Dhrupad

Dhrupad is the oldest and most revered form of Hindustani classical music, representing the purest continuation of India’s ancient and Vedic musical traditions. Rooted in devotion and discipline, Dhrupad embodies a meditative and spiritual approach to sound, blending elements of sacred chant, poetic expression, and refined artistry. It evolved from the sacred hymns of the Samaveda and the prabandha style of medieval music, eventually reaching its classical form during the reign of the Mughal emperor Akbar.

Historical Origins

The origin of Dhrupad can be traced to the Vedic period (c. 1500–500 BCE), when chants and hymns were sung using three tonal accents—udatta, anudatta, and svarita. These chants, particularly the Samagana (melodies of the Samaveda), laid the foundation for melodic and rhythmic structure in Indian music.
The medieval form of sacred music, called Prabandha, developed during the early second millennium CE. Dhrupad emerged as a refined version of Prabandha, maintaining its structural discipline but introducing greater melodic freedom and poetic beauty.
The term Dhrupad is derived from the Sanskrit words “Dhruva” (fixed or constant) and “Pada” (word or verse), implying a composition with a fixed melodic and lyrical structure. By the 15th century, Dhrupad had evolved into a mature art form, finding patronage in royal courts and temples.

Evolution and Patronage

During the Delhi Sultanate and Mughal periods, Dhrupad flourished under royal patronage. Its devotional essence appealed both to Hindu temples and to Muslim courts, demonstrating a unique fusion of spirituality and artistry.
The Vishnupad tradition in Hindu temples, especially in regions like Vrindavan, Mathura, and Gwalior, maintained the sacred and devotional aspect of Dhrupad. Meanwhile, in royal courts, it acquired a more formal and aesthetic dimension.
Under Emperor Akbar (16th century CE), Dhrupad attained its golden age. Akbar’s legendary court musician, Miyan Tansen, perfected the style and composed numerous Dhrupads that remain cornerstones of Hindustani repertoire. His works combined classical precision with emotional depth, establishing the Gwalior gharana as the earliest and most influential school of Dhrupad.

Structure and Components

A Dhrupad performance is characterised by its gravity, dignity, and precision. It typically begins with an elaborate Alap, followed by the Dhrupad composition proper.
1. Alap:

• The alap is a slow, unmetered exposition of the raga, performed without percussion.
• It introduces the melodic structure, exploring each note (svara) with depth and purity.
• The vocalist uses nom-tom syllables such as “na”, “re”, “ta”, “nom”, “tom” to articulate the sound.
• The alap is highly meditative, gradually building tension and emotion as it ascends through the scale.

2. Composition (Dhrupad proper):

• The composition is set to a fixed rhythmic cycle (tala) and follows a four-part structure:
  • Sthayi: The main refrain, sung in the lower and middle registers.
  • Antara: The second section, exploring the higher register.
  • Sanchari: The elaborative section, connecting the sthayi and antara.
  • Abhoga: The concluding section, often combining all registers.
• The accompanying percussion instrument is the pakhawaj, a barrel-shaped drum that provides rhythmic depth.

Dhrupad compositions are generally written in Braj Bhasha, Sanskrit, or Hindi, and often express themes of devotion to Lord Krishna, descriptions of nature, or praise of kings and patrons.

Styles (Banis) of Dhrupad

Historically, four principal banis (styles) of Dhrupad evolved, each emphasising distinct artistic features:

1. Gaurhar Bani: Known for its dignity and seriousness, focusing on deep, resonant tones and slow tempos.
2. Dagur Bani: Softer and more lyrical, with smooth transitions and melodic beauty; it influenced the later development of Khayal.
3. Khandar Bani: Vigorous and rhythmically intricate, emphasising dynamic interplay with the pakhawaj.
4. Nauhar Bani: Distinguished by its ornate and complex melodic patterns, often involving fast movements.

Among these, the Dagur Bani has survived most prominently in modern times, particularly through the Dagar family of Dhrupad musicians.

The Gharanas and Lineages

Several gharanas (schools) preserved and transmitted the Dhrupad tradition, each with its own stylistic nuances. The most important among them are:

• Gwalior Gharana: Associated with Tansen and his disciples; considered the mother school of North Indian classical music.
• Darbhanga Gharana: Based in Bihar, known for its powerful voice production and rhythmic vitality.
• Bettiah Gharana: Known for its intricate rhythmic compositions and spiritual depth.
• Dagar Gharana: The most influential modern lineage, maintaining the purity of the Dhrupad tradition through successive generations. The Dagar family has produced legendary exponents such as Ustad Nasir Moinuddin Dagar, Ustad Nasir Aminuddin Dagar, and Ustad Zia Mohiuddin Dagar.

Characteristics and Performance Style

Dhrupad’s distinguishing features are its spiritual seriousness, simplicity, and grandeur. It differs from other forms of Hindustani music in several ways:

• Emphasis on purity of raga: No ornamentation or rapid taans as seen in Khayal; every note is explored patiently and with reverence.
• Use of microtones (shruti): Notes are rendered with exact intonation, often requiring years of rigorous training.
• Voice cultivation: The Dhrupad vocalist uses a full-throated, powerful tone to project sound naturally without amplification.
• Alap as meditation: The unmetered introduction evokes an atmosphere of contemplation, aligning with yogic breathing and concentration.
• Use of Pakhawaj: Unlike the tabla used in later forms, the pakhawaj lends a deep, resonant quality that complements Dhrupad’s gravity.

Decline and Revival

By the 18th and 19th centuries, Dhrupad began to decline in popularity as the lighter, more flexible Khayal style gained prominence in royal courts. Khayal’s lyrical expressiveness and adaptability appealed to changing aesthetic tastes.
However, Dhrupad continued to survive in temple traditions, particularly in Vrindavan and Darbhanga, and through hereditary musician families such as the Dagars.
In the 20th century, there was a significant revival of interest in Dhrupad, led by musicians such as:

• Ustad Zia Mohiuddin Dagar (rudra veena maestro)
• Ustad Zia Fariduddin Dagar (vocalist)
• The Gundecha Brothers (Ramakant and Umakant Gundecha), who popularised Dhrupad globally through teaching and performances.

Institutions like the Dhrupad Sansthan in Bhopal continue to promote and preserve this ancient tradition.

Dhrupad in Relation to Other Forms

Dhrupad forms the foundation of Hindustani classical music. The later Khayal, Thumri, and Haveli Sangeet styles all evolved from its framework but adopted more decorative and improvisational features.
While Dhrupad maintains austerity and spiritual focus, Khayal represents emotional and creative freedom. Nevertheless, both share a common lineage in the ancient system of raga and tala.

Philosophical and Spiritual Dimensions

At its core, Dhrupad is not just a musical form but a spiritual discipline. Rooted in the concept of Nāda Brahma (Sound as the Supreme Being), it aims to connect performer and listener with the divine.
Performing Dhrupad requires concentration, breath control, and inner balance—qualities associated with Yoga and meditation. The deep, resonant sound is believed to harmonise body, mind, and spirit, transcending the material world.