جے پور-اترولی گھرانا (خیال)

जयपुर-अतरौली घराना (ख़याल)

Vocal Gharana Late 19th century

Founded By

الادیا خان

جے پور-اترولی گھرانا، جسے اکثر جے پور گھرانا کہا جاتا ہے، ہندوستانی خیال گائکی کا ایک گھرانا ہے جس نے انیسویں صدی کے آخر میں الادیا خان (1855-1946) کے گرد شکل پائی۔ ان کا خاندان علی گڑھ کے قریب اترولی سے آیا اور جے پور کے قریب انیارا میں آباد ہوا، جہاں وہ پیدا ہوئے۔ وامن راؤ دیش پانڈے کے مطابق الادیا خان نے انکسار کی وجہ سے گھرانے کو اپنا نام نہیں دیا اور اسے جے پور کا نام دیا، جس علاقے سے ان کا تعلق تھا۔ سپتک اس کا سبب جے پور کے دربار میں ان کی شہرت کو بتاتا ہے، اور سُر گنگا وہاں خاندان کو ملنے والی سرپرستی کو۔ ملتا جلتا نام آگرہ-اترولی الگ آگرہ گھرانے کا ہے۔

الادیا خان نے اپنے والد خواجہ احمد اور اپنے چچا یا ماموں جہانگیر خان سے سیکھا۔ ان کے اپنے بیان کے مطابق ایک سرپرست کی فرمائش پر دنوں تک گاتے رہنے سے ان کی آواز جاتی رہی، اور جب لوٹی تو اس میں پہلی سی بات نہیں تھی۔ گوریندر سنگھ اور دوسرے مصنفین کے مطابق انہوں نے اپنا انداز اسی آواز کی صلاحیت پر تعمیر کیا۔ بی آر دیودھر کی روایت کے مطابق وشنو نارائن بھات کھنڈے نے اسے الادیا خان کی اپنی ایجاد کردہ ‘تان باز’ گائکی کہا۔ الادیا خان نے جواب دیا کہ ان کا خاندان نسلوں سے یہی سکھاتا آیا ہے۔ دیش پانڈے کے مطابق بانی وہی ہیں۔ این سی ای آر ٹی کی جماعت 11 کی موسیقی کی نصابی کتاب اس کے برعکس سدا رنگ کے بیٹے بھوپت خان ‘من رنگ’ کو بانی بتاتی ہے، اور الادیا خان کے سلسلے کو بعد کی ایک شاخ۔ الادیا خان کولہاپور کے شاہو مہاراج کے درباری گلوکار رہے اور 1922 میں حکمران کی وفات کے بعد بمبئی (اب ممبئی) میں بس گئے۔

دیش پانڈے کی تحریر کے مطابق، جنہوں نے اسی گھرانے میں تربیت پائی، اس کا بنیادی وسیلہ ‘لے کے تابع سُر’ ہے، جو دھیمی لے میں بھرپور آواز سے گایا جاتا ہے۔ فقرے خم کھاتے اور خود پر پلٹتے ہیں، اور تانیں، جن میں گمک کی تانیں بھی شامل ہیں، ترچھی راہوں پر چکر کھاتی آگے بڑھتی ہیں۔ لے کاری ماترا کے چوتھائی اور آٹھویں حصوں پر کھیلتی ہے، تال کے ہر دور میں تناؤ بڑھاتی ہے اور اسے سم پر حل کرتی ہے۔ یہ گھرانا بسنتی کیدار اور نٹ کامود جیسے جوڑ راگوں اور نایاب راگوں میں مہارت رکھتا ہے۔ الادیا خان نے دھرپد اور دھمار کی بہت سی بندشوں کو خیال کے روپ میں ڈھالا۔

الادیا خان نے اپنے چھوٹے بھائی حیدر خان اور اپنے دو بیٹوں، منجی خان اور بھورجی خان، کو سکھایا۔ گوریندر سنگھ کے بیان کے مطابق جب خواتین گلوکار دربار میں یا تفریح کے لیے گاتی تھیں، الادیا خان کی شاگرد کیسر بائی کیرکر محفلِ موسیقی کے اسٹیج پر آنے والی پہلی گلوکارہ بنیں، اور مراٹھی اسٹیج سے آنے والی موگو بائی کردیکر دوسری۔ موگو بائی کردیکر نے حیدر خان اور آگرہ گھرانے کے اساتذہ سے تعلیم پائی، پھر 1934 کے آس پاس الادیا خان نے انہیں ہمیشہ کے لیے اپنی شاگردی میں لے لیا۔ ان کی بیٹی کشوری امونکر جے پور-اترولی گھرانے سے تعلق رکھتی تھیں، مگر انہوں نے خود کو کسی ایک انداز تک محدود نہ رکھنے کا انتخاب کیا۔

اہم فنکار

  • الادیا خان، بانی، 1855-1946
  • حیدر خان، الادیا خان کے چھوٹے بھائی اور شاگرد
  • بھورجی خان، الادیا خان کے بیٹے، والد کی وفات کے بعد خاندانی تعلیم آگے بڑھائی
  • کیسر بائی کیرکر، 1892-1977، گوا کے کیری میں پیدائش، تقریباً 1920 سے الادیا خان کی شاگرد؛ ان کا ‘جات کہاں ہو’ وائجر گولڈن ریکارڈ میں شامل ہے
  • موگو بائی کردیکر، گوا میں پیدائش، حیدر خان اور الادیا خان کی شاگرد، 1904-2001
  • ملکارجن منصور، گلوکار، جے پور گھرانا، 1910-1992
  • کشوری امونکر، موگو بائی کردیکر کی بیٹی اور شاگرد، وفات 2017

ماخذ

  • Vamanrao H. Deshpande, Indian Musical Traditions: An Aesthetic Study of the Gharanas in Hindustani Music (1973)
  • Gurinder H. Singh، الادیا خان کے موسیقی کے سلسلے پر مضمون، اور Amrita Sarkhel, Development and characteristics of Agra-Atrauli Gharana of Khayal, Naad-Nartan Journal of Dance and Music 8(2) (2020)
  • Susheela Misra, Great Masters of Hindustani Music
  • Sunil Menon، الادیا خان کی یادداشتوں کی ایک جلد پر تبصرہ، Outlook (2022)
  • NASA Science، وائجر گولڈن ریکارڈ کے ٹریکس کی فہرست
  • NCERT, Hindustani Sangeet: Gayan evam Vadan, Class 11 (2022)
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شیئر کریں

Origins & History

Alladiya Khan was born at Uniara on 10 August 1855. By the family's own account its line descends from Nath Vishwambhar, an ancestor of Swami Haridas, through Gaud Brahmin court singers who embraced Islam under Jahangir. He learnt from his father Khwaja Ahmed and, above all, from his uncle Jehangir Khan. Sunil Menon's review of his memoir records his initiation at the gunijankhana, the musicians' department of the Jaipur court.

By Alladiya Khan's own account, days of singing at a patron's demand cost him his voice, and it came back after a long recovery without its earlier quality. Gurinder Singh and Vamanrao Deshpande read his style as built on what that voice could still do. Vishnu Narayan Bhatkhande, as B. R. Deodhar reports him, called it a 'taanbaaz' gayaki of Alladiya Khan's own making. Alladiya Khan replied that his family had taught it for generations. Deshpande quotes him tracing its complex patterns to Mubarak Ali Khan, a son of Bade Mohammad Khan.

He became court singer to Shahu Maharaj of Kolhapur, and his family joined him there in 1900. After the ruler's death in 1922 he moved to Bombay, where he spent his last 25 years and died in 1946.

"the complexity of patterns that you find in my style is there because I try to recollect and sing his style"

— Alladiya Khan

quoted in Vamanrao H. Deshpande, Indian Musical Traditions (Popular Prakashan, 1973), pp. 49-50

تاریخی ٹائم لائن

1855

Alladiya Khan is born

Alladiya Khan is born on 10 August 1855 at Uniara, a small state near Jaipur, into a family whose roots lie in Atrauli near Aligarh.
1900

The family settles in Kolhapur

Alladiya Khan's family joins him in Kolhapur, where he is court singer to Shahu Maharaj. He rarely leaves Kolhapur while the ruler lives.
c. 1920

Kesarbai Kerkar becomes a disciple

Kesarbai Kerkar becomes Alladiya Khan's disciple around 1920, after lessons with teachers of other styles. Accounts give 1920 or 1921 for the start.
1922

Death of Shahu Maharaj

Shahu Maharaj of Kolhapur dies in 1922. After the ruler's death Alladiya Khan moves to Bombay and spends the rest of his life there, teaching.
c. 1934

Mogubai Kurdikar's full training begins

Alladiya Khan takes Mogubai Kurdikar on fully around 1934, after her years with Haider Khan and with Agra gharana teachers, and teaches her until his death.
1946

Death of Alladiya Khan

Alladiya Khan dies in 1946, after 25 years mainly in Bombay. Naththan Khan, his nephew and Vamanrao Deshpande's teacher, dies the same year.
1977

Jaat Kahan Ho on the Voyager record

Voyager is launched carrying the Golden Record, which includes Kesarbai Kerkar singing 'Jaat Kahan Ho' as its track for India.

Lineage & Legacy

The guru-shishya tradition passed down through generations

Alladiya Khan taught his younger brother Haider Khan and his sons Manji Khan and Bhurji Khan, and Haider Khan's son Naththan Khan taught in turn. The school's fame came through disciples from outside the family, many of them from Maharashtra, where Alladiya Khan settled, and from Goa. Kesarbai Kerkar and Mogubai Kurdikar took it to the concert platform, and Mogubai's daughter Kishori Amonkar carried it to the next generation.

Family teachers

Jehangir Khan

Uncle and main teacher of Alladiya Khan

Uncle of Alladiya Khan and the teacher who oversaw his training, after early dhrupad lessons from his father Khwaja Ahmed. Alladiya Khan traced his gayaki to this family teaching.
Guru-Shishya Tradition

Founder

Alladiya Khan

1855-1946

Founder

Court singer to Shahu Maharaj of Kolhapur, then a teacher in Bombay until his death. Deshpande calls him the founder of a new gharana. No recordings of his singing are known.
Guru-Shishya Tradition

The family line

Haider Khan

Died 1936

Younger brother and disciple

Learned from his brother Alladiya Khan and taught beside him. Mogubai Kurdikar studied with him before Alladiya Khan took her on in full.

Manji Khan

1888-1937

Son of Alladiya Khan

Badruddin, called Manji Khan, was one of Alladiya Khan's sons to become a musician. He died young in 1937, before his father.

Bhurji Khan

Died 1950

Son of Alladiya Khan

Shamsuddin, called Bhurji Khan, passed his father's teaching on to many students after Alladiya Khan's death. Deshpande gives his death as 1950.

Naththan Khan

Died 1946

Son of Haider Khan

Nephew of Alladiya Khan. He taught Vamanrao Deshpande for six years until his death in 1946.
Guru-Shishya Tradition

Disciples outside the family

Kesarbai Kerkar

1892-1977

Disciple of Alladiya Khan

Born at Keri in Goa, she studied with Alladiya Khan from about 1920 until his death. Gurinder Singh calls her the first woman singer to move to the classical concert platform.

Mogubai Kurdikar

1904-2001

Disciple of Haider Khan and Alladiya Khan

Born at Kurdi in Goa, she began in musical drama companies. After Agra teachers and Haider Khan, she studied with Alladiya Khan from about 1934 until his death.

Bhaskarbuwa Bakhale

Disciple of Alladiya Khan

Trained in Gwalior and Agra first, he went to Alladiya Khan on the deathbed advice of Naththan Khan of the Agra gharana, and accompanied him in concert.

Mallikarjun Mansur

1910-1992

Singer

Counted by Gurinder Singh among the leading singers of the Jaipur gharana, with Kesarbai Kerkar and Mogubai Kurdikar. Deshpande's chart also places him in the Jaipur line.
Guru-Shishya Tradition

The next generation

Kishori Amonkar

Died 2017

Daughter and disciple of Mogubai Kurdikar

Trained under her mother and belonged to the Jaipur-Atrauli gharana, but did not keep strictly to its style. She asked why a singer should restrict herself to one.

Vamanrao Deshpande

Singer and writer

Trained with Naththan Khan for six years and then with Mogubai Kurdikar. His 1973 book Indian Musical Traditions studies the gharanas from a singer's own training.

The gharana system is rooted in the guru-shishya (teacher-disciple) tradition, where musical knowledge and style are passed down through direct apprenticeship over three or more generations.

Key exponents

  • Alladiya Khan, founder, 1855-1946
  • Haider Khan, younger brother and disciple of Alladiya Khan
  • Manji Khan, son of Alladiya Khan, 1888-1937
  • Bhurji Khan, son of Alladiya Khan, died 1950
  • Kesarbai Kerkar, 1892-1977, disciple of Alladiya Khan from about 1920
  • Mogubai Kurdikar, 1904-2001, disciple of Haider Khan and Alladiya Khan
  • Mallikarjun Mansur, singer of the Jaipur gharana, 1910-1992
  • Kishori Amonkar, daughter and disciple of Mogubai Kurdikar, died 2017

موسیقی کی خصوصیات

Distinctive style, techniques, and aesthetic philosophy

Overall Style

Vamanrao Deshpande describes the Jaipur medium as swara conditioned by laya: note shaped by rhythm. The voice is natural and full-throated, and the tempo is extremely slow, carried by a continuous rhythmic swing. Phrases link one note to the next while keeping each distinct, and the taans move in oblique, spiralling patterns. The layakari, play with rhythm, works at fractions of the beat and resolves on sam, the first beat of the cycle.

Swara conditioned by laya

Deshpande's phrase for the Jaipur medium: each note is shaped by rhythm. Jaipur singers usually omit the fast composition that closes a slow khayal in other gharanas.

Linked, curving phrases

Phrases curve and fold back on themselves, joining one note to the next while keeping each one clear. The taans follow oblique, spiralling paths.

Rhythm in fractions

Layakari plays at quarters and eighths of a matra, the beat. Tension builds through each cycle of the tala and is released at sam.

Gamak and meend

Gamak taans, with their heavy oscillation, and meend, the glide between notes, are central to the style, beside oscillating two-note taans.

Signature Repertoire

The gharana is known for jod ragas, compound ragas that join two ragas in one, and for rarely heard ragas. Basanti Kedar and Nat Kamod are examples, and Kesarbai Kerkar favoured such raga combinations. Alladiya Khan turned many traditional dhrupad and dhamar compositions into khayals. B. R. Deodhar records the criticism that the style repeats its layakari and taan patterns from raga to raga, a view Deshpande answers from inside the school.

Famous Compositions

Jaat Kahan Ho

Why it's special:

Kesarbai Kerkar's recording of this composition is on the Voyager Golden Record, launched in 1977. NASA's track list gives it as the record's raga from India.

Compare with Similar Gharanas

Understand how جے پور-اترولی گھرانا (خیال) differs from other traditions

Select a Gharana to Compare:

جے پور-اترولی گھرانا (خیال)
(Current)		 آگرہ گھرانا
(Comparing)
قِسم Vocal Vocal
ماخذ Agra
Era Late 19th century Early 19th century
Style Vamanrao Deshpande describes the Jaipur medium as swara conditioned by laya: note shaped by rhythm. The voice is natural and full-throated, and the tempo is extremely slow, carried by a continuous rhythmic swing. Phrases link one note to the next while keeping each distinct, and the taans move in oblique, spiralling patterns. The layakari, play with rhythm, works at fractions of the beat and resolves on sam, the first beat of the cycle. Agra khayal carries its dhrupad past into the way a performance opens and the way the words meet the beat. Singers rely on a full voice and on the composition itself, so you hear the bandish, the set composition, sung complete before any development. Rhythmic play with the words, called layakari, then carries much of the performance.
View آگرہ گھرانا Details

Influence & Legacy

Because Alladiya Khan settled in Maharashtra, most of his disciples came from there and from neighbouring regions, Goa among them. The style reached other gharanas too: Deodhar notes that Vilayat Hussain Khan of the Agra gharana learnt many compositions and ragas from Alladiya Khan but sang them in the Agra manner. Writing in 1973, Deshpande observed that early deaths had left the line with few teachers. Kishori Amonkar, trained in the gharana, later chose not to keep strictly to its style.

اکثر پوچھے جانے والے سوالات

What is the Jaipur-Atrauli gharana?

The Jaipur-Atrauli gharana, often called the Jaipur gharana, is a school of Hindustani khayal singing formed in the late 19th century around Alladiya Khan (1855-1946). It is known for compound and rare ragas, a very slow tempo, curving phrases and rhythm played at quarters and eighths of a beat.

Who founded the Jaipur-Atrauli gharana?

Alladiya Khan (1855-1946) founded the Jaipur-Atrauli gharana; Vamanrao Deshpande and Aneesh Pradhan both name him its founder. Alladiya Khan himself said the gayaki had been taught in his family for generations, through his uncle Jehangir Khan. NCERT's Class 11 music textbook instead names Bhupat Khan 'Manrang', son of Sadarang, as founder, with Alladiya Khan's line a later branch.

Which musicians belong to the Jaipur-Atrauli gharana today?

The line runs through the women singers who followed Alladiya Khan. Kishori Amonkar (died 2017), daughter and disciple of Mogubai Kurdikar, belonged to the gharana and later chose not to keep strictly to its style. In 1973 Vamanrao Deshpande named Mogubai Kurdikar and Vamanrao Sadolikar among the few teachers still passing the line on.

How does the Jaipur-Atrauli gharana differ from the Agra gharana?

Jaipur-Atrauli khayal is slow and curving, with rhythm at fractions of the beat, while Agra khayal often opens with dhrupad's nom-tom alap and divides the words across the beat. The two met in Vilayat Hussain Khan of Agra, who took ragas from Alladiya Khan and kept the Agra way of singing them.

Why is it called Jaipur-Atrauli, and where is Atrauli?

Atrauli is a town near Aligarh, in present-day Uttar Pradesh, where Alladiya Khan's family came from. Deshpande writes that Alladiya Khan, too modest to name the gharana after himself, named it after the place he belonged to, near Jaipur. Other accounts tie the name to his acclaim at the Jaipur court or to the family's patronage there. The similar name Agra-Atrauli belongs to the separate Agra gharana.

What are jod ragas, and which ones does the gharana sing?

Jod ragas are compound ragas, which join two ragas in one performance, and they are a specialty of the Jaipur-Atrauli gharana. Basanti Kedar and Nat Kamod are examples. Susheela Misra notes Kesarbai Kerkar's preference for unusual ragas and raga combinations, and her recordings include Nat Kamod and Lalita Gauri.

How did the gharana move from Rajasthan to Kolhapur and Bombay?

The gharana moved with Alladiya Khan. He became court singer to Shahu Maharaj of Kolhapur, where his family joined him in 1900, and after the ruler's death in 1922 he moved to Bombay. He spent his last 25 years there, so most of his disciples came from Maharashtra and neighbouring regions.

Is the Jaipur-Atrauli style 'taan-heavy'?

'Taanbaaz' was a critic's label: Vishnu Narayan Bhatkhande, as B. R. Deodhar reports him, used it for Alladiya Khan's gayaki. Vamanrao Deshpande, who trained in the gharana, puts its weight elsewhere. He describes note shaped by rhythm at an extremely slow tempo, with gamak taans as one element beside linked phrases and fractional layakari.

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