Haveli Sangeet - Haveli Sangeet is a tradition of music often considered a precursor to dhrupad. Associated with the Vaishnav movement, it is traditionally sung in temples dedicated to the deity Krishna, including the Srinathji temple at Nathdwara in Rajasthan and the temple dedicated to Sri Govardhan Nath ji in Indore ,Haveli music is believed to have an edge over dhrupad (the core of Indian classical music) for the common belief that the music has none other than Lord Krishna himself for an audience. Essentially, a tribute to Krishna, its form includes, devotional renditions like, kirtans, bhajans and bhava nritya, all related to religious cult worship. Although a mix of classical and folk music, the style is inherently borrowed from the dhrupad and Dhamar (music). Haveli sangeet is commonly played at the many temples of India like the Radha Vallabh of Vrindaban . Dhrupad and Khayal are the two forms of classical singing that exist today in North India. Dhrupad, the older form, enjoyed wide popularity till the 17th or early 18th century, after which it gradually declined with the emergence of Khayal, a more entertaining style. The nature of Dhrupad music is spiritual, seeking not to entertain, but to induce feelings of peace and spirituality in the listener. The word Dhrupad is derived from Dhruva, the steadfast evening star that moves through the galaxy, and Pada meaning poetry. It is a form of devotional music that traces its origin to the ancient text of Samveda. Though a highly developed classical art with elaborate aesthetics, it is also primarily a form of worship, in which offerings are made to the divine through sound or Nada. Dhrupad- Although Dhrupad originated in the chanting of Vedic hymns and Mantras, it gradually evolved into an independent classical form of music. Dhrupad was initially sung only in the temples, the singer facing the Lord. From this early chanting, Dhrupad evolved into a sophisticated classical form of music. One significant characteristic of Dhrupad is the emphasis on maintaining purity of the Raga. The language of Dhrupad changed from Sanskrit to Brij Bhasha some time between the 12th and the 16th century. Until Indias independence, Dhrupad had mainly thrived under the patronage of Mughal and Rajput kings and its complex rendering became intended for royal audiences. The compositions became more secular. Some were written in praise of the emperors, others elaborated on music itself. However the pristine nature of Dhrupad survived and even today, we hear this majestic form of music performed like it was more than 500 years ago in the royal courts of the emperors and kings of India.
Posted on: Sat, 01 Nov 2014 15:08:56 +0000
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