one of the most prominent gharanas of the 20th century; much of the fame of Hindustani classical music in the west stems from this gharana. Prominent musicians belonging to the Maihar gharana include prominent sitar players Ravi Shankar, Nikhil Banerjee, Allauddin Khan's son sarod player Ali Akbar Khan, daughter Annapurna Devi and grandsons Aashish Khan, Dhyanesh Khan, Pranesh Khan, Rajesh Ali khan, Alam Khan, Manik Khan and Shiraz Ali Khan.

Other prominent musicians with links to this gharana include the sarod player Bahadur Khan, Sharan Rani, Vasant Rai, Kamlesh Moitra, Kamal Mallick, Rajesh Chandra Moitra, Rajeev Taranath, Tejendra Narayan Majumdar, Debanjan Bhattacharjee, Pratik Srivastava, Soumava Bhusan Chakraborty, Pradeep Barot, Shamim Ahmed, Gourab Deb, Damodar Lal Kabra, Apratim Majumdar, Vikash Maharaj, Jyotin Bhattacharya, Abhisek Lahiri, Vishal Maharaj, B.N.Choudhury,and Basant Kabra, violinist V. G. Jog, Sishir kona Dhor Chowdhury, Indradip Ghosh, Souvik Chakrabortty, guitarists Brij Bhushan Kabra, Vishwa Mohan Bhatt and his nephew Krishna Bhatt, Manju Mehta, flautists Pannalal Ghosh, Hariprasad Chaurasia, Nityanand Haldipur, Rupak Kulkarni, Rakesh Chaurasia, Milind Date, Vivek Sonar,MILIND SHEOREY and Ronu Majumdar, and sitar players Chandrakant Sardeshmukh, Kartick Kumar and his son Niladri Kumar, Kushal Das, Jaya Biswas, Abhishek Maharaj, Bhaskar Chandavarkar, Indraneel Bhattacharya ,Sudhir Phadke, Sandhya Phadke-Apte

Musicians belonging to the gharana adhere to a dhrupad aesthetic in their approach to playing the alap and jor portions in a raga.[3] Variations in tempo are used to demarcate sections while playing the jor, with a short rhythmic figure indicating closure of a section. Therefore, rhythmic figures within the jor assume structural importance.[4] Alap-jor is followed by a khayal style vilambit gat with taan improvisations, and the performance ends with a jhala.[3]

References

  1. ^ Rashtriya Sahara. Sahara India Mass Communication. 1998.
  2. ^ Banerjee, Meena (16 March 2018). "Understanding a raga is no less than understanding a person: Tejendra Narayan Majumdar". The Hindu. ISSN 0971-751X. Retrieved 2 August 2018.
  3. ^ a b Nair, Jyoti (15 March 2018). "The Maihar gharana is represented by Pt. Ravi Shankar". The Hindu. ISSN 0971-751X. Retrieved 2 August 2018.
  4. ^ Bruno Nettl; Melinda Russell (15 December 1998). In the Course of Performance: Studies in the World of Musical Improvisation. University of Chicago Press. p. 335. ISBN 978-0-226-57410-3.
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