International Journal For Multidisciplinary Research

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NAMING OF GHARANA

Author(s) Mr. BIDYADHAR SATAPATHY
Country India
Abstract Indian Classical music cannot be learned direet from text without shravana from a master or guru and followed by manana & nidhidhasana. For shravana the aspirants look upon a guru having intuitive vision. The descendants of masters were getting scope to learn from their elders in their own ghara, griha or home. The other disciples were coming to the place of the guru of their choice for learning. Due to their respect, reverence & devotion towards the guru as well as love and affection from the guru they were treated as family member. This traditional mode of musical training, style & practice imparted in the home, griha or ghar gave rise to different oral traditions, traits, characteristic features such as composition, choice, improvisation and development of ragas, treatment of rhythm, usage of taans, boltaans, baants, bistara etc. The disciples and descendants also acquired different mannerisms, gestures, presentation style, musical melodies, poetic beauties and usage of techniques, uniqueness, novelty and above all aesthetic embellishment. Out of four important components of a song i.e raga, tala, lyric and marga or style each one was being used in a discernible and distinguished approach in each gharana. That system and practice gradually caused emergence of different gharanas according to guru-shisya parampara.
Keywords Music, Boltaans, Bants, Bistara, Prastara, Tala, Lyric, Guru Sishya Parampara
Field Arts > Movies / Music / TV
Published In Volume 7, Issue 4, July-August 2025
Published On 2025-07-25
DOI https://doi.org/10.36948/ijfmr.2025.v07i04.51898
Short DOI https://doi.org/g9vpjq
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