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DHRUPAD Dhrupad is believed to be the oldest style of classical vocal music performed today in North India. This detailed study ofthe genre considers the relationship between the oral tradition, its transmission from generation to generation, and its re-creation in performance. There is an overview of the historical development of the dhrupad tradition and its performance style from the sixteenth to the nineteenth centuries, and of the musical lineages that carried it forward into the twentieth century, followed by analyses of performance techniques, processes and styles. The authors examine the relationship between the structures provided by tradition and their realization by the performer to throw light on the nature of tradition and creativity in Indian music; and the book ends with an account of the 'revival' movement of the late twentieth century that re-established the genre in new contexts. Augmented with an analytical transcription of a complete dhrupad performance, this is the first book-length study of an Indian vocal genre to be co-authored by an Indian practitioner and a Western musicologist. Ritwik Sanyal is a retired professor of the Department of Vocal Music, Banaras Hindu University. A disciple of the late Zia Mohiuddin and Zia Fariduddin Dagar, and a leading exponent of the Dagar dhrupad tradition, he performs and teaches dhrupad internationally, and is a composer of new dhrupad compositions, with many CD recordings to his credit. He holds a PhD in musicology and is the author of Philosophy ofMusic (1987) and Dhrupad Panchashika (2015). In 2013 he received the prestigious Sangeet Natak Akademi National Award (New Delhi) for Hindustani Classical Vocal Music. Richard Widdess is Emeritus Professor of Musicology in the Department of Music, School ofArts, SOAS University ofLondon, and a Fellow ofthe British Academy. He specialises in the musicology of South Asia, with reference to the history, theory and analysis of vocal music traditions in North India and Nepal. He is the author of The Ragas ofEarly Indian Music ( 1995) and Dapha: Sacred Singing in a South Asian City (2013). SOAS STUDIES IN MUSIC Series Editors: Rachel Harris, SOAS, University ofLondon, UK Rowan Pease, SOAS, University ofLondon, UK Board Members: Angela Jmpey (SOAS, University ofLondon) Henry Spiller (University California) Kwasi Ampene (University ofMichigan) Linda Barwick (University ofSydney) Martin Stokes (Kings College London) Moshe Morad (Tel Aviv University) Noriko Manabe (Temple University) Richard Widdess (SOAS, University ofLondon) Suzel Reily (Universidade Estadual de Campinas) Travis A. Jackson (University ofChicago) SOAS Studies in Music is today one of the world's leading series in the dis- cipline of ethnomusicology. Our core mission is to produce high-quality, eth- nographically rich studies of music-making in the world's diverse musical cultures. We publish monographs and edited volumes that explore musical repertories and performance practice, critical issues in ethnomusicology, sound studies, historical and analytical approaches to music across the globe. We recognize the value of applied, interdisciplinary and collaborative research, and our authors draw on current approaches in musicology and anthropology, psychology, media and gender studies. We welcome monographs that investi- gate global contemporary, classical and popular musics, the effects of digital mediation and transnational flows. THE ROUTLEDGE COMPANION TO MUSIC AND HUMAN RIGHTS Edited By Julian Fifer, Angela Jmpey, Peter G. Kirchschlaeger, Manfred Nowak, George Ulrich SONIC RUINS OF MODERNITY Judeo-Spanish FolksSongs Today Edwin Seroussi ARCHAIC INSTRUMENTS IN MODERN WEST JAVA, INDONESIA Bamboo Murmurs Henry Spiller MUSICAL COLLABORATION BETWEEN INDIGENOUS AND NON-INDIGENOUS PEOPLE IN AUSTRALIA Exchanges in The Third Space Edited by Katelyn Barney For more information about this series, please visit: https://www.routledge.com/music/series/SOASMS DHRUPAD Tradition and Performance in Indian music Ritwik Sanyal and Richard Widdess I~ ~~o~;~;n~~~up NEW YORK AND LONDON Designed cover image: R. Widdess First published 2004 by Ashgate Reprint published 2023 by Routledge 605 Third Avenue, New York, NY 10158 and by Routledge 4 Park Square, Milton Park, Abingdon, Oxon OX14 4RN Routledge is an imprint of the Taylor & Francis Group, an informa business © 2004 Ritwik Sanyal and Richard Widdess The right of Ritwik Sanyal and Richard Widdess to be identified as author of this work has been asserted in accordance with sections 77 and 78 of the Copyright, Designs and Patents Act 1988. All rights reserved. No part of this book may be reprinted or reproduced or utilised in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers. Trademark notice : Product or corporate names may be trademarks or registered trademarks, and are used only for identification and explanation without intent to infringe. British Library Cataloguing-in-Publication Data A catalogue record for this book is available from the British Library ISBN: 978-1-032-38917-2 (hbk) ISBN: 978-1-032-38916-5 (pbk) ISBN: 978-1-003-34745-3 (ebk) DOI: 10.4324/9781003347453 Typeset in Times New Roman by Apex CoVantage, LLC Due to how the book has been scanned we’re not able to offer the same features as other eBooks . This is a photographic reprint of the original edition published in 2004. The audio examples that accompanied the book can now be accessed online at the following address: www.routledge.com/9781032389165 DHRUPAD Dedicated to our ustii.ds and gurus: tUstad Zia Mohiuddin Dagar Ustad Zia Fariduddin Dagar tDr Premlata Sharma Dr Laurence E. R. Picken Dhrupad Tradition and Performance in Indian Music RITWIK SANYAL and RICHARD WIDDESS SOAS Musicology Series ASHGATE Contents List ofFigures ix List ofMusic Examples X List ofTables and Maps xii Preface xiii Acknowledgements xix A Note on Notations and Spellings xxi 1 What is Dhrupad? 1 A View from the Audience 1 A View from the Platform 3 A Problem ofDefinition 4 The Structure ofPerformance 5 Melody 6 Rag 6 Melodic Style 7 Intonation 7 Rhythm and Metre 8 Alap 8 Tai and Time-keeping 9 Melodic Rhythm 10 Laykari 12 Text 13 The Dhrupad Repertory 13 Cautal Dhrupad 14 Dhamar 16 Sadra 17 Fast Dhrupads 17 Other Items 18 The Talwan9i Gharana Repertory 19 Instruments 20 Accompaniment and Ensemble 20 Pakhavaj 21 RudraVi1.1a 24 Other Instruments 26 Singers 26 The Seniya Tradition 27 Regional Dhrupad Traditions 28 Dhrupad Ideology 38 V