The most ‘massive and sublime’ form in Indian Classical vocal tradition. Its form strictly follows a fixed pattern of four stanzas : the sthayi, antara, sanchari and abhoga having rigid notes, words and majestic talas, usually in chautala of 12 beats.
ancient Indian classical form evolved from prabandha. 'Dhrupad' derives from dhruva (fixed) and pada (word). It has a formal structure, the details of which are beyond the scope of this glossary.
Vocal art form composed of poems written in medieval Hindi, and first surfaced in the beginning of the 16th century A.D. Considered to be the the expression of the raga in its most refined form. Dhrupad has today lost its prime position to the Khyal, yet remains the musical benchmark in Hindustani music. Dhrupad compositions, called bandish and consisting of four sections, are accompanied exclusively by a horizontal two-sided drum called the pakhavaj. Back
A style of composition in 12 beats of a Tala DRUT Fast Tempo of the music
A genre of classical music dating back to the 16th during the reign of Raja Man Singh Tomar of Gwalior. The texts are usually of a devotional nature. Ideology is of meditation or contemplation. Dhrupad is based on four parts, the Alaap, Astayee, Sanchari, Antara and Abhog.The Mallik and Dagar families are the leading practitioners of this genre.
Genre in vocal art music having a nearly four-century old history. It is regarded to be the oldest form still in circulation.
Ancient and revered vocal genre
Ancient,structured form of classical music reigning supreme for centuries in North India before the advent of Khayal.
(1) A classical style or genre of singing (2) A composition in this style.
"The oldest extant form of classical music in North India." (Neuman 272)
Considered to be the oldest genre of singing it covers themes such as philosophy, devotion and celebration of the seasons. It descended from spiritual music called praband, a style which existed around the thirteenth century. Todayâ€™s style of dhrupad came about in the courts around the fifteenth century. There are now few specialist dhrupad singers for various reasons including lack of popularity. The piece begins with an extended alap section which gradually increases in speed and uses the bols na, ne, ri,re, di,de. The composition (itself called dhrupad) follows and is normally played in chau tal, a cycle of 12 beats, by the pakhavaj player. The dhamar variation of dhrupad is played in 14 beats or dhamar tal. Most exponents can be linked in some way to the Dagar family and their disciples. Recordings of Zahiruddin and Wasifuddin Dagar are available as are those of the Gundecha Brothers.