| The author: Dhaval Shrimankar |
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| Gharana in essence means thought school, or school of music which follows the specific style improved for these years by strict practice and increased coming generations which combine modern styles and include new ideas. Gharana means family tradition literally. |
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Gharana means family tradition, members of a family of the musicians basing their own unique musical discipline consistently more than three or more generations literally. It is difficult to give exact date when this system has arisen. Ithawa gharana has developed more than seven generations of some of the finest players sitara India. Khan Shujaat is the seventh in this not broken chain of virtuosos sitara from Ithawa gharana and as believe, is the bearer of a torch for the future of this school of music. With Khan Shujaat at a concert today, it would be pertinently clear to show some of the latent facts about history and development of this style of music.
Ithawa gharana in its existing form the father, the legendary Khan of musician Ustad Vilayat owe the existence, the popularity and the distinctive style sitara, playing to Shujaat Khan’s. But for it, gayaki angular or vocal style in tool music which is test of it gharana, neither would not exist, nor will prosper. To speak about Ithawa gharana last years means to speak about Khan Vilayat and its early period of musical training, its original thoughts on maintenance gayaki in tool game, its improvisations and the changes made to structure sitara to adapt a continuity of a sound or to imitate vocals in game sitara. Teasing work which won hearts of listeners, critics and musicians similarly, in 1943 Vikram Samaroh music conference in Bombay is necessary, that only after Vilayat Khan’s, tool music, earned wider acceptance in the main classical music of a stream.
Born in 1928 in Gauripur, East Bengal, Khan Vilayat has entered into the music world at early age four and has given its premiere when to it was eight. It also has made the first registration at the same age. Khan Vilayat welcomes from an impressive family of musicians. Its great great Khan of father Ustad Sahabdat has given today’s surbahar, the bass version sitara and very difficult tool to the owner, its existing voice-frequency and structural form. At early age of ten Khans Vilayat its first guru has lost, its Khan of father Ustad Inayat conducting the musician of its days. After that it moved with mother to state Nahan about Delhi to study music from its parent great father Ustad Bande Hasan Khan who was the musician of court of the state. During time 40’s and 50’s still was Inayat influence Khan’s in Vilayat Khan’s game. Tantrakari was still very visible. The right hand which consider as the main subject of tool game for string tools, was still distintly dominating. Tantrakari was it is taken to the big heights by earlier generations, but now was time to give a new management to tool music. It is necessary, that a human voice - a raised embodiment of expression, and all other sounds - the subordinates used only for strengthening and an ornament of vocal music. In its searches to reach a vocal continuity in a sound sitara, Khan Vilayat entered gayaki a corner in tool music during early 60’s.
Khayal ras, vocal style of music with figurative use of lyrics, has started to appear in tool music with Vilayat Khan’s self-contemplate vision and bright imagination. Tone sitara has been changed now. The right hand remained in its place, but in the left hand there were essential advancements. pancham kharaj now has been replaced by a steel gandhar (this change helps with a mood establishment raag). Some other fundamental changes also have been made to structure sitara.
There were the various subjects involved in khayal ras, which has demanded quite sufficient improvisations to translate it in tool music. At first Alap, slow, but to a speculative progression raag, have given the various approach decorated meend, krintan and zamzama. Then there were taans and bol taans, fast phrases of rate, and thumri. Transition to khayal ras is rather obvious in Vilayat Khan’s registration from 60’s forward.
Corner Gayaki is successfully transferred now Ithawa gharana’s following generation of musicians. Today there are many musicians who prefer and follow this style of music. Thanking its creative genius for this huge contribution to the music world. It would be fair to address to Ithawa gharana as Vilayatkhani gharana. |
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| About the Author |
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Shilpa Rao is the professional Indian artist of Classical music. Study bases of the Indian system of Classical music in http://www.articlestonurture.com/classical/music.html/3
Article source: http://www. ArticlesTake.com |
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