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The Jaipur-Atrauli Gharana (also known as Jaipur Gharana, Atrauli-Jaipur Gharana, and Alladiyakhani Gayaki) is a Hindustani music apprenticeship fraternity (gharana), founded by Alladiya Khan in the late-19th century. Evolved from the dhrupad tradition of the Atrauli and Dagarbani lineages, but known for khayal, this gharana is known for producing acclaimed musicians like Kishori Amonkar, Kesarbai Kerkar, Laxmibai Jadhav, Mogubai Kurdikar, Mallikarjun Mansur, Shruti Sadolikar, Dhondutai Kulkarni, and Ashwini Bhide-Deshpande. Consequently, this gharana developed a reputation for its distinctive vocal aesthetics, raga repertoire, and technical aptitude.

History

The Jaipur-Atrauli gharana emerged from Alladiya Khan's family which originated from Atrauli (near Aligarh) and migrated to Jaipur. This gharana mainly evolved from Dagar-bani of Dhrupad, however it also absorbed finer essence of Gauhar-bani and Khandar-bani.

Etymology

A subgroup of the broader Atrauli gharana, the Jaipur-Atrauli gharana includes "Jaipur" to account for the geographical history of Alladiya Khan's family.

Scholars say the hyphenated moniker of this gharana recognizes that Jaipur-Atrauli gharana musicians originally came from Atrauli Village in Aligarh district and migrated to the court of the Maharaja of Jaipur, their principal patron. Others say they came to the Jaipur Maharaja's court and then dispersed to various other courts in the area, like Jodhpur, Uniyara, Bundi, Atrauli.

Roots in Haveli Sangeet

Many of the ragas and compositions sung in the Jaipur gharana come from the tradition of Haveli Sangeet and dhrupad, such as:

• "Deva Deva Satsang" in Savani Kalyan
• "Ey Pyari Pag Hole" in Bihagada
• "Mero Piya Rasiya" in Nayaki Kanada
• "Anahat Aadi Naad" in Savani Nat
• "Devta Aadi Sab" in Kukubh Bilawal
• "Devi Durge" in Sukhiya Bilawal
• "Ye Ho Neend Na Ayaee" in Bihari
• "Papiha Na Bole" in Jayat Kalyan
• "Jabase Piyu Sapaneme" Jaitashree
• "Preetam Sainya" Lalita Gauri
• "Ree Tum Samajh" Rayasa Kanada.

Aesthetics

Gayaki

The gharana is known for its unique layakari (rhythmic aesthetics) and rich repertoire of ragas, especially jod ragas (compound ragas) and sankeerna ragas (mixed ragas). Most gharanas apply notes in simple succession in aalap and taan, whereas in the Jaipur gayaki, notes are applied in an oblique manner with filigree involving immediately neighbouring notes. Instead of the flat taan, gamak (taan sung with double notes with a delicate force behind each of the component double-notes of the taan) makes the taan spiral into seemingly never-ending cycles. Meend in aalap and gamak in taan are the hallmark of this gayaki. Sharp edged harkats and murkis (crisp, quick phrases to ornament the alaap) are relatively uncommon. Not only are the notes sung in rhythm with the taal but progress between the matras (beats) is in fractions of quarters and one-eighths. While being mindful of so many factors, musicians of this gharana still have a graceful way of arriving at the Sam without having matras to spare. This is particularly evident in the way bol-alaap or bol-taan is sung, where meticulous attention is given to the short and long vowels in the words of the bandish that are being pronounced, and the strict discipline of avoiding unnatural breaks in the words and in the meaning of the lyrics. No other gharana has paid so much attention to the aesthetics and laykari in singing bol-alaaps and bol-taans.

Repertoire

Specialty Ragas

The Jaipur-Atrauli tradition is known for signature and speciality ragas that have been created or revived by Alladiya Khan. These include:

• Raga Sampurna Malkauns
• Raga Basanti Kedar, a jod raga of Basant and Kedar.
• Raga Basant Bahar, a jod raga of Basant and Bahar.
• Raga Bihagda
• Raga Khat
• Raga Gandhari
• Raga Nat Kamod, a jod raga of Shuddha Nat and Kamod.
• Raga Jait Kalyan, a jod raga of Jait and Kalyan.
• Raga Kafi Kanada, a jod raga of Kafi and Kanada (either Darbari Kanada, Bageshri Kanada, or Nayaki Kanada).
• Raga Raisa Kanada, a jod raga of Shahana Kanada and Nayaki Kanada.
• Raga Basanti Kanada, a jod raga of Basant and Kanada.
• Raga Savani Nat, a jod raga of Savani and Shuddha Nat.
• Raga Savani Kalyan, a jod raga of Savani and Yaman.
• Raga Bhoop Nat, a jod raga of Bhoopali and Shuddha Nat.
• Raga Bihari
• Raga Pat Bihag, a jod raga of Patdeep and Bihag.
• Raga Daguri
• Raga Godhani

This tradition is known for their repertoire and presentation of jod ragas (mixed or hybrid ragas). Alladiya Khan introduced many lesser-known or obscure ragas in his repertoire.

Legacy

Jaipur-Atrauli musicians and their styles have greatly influenced music on the Indian subcontinent. From ghazals of Mehdi Hassan to the Marathi natyageets of Bal Gandharva, the Jaipur-Atrauli style has enjoyed broad popular appeal. Within Hindustani Classical music, many popular musicians outside of this tradition have adopted some of its aesthetics and techniques, most notably Bhimsen Joshi. Given the popularity of Kishori Amonkar, this tradition features many women singers. Uniquely this gharana has over four generations of leading female vocalists.

Family Ancestry

The following visualization is based on several historical accounts.

Pedagogical Genealogy

Initial Generations

The following tree includes the immediate disciples of Alladiya Khan according to Govindrao Tembe and Mallikarjun Mansur.

Recent Generations

The following includes recent branches of the Jaipur-Atrauli gharana according to various sources.

Kolhapur Branch

This family tree includes the heirs of Alladiya Khan's disciples from his time in Kolhapur.

Bhurji Khan Branch

This family tree includes the heirs of Alladiya Khan's disciples from his son and student, Bhurji Khan.

Mogubai Kurdikar Branch

This family tree includes the heirs of Alladiya Khan's disciples from his student, Mogubai Kurdikar.

Bombay Branch

This family tree includes the heirs of Alladiya Khan's disciples from his time in Bombay.

Exponents

19th Century

• Chhaju Khan (c. 1780s – 1860s), disciple of father Qadar Khan.
• Dalloo Khan (c. 1780s – 1860s), disciple of father Qadar Khan.
• Jehangir Khan (c. 1810s – 1880s), disciple of father Chhaju Khan. Uncle and guru of Alladiya Khan and Haider Ali Khan.
• Chiman Khan (c. 1810s – 1880s), disciple of father Chhaju Khan. Uncle and guru of Alladiya Khan and Haider Ali Khan..
• Khwaja Ahmed Khan (c. 1810s – 1860s), disciple of father Chhaju Khan. Father and guru of Alladiya Khan and Haider Ali Khan..
• Alladiya Khan (1855 – 1946), Gharana founder; learned from uncle Jehangir Khan.
• Haider Ali Khan, learned from uncle Jehangir Khan and the older brother of Alladiya Khan.
• Ahmad Khan (c. 1820s – 1880s), disciple of father Dalloo Khan.
• Khairat Ali Khan (c. 1860s – 1930s), disciple of father Dalloo Khan. Father and guru of Azmat Hussain Khan.
• Bhaskarbuwa Bakhale (1869 – 1922), learned from Alladiya Khan. Also learned from Natthan Khan of Agra, Faiz Mohammed Khan of Gwalior, and Bande Ali Khan.

20th Century

• Manji Khan (1888 – 1937), second son of Alladiya Khan. Learned from Alladiya Khan.
• Bhurji Khan (1890 – 1956), third son of Alladiya Khan. Learned from Alladiya Khan.
• Gulubhai Jasdanwalla, learned from Alladiya Khan.
• Kesarbai Kerkar (1892 – 1977), learned from Alladiya Khan.
• Krishnarao Phulambrikar (1898 – 1974), learned from Bhaskarbuwa Bakhale.
• Laxmibai Jadhav (1901 – 1979), learned from Haider Khan.
• Mogubai Kurdikar (1904 – 2001), learned from Alladiya Khan and Haider Khan.
• Wamanrao Sadolikar (1907 – 1986), learned from Bhurji Khan and attended many of Alladiya Khan's lessons to his disciples.
• Vamanrao Deshpande (1907 – 1990), learned from Natthan Khan and Mogubai Kurdikar.
• Gulubhai Jasdanwalla (c. 1900s - 1980s), learned from Alladiya Khan.
• Mallikarjun Mansur (1910 – 1992), learned from Manji Khan, Bhurji Khan, and later from Azizuddin Khan.
• Gajananrao Joshi (1911 – 1987), learned from Bhurji Khan.
• Nivruttibuwa Sarnaik (1912 – 1994), learned from Alladiya Khan.
• Madhusudan Kanetkar (1916 – 2007), learned from Bhurji Khan.
• Kausalya Manjeshwar (1922 – 2007), learned from Mogubai Kurdikar and Ganjananbuwa Joshi.
• "Baba" Azizzudin Khan (1921 – 2011), son and disciple of Bhurji Khan and also learned from grandfather Alladiya Khan.
• Ram Marathe (1924 – 1989), learned from Krishnarao Phulambrikar, Wamanrao Sadolikar, and Mogubai Kurdikar,
• Panchakshari Swami Mattigatti (1927 – 2013), learned from Mallikarjun Mansur.
• Babanrao Haldankar (1927 – 2016), learned from Mogubai Kurdikar. Also learned from Khadim Hussain Khan.
• Dhondutai Kulkarni (1927 – 2014), learned from Natthan Khan, Manji Khan, Bhurji Khan, Laxmibai Jadhav, Azizuddin Khan, and Kesarbai Kerkar.
• Ratnakar Pai (1928 – 2009), learned from Gulubhai Jasdanwalla and Mohanrao Palekar.
• Jitendra Abhisheki (1929 – 1998), learned from Azmat Hussain Khan, Gulubhai Jasdanwalla, and Ratnakar Pai.
• Kishori Amonkar (1931 – 2017), daughter and disciple of Mogubai Kurdikar. Also learned from Mohanrao Palekar, Anwar Hussein Khan of Agra Gharana, and Anjanibai Malpekar of Bhendi-Bazar Gharana.
• Manik Bhide (1935 – 2023), learned from Madhukar Sadolikar, Mogubai Kurdikar, and Kishori Amonkar.
• Dinkar Panshikar (1936 - 2020), learned from Nivruttibua Sarnaik.
• Madhukar Joshi (b. 1938), learned from father Gajananrao Joshi.
• Rajshekhar Mansur (1942 – 2022), learned from father Mallikarjun Mansur.
• Arun Kashalkar (b. 1943), learned from Gajananrao Joshi.
• Arun Dravid (b. 1943), learned from Abdul Majid Khan, Mogubai Kurdikar, and Kishori Amonkar.
• Kumundini Katdare (b. 1945), learned from Kamal Tambe and Madhusudan Kanetkar.
• Padma Talwalkar (b. 1948), learned from Mogubai Kurdikar and Gajananrao Joshi.
• Vikas Kashalkar (b. 1950), learned from
• Shruti Sadolikar (b. 1951), learned from father Wamanrao Sadolikar, Azizuddin Khan, and later Gulubhai Jasdanwalla.
• Alka Deo Marulkar (b. 1951), learned from Rajubhau Deo and Madhusudan Kanetkar.
• Milind Malshe (b. 1952), learned from Ratnakar Pai and Ashok Ranade.
• Bharati Vaishampayan (1954 – 2020), learned from Nivruttibuwa Sarnaik.
• Ulhas Kashalkar (b. 1955), learned from Gajananrao Joshi and Ram Marathe.
• Vijaya Jadhav Gatlewar (b. 1955), learned from Nivruttibuwa Sarnaik.
• Shubhada Paradkar (b. 1957), learned from Gajananrao Joshi and Babanrao Haldankar.
• Ashwini Bhide Deshpande (b. 1960), learned from mother Manik Bhide and later from Ratnakar Pai.
• Arati Ankalikar Tikekar (b. 1963), learned from Kishori Amonkar. Also learned from Vasantrao Kulkarni, Dinkar Kaikini, and Ulhas Kashalkar.
• Raghunandan Panshikar (b. 1963) learned from Kishori Amonkar and Mogubai Kurdikar.
• Devaki Pandit (b. 1965) learned from Kishori Amonkar, Jitendra Abhisheki, Babanrao Haldankar, and Arun Dravid.
• Mrityunjaya Agadi (b. 1965) learned from Panchakshari Swami Mattigati, Azizuddin Khan, and Rajshekhar Mansur.
• Sanjay Dixit (b. 1964), learned from Madhusudan Kanetkar, Bhaskarbuwa Shaligram, and Dhondutai Kulkarni.
• Nandini Bedekar (b. 1966), learned from Kishori Amonkar and was guided by Mogubai Kurdikar.
• Pratima Tilak (b. 1968), learned from Kausalya Manjeshwar and Kamal Tambe.
• Manjiri Asnare-Kelkar (b. 1971), learned from Madhusudan Kanetkar.
• Gauri Pathare (b. 1972), learned from Padma Talwalkar and Arun Dravid.

21st Century

• Yashaswi Sirpotdar (b. 1980), learned from Padma Talwalkar.
• Mithun Chakravarthy (b. 1981), learned from Rajshekhar Mansur.
• Aditya Khandwe (b. 1983), learned from Ratnakar Pai and Dhondutai Kulkarni.
• Tejashree Amonkar (b. 1985), learned from her grandmother, Kishori Amonkar, and guided by great-grandmother, Mogubai Kurdikar.
• Rutuja Lad (b. 1992), learned from Dhondutai Kulkarni and Ashwini Bhide-Deshpande.
• Deepika Bhide-Bhagwat (b. 1992), learned from Dhondutai Kulkarni, Shubhada Paradkar, and Madhukar Joshi. Also learned from Vinayakbuwa Kale, Shruti Gokhale, and Shubha Joshi.
• Aarya Ambekar (b. 1994), learned from Shruti Ambekar and Devaki Pandit.

References

1. Sharma, Manorma (2006). Tradition of Hindustani music. New Delhi: A.P.H. Pub. Corp. p. 49. ISBN 81-7648-999-9.
2. Haḷadaṇakara, Babanarāva (2001). Aesthetics of Agra and Jaipur Traditions. Popular Prakashan. p. 15. ISBN 9788171546855.
3. Manorma Sharma (2006). Tradition of Hindustani Music. APH Publishing. pp. 49–51. ISBN 978-81-7648-999-7.
4. Jeffrey Michael Grimes (2008). The Geography of Hindustani Music: The Influence of Region and Regionalism on the North Indian Classical Tradition. pp. 142–. ISBN 978-1-109-00342-0.
5. Kumāraprasāda Mukhopādhyāẏa (2006). The Lost World of Hindustani Music. Penguin Books India. pp. 154–. ISBN 978-0-14-306199-1.
6. "Jaipur Atrauli Gharana".
7. Nair, Jyoti (9 November 2017). "His gayaki set up a tradition". The Hindu.
8. "Official Website: Sangeet Samrat Ustad Alladiya Khan(Emperor of Music): About Us".
9. Archived at Ghostarchive and the Wayback Machine: "Haveli sangeet and Jaipur-Atrauli gharana". YouTube.
10. Sampath, Vikram (2022). Indian Classical Music and the Gramophone, 1900–1930. Taylor & Francis. ISBN 9781000590746.
11. Neuman, Daniel M. (1990). The Life of Music in North India: The Organization of an Artistic Tradition. University of Chicago Press. pp. 96–97. ISBN 9780226575162.
12. "Azmat Hussain Khan Dilrang ( 1911 1975)" – via Internet Archive.
13. Dasasarma, Amala (1993). Musicians of India: Past and Present Gharanas of Hindustani Music and Genealogies. Noya Prakash. ISBN 9788185421186.
14. Mansur, Mallikarjun (2005). Rasa Yatra: My Journey in Music. Roli Books. ISBN 9788174364067.
15. Sinha, Manjari (17 November 2018). "Ashwini Bhide Deshpande: Nurturing the covalent bonds of music". The Hindu.
16. "Vocalist Mattigatti dead | Hubballi News - Times of India". The Times of India. 5 October 2013.
17. "The Sanctity of Parampara - Manik Bhide".
18. https://www.outlookindia.com/newsscroll/classical-singer-manik-bhide-chosen-f Mohanrao Palekaror-bhimsen-joshi-award/1155162
19. Suryanarayan, Renuka (8 August 2019). "Conveying the essence of Jaipur-Atrauli gharana". The Hindu.
20. Nadadhur, Srivathsan (14 July 2016). "Yashaswi Sirpotdar: On a graceful note". The Hindu.
21. Pinglay-Plumber, Prachi (18 November 2016). "Tejashree Amonkar". Outlook.
22. "Understanding sam - G5A". 20 June 2021.

Bibliography

• Gaanyogini Dhondutai Kulkarni (2014). Sur Sangat. Rajhans Prakashan. ISBN 978-81-7434-694-0.
• Babanrao Haldankar (2001). Aesthetics of Agra and Jaipur Traditions. Popular Prakashan. ISBN 978-81-7154-685-5.

• Vocal gharanas
• Culture of Jaipur
• Aligarh district
• Kolhapur
• Jaipur gharana