Forum Pakistan

A genre of classical vocal music in the *Hindustani tradition that is known for its monumental composition and a complex system of fixed patterns. Dhrupad embodies a unique balance between rational correctness of all the elements of the sound structure and intense concentration of psycho-emotional energy, which explains, in particular, the high artistic standard of the *ragas of this genre. The central element of the dhrupad expressive system is the sound, in slow time and usually with a bass voice regarded as a special means of intuitive contact with the world. The correctness of the performance of each tone determines the fullness of the philosophical-mystical perception of the truth embedded in the word sung. The main stress in teaching the art of dhrupad is on breathing techniques, through which the mastery of the vocal apparatus is brought to the peak of perfection. Traditionally, dhrupad performances use medieval text in Braj with considerable intrusions of Sanskrit. Muslim singers add to this the *Sufi perception of the world,

Structurally, the dhrupad form has gone through a long evolution. To achieve continuity and the energy intensity of the sound, the jugalbandi principle is often used in dhrupads, that is to say, the melody line is distributed between two performers, typically close relatives. Dhrupad flourished at the time of the *Mughal empire, reaching its peak of popularity and becoming the favourite form for musicians of different religions. In the eighteenth century dhrupad began to give way to *khiyal and "thumri, which were performed with greater freedom on the emotional planes.

The name dhrupad is derived from the Sanskrit word Dhrur which means the Pole Star, a symbol of constancy. The raga in dhrupad ascends and descends very gradually. It is devotional in origin, therefore resting inflections are not allowed. The dhrupad is structured in four parts: Asthai, Antara, Sanchari, and Abhoga. Dhrupad is sung accompanying the mirdang, an ancient drum instrument. Dhrupad had already moved from temple devotional into the vernacular by the time of Amir Khusrau Dehlawi. Dhrupad has four styles known as biinis: i. Gobahar or Shudh bani ii. Dagar bani iii. Khandar bani and iv. Nauhar bani. Dhrupad has receded before khiyal ore creative music since the reign of Sultan Husain Shah Sharqi (1457-83) of Jawnpur, but until the twentieth century, dhrupad singing had been preserved and promoted by the Talwandi *Gharana, represented before independence by Mian Maula Bakhsh Khan Khanderay (d. 1930), then in Pakistan by Khan Sahib Mehr Ali Khan Khanderay (d. 1976) and his two sons M. Afzal Khan Khanderay (b. 1933) and M. Hafiz Khan Khanderay.