Published 1976 .
Written in EnglishRead online
|Statement||by Frances Ann Shepherd.|
|The Physical Object|
|Pagination||xvi, 332 p. :|
|Number of Pages||332|
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Tabla and the Benares Gharana. (OCoLC) Material Type: Thesis/dissertation, Manuscript: Document Type: Book, Archival Material: All Authors / Contributors: Frances Ann Shepherd. Playing Techniques of Tabla: Banaras Gharana [Chhote Lal Misra] on *FREE* shipping on qualifying offers.
Guide to theory and practical issues relating to the tabla. Pages in category "Tabla gharanas" The following 13 pages are in this category, out of 13 total. This list may not reflect recent changes.
Ajrara gharana; B. Benares gharana; D. Delhi gharana; F. Farukhabad gharana; H. Dildar Hussain; Mian Shaukat Hussain; Zakir Hussain (musician) K.
Tari Khan; L. Lucknow gharana (tabla) M. Benares Gharana: The Benares tabla gharana was developed about years ago. The founder was the legendary Pandit Ram Sahai (–).
Ram Sahai began studying the tabla with his father from the age of five. At the age of nine, he moved to Lucknow to become the disciple of Modhu Khan of the Lucknow gharānā.
Most of the followers of Banaras Gharana are Hindu and so they believe that percussion is originated by Lord Shiva and they have composed several 'Stuti-Paran', i.e. compositions in the praise of Gods and Goddesses.
Major Tabla players of Benaras Gharana are Pandit Ram Sahai, Kanthe Maharaj, Samta Prasad, Kishan Maharaj, etc. THE ART OF TABLA SOLO IN THE BENARES GHARANA. Many people think of the tabla primarily as an accompaniment instrument. While it is true that the tabla plays a vital role as taal-keeper for vocalists and instrumentalists, and is prominently featured in the accompaniment of kathak dance, it also has a rich solo tradition.