Heritage

Stylistic Contributions:

• Khayalmuma inclinations
• Vertical development of musical values, in preference to the horizontal
• Full fledged introduction of Gayaki ang in all stages of performance
• Introduced Bandish-based, semi-classical, and folk, vocalised forms in repertoire
• Demonstrative singing during concert

Physical Contributions

• Thicker tabli
• Bridge modification–jawari, height
• Metallic reinforcement of joints
• Thicker tar-gahan
• Modification of fret–metal, thickness, curvature 6 Strings–gauge, distance, tuning
• Tanpura-Sitar integration
• Revolutionised sitar sound–introduction of Gandhar string

• Given a fresh lease of life to the surbahar.
• Preservation and development of Ustad Wahid Khan’s surbahar legacy.
• Equally proficient as a sitaris.
• Continuing Ustad Enayet Khan’s tradition of presenting alap on surbahar and bandish on the sitar

Imdad Khan swayam gharana ban gaye hain. Ab saare Bhaaratmein lmdadkhani dhang hi chalta hai.

Dhurjati Prosad Mukhopadhyaya–Sur our Sangati

1. Riyazi–well known for chillakashi riyaz.
2. Applied “Merukhand” concept to sitar riyaz and performance.
3. Innovator of right hand bols–e.g. Dra.
4. Earliest surbahar recording available.
5. Court musician at Mysore, Hyderabad, Indore.

1. Content Raga Swarup, Systematic unfoldment, Emotional content, Element of surprise.
2. Expression Acoustic control, Variations in pace/speed, Decorative elements, use of silence/gaps.
3. Meditative-introspective approach to music.
4. Re-engineering of the instrument–physical dimensions, acoustic features/tone, and use of “taraf” strings.
5. Development of a distinctive “baaj”.
   • Institutionalised the role of surbahar as an integral part of a surbahar-sitar performance
   • Vocal model for tan patterns
   • Deployment of tihais in mukhda and amad placements
   • Stroke power and inward/outward balance
   • Evolution of the jhala into a sophisticated and independent movement in raga exposition
6. Architect of India’s Modern Music-scape.
   • Important role in elevating instrumental music to a level of parity with vocal music
   • Facilitated the transition of instrumental music into the post-Dhrupad era
   • Involved the aristocracy of Bengal in the cultural transition–not merely as patrons, but as disciples
   • Greatest legacy–a family unmatched for its achievements in instrumental music

1. Heir to the lmdad Khan surbahar taleem.
2. Equally proficient in sitar.
3. Style characterized by i appeal, and sparkling clarity.
4. Transmission of Ustad lmdad Khan’s surbahar taleem to Ustad Vilayat Khan and Ustad Imrat Khan