Efforts to notate and publish Dhrupad compositions started in the 19th Century when printing came to India. Dhrupad singers tried to notate and preserve compositions - the fixed repertoire of Dhrupad that encapsulated the musical knowledge and wisdom of many generations of Dhrupadiyas.
Rahim Fahimuddin Dagar would often praise the accompaniment of pakhāvaj players like the famed Ayodhya Prasad and Govindrao Burhanpurkar with his father that he heard in his youth.
Before the age of mass printing, singers had attempted to notate and keep their repertoire of compositions from being forgotten or distorted.
The decline of Dhrupad during the last two centuries coincides with a paradigm shift in Indian music, in which it came to be accepted that music must primarily entertain. This is a concept that reigns supreme in India today, precludes any attempts to revive or even initiate a serious study of Dhrupad.
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- Baba Behram Khan
- Zakiruddin Khan
- Allabande Khan
- Ziauddin Khan
- Nasiruddin Khan
- Rahimuddin Dagar
- Imamuddin Khan
- Hussainuddin Dagar
- Nasir Moinuddin Dagar
- Nasir Aminuddin Dagar
- Zia Mohiuddin Dagar
- Rahim Fahimuddin Dagar
- Nasir Zahiruddin & Nasir Faiyazuddin Dagar
- Zia Fariduddin Dagar
- Hussain Sayeeduddin Dagar
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