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These all disciples started their own Gharanas and their descendants are still the most respected musicians of the subcontinent. Amir Khan also shared Miyan Banney khan's cheejs with the pupils of Pt. Balkrishnabuwa Ichalkaranjikar when he stayed in Miraj for sometime. However, his disciples included among others his four sons. One of the sons, Pyare Khan, became a professional musician.<ref>{{cite book|last1=Ranade|first1=A. D.|title=Hindi Film Song: Music Beyond Boundaries|date=2006|publisher=Bibliophile South Asia|isbn=9788185002644|page=207}}</ref> Another son, Baba Sindhe Khan (1885 {{ndash}} 18 June 1950) became a music teacher and trained pupils such as the educator [[B. R. Deodhar]] (1901 {{ndash}} 1990); the singer [[Bade Ghulam Ali Khan]] (1902 {{ndash}} 1968),<ref>{{Cite web|title = ITC SRA's Tribute to the Great Maestros of Hindustani Classical Music|url = http://www.itcsra.org/tribute.asp?id=4|website = www.itcsra.org|access-date = 2016-01-06}}</ref> and [[Farida Khanam]] (born 1935).
These all disciples started their own Gharanas and their descendants are still the most respected musicians of the subcontinent. Amir Khan also shared Miyan Banney khan's cheejs with the pupils of Pt. Balkrishnabuwa Ichalkaranjikar when he stayed in Miraj for sometime. However, his disciples included among others his four sons. One of the sons, Pyare Khan, became a professional musician.<ref>{{cite book|last1=Ranade|first1=A. D.|title=Hindi Film Song: Music Beyond Boundaries|date=2006|publisher=Bibliophile South Asia|isbn=9788185002644|page=207}}</ref> Another son, Baba Sindhe Khan (1885 {{ndash}} 18 June 1950) became a music teacher and trained pupils such as the educator [[B. R. Deodhar]] (1901 {{ndash}} 1990); the singer [[Bade Ghulam Ali Khan]] (1902 {{ndash}} 1968),<ref name=SRA>{{Cite web|title =Gwalior gharana|url=http://www.itcsra.org/sra_story/sra_story_guru/sra_story_guru_links/sra_story_guru_gharana/gharana.asp?gharanaid=1|website =ITC Sangeet Research Academy website|archive-date=23 May 2012|archive-url=https://web.archive.org/web/20120523232059/http://www.itcsra.org/sra_story/sra_story_guru/sra_story_guru_links/sra_story_guru_gharana/gharana.asp?gharanaid=1|access-date =2023-12-29}}</ref> and [[Farida Khanam]] (born 1935).


On 19 August 1922, Pyare Khan performed at the second annual celebration of the [[Anglo-Afghan Treaty of 1919|independence of Afghanistan]]. He became a mentor to a singer from [[Afghanistan]], also performing at the celebration. This was the singer, Qasim Afghan ("Qasimju") (born 1878, [[Kabul]]).<ref>{{Cite web|title = Afghanistan Ustad Qasim Afghan|url = http://www.afghanland.com/entertainment/music/qasim.html|website = www.afghanland.com|access-date = 2016-01-06|archive-url=https://web.archive.org/web/20170704111747/http://www.afghanland.com/entertainment/music/qasim.html|archive-date=2017-07-04|url-status=dead}}</ref> Pyare Khan also remained a musician at the court of Maharajadhiraj Maharawal (Sir Jawahir Singh) of [[History of Jaisalmer|Jaisalmer]] (1914 {{ndash}} 1949). He was also a teacher of Seth Vishandas of Hyderabad in Sindh near [[Karachi]] and Mahant Girdharidas of Bhuman Shah, Punjab.
On 19 August 1922, Pyare Khan performed at the second annual celebration of the [[Anglo-Afghan Treaty of 1919|independence of Afghanistan]]. He became a mentor to a singer from [[Afghanistan]], also performing at the celebration. This was the singer, Qasim Afghan ("Qasimju") (born 1878, [[Kabul]]).<ref>{{Cite web|title = Afghanistan Ustad Qasim Afghan|url = http://www.afghanland.com/entertainment/music/qasim.html|website = www.afghanland.com|access-date = 2016-01-06|archive-url=https://web.archive.org/web/20170704111747/http://www.afghanland.com/entertainment/music/qasim.html|archive-date=2017-07-04|url-status=dead}}</ref> Pyare Khan also remained a musician at the court of Maharajadhiraj Maharawal (Sir Jawahir Singh) of [[History of Jaisalmer|Jaisalmer]] (1914 {{ndash}} 1949). He was also a teacher of Seth Vishandas of Hyderabad in Sindh near [[Karachi]] and Mahant Girdharidas of Bhuman Shah, Punjab.


Mian Pyare Khan's sons were Ustad Umeed Ali Khan (1910 {{ndash}} 1979) and Ustad Ghulam Rasool Khan. They became respected classical vocalists of their times.<ref>{{Cite web|title = Ummeed Ali Khan|url = http://www.parrikar.org/vpl/?page_id=487|website = Vijaya Parrikar Library of Indian Classical Music|access-date = 2016-01-06}}</ref> Ustad Ghulam Rasool Khan had two sons, Ustad Hameed Ali Khan and Ustad Fateh Ali Khan.<ref>{{Cite web|title = Oriental Traditional Music from LPs & Cassettes: Hameed Ali Khan & Fateh Ali Khan (Gwalior Gharana) - Vol. 2 - Lok Virsa CL-0023 (1987)|url = http://oriental-traditional-music.blogspot.com/2011/06/hameed-ali-khan-fateh-ali-khan-gwalior.html|website = Oriental Traditional Music from LPs & Cassettes|date = 2011-06-12|access-date = 2016-01-06}}</ref> Ustad Fateh Ali Khan's son is Izat Fateh Ali Khan.<ref>{{Cite web |last=Hasan |first=Shazia |date=2023-03-06 |title=Soulful music tugs at the audience’s heartstrings |url=https://www.dawn.com/news/1740620 |access-date=2023-05-26 |website=DAWN.COM |language=en}}</ref>
Mian Pyare Khan's sons were Ustad Umeed Ali Khan (1910 {{ndash}} 1979) and Ustad Ghulam Rasool Khan. They became respected classical vocalists of their times.<ref>{{Cite web|title = Ummeed Ali Khan|url = http://www.parrikar.org/vpl/?page_id=487|website = Vijaya Parrikar Library of Indian Classical Music|access-date = 2016-01-06}}</ref> Ustad Ghulam Rasool Khan had two sons, Ustad Hameed Ali Khan and Ustad Fateh Ali Khan.<ref>{{Cite web|title = Oriental Traditional Music from LPs & Cassettes: Hameed Ali Khan & Fateh Ali Khan (Gwalior Gharana) - Vol. 2 - Lok Virsa CL-0023 (1987)|url = http://oriental-traditional-music.blogspot.com/2011/06/hameed-ali-khan-fateh-ali-khan-gwalior.html|website = Oriental Traditional Music from LPs & Cassettes|date = 2011-06-12|access-date = 2016-01-06}}</ref> Ustad Fateh Ali Khan's son is Izat Fateh Ali Khan.<ref>{{Cite web |last=Hasan |first=Shazia |date=2023-03-06 |title=Soulful music tugs at the audience's heartstrings |url=https://www.dawn.com/news/1740620 |access-date=2023-05-26 |website=DAWN.COM |language=en}}</ref>


[[Krishnarao Shankar Pandit]] (1893 {{ndash}} 1989) was a musician of the Gwalior gharana heritage. His father, Shankarrao Pandit was a student of Haddu Khan, Nathu Khan and [[Nissar Hussain Khan]], Nathu Khan's son. Krishnarao Shankar Pandit practiced [[Khayal]], [[Tappa]] and [[Tarana]] singing as well as layakari.
[[Krishnarao Shankar Pandit]] (1893 {{ndash}} 1989) was a musician of the Gwalior gharana heritage. His father, Shankarrao Pandit was a student of Haddu Khan, Nathu Khan and [[Nissar Hussain Khan]], Nathu Khan's son. Krishnarao Shankar Pandit practiced [[Khayal]], [[Tappa]] and [[Tarana]] singing as well as layakari.
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===19th Century and Earlier===
===19th Century and Earlier===
* [[Babasaheb Dixit]], disciple of Hassu Khan.<ref>http://lib.unipune.ac.in:8080/xmlui/bitstream/handle/123456789/9379/11_chapter3.pdf?sequence=11&isAllowed=y {{Bare URL PDF|date=September 2022}}</ref>
* Babasaheb Dixit, disciple of Hassu Khan.
* [[Vishnupant Moreshwar Chatre|Vishnupant Chattre]] (840 {{ndash}} 1905), disciple of Haddu Khan.
* [[Vishnupant Moreshwar Chatre|Vishnupant Chattre]] (1840 {{ndash}} 1905), disciple of Haddu Khan.
* [[Ghagge Nazir Khan]] (c. 1850 {{ndash}} c. 1920), [[Qawwal Bacchon gharana|Qawwal Bacchon]] who learned from Chote Mohammed Khan and co-founded the [[Mewati Gharana]].
* [[Ghagge Nazir Khan]] (c. 1850 {{ndash}} c. 1920), [[Qawwal Bacchon gharana|Qawwal Bacchon]] who learned from Chote Mohammed Khan and co-founded the [[Mewati Gharana]].
* [[Faiz Mohammed Khan]] (d. 1920), disciple of Kadar Khan.<ref>{{cite book |last1=Joshi |first1=Lakshman Dattatray |title=Sangeetshastrakar va Kalavant Yancha Itihas |date=1935 |publisher=Aryabhushan Press |location=Pune |pages=108–109}}</ref>
* Faiz Mohammed Khan (d. 1920), disciple of Kadar Khan.<ref>{{cite book |last1=Joshi |first1=Lakshman Dattatray |title=Sangeetshastrakar va Kalavant Yancha Itihas |date=1935 |publisher=Aryabhushan Press |location=Pune |pages=108–109}}</ref>
* [[Ustad Bade Inayat Hussain Khan|Bade Inayat Hussain Khan]] (1840 {{ndash}} 1923), son of Ustad Haddu Khan Saheb
* [[Ustad Bade Inayat Hussain Khan|Bade Inayat Hussain Khan]] (1840 {{ndash}} 1923), son of Ustad Haddu Khan Saheb
* [[Balakrishnabuwa Ichalkaranjikar]] (1849 {{ndash}} 1926), disciple of Vasudevbuwa Joshi, Devjibuwa, and Chote Mohammed Khan.
* [[Balakrishnabuwa Ichalkaranjikar]] (1849 {{ndash}} 1926), disciple of Vasudevbuwa Joshi, Devjibuwa, and Chote Mohammed Khan.
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===20th Century===
===20th Century===
* [[Ramkrishnabuwa Vaze]] (1871 {{ndash}} 1945), disciple of [[Bade Nissar Hussain Khan]].
* [[Ramkrishnabuwa Vaze]] (1871 {{ndash}} 1945), disciple of Bade Nissar Hussain Khan.
* [[Anant Manohar Joshi]] (1881 {{ndash}} 1967), disciple of Balakrishnabuwa Ichalkaranjikar, received [[Sangeet Natak Akademi Award]] (1955).
* [[Anant Manohar Joshi]] (1881 {{ndash}} 1967), disciple of Balakrishnabuwa Ichalkaranjikar, received [[Sangeet Natak Akademi Award]] (1955).
* [[Raja Bhaiya Poonchwale]] (1882 {{ndash}} 1956), disciple of [[Balakrishnabuwa Ichalkaranjikar]]<ref>{{cite news | url=http://www.thehindu.com/todays-paper/tp-features/tp-fridayreview/music-from-the-school/article4560143.ece | title=Music from the 'school' | date=29 March 2013 | access-date=19 October 2014 | author=Kumr, Ranee}}</ref>
* [[Raja Bhaiya Poonchwale]] (1882 {{ndash}} 1956), disciple of [[Balakrishnabuwa Ichalkaranjikar]]<ref>{{cite news | url=http://www.thehindu.com/todays-paper/tp-features/tp-fridayreview/music-from-the-school/article4560143.ece | title=Music from the 'school' | date=29 March 2013 | access-date=19 October 2014 | author=Kumr, Ranee}}</ref>
* [[Mirashi Buwa|Yashwant Sadashiv Mirashibuwa]] (1883 {{ndash}} 1966), disciple of Balakrishnabuwa Ichalkaranjikar.
* [[Mirashi Buwa|Yashwant Sadashiv Mirashibuwa]] (1883 {{ndash}} 1966), disciple of Balakrishnabuwa Ichalkaranjikar.
* [[Krishnarao Shankar Pandit]] (1894 {{ndash}} 1989),<ref>{{cite web | url=http://www.itcsra.org/tribute.asp?id=10 | title=Krishnarao Shankar Pandit | publisher=ITC Sangeet Research Academy | access-date=19 October 2014}}</ref> disciple of Pt. Shankar Pandit
* [[Krishnarao Shankar Pandit]] (1894 {{ndash}} 1989),<ref name=SRA/> disciple of Shankar Pandit
* Sharadchandra Arolkar (1912 - 1994), disciple of Krishnarao Shankar Pandit, Eknath Pandit and Krishnarao Mule (Beenkar)<ref>https://mohannadkarni.org/impassioned-recital-by-arolkar/</ref>
* Sharadchandra Arolkar (1912 - 1994), disciple of Krishnarao Shankar Pandit, Eknath Pandit and Krishnarao Mule (Beenkar)<ref>{{cite web | url=https://mohannadkarni.org/impassioned-recital-by-arolkar/ | title=Impassioned recital by Arolkar &#124; the writings of Mohan Nadkarni }}</ref>
* [[Omkarnath Thakur]] (1897 {{ndash}} 1967), disciple of Vishnu Digambar Paluskar.
* [[Omkarnath Thakur]] (1897 {{ndash}} 1967), disciple of Vishnu Digambar Paluskar.
* [[Bhai Lal Mohammad|Lal Mohammad Khan]] (d. 1962), son and disciple of Ata Muhammad Khan.
* [[Bhai Lal Mohammad|Lal Mohammad Khan]] (d. 1962), son and disciple of Ata Muhammad Khan.
* [[Vinayakrao Patwardhan]] (1898 {{ndash}} 1975), disciple of Vishnu Digambar Paluskar and Ramkrishnabuwa Vaze, awarded [[Padma Bhushan]] (1972).
* [[Vinayakrao Patwardhan]] (1898 {{ndash}} 1975), disciple of Vishnu Digambar Paluskar and Ramkrishnabuwa Vaze, awarded [[Padma Bhushan]] (1972).
* [[B. R. Deodhar]] (1901 {{ndash}} 1990), disciple of Balakrishnabuwa Ichalkaranjikar, Vishnu Digambar Paluskar, Abdul Karim Khan, and Vinayakrao Patwardhan, received [[Sangeet Natak Akademi Award]] (1964) and [[Padma Shri]] (1976).
* [[B. R. Deodhar]] (1901 {{ndash}} 1990), disciple of Balakrishnabuwa Ichalkaranjikar, Vishnu Digambar Paluskar, Abdul Karim Khan, and Vinayakrao Patwardhan, received [[Sangeet Natak Akademi Fellowship]] (1964) and [[Padma Shri]] (1976).
* [[Shankarrao Sapre]], disciple of Vishnu Digambar Paluskar who founded Shriram Sangeet Vidyalaya at [[Nagpur]] in 1926.<ref>{{cite book |last1=Deodhar |first1=B. R. |title=Gayanacharya Pandit Vishnu Digambar |pages=104–105}}</ref><ref>{{cite book |last1=Bakhle |first1=Janaki |title=Two Men and Music: Nationalism in the Making of an Indian Classical Tradition |date=2005 |publisher=Oxford University Press |isbn=9780195166101 |page=297}}</ref><ref>{{Cite news|url=https://timesofindia.indiatimes.com/city/nagpur/mahal-once-the-citadel-of-musicians-now-strums-broken-notes/articleshow/58084268.cms|title=Mahal, once the citadel of musicians, now strums broken notes &#124; Nagpur News - Times of India|website=[[The Times of India]]|date=9 April 2017 }}</ref><ref>{{Cite web|url=https://www.dailypioneer.com/2021/state-editions/sahitya-akademi-broadcasts-recitation-of-sant-singaji-verses-under----gamak---.html|title=Sahitya Akademi broadcasts recitation of Sant Singaji verses under 'Gamak'}}</ref>
* Shankarrao Sapre, disciple of Vishnu Digambar Paluskar who founded Shriram Sangeet Vidyalaya at [[Nagpur]] in 1926.<ref>{{cite book |last1=Deodhar |first1=B. R. |title=Gayanacharya Pandit Vishnu Digambar |pages=104–105}}</ref><ref>{{cite book |last1=Bakhle |first1=Janaki |title=Two Men and Music: Nationalism in the Making of an Indian Classical Tradition |date=2005 |publisher=Oxford University Press |isbn=9780195166101 |page=297}}</ref><ref>{{Cite news|url=https://timesofindia.indiatimes.com/city/nagpur/mahal-once-the-citadel-of-musicians-now-strums-broken-notes/articleshow/58084268.cms|title=Mahal, once the citadel of musicians, now strums broken notes &#124; Nagpur News - Times of India|website=[[The Times of India]]|date=9 April 2017 }}</ref><ref>{{Cite web|url=https://www.dailypioneer.com/2021/state-editions/sahitya-akademi-broadcasts-recitation-of-sant-singaji-verses-under----gamak---.html|title=Sahitya Akademi broadcasts recitation of Sant Singaji verses under 'Gamak'}}</ref>
* [[Deenanath Mangeshkar]], disciple of Ramkrishnabuwa Vaze.
* [[Deenanath Mangeshkar]], disciple of Ramkrishnabuwa Vaze.
* [[Qurban Hussain Khan]] (1901 {{ndash}} 1970), son and disciple of Bade Inayat Hussain Khan.
* [[Qurban Hussain Khan]] (1901 {{ndash}} 1970), son and disciple of Bade Inayat Hussain Khan.
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===Contemporary artists===
===Contemporary artists===
* Ustad Fateh Ali Khan (b.1948), awarded [[Sitara-i-Imtiaz]] (2010) and [[Pride of Performance]] (1991).
* Ustad Fateh Ali Khan (b.1948), awarded [[Sitara-i-Imtiaz]] (2010) and [[Pride of Performance]] (1991).
* Izat Fateh Ali Khan, son of Ustad Fateh Ali Khan.
* [[Izat Fateh Ali Khan]], son of Ustad Fateh Ali Khan.
* [[Ghulam Hassan Shaggan]] (1928 {{ndash}} 2015), disciple of Bhai Lal Muhammad, awarded [[Sitara-e-Imtiaz]] (2000).
* [[Ghulam Hassan Shaggan]] (1928 {{ndash}} 2015), disciple of Bhai Lal Muhammad, awarded [[Sitara-e-Imtiaz]] (2000).
* [[Vasundhara Komkali]] (1931 {{ndash}} 2015), wife and disciple of [[Kumar Gandharva]]. Awarded [[Sangeet Natak Akademi Award]] and the [[Padma Shri]].
* [[Vasundhara Komkali]] (1931 {{ndash}} 2015), wife and disciple of [[Kumar Gandharva]]. Awarded [[Sangeet Natak Akademi Award]] and the [[Padma Shri]].
* [[Narayanrao Bodas]] (1933 {{ndash}} 2017), son and disciple of Laxmanrao Bodas. Also learned from [[Pralhad Ganu]].<ref>{{Cite news|url=https://www.thehindu.com/news/national/other-states/pandit-narayanrao-bodas-no-more/article21011681.ece|title = Pandit Narayanrao Bodas no more|newspaper = The Hindu|date = 27 November 2017|last1 = Banerjee|first1 = Shoumojit}}</ref>
* [[Narayanrao Bodas]] (1933 {{ndash}} 2017), son and disciple of Laxmanrao Bodas. Also learned from Pralhad Ganu.<ref>{{Cite news|url=https://www.thehindu.com/news/national/other-states/pandit-narayanrao-bodas-no-more/article21011681.ece|title = Pandit Narayanrao Bodas no more|newspaper = The Hindu|date = 27 November 2017|last1 = Banerjee|first1 = Shoumojit}}</ref>
* [[Sunanda Patnaik]] (1934 {{ndash}} 2020), disciple of Vinayakrao Patwardhan.
* [[Sunanda Patnaik]] (1934 {{ndash}} 2020), disciple of Vinayakrao Patwardhan.
* [[Shankar Abhyankar]] (b. 1934), disciple of Narayanrao Vyas.<ref>{{Cite web|url=https://www.oxfordreference.com/view/10.1093/oi/authority.20110803100459372|title=Shankar Abhyankar}}</ref>
* Shankar Abhyankar (b. 1934), disciple of Narayanrao Vyas.<ref>{{Cite web|url=https://www.oxfordreference.com/view/10.1093/oi/authority.20110803100459372|title=Shankar Abhyankar}}</ref>
* [[Ashok Ranade]] (1937 {{ndash}} 2011), disciple of B. R. Deodhar, Gajananrao Joshi, and Laxman Bodas. Also learned from [[Pralhad Ganu]] of [[Agra gharana]].
* [[Ashok Ranade]] (1937 {{ndash}} 2011), disciple of B. R. Deodhar, Gajananrao Joshi, and Laxman Bodas. Also learned from [[Pralhad Ganu]] of [[Agra gharana]].
* [[Malini Rajurkar]] (1941 - 2023), disciple of Govindrao Rajurkar, awarded [[Sangeet Natak Akademi]] award.
* [[Malini Rajurkar]] (1941 - 2023), disciple of Govindrao Rajurkar, awarded [[Sangeet Natak Akademi]] award.
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* [[Ulhas Kashalkar]] (b. 1955), disciple of [[Gajananrao Joshi]]. Also learned from [[Ram Marathe]] of [[Agra gharana]].
* [[Ulhas Kashalkar]] (b. 1955), disciple of [[Gajananrao Joshi]]. Also learned from [[Ram Marathe]] of [[Agra gharana]].
* [[Kedar Bodas]] (b. c. 1963 - 2023), son and disciple of [[Narayanrao Bodas]]. Also learned from [[Ashok Ranade]].
* [[Kedar Bodas]] (b. c. 1963 - 2023), son and disciple of [[Narayanrao Bodas]]. Also learned from [[Ashok Ranade]].
* [[Meeta Pandit|Dr. Meeta Pandit]] (b. 1974), daughter and disciple of [[Laxman Krishnarao Pandit|Pt. Laxman Krishnarao Pandit]]. Also learned from grandfather, [[Krishnarao Shankar Pandit|Pt. Krishnarao Shankar Pandit]].
* [[Meeta Pandit|Dr. Meeta Pandit]] (b. 1974), daughter and disciple of Laxman Krishnarao Pandit. Also learned from grandfather, [[Krishnarao Shankar Pandit|Pt. Krishnarao Shankar Pandit]].
* [[Shashwati Mandal]] (b. 1973), disciple of Pt. Balasaheb Poonchwale.<ref>{{cite news | url=http://www.thehindu.com/todays-paper/tp-features/tp-fridayreview/the-eternal-note/article3966369.ece | title=The eternal note | date=5 October 2012 | agency=The Hindu | access-date=7 October 2014 | author=Sarvamangala, C.S.}}</ref>
* [[Shashwati Mandal]] (b. 1973), disciple of Pt. Balasaheb Poonchwale.<ref>{{cite news | url=http://www.thehindu.com/todays-paper/tp-features/tp-fridayreview/the-eternal-note/article3966369.ece | title=The eternal note | date=5 October 2012 | agency=The Hindu | access-date=7 October 2014 | author=Sarvamangala, C.S.}}</ref>
* [[Manjusha Kulkarni-Patil]] (b. 1971), disciple of D. V. Kane, Pt. [[Ulhas Kashalkar]].
* [[Manjusha Kulkarni-Patil]] (b. 1971), disciple of D. V. Kane, Pt. [[Ulhas Kashalkar]].

Latest revision as of 16:32, 1 April 2024

The Gwalior Gharana (Gwalior school of classical music) is one of the oldest Khyal Gharana in Indian classical music. The rise of the Gwalior Gharana started with the reign of the Mughal emperor Akbar (1542–1605).

The favourite singers of this patron of the arts, such as Miyan Tansen, who was the most famous vocalist at the court of Akbar, came from the town of Gwalior.

History[edit]

The Gwalior Gharana evolved during the time of the Mughal Empire (1526CE – 1857 CE). Among the early masters (ustad) were Naththan Khan, Naththan Pir Bakhsh and his grandsons Haddu, Hassu and Natthu Khan.[1] The head musician in the imperial court was Bade Mohammad Khan, who was famous for his taan bazi style.[citation needed] Both Bade Mohammad Khan and Naththan Pir Bakhsh belonged to the same tradition of Shahi Sadarang (also known as Nemat Khan, dhrupad singer and veena player in the court of Mohammad Shah (1702 CE – 1748 CE).[2]

Hassu Khan (died 1859 CE) and Haddu Khan (died 1875 CE) continued to develop the Gwalior style of singing.[3] Haddu Khan's son Ustad Bade Inayat Hussain Khan (1852 – 1922) was also a singer but his style departed from the methodical Gwalior style.

Among the brothers' students were Vasudeva Buwa Joshi (died 1890), who became a teacher; and Ramkrishna Deva, who became a musician in Dhar.[4] It was Ramkrishna Deva's student, Balakrishnabuwa Ichalkaranjikar (1849 – 1926) who brought the Gwaliori gaeki (singing style) to Maharashtra state.[5]

Another prominent disciple of the duo was a Muslim dhrupad and dhamar singer from Amritsar, Miyan Banney Khan. He introduced Khyal in Punjab and Sindh and then took a musical position at the court of Nizam of Hyderabad.[6] Miyan Banney Khan's pupils included his cousin, Amir Khan (also known as "Meeran Bukhsh Khan"), Gamman Khan, Bhai Atta Muhammad, Ali Baksh Khan(father of Ustad Bade Ghulam Ali Khan), Kale Khan, Mian Qadir(sarangi), Bhai Wadhawa, Bhai Wasawa, Baba Rehman Baksh.


These all disciples started their own Gharanas and their descendants are still the most respected musicians of the subcontinent. Amir Khan also shared Miyan Banney khan's cheejs with the pupils of Pt. Balkrishnabuwa Ichalkaranjikar when he stayed in Miraj for sometime. However, his disciples included among others his four sons. One of the sons, Pyare Khan, became a professional musician.[7] Another son, Baba Sindhe Khan (1885 – 18 June 1950) became a music teacher and trained pupils such as the educator B. R. Deodhar (1901 – 1990); the singer Bade Ghulam Ali Khan (1902 – 1968),[8] and Farida Khanam (born 1935).

On 19 August 1922, Pyare Khan performed at the second annual celebration of the independence of Afghanistan. He became a mentor to a singer from Afghanistan, also performing at the celebration. This was the singer, Qasim Afghan ("Qasimju") (born 1878, Kabul).[9] Pyare Khan also remained a musician at the court of Maharajadhiraj Maharawal (Sir Jawahir Singh) of Jaisalmer (1914 – 1949). He was also a teacher of Seth Vishandas of Hyderabad in Sindh near Karachi and Mahant Girdharidas of Bhuman Shah, Punjab.

Mian Pyare Khan's sons were Ustad Umeed Ali Khan (1910 – 1979) and Ustad Ghulam Rasool Khan. They became respected classical vocalists of their times.[10] Ustad Ghulam Rasool Khan had two sons, Ustad Hameed Ali Khan and Ustad Fateh Ali Khan.[11] Ustad Fateh Ali Khan's son is Izat Fateh Ali Khan.[12]

Krishnarao Shankar Pandit (1893 – 1989) was a musician of the Gwalior gharana heritage. His father, Shankarrao Pandit was a student of Haddu Khan, Nathu Khan and Nissar Hussain Khan, Nathu Khan's son. Krishnarao Shankar Pandit practiced Khayal, Tappa and Tarana singing as well as layakari.

In 1914, Krishnarao Shankar Pandit opened a school in Gwalior, the Shankar Gandharva Mahavidyalaya. In 1921, he was awarded the title Gayak Shiromani at the All India Congress. Pandit became the court musician to Madhavrao Scindia of Gwalior; the State Musician of Maharashtra, an emeritus professor at Madhav Music College, Gwalior and an emeritus producer at All India Radio and Doordarshan. For his contribution to the world of classical music, he received awards including the Padma Bhushan in 1973 and the Tansen Award in 1980.

The students of Krishnarao Shankar Pandit included his son, Laxman Krishnarao Pandit, Sharadchandra Arolkar, Balasaheb Poochwale, and his granddaughter Meeta Pandit.

Pedagogical genealogy[edit]

The following map is based on accounts that Makkan Khan and Shakkar Khan were not related.[13] These accounts are supported by research indicating that Makkan Khan's descendants were dhrupadiyas and Shakkar Khan's descendants were khayaliyas, thus reflecting different genealogies.[14]

Ghulam
Rasool
Makkhan
Khan
Nathan Peer Baksh
(progenitor)
Kadar
Baksh
Ghagge Khuda
Baksh		Natthu KhanHaddu Khan
(founder)		Hassu Khan
(founder)
Agra Gharana
Parampara		Gul-e-Imam
Khan
Vishnupant
Chattre		{{{BANNO}}}Vasudevbuwa
Joshi		Ramkrishnadev
Paranjpe
"Devjibuwa"
Chote
Mohammed
Khan		Mehendi
Hussain
Khan
Faiz Mohammed
Khan		Bade Nissar
Hussain Khan		Rehmat Khan
"Bhu Gandharva"		Bade Inayat
Hussain Khan		Inayat Hussain
Khan
Meeran Baksh
"Amir" Khan		Ali Baksh &
Fateh Ali Khan
"Aliya-Fatu"		Rampur-Sahaswan
Gharana Parampara		Ghagge
Nazir
Khan		Balkrishnabuwa
Ichalkaranjikar
Shankar
Pandit		Eknath "Mao"
Pandit		Patiala Gharana
Parampara		Mewati Gharana
Parampara
Qurban Hussain
Khan		Vishnu Digambar
Paluskar		Anant Manohar
Joshi		Nilkanthbuwa
Alurmath
Raja Bhaiya
Poonchwale		Piyare
Khan		Ganpatibuwa
Ichalkaranjikar		Yashwant Sadashiv
Mirashibuwa		Neelkanthbuwa
Jangam
Ramkrishnabuwa
Vaze		Krishnarao Shankar
Pandit

Recent pedagogy[edit]

Singing style[edit]

A distinguishing feature of the gharana is its simplicity: well known ragas (melodic modes) rather than obscure ones are selected and sapaat (straight) taans (fast melodic sequences) is emphasized. While there is some limited raga vistar (melodic expansion) and alankar (melodic ornamentation) to enhance the beauty and meaning of the raga, there is no slow-tempo alap as in Kirana and there is no attempt to include tirobhava or melodic phrases to obscure the identity of the raga or add complexity. When the gharana is performed, the bandish (composition) is key as it provides the melody of the raga and indications on its performance. While doing bol-baant (rhythmic play using the words of the bandish) the Gwalior style uses all the words of sthayi or antara in proper sequence, without disturbing their meaning.

The behlava is a medium tempo rendition of the notes which follows the pattern of the aroha (ascent) and the avaroha (descent) of the raga. The behlava is divided into the asthayi (notes from "Ma" to "Sa") and the antara (noted from "Ma", "Pa", or "Dha" to "Pa" of the higher register). The asthayi section is sung twice before the antara. Then follows a swar-vistar in a medium tempo using heavy meends (glides) and taans. The dugun-ka-alap follows in which groups of two or four note combinations are sung in quicker succession while the basic tempo remains the same. The bol-alap is the next part where the words of the text are sung in different ways. Then there is in faster tempo the murki where notes are sung with ornamentation. The bol-taans have melodic sequences set to the words of the bandish. The other taans, including the gamak, follow.

The sapat taan is important to the Gwalior style. It is the singing of notes in a straight sequence and at a vilambit pace. Both Dhrupad and Khyal singing evolved in Gwalior and there are many overlaps. In the khyal style there is one form, Mundi Dhrupad, that incorporates all the features of dhrupad singing but without the Mukhda.

Exponents[edit]

19th Century and Earlier[edit]

20th Century[edit]

Contemporary artists[edit]

References[edit]

  1. ^ Mukherji, Kumar Prasad (2006). The Lost World of Hindustani Music (2006 ed.). Delhi: Penguin Books. p. 57. ISBN 978-0-14-306199-1.
  2. ^ Kumar, Kuldeep (14 October 2016). "Exploring the syntax of syncretism". The Hindu. Retrieved 27 November 2017.
  3. ^ "Hassu Khan Haddu Khan". Oxford Index. Retrieved 28 November 2017.
  4. ^ Wade, B. C. (1984). Khyal: Creativity Within North India's Classical Music Tradition. CUP Archive. p. 47. ISBN 0521256593. Retrieved 28 November 2017.
  5. ^ The Gazetteer of India vol 2. Publications Division Ministry of Information & Broadcasting. ISBN 9788123022659.
  6. ^ Wade, Bonnie C. (1 January 1984). Khyal: Creativity Within North India's Classical Music Tradition. CUP Archive. ISBN 9780521256599.
  7. ^ Ranade, A. D. (2006). Hindi Film Song: Music Beyond Boundaries. Bibliophile South Asia. p. 207. ISBN 9788185002644.
  8. ^ a b "Gwalior gharana". ITC Sangeet Research Academy website. Archived from the original on 23 May 2012. Retrieved 29 December 2023.
  9. ^ "Afghanistan Ustad Qasim Afghan". www.afghanland.com. Archived from the original on 4 July 2017. Retrieved 6 January 2016.
  10. ^ "Ummeed Ali Khan". Vijaya Parrikar Library of Indian Classical Music. Retrieved 6 January 2016.
  11. ^ "Oriental Traditional Music from LPs & Cassettes: Hameed Ali Khan & Fateh Ali Khan (Gwalior Gharana) - Vol. 2 - Lok Virsa CL-0023 (1987)". Oriental Traditional Music from LPs & Cassettes. 12 June 2011. Retrieved 6 January 2016.
  12. ^ Hasan, Shazia (6 March 2023). "Soulful music tugs at the audience's heartstrings". DAWN.COM. Retrieved 26 May 2023.
  13. ^ Te Nijenhuis, Emmie (1974). Indian Music: History and Structure. Belgium: E. J. Brill. ISBN 90-04-03978-3.
  14. ^ Nadkarni, Mohan (1999). The Great Masters: profiles in Hindustani classical vocal music. India: HarperCollins Publishers India. p. 38.
  15. ^ Joshi, Lakshman Dattatray (1935). Sangeetshastrakar va Kalavant Yancha Itihas. Pune: Aryabhushan Press. pp. 108–109.
  16. ^ Kumr, Ranee (29 March 2013). "Music from the 'school'". Retrieved 19 October 2014.
  17. ^ "Impassioned recital by Arolkar | the writings of Mohan Nadkarni".
  18. ^ Deodhar, B. R. Gayanacharya Pandit Vishnu Digambar. pp. 104–105.
  19. ^ Bakhle, Janaki (2005). Two Men and Music: Nationalism in the Making of an Indian Classical Tradition. Oxford University Press. p. 297. ISBN 9780195166101.
  20. ^ "Mahal, once the citadel of musicians, now strums broken notes | Nagpur News - Times of India". The Times of India. 9 April 2017.
  21. ^ "Sahitya Akademi broadcasts recitation of Sant Singaji verses under 'Gamak'".
  22. ^ Banerjee, Shoumojit (27 November 2017). "Pandit Narayanrao Bodas no more". The Hindu.
  23. ^ "Shankar Abhyankar".
  24. ^ Sarvamangala, C.S. (5 October 2012). "The eternal note". The Hindu. Retrieved 7 October 2014.
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