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Farukhabad Gharana
Farrukhabad Gharana is one of six prominent playing styles or gharanas of North Indian tabla , in Hindustani classical music, and derives its name from Farrukhabad in Uttar Pradesh state. History The Farrukhabad Gharana of Tabla was created in the 11th Century by a Rajput Court musician Akaasa who later had to convert to Islam and became a Muslim (Dastaan-e-akasa). He also changed his name from Akaasa to Mir Akaasa. He was the first to introduce bols into tabla playing. The first bols introduced in tabla were "TAT-DHIT-THUN-NAN". Mir Akaasa died in the year 1189 AD (Need Citation). He was succeeded by nine sons and one daughter. He passed on his legacy to his eldest son, Ustad Bilawal Khan, who in turn passed the torch of the gharana to Ustad Ali Baksh (famous for his kran bols). This tradition continued till the 26th descendant, Ustad Haji Vilayat Ali Khan (1779-1826). It was he who named this ‘gharana’ after the province in which he used to live viz. Farrukhabad. Ustad Haji V ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Gharana
In Hindustani music (North Indian classical music), a ''gharānā'' is a system of social organisation in the Indian subcontinent, linking musicians or dancers by lineage or apprenticeship, and more importantly by adherence to a particular musical style. The word gharana comes from the Hindi word 'ghar' which is derived from the Sanskrit word ''Griha'', which means 'house'. It typically refers to the place where the musical ideology originated; for example, some of the gharanas well known for singing khyals are: Dilli(Delhi), Agra, Gwalior, Indore, Atrauli-Jaipur, Kirana and Patiala. Four famous kathak gharanas are: Lucknow, Atrauli-Jaipur, Benares and Raigarh. Vocal gharanas Khyal gharanas The gharana system in khyal was rooted in the ''guru–shishya tradition'' and was similar to the Dhrupad ''Bani'' system. The gharana system was greatly influenced by the gradual fall of the Mughal Empire, which forced musicians to move from Delhi to princely states such as Gwalior, Luc ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Azeem Baksh Khan , Indian actor
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Azeem (Arabic: "Great") is both a given name and a surname. Notable people with the name include: Given name: * Azeem (rapper), American hip hop musician born Azeem Ismail * Azeem Funkara, OP PUBG Mobile Player from India * Azeem Ghumman, Pakistani cricketer * Azeem Hafeez, Pakistani cricketer * Azeem Pitcher, Bermudian cricketer * Azeem Rafiq, English cricketer * Azeem Ahmed Tariq, Pakistani politician * Azeem Victor, American football player Surname: * Neelima Azeem Neelima Azeem (born 2 December 1958) is an Indian actress, classical dancer, writer and the mother of actors Shahid Kapoor, Ishaan Khatter. She is known in India for her roles in television shows. Early life Neelima Azeem's father was Anwar ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Khaprumama Parvatkar
Khaprumama Parvatkar (1879–1953) was a musician from Goa, India who played tabla, as well as ghumot and the sarangi. Well versed in Dhrupad, Khayal and folk goan music forms, he was particularly known for his gifted and phenomenal taal and laya control, with the honorary title of Layabhaskar (laya= rhythm, bhaskar = Sun). Though not very well known amongst the masses, classical musicians of his time critically acclaimed his authority over rhythm and Indian classical percussion instruments. Mogubai Kurdikar, the mother of Kishori Amonkar Kishori Amonkar (10 April 1932 – 3 April 2017) was a leading Indian classical vocalist, belonging to the Jaipur ''gharana'', or a community of musicians sharing a distinctive musical style. She was a performer of the classical genre ' ..., received initial guidance and support from him. (with photograph) References External linksKhaprumama's page in the Vijaya Parrikar Library of Indian Classical Music 1879 births 1953 d ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Taranath Rao
Pandit Taranath Ram Rao Hattiangadi (1915 – 1991) was a performer and teacher of Indian classical percussion, known for his knowledge of rare '' talas'' and old compositions. He represented the Farukhabad, Delhi, and Ajrada ''gharanas'' of tabla, and the Nana Panse tradition of pakhavaj. He studied formally for 47 years—an exceptional amount of time, even in the Indian master-disciple system—under many ''pandits'' and ''ustads,'' most notably Shamsuddin Khan. He had numerous disciples and students of special training. Early life and background Taranath's most significant studentship was under Shamsuddin Khan, ''gurubhai'' of Ahmed Jan Thirakwa and main accompanist to Kirana Gharana vocalist Abdul Karim Khan. He also learned from Subbarao Ankolekar, Vishnu Goakar, "Laya Brahma Bhaskar" Khaprumama of Goa, Fayaz Khan of Kanpur, Shankarao Alkutkar, Baburao Ghokle, and Kallu Khan, all noted percussionists. Performing career Taranath moved from his native Mangalore to Bomba ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Harmonium
The pump organ is a type of free-reed organ that generates sound as air flows past a vibrating piece of thin metal in a frame. The piece of metal is called a reed. Specific types of pump organ include the reed organ, harmonium, and melodeon. The idea for the free reed was imported from China through Russia after 1750, and the first Western free-reed instrument was made in 1780 in Denmark. More portable than pipe organs, free-reed organs were widely used in smaller churches and in private homes in the 19th century, but their volume and tonal range were limited. They generally had one or sometimes two manuals, with pedal-boards being rare. The finer pump organs had a wider range of tones, and the cabinets of those intended for churches and affluent homes were often excellent pieces of furniture. Several million free-reed organs and melodeons were made in the US and Canada between the 1850s and the 1920s, some of which were exported. The Cable Company, Estey Organ, and Mason & H ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Montu Bannerjee
Montu was a falcon-god of war in ancient Egyptian religion, an embodiment of the conquering vitality of the pharaoh.Hart, George, ''A Dictionary of Egyptian Gods and Goddesses'', Routledge, 1986, . p. 126. He was particularly worshipped in Upper Egypt and in the district of Thebes.Rachet, Guy (1994). ''Dizionario della civiltà egizia''. Rome: Gremese Editore. . p. 208. Name Montu's name, shown in Egyptian hieroglyphs to the right, is technically transcribed as ''mntw'' (meaning "Nomad"). Because of the difficulty in transcribing Egyptian vowels, it is often realized as Mont, Monthu, Montju, Ment or Menthu. Role and characteristics A very ancient god, Montu was originally a manifestation of the scorching effect of Ra, the sun – and as such often appeared under the epithet Montu-Ra. The destructiveness of this characteristic led to him gaining characteristics of a warrior, and eventually becoming a widely revered war-god. The Egyptians thought that Montu would attack ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Pandharinath Nageshkar
Vithoba, also known as Vi(t)thal(a) and Panduranga, is a Hindu deity predominantly worshipped in the Indian state of Maharashtra and Karnataka. He is generally considered as a manifestation of the god Vishnu, or his avatar Krishna. Vithoba is often depicted as a dark young boy, standing arms akimbo on a brick, sometimes accompanied by his consort Rakhumai. Vithoba is the focus of an essentially monotheistic, non-ritualistic bhakti-driven Varkari faith of Maharashtra and the Haridasa faith of Karnataka. Vithoba Temple, Pandharpur is his main temple. Vithoba legends revolve around his devotee Pundalik who is credited for bringing the deity to Pandharpur, and around Vithoba's role as a saviour to the poet-saints of the Varkari faith. The Varkari poet-saints are known for their unique genre of devotional lyric, the abhang, dedicated to Vithoba and composed in Marathi. Other devotional literature dedicated to Vithoba includes the Kannada hymns of the Haridasa and the Marathi vers ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Jnan Prakash Ghosh
Pandit Jnan Prakash Ghosh (8 May 1909 – 18 February 1997) often known as 'Guru' Jnan Prakash Ghosh was an Indian harmonium and tabla player from Farukhabad gharana of Hindustani classical music and musicologist. Early life and background Born in a Hindu family with musical background in Kolkata, he was the grandson of Dwarkanath Ghosh (1847–1928), who founded Dwarkin in 1875 and invented the "Dwarkin harmonium", popular in West Bengal, India. He graduated from the Scottish Church College of the University of Calcutta He was keen in sports (he played soccer, hockey, polo and billiards). He also practised painting, but had to discontinue these due to an eye injury in a soccer match. Then he turned to music. He was trained in vocals by Girija Shankar, Mohammed Sagir Khan and Mohammed Dabir Khan. He took tabla lessons from Masit Khan of the Farukhabad gharana and became his senior disciple Career He was the founder of Sourav Academy of Music and closely associated with the ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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. Ancestral Lineage 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 dema ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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