NADA YOGA is the core of Dhrupad Music

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> MAJOR SCHOOL´s OF DRHRUPAD <

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> INDIA INSTRUMENTS.DE <

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Dhrupad is the oldest surviving form of Indian Classical music and traces its origin to the chanting of VEDIC HYMNS and MANTRAS. Though a highly developed classical art with a complex and elaborate grammar and aesthetics, it is also primarily a form of worship, in which offerings are made to the divine through sound or nÄ�da. Dhrupad can be seen at different levels as a MEDITATION, a mantric RECITATION, a worship , a YOGA or TANTRA based on the knowledge of the NADIS and CHAKRAS and also purely as a performing art portraying a universe of human emotions. It is mainly a vocal tradition based on the practice of NADA YOGA, but is also performed on instruments like the Rudra Veena and the SursringÄ�r. For the past five centuries Dhrupad has mainly thrived under the patronage of Mughal and Rajput kings. Read More: > HERE <

Nada Yoga is the core of Dhrupad Music

By Dr.Acharya Trigunateet Jaimini

Indian traditional systems of health and healing also include various musical treatment approaches. A few healing traditions are also integrated in modern music therapy practice in India.

Vedic traditions dating back roughly 5000 years ago had a great intuition about the power of sound and intonation. The Vedic chants and music which had more sound and rhythm, used as a source of healing and up liftment reflected the intuition that each intonation and inflection of voice could have beneficial or adverse effects.

Music Raga Therapy , an extinct sanskrit treatise, as its name implies dealt with curative ragas and suggested specific ragas with specific therapeutic and a prophylactic medium in clinical and educational settings. the Vedic system of health care concerned with healthy living and not disease specific takes into account the patient’s entire personality, body, mind and the spirit and guides the participants for a healthy living along with the therapeutic measures that relate to physical, mental, social and spiritual harmony.

Nada Yoga is the core of Dhrupad, the most ancient style of Hindustani Classical Music. Originally only sung by priests in the temples as an act of worship, it induces a deep meditative state in the singer as well as the listener.

Vrindaban, the abode of Lord Krishna, situated on the bank of the Holy river yamuna is known for its devotional classical music „Dhrupad“. Bhagwat Puran states that Lalita Sakhi sang in Dhrupad style during the famous „Raas“-dance. Since then this tradition of ancient form of worship of Lord Krishna has been maintained in the temples of Vrindaban. Dhrupad is a particular north Indian style of classical music related to „Vraja“. This was enriched and elevated to godly heights by the celebrated swamy Haridas of Vrindaban, the Guru of world famous musician Tansen.

Dhrupad is the most ancient form of Hindustani classical music. There are two interpretations for the word Dhrupad. One is that it is derived from dhruva, the steadfast evening star, and pada, meaning ‘poem’. The other is that the word druva means ‘fixed’ and pada ‘poem’ which makes it into a poem set to music. Its origins have been traced back to the recitation of the sama veda, one of the four sacred vedic scriptures. The form developed through the sama gaan, the chanted transmission of holy texts.

Dhrupad is the oldest existing form of Indian classical music. The nature of Dhrupad is spiritual- its purpose is aradhana (worship). Seeking not to entertain, but to induce deep feelings of peace and contemplation in the listener.

Its origin is linked to the recitation of Sama veda, the sacred Sanskrit text. Dhrupad probably evolved from the earlier chanting of Om, the sacred syllable which is claimed to be the source of all creation. Later, the rhythmic chanting of the Vedic scriptures evolved into singing of Chhanda and Prabandha.

According to some accounts, Dhrupad was sung in temples, the singer facing the divinity. From this early chanting, Dhrupad evolved into a sophisticated, classical form of music. The language of Dhrupad changed from Sanskrit to Brijbhasha sometime between the 12th and the 16th century.

* Nada Yoga Discourse by Dr. Padma Murthy *

Dhrubad, Dhruvatara – the evening star, the star that never trembles, and Pada – poetry, merge to give name to this music, Dhrupad. Dhrupad, the name does what it should, it makes luminous the nature of that which is named.

Sometime during the first millenium A.D. the chanting evolved into the singing of chhanda and prabandha. The modern Dhrupad is said to have emerged out of the prabandha style of the 12th to 14th centuries. By the 11th century it had developed its perfect form. Dhrupad was and still is an act of worship during which the priest or musician surrenders to the Divine and invokes the rasa (mood) of the raga (musical mode). The intention is to put the listener into a state of inner peace and contemplation.

Between the 12th and 16th centuries the language of the compositions changed from Sanskrit to Brijbhasha (the language spoken in the area of Vrindavan) and about six centuries ago the music came under the patronage of the royal Moghul courts, where it was adapted for performance, thus evolving into a refined and sophisticated art form. The compositions became more secular though and were often praises of the emperors, whereas before they had been devotional and philosophical in nature.

One of the patrons of Dhrupad was the Moghul ruler Man Singh Tomar of Gwalior who also practiced the art. It reached its peak during the time of the legendary court musician of Akbar, Tansen, and Swami Haridas, who is often thought to have been the teacher of Tansen.

Nada Yoga is the core of Dhrupad Music

By –

Dr.Acharya Trigunateet Jaimini

Head of Department Music Sitar

Mangalayatan University ,

Aligarh, Uttar Pradesh.

INDIA

Painting by

Renowned Fine Artist

Prof. Chitralekha Singh

D.Litt,

DEAN

Institute of Visual & Performing Arts

Mangalayatan University ,

Aligarh, Uttar Pradesh.

INDIA

References & External Links: > DHRUPAD <

* NASIRUDDIN & DHRUPAD  *

Mohinuddin Dagar (1921-1967)+++ the photo of the senior Dagar Brothers was made in 1954. +++

Dhrupad (Hindi: ध्रुपद) is the oldest surviving style of music in the Hindustani musical tradition in India. Its name, from dhruva-pada, simply means „refrain“, and today denotes both a form of poetry and a style of music in which the poetry is sung.

Like all Indian classical music, dhrupad is modal, with a single melodic line and no harmonic parts. The modes are called raga, and each raga is a complicated framework of melodic rules. What sets dhrupad apart from other styles are long elaborate alapas without drum accompaniment, with a slow and deliberate melodic development, gradually developing an accelerating rhythmic pulse. Apart from obvious differences in the form of the musical presentation, one may notice a wealth of micro-tonal ornamentations that move between or around the tones that are typical for Dhrupad. The composition is sung to the rhythmic accompaniment of a pakhavaj and not tabla as in Khyal.

There are said to be four broad stylistic variants of dhrupad — the vanis (or banis): Gauri (Gohar), Khandar, Nauhar, and Dagar. These are tentatively linked to the five singing styles (geetis) known from the 7th Century: Shuddha, Bhinna, Gauri, Vegswara, and Sadharani — but more importantly, there are a number of dhrupad gharanas: „houses“, or family styles.

How the gharanas relate to the vanis is a debated question. At any rate, the most well-known gharana is that of the Dagar family, who of course sing in the Dagar vani. The Dagar style puts great emphasis on alap, and for several generations, their singers have been known to perform in pairs (often pairs of brothers). The Dagars are Muslims, but sing Hindu texts. Dagar family lore speaks of twenty generations of dhrupad singers in an unbroken line. Some of the best dhrupad singers outside the Dagar family, such as Pt Ritwik Sanyal, Uday Bhawalkar, Gundecha Brothers and Nirmalya Dey belong to the Dagar vani. As the family repertory and all details are passed down orally by father to son or uncle to nephew, the elders were vieuwed first and foremost as Guru (teacher). In the Dagar-family it is usage to place the fathers‘ name before the personal name, to which -uddin is added. Note as example: Nasir Fayazuddin, whose father was > Nasiruddin <. Nasir and Fayaz are the personal names. N.Fayazuddin Dagar’s son is called Wasif, thus Fayaz Wasifuddin Dagar.

From Bihar state come two other gharanas, the Malliks (Darbhanga Gharana) and the Mishras (Bettiah Gharana). The Malliks are linked to the Khandar vani, and emphasize the composed song over improvised alap. Pt. Ram Chatur Mallik was a famous exponent of Darbhanga Gharana in the last century. Today the famous Dhrupad performers of Darbhanga Gharana are Pt.Abhay Narayan Mallick and Pt.Vidur Narayan Mallick.

The Mishras practice Nauhar and Khandar vani, with some unique techniques for nomtom alap. This gharana flourished under the patronage of Kings of Bettiah. The most famous exponents of Bettiah Gharana today is Pt. Indrakishore Mishra and Pt. Falguni Mitra.

The form of Dhrupad prevalent in Darbhanga and Bettiah is also known as Haveli Style of Dhrupad.

In Pakistan, dhrupad is represented by the Talwandi gharana, who sing in the Khandar vani.

Alongside the classical performance tradition, the practice of singing dhrupad in temples continues to this day. Only a very small number of recordings of this singing has been made. It bears little resemblance to concert dhrupad: there is very little or no alap; percussion such as bells and finger cymbals, which are not used in the north Indian classical setting, are used, and the pakhawaj used is a smaller, older variant called mrdang, quite similar to south Indian classical mrdangam.

Compositions exist in time-cycles (talas) as tivratala (7 beats), sultala(10 beats) or chautala (12 beats). A composition set to the 10-beat jhaptala is called Sadra, and one set to the 14-beat dhamar tala is called a Dhamar. The latter in particular is seen as a lighter musical form, and associated with the Holi spring festival of colours.++++

http://www.raga.com/cds/220/220bookl.pdf

http://www.raga.com/cds/220/220images…

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www.ritwiksanyal.com — Dhrupad Ritwik Sanyal

www.dhrupad.org — The dhrupad school of the Gundecha Brothers

www.dhrupad.info — Dagarvani singer Ashish Sankrityayan’s web site

www.dagarvani.org — The official web site of Ustad F. Wasifuddin Dagar

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Dr. Acharya Trigunateet Jaimini is fortunate to have earned this rare accolade and shares “ Born in classic family of musicians“. Child Jaimini was trained up by his devoted musician mother who accompanied him on Tabla at an early age .This led him to giving successful stage performances of Sitar at the age of three. He has since then making his own compositions on the spot in various“Raagas“ and „Taals“. His first T.V. programme -classical performance on Sitar relayed from Delhi Doordarshan (National ) Program at an early age of ten years. In the similar age his Sitar performance in Shri Swami Haridas Sangit Samaroh Vrindaban (the National Music Concert was appreciated by senior Top Artists. In the National Concert of Hindustani and Karnatak music organised by Shri Raghvendra Swami Mission Bangalore it was remarkable at the age of eleven years that he played „Dhrupad“ on Dattatreya Veena which is exhibited in Sangit Natak Academy Museum New Delhi India and now listed as rare instrument in the Limca Book of Records.

Qualifications- (Ph-D / Six POST GRADUATIONS)

SOCIAL SERVICES-

Acharya Trigunateet Jaimini,apart from being visiting professor in Universities and various music institutions,has given memorable performances in various music concerts. Having got occasions to play duets with well known Indian and foreign artists, the Sitar recordings of Acharya Jaimini are preserved in the archives of the preservation libraries of Germany and Spain.

dr. Jaimini is always interested in helping deserving poor music students by teaching them classical music according traditional system of gurukul parampara. He arranges workshops for creation of interest of classical music in education institutions in summer vacations.

Music Supervisor-Guidance to Music students & Research Scholars M Phil/Ph-D students & EXAMINER in Various Universitys.

MUSIC THERAPY-

Acharya is presently working on the miracles of music therapy. It has been observed that vegetation gets a luxuriant growth on the music melodies. Cows produce increased milk after enjoying music.

The basic theory of Acharya Jaimini is that the objects of nature, the plantations, the birds, animals are instant recipients of the musical melodies as they are innocent. The experiences of Acharya Jaimini say that the heights to which human genius can soar, the sublime feelings, the depths of Love and all that the Brahma (Almighty) has created in his delicacy, can best be expressed and felt through the strings of music melodies and probably there can be no better language for such godly experiences.

The listeners of Acharya Jaimini are also being benefitted by listening to his music on Sitar, thereby feeling relief from mental stress, tension and sleeplessness, and the various resultant ailments and problems.

Dr.Acharya Trigunateet Jaimini

Head of Department Music Sitar

Mangalayatan University ,

Aligarh, Uttar Pradesh.

INDIA