The Jaipur-Atrauli Gharana (also known as Jaipur Gharana, Atrauli-Jaipur Gharana, and Alladiyakhani Gayaki) is a Hindustani music apprenticeship fraternity (gharana), founded by Alladiya Khan in the late-19th century. Evolved from the dhrupad tradition of the Atrauli and Dagarbani lineages, but known for khayal, this gharana is known for producing acclaimed musicians like Kishori Amonkar, Kesarbai Kerkar, Laxmibai Jadhav, Mogubai Kurdikar, Mallikarjun Mansur, Shruti Sadolikar, Dhondutai Kulkarni, and Ashwini Bhide-Deshpande. Consequently, this gharana developed a reputation for its distinctive vocal aesthetics, raga repertoire, and technical aptitude.

History

The Jaipur-Atrauli gharana emerged from Alladiya Khan's family which originated from Atrauli (near Aligarh) and migrated to Jaipur. This gharana mainly evolved from Dagar-bani of Dhrupad, however it also absorbed finer essence of Gauhar-bani and Khandar-bani.

Etymology

A subgroup of the broader Atrauli gharana, the Jaipur-Atrauli gharana includes "Jaipur" to account for the geographical history of Alladiya Khan's family. Scholars say the hyphenated moniker of this gharana recognizes that Jaipur-Atrauli gharana musicians originally came from Atrauli Village in Aligarh district and migrated to the court of the Maharaja of Jaipur, their principal patron. Others say they came to the Jaipur Maharaja's court and then dispersed to various other courts in the area, like Jodhpur, Uniyara, Bundi, Atrauli.

Roots in Haveli Sangeet

Many of the ragas and compositions sung in the Jaipur gharana come from the tradition of Haveli Sangeet and dhrupad, such as:

Aesthetics

Gayaki

The gharana is known for its unique layakari (rhythmic aesthetics) and rich repertoire of ragas, especially jod ragas (compound ragas) and sankeerna ragas (mixed ragas). Most gharanas apply notes in simple succession in aalap and taan, whereas in the Jaipur gayaki, notes are applied in an oblique manner with filigree involving immediately neighbouring notes. Instead of the flat taan, gamak (taan sung with double notes with a delicate force behind each of the component double-notes of the taan) makes the taan spiral into seemingly never-ending cycles. Meend in aalap and gamak in taan are the hallmark of this gayaki. Sharp edged harkats and murkis (crisp, quick phrases to ornament the alaap) are relatively uncommon. Not only are the notes sung in rhythm with the taal but progress between the matras (beats) is in fractions of quarters and one-eighths. While being mindful of so many factors, musicians of this gharana still have a graceful way of arriving at the Sam without having matras to spare. This is particularly evident in the way bol-alaap or bol-taan is sung, where meticulous attention is given to the short and long vowels in the words of the bandish that are being pronounced, and the strict discipline of avoiding unnatural breaks in the words and in the meaning of the lyrics. No other gharana has paid so much attention to the aesthetics and laykari in singing bol-alaaps and bol-taans.

Repertoire

Specialty Ragas

The Jaipur-Atrauli tradition is known for signature and speciality ragas that have been created or revived by Alladiya Khan. These include: This tradition is known for their repertoire and presentation of jod ragas (mixed or hybrid ragas). Alladiya Khan introduced many lesser-known or obscure ragas in his repertoire.

Legacy

Jaipur-Atrauli musicians and their styles have greatly influenced music on the Indian subcontinent. From ghazals of Mehdi Hassan to the Marathi natyageets of Bal Gandharva, the Jaipur-Atrauli style has enjoyed broad popular appeal. Within Hindustani Classical music, many popular musicians outside of this tradition have adopted some of its aesthetics and techniques, most notably Bhimsen Joshi. Given the popularity of Kishori Amonkar, this tradition features many women singers. Uniquely this gharana has over four generations of leading female vocalists.

Family Ancestry

The following visualization is based on several historical accounts.

Pedagogical Genealogy

Initial Generations

The following tree includes the immediate disciples of Alladiya Khan according to Govindrao Tembe and Mallikarjun Mansur.

Recent Generations

The following includes recent branches of the Jaipur-Atrauli gharana according to various sources.

Kolhapur Branch

This family tree includes the heirs of Alladiya Khan's disciples from his time in Kolhapur.

Bhurji Khan Branch

This family tree includes the heirs of Alladiya Khan's disciples from his son and student, Bhurji Khan.

Mogubai Kurdikar Branch

This family tree includes the heirs of Alladiya Khan's disciples from his student, Mogubai Kurdikar.

Bombay Branch

This family tree includes the heirs of Alladiya Khan's disciples from his time in Bombay.

Exponents

19th Century

20th Century

21st Century