KIRANA GHARANA by Dr. Prabha Atre

Founded by Ustad Abdul Karim Khan, the Gharana is named after a place of the same name in North India near Delhi. He was born there.

Khansab's music cast a hypnotic spell on those who thronged to hear him. The voice, the emotional expression, the slow expansive Alap, the sargam - all became a part of Kirana Gayaki. Ustad Abdul Waheed Khan, a nephew of Khansab met this aesthetic wave in a way which was more technical, analytical, and methodical. Kirana's structure today is more or less the same. Its main asset is its sweetness of tone, its general soothing effect on the mind.

The slow spacious Alaps include Meend, Kana - Swara and Khataka. This is mainly an influence from the instruments Been and Sarangi, played by the forefathers of Kirana.

Kirana's repertoire of ragas is comparatively limited. So also with compositions. The basic ragas such as Yaman, Malkauns, Bhairav seem to be favourites with Kirana singers; mainly because these ragas give ample scope for note patterns, for detailed exposition.

Kirana's attempt to bring Hindustani and Carnatic music closer is commendable. In addition to adapting Carnatak melodies in the Hindustani music, it also adapted certain swara expressions and gave a new flavour to its music. It is interesting to note that a sizeable number of Kirana artistes came from Hubli and Dharwar in Karnataka State. A style which had its roots in North India flowered in the South.

Apart from its founders, Kirana Gharana has a galaxy of outstanding musicians - Hirabai Barodekar, Saraswati Rane, Gangubai Hangal, Manik Verma, Sawai Gandharwa, Bhimsen Joshi, Roshanara Begum, Fayyaz Ahmed, Firoz Dastur, etc.

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