Indian Classical Music And Sikh Kirtan
by Gobind Singh Mansukhani (M.A., LL.B, Ph.D.) © 1982
Dhrupad
View Previous Page - Back to the Table of Contents - View Next Page 
by Gobind Singh Mansukhani (M.A., LL.B, Ph.D.) © 1982
Dhrupad
Indian Classical Music And Sikh Kirtan by Gobind Singh Mansukhani (M.A., LL.B, Ph.D.) © 1982 Dhrupad |
| Dhrupad Literally dhrupad means “fixed”. Traditionally, it is sung according to certain rules, in four sections called asthai, antra, sanchari and abhog. Now it is sung in two parts: asthai and sanchari. The theme is either the praise of gods or eulogy of patrons or seasonal beauty. In this style of singing, the wording is of a high and sublime order and includes words from Hindi, Urdu, and Brij Bhasha. There is a preponderance of feelings of veer, (heroic), shant, (peaceful), and shingar (romantic) rasas. It is sung in chautal, teevra, sool, tal, brahm, tal. In the alaap, the words usually used are Nom, Tom, Gamak (tonal graces) and meend ( slide from one note to another using microtones) are quite useful for its rendering a great and beautiful rhythm. Dhrupad depends on bols in double, triple, quadruple and octer tones. Sometimes bol bans are used for showing craftsmanship. Dhrupad is sung in accompaniment of tanpur and pakhawj Dhrupad is sung in accompaniment of tanpura and pakhawaj (long drum instrument). It is said that “ its emotional dignity is conveyed by slow elephantine movements and with the economy of flourishes and decorations (alankars).: It originated in the thirteenth century with the talent of Sarangdev. It was however popularised by Raja Maan tomar of Gwalior ( 1486-1516) in royal courts. Dhrupad possesses majesty and grandeur, but is not popular with the masses today. |