Английская Википедия:Farrukhabad gharana

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Версия от 20:09, 6 марта 2024; EducationBot (обсуждение | вклад) (Новая страница: «{{Английская Википедия/Панель перехода}} {{Short description|Indian classical music style}} {{Copy edit|date=February 2024}} {{Use dmy dates|date=December 2018}} {{Use Indian English|date=December 2018}} '''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. ==History== The F...»)
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Шаблон:Short description Шаблон:Copy edit Шаблон:Use dmy dates Шаблон:Use Indian English 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.

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, and was succeeded by nine sons and one daughter.Шаблон:Cn 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 Vilayat Ali Khan (1779–1826) gave this gharana the name of the province where he used to live, which was Farukkabad.

Ustad Haji Vilayat Khan got the title of Haji after his completion of 7 haj ( Islamic pilgrimage). Vilayat Khan got famous after his famous battle of Tabla gats with Ustad Salaali Khansaheb, who has challenged Ustad Bakshu Khansaheb of Lucknow gharana, In order to save his pride Bakshu Khansaheb requested Vilayat Khan, who was also Salaali Khansaheb's uncle, to fight the battle of tabla Gats with Ustad Salaali Khansaheb. This battle continued for almost 15 days where many gats (authentic composition of the gharanas) and jodas (pairs of such compositions) were exchanged. On the 15th day Vilayat Khan played a unique Gat (Gat of Gazi) whose joda (pair) Ustad Salari Khansaheb could not produce. Thus Vilayat Khan was declared the winner. Ustad Bakshu Khansaheb as a reward got Vilayat Khan married to his daughter and reputedly gave him 500 tabla compositions (although some sources say only 12 compositions).[1] Vilayat Khan on the other hand gave Salaali Khansaheb his daughter in marriage and along with that he gave 14 authentic Gats known as jahezi gats to Ustad Salaali Khan as "[2]

The lineage of Farrukhabad is still carried on by the descendants of This Gharana. The Present Khalifa (head) of this Gharana is the great tabla exponent Ustad Sabir Khan who is the 33rd generation of this Gharna

There is a huge variety in the repertoire of compositions, owing to the tremendous and creative output of great composers such as Haji Vilayat Ali Khan and Amir Hussain Khan, nephew of Munir Khan, himself a disciple of Nisar Hussain Khan. In addition, a large number of gats (compositions).[3]

Repertoire

The Farrukhabad gharana is among the oldest gharanas (i.e. schools) of Tabla, the other one being Delhi Gharana. It belongs to the wider "Purbi Baj", or "eastern way of playing", which regroups Lucknow, Farrukhabad and Ajrada styles. Hence it is characterized by an extensive use of resonant strokes played on the sur of the daya reminding the Pakhawaj, but also, in the case of Farrukhabad gharana, by delicate strokes.

The repertoire is replete with varied compositions, makes use of open resonant baya strokes, and contains many unique stroke combinations. There is a greater emphasis on gats, chalan, and rela compositions than on qaida or peshkar. There is a prominent use of certain bols, notably DhereDhere/KitaTaka/TakitaDha.[4]

Members

19th century

  • Vilayat Ali Khan (1779–1826), co-founder of Farukhabad gharana. Son-in-law and disciple of Miyan Bakshu Khan of Lucknow gharana.
  • Hussein Ali Khan, son and disciple of Vilayat Ali Khan.
  • Choodiyanwale Imam Baksh, disciple of Vilayat Ali Khan. Noted pakhawaj player.
  • Nesar Hussain Khan (1824–1877), son and disciple of Vilayat Ali Khan.
  • Salari Khan, disciple of Vilayat Ali Khan.
  • Mubarak Ali Khan, disciple of Vilayat Ali Khan.
  • Channu Khan, disciple of Vilayat Ali Khan.
  • Karam Ittal Khan, disciple of Vilayat Ali Khan. Brother of Ilaahi Baksh.
  • Ilaahi Baksh, disciple of Vilayat Ali Khan. Brother of Karam Ittal Khan.
  • Nanhe Khan (1847–1902), son and disciple of Nesar Hussain Khan.
  • Munir Khan (1863–1937), disciple of Hussein Ali Khan. Also learned from his father, Kaale Khan, and other maestros. Regarded as founding a sub-branch, "Laliana Gharana."[5]
  • Masidullah "Masit" Khan (1872–1974), son and disciple of Nanhe Khan.
  • Faiyaz Khan Moradabadi, son and disciple of Karam Ittal Khan. Maternal uncle of Ahmed Jan Thirakwa

20th century

21st century

  • Satyajit Talwalkar (b. 1970s), son and disciple of Suresh Talwalkar.
  • Savani Talwalkar (b. 1980s), daughter and disciple of Suresh Talwalkar.
  • Anubrata Chatterjee (b. 1985), son and disciple of Anindo Chatterjee.
  • Rimpa Siva (b. 1986), daughter and disciple of Swapan Siva.
  • Ariff Khan (b.1988), son and disciple of Sabir Khan (present khalifa of Farukhabad Gharana)
  • Asif Khan (b.1990), son and disciple of Sabir Khan (present khalifa of Farukhabad Gharana)
  • Ameen Khan (b.1992), son and disciple of Sabir Khan (present khalifa of Farukhabad Gharana)
  • Ishaan Ghosh (b. 2000), son and disciple of Nayan Ghosh.

References

Шаблон:Reflist

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  1. ↑ Dutta, Aloke; 1995. Tabla - Lessons and practice. Albuquerque. Page 176
  2. ↑ Contribution of Exponents of Ajrāḍā and Farrukhābād Gharānā in Solo Tablā Playing
  3. ↑ Naimpalli, Sadanand; 2005. Theory and Practice of Tabla. Mumbai: Popular Prakashan Pvt. Ltd.)
  4. ↑ Saxena, Sudhir Kumar, 2006: The Art of Tabla Rhythm. New Delhi: Sangeet Natak Akademi.
  5. ↑ Шаблон:Cite web
  6. ↑ Шаблон:Cite web
  7. ↑ Шаблон:Cite book
  8. ↑ Шаблон:Cite web
  9. ↑ Шаблон:Cite web
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