01 of Vocal Semi Classical Audio Compact Disc No. 01 of Vocal Classical Audio Cassette No. Nasir Chief Exective Director Gerneral Researcher and Data CollectionArif Jafri UNESCO Fellow of Bucharest University of Music Romania Project Director Agha Khalid Zubair Recording EngineerAgha Sehir Tanveer Computer Proecessing Miss Salma Iftikhar (Project Grantee) Miss Khizra Ambreen (Project Grantee)Pakistan National Council of the Arts National Intangible Heritage Archives Acronyms NIHA PNCA PNCU UNESCONational Intangible Heritage Archives Pakistani National Council of the ArtsUnited Nations Education, Scientific and Cultural OrganizationPakistan National Council of the Arts National Intangible Heritage Archives Medium and their Abbreviations I = Instrumental V= Vocal AC ACD DISCS DF DVC DVD EPD F-F LPD SPT VCD VHS VUH VULAUDIO CASSETTES AUDIO COMPACT DISCS (Audio CD) DISCS RECORDS (78 RPM) DOCUMENTARY FILMS (8, 16, 35 & 70mm) DIGITAL VEDIO CASSETTES DEGITAL VIDEO DISCS EXTENDED PLAYING DISCS (45 RPM) FEATURE FILMS (8, 16, 35, 70 mm) LONG PLAYING DISCS (35.5 RMP) SPOOL TAPE (MEGNETIC TAPES ¼) VIDEO COMPACT DISCS VIDEO CASSETTES (VIDEO HOME SERVICES) VIDEO UMATIC HIGH BAND VIDEO UMATIC LOW BANDPakistan National Council of the Arts National Intangible Heritage Archives Indexation Pattern of Vocal Music AC – 01 / VCL AC – 01 / VSC AC – 01 / VFK LPD – 01 / VLT SPT – 01 / VCL SPT – 01 / I – SIT VHS – 01 / QI VHS – 01 / KIAudio Cassette No.Haddoo Hassoo Khan (Gawalior), Tan Rus Khan (Dehli), Behram Khan (Jaipur), Ghagge Khuda Bukhsh (Agra), Abdul Karim Khan (Kirana) Ali Bukhsh Khan and Fateh Ali Khan (Patiala) – such are the immortals who have shaped and chiseled classical music into its present noble form.The Gharana System originated and flourished under the lavish patronage of princely states of the sub-continent, but under the new social order with the disappearance of these states from the scene, the Gharanas have also gone to seed and are fast disintegrating. 01 of KafiKafi (Mystic Music) National & Patriotic Songs Qawali, Qaul, Qalbana & Other Allied Forms Vocal Classical Music Vocal Folk Music Vocal Light Music Vocal Semi Classical MusicPakistan National Council of the Arts National Intangible Heritage Archives Indexation Pattern of Instrumental Music Recordings I = Instrumental I- AL I-BNJ I-BANS I-DK I-DLE I-DIL I-IK I-HRM I-JAL I-KB I-NQ I-PKJ I-PN I-RB I-SBN I-SD I-SIT I-SRA I-SNR I-SRB I-SRI I-TA I-TNB I-TT I-VN I-VVInstrumental ALGHOZA Instrumental BANJO Instrumental BANSURI Instrumental DHOLAK / PER Instrumental DHOLE / PER Instrumental DILDUBA Instrumental IKTARA Instrumental HARMONIUM Instrumental JALTARUNG Instrumental KEYBOARD Instrumental NAQQARA/PER Instrumental PAKHAWAJ/PER Instrumental PIANO Instrumental RUBAB Instrumental SOOR BEEN Instrumental SAROD Instrumental SITAR Instrumental Sarinda, Surendo, Siroz Instrumental SANTORE Instrumental SOOR BAHAR Instrumental SARANGI Instrumental TABLA/PER Instrumental TANBORE/PER Instrumental TABLA TARUNG Instrumental VIOLIN Instrumental VICHITRA VEENAPakistan National Council of the Arts National Intangible Heritage Archives GHARANA MUSIC Khayal Gayaki (style), as it exists today in the sub-continent, has been developed, nourished and brought to perfection under the aegis of different Gharanas founded by some of the great masters of this art during the past two hundred years. 01 of Qawali Video Cassette (VHS) No. 01 – Instrumental Sitar Video Cassette (VHS) No. 01 – Vocal Classical Spool Tape No.
![]() ![]() Shayamrang and his brother Sarasrang were its most celebrated representatives in the early nineteenth century. Talwandi GharanaPakistan National Council of the Arts National Intangible Heritage Archives AGRA GHARANA Agra Gharana traces its lineage to Tansen and was originally a Gharana of Dhrupad Gayaki (Style). Qawwal Bachon Ka Gharana 7. Gharana Music System consists of eight (8) Gharanas 1. Ghagge Khuda Bakhsh’s full-throated voice acquired under the strict guidance of Nathan Khan and Pir Bukhsh made use of a slight nasal resonance to cover the faint traces of gruffness still clinging to it. They also initiated him into the artistic discipline of Khayal Gayaki and so when Ghagge Khuda Bukhsh left Gawalior for Agra, he was already well set on the road to fame as one of the foremost Khayal singers of his time. Ghagge Khuda Bukhsh left Agra for Gawalior to become a disciple of Nathan Khan and Pir Bakhsh took the young son of their guru (Master) under their wing and after years of strenuous training, they were able to remove the rough edges of their disciple’s husky voice and transformed it into a wellrounded soulful voice of a peculiar touching quality. Sadarang’s Khayal compositions that have come down to us are embellished with ‘Zamzamas’, ‘Murkis’, “Behlavas’ and ‘Drut Tans’ that show complete departure from Dhrupad Gayaki. Sadarang stands at the head of a long line of eminent Khayal singers belonging to different Gharanas who were to come after him during the next century and were to establish, once and for all, the supremacy of Khayal Gayaki (style) over Dhrupad. The bandish in Agra Gharana is invariable preceded by elaborate alap in nom – tom style, which helps in immediate identification of this Gharana.Delhi Gharana is the oldest Gharana of Khayal Gayaki (style) in the sub-continent, since its roots reach back to Naimat Khan Sadarang court musician to the fun – loving Mughul Emperor Muhammad Shah Rangeela (1719 – 1748). Both utilizes full-throated voice to expound Dhrupad Ang Khayals and both excel in bol – tans, though the bol – tans of Agra are more polished, much livelier and hence more impressive. Due to the early axchange of ideas between the two Gharanas, Agra and Gawalior have many features in common. This peculiar mode of intonation has become the distinguishing mark of singers belonging to Agra Gharana.During the succeeding generations Ghulam Abbas Khan, the eldest son of Ghagge Khuda Bakhsh, Sher Khan his nephew and finally Nathan Khan, the illustrious son of Sherr Khan transformed Agra Gharana into one of the noblest Gharanas of Khayal Gayaki (Style).In the more recent past Aftab - e – Mosiqi Fayyaz Khan manifested in his art all that was stately, dignified and beautiful in Agra Gharana and bought it to the acme of perfection. Race compatiblity mod for skyrim leSimilarly one can visualize the ‘pattern of movement’ involved in ‘Sawari Ke Khayal’, ‘Palke Ke Khayal’ etc. Jhoola Tan, Bijli Chamak Tan, Badal Garaj Tan, Hindola Tan, Bahao Tan, Chhalang Tan, Lachadar Tan, Shrinagar Tan, to name a few, all suggest a meaningful fusion of ‘Laya’ and ‘Swara’. Rhythmic and Tonal patterns are not considered as ends in themselves but are treated as technical means to be employed to depict specific feelings, objects and movements.The very names of different tans which have originated in this Gharana (Ustad Chand Khan in one of his books has enumerated 105 of them) suggest not only the tonal pattern but also rhythmic swing involved in their execution. Delhi Gharana is concerned mainly with the sensuousness and expressive power of ‘Sawara’ and ‘Laya and the ‘Bandish’ is treated not merely as a statement of a Raga but as a fine ‘Tonal Poem’. This close association of Delhi Gharana from its very inception with the court at Delhi has lent it a certain prestigious position among other Gharanas and this has resulted in disdainful refusal of this Gharana to imbibe ideas from extraneous sources. All the above mentioned elements of Khayal Gayaki found their perfect culmination in the art of Tan Rus Khan perhaps the ‘purest’ Khayal singer of all times.Tan Rus Khan was the court musician of the last Mughal Emperor Bahadur Shah Zafar (1837 – 1857). They sang with full throated voice in the Dhrupad manner and their Gayaki was lucid and simple characterized by straightforward Tans occasionally embellished with Gamaks. The other branch stemming from Ustad Mamman Khan and Ustad Bundu Khan the two greatest Sarangi players of the subcontinent is represented by the two septuagenarians – Ustad Chand Khan of Delhi and Ustad Ramzan Khan of Karachi.Pakistan National Council of the Arts National Intangible Heritage Archives GAWALIOR GHARANA The seed of Gawalior Gharana was sown by two eminent Khayal singers of the early nineteenth century Abdullah Khan and Qadir Bakhsh.
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