Known by a variety of names, like the vipanchhi veena, bharat veena, tritantri veena, ghoshak veena etc. Today, only two varieties of the veena are in use - the rudra veena and the vichitra veena.
This venerable instrument, sonorous in quality was especially popular during the Moghul period. The seni rabab, which is extinct today, and not to be confused with the Afghan rabab, was a variation of the veena, with a skin covering the resonating chamber instead of wood. It had a fretless fingerboard.
Based on your browsing history
The Seni Rabab was later modified by Jafar Khan, one of the descendants of Tansen, by the addition of a metal fingerboard, a wooden membrane covering the resonating chamber and metal strings. This instrument came to be known as sursringar and was a forerunner of the sarode. In the late 18th century, as the khayal introduced romanticism in North Indian vocal music, by refashioning the dhrupad styles of the period, the sitar came into being, as a derivative of the tritantri veena, to counter this new dimension in vocal music.
A similar aspiration towards both dhrupad and khayal, the ideal that instrumentalists always attempt to approach, later led to the evolution of the sarode from the Afghan rabab and the sursringar.
Gharanas of Hindustani Music
A larger version of the sitar was the surbahar, which came into existence in the 19th century. This section needs expansion with: You can help by adding to it. This section may require cleanup to meet Wikipedia's quality standards. No cleanup reason has been specified. Please help improve this section if you can.
October Learn how and when to remove this template message. Retrieved from " https: Gharana Hindustani music terminology Kathak.
Keep Exploring Britannica
Articles needing additional references from September All articles needing additional references Articles to be expanded from May All articles to be expanded Articles using small message boxes All articles with unsourced statements Articles with unsourced statements from September Articles needing cleanup from October All pages needing cleanup Cleanup tagged articles without a reason field from October Wikipedia pages needing cleanup from October Views Read Edit View history.
This page was last edited on 11 December , at By using this site, you agree to the Terms of Use and Privacy Policy. Tanpura Shruti box Swarmandal. Bol-baant, bol-taan, no sargam, wide range in taans, alankarik taans, descending sapaat taans, roughly similar emphasis on melody and rhythm, preference for simple as opposed to compound ragas, repertoire of bandishes, variety of taans.
Indian Classical Music and Gharana Tradition
Faiyaz Khan , Jitendra Abhisheki. Closer to dhrupad with nom-tom type alap and other elements, rhythmic play, frequent use of tisra jati in teentaal, emphasis on voice culture to achieve wide range and powerful throw of voice, bol-baant, bol-taan, rare use of sargam, slower taans, use of jabda taan, repertoire of traditional and self-composed bandishes.
The Patiala Gharana is characterized by the use of greater rhythm play and by Layakari with the abundant use of Bols, particularly Bol-tans. The highlights of Delhi Gharana are pleasing vistaar and exquisite compositions. There is a stress on breath-control and singing of long passages in one breath is highly regarded in this Gharana.
Indian Classical Music and Gharana Tradition
Benaras Gharana - The Benaras Gharana evolved as a result of great lilting style of khayal singing known by Thumri singers of Benaras and Gaya. Mewati Gharana - The Mewati Gharana gives importance to developing the mood of the raga through the notes forming it and its style is Bhava Pradhan. It also gives equal importance to the meaning of the text.
Gharanas of Hindustani Music.