Öz
Dhrupad an ancient form of music was initially performed in the Hindu
temples. Later on, Dhrupad musicians were patronized in the royal courts
by the Rajputs and Mughals. With time, Dhrupad started disappearing in
society during the early part of the 20th century due to the increased popularity
of other forms of music and loss of royal patronage. Dhrupad became
absent in music concerts, and Kheyal music started dominating music concerts.
Collective efforts of many people, musicians, organizations, and patrons
initiated the Dhrupad concerts in Jaipur and Varanasi, as a step for the
revival of Dhrupad in the 1970s. Before this time the All India Radio also
took initiatives towards the promotion of Dhrupad. Slowly other Dhrupad
sammelans were arranged across India. There were few Dhrupad artists of
Dagar Tradition with a high level of artistry, who were not intimidated by
adversities and, with their persistence and dedication, continued to serve
authentic Dhrupad music to audiences through music concerts, as a concert
artist and music concert organizer. Afterward, artists from other Dhrupad
traditions played similar roles; as a result, in the last few decades, there had
been an explosion of Dhrupad festivals/concerts across India. These festivals
are organized by societies/organizations/academies (government/private)
under the leadership of eminent Dhrupad masters. This study delineates
an account of the significant Dhrupad concerts across India and, based
upon the present concert scenario, concludes that Dhrupad seems to have
been able to get back to the Hindustani Classical music audience.
Kaynakça
- Referans 1 Barua, J. (2001). Social Mobilization and Modern Society. New Delhi: Mittal Publications.
- Referans 2 Beohar, A.B. (1986). The Darbhanga Tradition of Dhrupad. Dhrupad Annual, 1, 41-42.
Öz
Dhrupad an ancient form of music was initially performed in the Hindu
temples. Later on, Dhrupad musicians were patronized in the royal courts
by the Rajputs and Mughals. With time, Dhrupad started disappearing in
society during the early part of the 20th century due to the increased popularity
of other forms of music and loss of royal patronage. Dhrupad became
absent in music concerts, and Kheyal music started dominating music concerts.
Collective efforts of many people, musicians, organizations, and patrons
initiated the Dhrupad concerts in Jaipur and Varanasi, as a step for the
revival of Dhrupad in the 1970s. Before this time the All India Radio also
took initiatives towards the promotion of Dhrupad. Slowly other Dhrupad
sammelans were arranged across India. There were few Dhrupad artists of
Dagar Tradition with a high level of artistry, who were not intimidated by
adversities and, with their persistence and dedication, continued to serve
authentic Dhrupad music to audiences through music concerts, as a concert
artist and music concert organizer. Afterward, artists from other Dhrupad
traditions played similar roles; as a result, in the last few decades, there had
been an explosion of Dhrupad festivals/concerts across India. These festivals
are organized by societies/organizations/academies (government/private)
under the leadership of eminent Dhrupad masters. This study delineates
an account of the significant Dhrupad concerts across India and, based
upon the present concert scenario, concludes that Dhrupad seems to have
been able to get back to the Hindustani Classical music audience.
Kaynakça
- Referans 1 Barua, J. (2001). Social Mobilization and Modern Society. New Delhi: Mittal Publications.
- Referans 2 Beohar, A.B. (1986). The Darbhanga Tradition of Dhrupad. Dhrupad Annual, 1, 41-42.
Ayrıntılar
| Birincil Dil | İngilizce |
|---|---|
| Konular | Müzik |
| Bölüm | Araştırma Makaleleri |
| Yazarlar | |
| Yayımlanma Tarihi | 1 Ekim 2020 |
| Gönderilme Tarihi | 7 Ağustos 2020 |
| Yayımlandığı Sayı | Yıl 2020 Cilt: 3 Sayı: 2 |
