ඝරණ

හින්දුස්ථානි සංගීතයට අනුව, ඝරණයක් යනු is a system of social organization linking musicians or dancers by lineage and/or apprenticeship, and by adherence to a particular musical style. A gharana also indicates a comprehensive musicological ideology. This ideology sometimes changes substantially from one gharana to another. It directly affects the thinking, teaching, performance and appreciation of music.

The word gharana comes from the Hindi word 'ghar', which means 'family' or 'house'. It typically refers to the place where the musical ideology originated; for example, some of the gharanas well known for singing are: Agra, Gwalior, Indore, Jaipur, Kirana, and Patiala.

වාචික ඝරණ

ඛ්‍යාල් ඝරණ

The gharanas have distinct styles of presenting the — how much to emphasize and how to enunciate the words of the composition, when to sing the sthayi and antara, whether to sing an unmetered alap in the beginning, what kinds of improvisations to use, how much importance to give to the rhythmic aspect, and so on. However, an individual performer from a gharana may choose to borrow appealing stylistic aspects of another gharana in his or her gayaki. The prominent khyal gharanas are:

Gharana	Founding Artists	Approximate founding date	Revived by	Approximate revival date	Features
	,	Mid-16th Century			Bol-baant, bol-taan, no sargam, wide range in taans, alankarik taans, descending sapaat taans, roughly similar emphasis on melody and rhythm, repertoire of bandishes, variety of taans
		Mid-19th century		Early 20th century	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, repertoire of traditional and self-composed bandishes
		Late 17th century	,	Early 20th century	Slow-tempo raga development, emphasis on melody, long and sustained pitches, usually traditional ragas, use of sargam, very little bol-baant, clarity of text pronunciation
	, ,	Late 19th century			Emphasis on breath control to be able to sing long passages in a single breath, use of merukhand for extended alaps, use of gamak taan and sargam, use of some Carnatic ragas
		Late 19th century			Repertoire of rare and complex ragas, based on Agra gharana, heavy use of teentaal and rupak, rhythmic play, use of bol-baant and bol-taan, use of sargam, rippling taans, heavy emphasis on taans
	,	Late 19th century			Emphasis on voice development, roughly similar emphasis on melody and rhythm, bol-baant-like sargam, occasional use of bol-taan, variety of taans, fast sargam and taan patterns, may or may not include antara
		Mid-19th century			Emphasis on melody, little bol-baant or bol-taan, use of sargam, sapaat taans
		Mid-20th century			Slow-tempo raga development, improvisation mostly in lower and middle octaves, tendency towards serious and expansive ragas, emphasis on melody, judicious use of pause between improvisations, bol alap and sargam using merukhand patterns, sparing application of murki, use of kan swaras in all parts of performance, controlled use of embellishments to preserve introspective quality, rare use of tihai, careful enunciation of text, may or may not include antara, use of multiple laya jatis in a single taan, mixture of taan types in a single taan, known for rubaidar tarana (considered similar to chhota khyal)
		13th century		Mid-20th century
		Late 18th century	,		Extensive use of sargam and taan patterns in both vilambit and drut
		Mid-19th century		Late 20th century	Emphasis on melody, known for bhajans, sapaat taans and gamak taans, use of sargam
					Repertoire of traditional bandishes, systematic alap, gamak taan and bol taan, known for other classical and semi-classical forms
	,	16th century		Mid-20th century	Emphasis on layakari using bol-baant and tihai, fast sargam and taan patterns

Dhrupad Gharanas

• , founded by the
• , founded by in (13th Century)
• , , - known for style known as and also has good command on
• , founded in ,

Thumri gharanas

In the , the words in the text of a song are musically embellished to bring out their meaning, while the presents intricately embellished and delicate that are explicit in their eroticism. The principal feature of the of the is its incorporation of the from the Punjab region. It is with this element that the Patiala gharana makes its impact, departing from the -dominated Benaras and the dance-oriented Lucknow .

• , revived by Siddheshwari Devi, Rasulan Bai, Badi Moti Bai, Mahadev Mishra, (mid-20th Century), founded by (13th-Century).
• , founded by Ustad Fateh Ali Khan and Ustad Ali Baksh Khan in , (18th Century).

Instrumental gharanas

Tabla Gharanas

The following are the six widely accepted Tabla Gharanas. The prominent Tabla Gharanas are in bold (ordered based on chronology of founding):

• is the oldest of the Tabla Gharanas.
• is an offshoot of and closely associated with the Delhi Gharana.
• , revived by ,(Middle 20th century), (late 20th Century), has rhythmic development through Kathak.Also (Specialist in KATHAKI Baaz) is direct diciple of Late Ustad Wazid Hussain Khalifa and complited his training under the able guidance of his father Pandit.Anil Bhattacharjee,The diciple of Wazid Hussain.
• , popularized by and , developed through its original repertoire
• is the youngest accepted Tabla Gharana, and an offshoot of the Lucknow Gharana

Gharana	Founding artists	Approximate founding date	Founding location	Famous exponents
		Early 18th century	Delhi	Ustad Game Khan, Ustad Imam Ali Khan, Ustad Latif Ahmed Khan, Ustad Shafaat Hussain Khan
	,	Early 19th century	Meerut	Ustad Habibuddin Khan,Ustad Mehboob Hussain Khan, Prof. Sudhirkumar Saxena, Ustad Manju Khan s/o late Ustad Habibuddin Khan, (Ustad Yusuf Khan, Pandit Babu Ram Parvesh Singh, Ustad Ramjan Khan Sahib, Pandit Bal Krishan Sharma - disciples of Ustad Habibuddin Khan), Aman Ali, Athar Hussain, Anil Kumar ,all are disciples of ustad manju khan s/o late ustad habibudin khan
		19th century	Lucknow	Pt. Achchan Maharaj (Jagannath Maharaj),Late Pandit Anil Bhattacharjee, ,Pt. Santosh Biswas, Pt.
		Late 18th century	Benaras	Pt. Ram Sahai, Pt. , Pt. Kishen Maharaj, Kumar Bose, Pt. Samar Saha
		19th century		Ustad Masit Khan, Ustad Ahmedjan Thirakwa, , Ustad Keramatullah Khan, Pandit Kanai Dutta, Pandit Shyamal Bose, , Pt. Anindo Chatterjee, Ustad Sabir Khan
		19th century	Punjab	Ustad Qadeer Buksh, Ustad Shaukat Hussein Khan, Ustad "Tari" Khan, Ustad , Ustad
Sikar Gharana				Ustad Liaquat Ali Khan, Ustad Sharafat Ali Khan
Nana Panse gharana			Mathura	Pt. Makhanji, Pt. Balkrishna Vaidya (Pakhawaj),[Pandit Ramakant Pathak(Pakhawaj),Late Pandit Anil bhattacharjee]Diciples of Pandit Sakharamji.

Wind and String Instruments

• , founded by (, )
• ,
• Sufiana Gharana of Kashmir ()

Dance gharanas

මූලික ලිපිය: (Kathak#Gharanas)

In Kathak performers today generally draw their lineage from three major schools of Kathak: the Jaipur gharana, the Lucknow gharana and the Banaras gharana (born in the courts of the Kachwaha Rajput kings, the Nawab of Oudh, and Varanasi respectively); there is also a less prominent (and later) Raigarh gharana which amalgamated technique from all three preceding gharanas but became famous for its own distinctive compositions.

References

1. Gharanas at .
2. Modern history of Hindustani classical music at .

External links

• Gharanas of Hindustani Music
• Gharana Tradition, by Prof.