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{{Short description|Genre in Hindustani classical music}}
{{More citations needed|date=August 2010}}
{{Use Indian English|date=January 2016}}
{{Use dmy dates|date=January 2016}}
{{promo|date=November 2025}}
The '''Gwalior Gharana''' ('''Gwalior School of Classical Music''') is the oldest and most influential [[Khyal]] [[Gharana]] in [[Hindustani classical music|Indian Classical Music]] worldwide. The Gwalior Gharana is known as the "Gangotri" (origin) of Khyal raga and is considered the most ancient school of Hindustani classical music. Other gharanas follow the lineage of the Gwalior Gharana.

The rise of the Gwalior Gharana started in the 16th century with the reign of the [[Mughal Empire|Mughal]] emperor [[Akbar]] (1542–1605).

The famous singers of this patron of the arts were [[Tansen]] and [[Baiju Bawra]]. [[Miyan Tansen]], who was the most famous vocalist at the court of [[Akbar]], came from the historic city of [[Gwalior]].

==History==
The Gwalior Gharana evolved during the time of the [[Mughal Empire]] (1526CE {{ndash}} 1857 CE). Among the early masters (''ustad'') were Naththan Khan, Naththan Pir Bakhsh and his grandsons Haddu, Hassu and Natthu Khan.<ref>{{cite book|last1=Mukherji|first1=Kumar Prasad|title=The Lost World of Hindustani Music|date=2006|publisher=Penguin Books|location=Delhi|isbn=978-0-14-306199-1|page=57|edition=2006}}</ref> The head musician in the imperial court was Bade Mohammad Khan, who was famous for his ''taan bazi'' style.{{citation needed|date=May 2020}} Both Bade Mohammad Khan and Naththan Pir Bakhsh belonged to the same tradition of Shahi Sadarang (also known as Nemat Khan, [[dhrupad]] singer and [[veena]] player in the court of [[Mohammad Shah]] (1702 CE {{ndash}} 1748 CE).<ref>{{cite news|last1=Kumar|first1=Kuldeep|title=Exploring the syntax of syncretism|url=http://www.thehindu.com/books/Exploring-the-syntax-of-syncretism/article15549440.ece|website=The Hindu|date=14 October 2016|access-date=27 November 2017}}</ref>

Hassu Khan (died 1859 CE) and Haddu Khan (died 1875 CE) continued to develop the Gwalior style of singing.<ref>{{cite web|title=Hassu Khan Haddu Khan|url=http://oxfordindex.oup.com/view/10.1093/oi/authority.20110803095914728|website=Oxford Index|access-date=28 November 2017}}</ref> Haddu Khan's son [[Ustad Bade Inayat Hussain Khan]] (1852 {{ndash}} 1922) was also a singer but his style departed from the methodical Gwalior style.

Among the brothers' students were Vasudeva Buwa Joshi (died 1890), who became a teacher; and Ramkrishna Deva, who became a musician in [[Dhar]].<ref>{{cite book |last1=Wade |first1=B. C. |title=Khyal: Creativity Within North India's Classical Music Tradition |date=1984 |publisher=CUP Archive |isbn=9780521256599 |page=47 |url=https://books.google.com/books?id=MiE9AAAAIAAJ&q=Vasudeva+Buwa+Joshi&pg=PA41 |access-date=28 November 2017}}</ref> It was Ramkrishna Deva's student, [[Balakrishnabuwa Ichalkaranjikar]] (1849 {{ndash}} 1926) who brought the Gwaliori ''gaeki'' (singing style) to [[Maharashtra]] state.<ref>{{cite book|title=The Gazetteer of India vol 2|publisher=Publications Division Ministry of Information & Broadcasting|isbn=9788123022659|url=https://books.google.com/books?id=wumhDQAAQBAJ&q=Balakrishnabuwa+Ichalkaranjikar}}</ref>

Another prominent disciple of the duo was a [[Islamism|Muslim]] dhrupad and dhamar singer from [[Amritsar]], Miyan Banney Khan. He introduced Khyal in [[Punjab]] and [[Sindh]] and then took a musical position at the court of [[Nizam of Hyderabad]].<ref>{{Cite book |title=Khyal: Creativity Within North India's Classical Music Tradition |url=https://books.google.com/books?id=MiE9AAAAIAAJ |publisher=CUP Archive |date=1984 |isbn=9780521256599 |first=B. C. |last=Wade}}{{page needed|date=November 2024}}</ref> Miyan Banney Khan's pupils included his cousin, Amir Khan (also known as "Meeran Bukhsh Khan"), Gamman Khan, Bhai Atta Muhammad, Ali Baksh Khan(father of [[Bade Ghulam Ali Khan|Ustad Bade Ghulam Ali Khan]]), Kale Khan, Mian Qadir(sarangi), Bhai Wadhawa, Bhai Wasawa, Baba Rehman Baksh.

These disciples started their own gharanas and their descendants are still highly regarded Hindustani musicians of the subcontinent. Amir Khan also shared Miyan Banney khan's cheejs with the pupils of Balkrishnabuwa Ichalkaranjikar when he stayed in Miraj for sometime. However, his disciples included among others his four sons. One of the sons, Pyare Khan, became a professional musician.<ref>{{cite book|last1=Ranade|first1=A. D.|title=Hindi Film Song: Music Beyond Boundaries|date=2006|publisher=Bibliophile South Asia|isbn=9788185002644|page=207}}</ref> Another son, Baba Sindhe Khan (1885 {{ndash}} 18 June 1950) became a music teacher and trained pupils such as the educator [[B. R. Deodhar]] (1901 {{ndash}} 1990); the singer [[Bade Ghulam Ali Khan]] (1902 {{ndash}} 1968),<ref name=SRA>{{Cite web|title =Gwalior gharana |url=http://www.itcsra.org/sra_story/sra_story_guru/sra_story_guru_links/sra_story_guru_gharana/gharana.asp?gharanaid=1|website =ITC Sangeet Research Academy website|archive-date=23 May 2012|archive-url=https://web.archive.org/web/20120523232059/http://www.itcsra.org/sra_story/sra_story_guru/sra_story_guru_links/sra_story_guru_gharana/gharana.asp?gharanaid=1|access-date =2023-12-29}}</ref> and [[Farida Khanum|Farida Khanam]] (born 1935).

On 19 August 1922, Pyare Khan performed at the second annual celebration of the [[Anglo-Afghan Treaty of 1919|independence of Afghanistan]]. He became a mentor to a singer from [[Afghanistan]], also performing at the celebration. This was the singer, Qasim Afghan ("Qasimju") (born 1878, [[Kabul]]).<ref>{{Cite web|title = Afghanistan Ustad Qasim Afghan|url = http://www.afghanland.com/entertainment/music/qasim.html|website = www.afghanland.com|access-date = 2016-01-06|archive-url=https://web.archive.org/web/20170704111747/http://www.afghanland.com/entertainment/music/qasim.html|archive-date=2017-07-04|url-status=dead}}</ref> Pyare Khan also remained a musician at the court of Maharajadhiraj Maharawal (Sir Jawahir Singh) of [[History of Jaisalmer|Jaisalmer]] (1914 {{ndash}} 1949). He was also a teacher of Seth Vishandas of Hyderabad in Sindh near [[Karachi]] and Mahant Girdharidas of Bhuman Shah, Punjab.

Mian Pyare Khan's sons were Ustad Umeed Ali Khan (1910 {{ndash}} 1979) and Ustad Ghulam Rasool Khan. They became respected classical vocalists of their times.<ref>{{Cite web|title = Ummeed Ali Khan|url = http://www.parrikar.org/vpl/?page_id=487|website = Vijaya Parrikar Library of Indian Classical Music|access-date = 2016-01-06}}</ref> Ustad Ghulam Rasool Khan had two sons, Ustad Hameed Ali Khan and Ustad Fateh Ali Khan.<ref>{{Cite web|title = Oriental Traditional Music from LPs & Cassettes: Hameed Ali Khan & Fateh Ali Khan (Gwalior Gharana) - Vol. 2 - Lok Virsa CL-0023 (1987)|url = http://oriental-traditional-music.blogspot.com/2011/06/hameed-ali-khan-fateh-ali-khan-gwalior.html|website = Oriental Traditional Music from LPs & Cassettes|date = 2011-06-12|access-date = 2016-01-06}}</ref> Ustad Fateh Ali Khan's son is Izat Fateh Ali Khan.<ref>{{Cite web |last=Hasan |first=Shazia |date=2023-03-06 |title=Soulful music tugs at the audience's heartstrings |url=https://www.dawn.com/news/1740620 |access-date=2023-05-26 |website=DAWN.COM |language=en}}</ref>

[[Krishnarao Shankar Pandit]] (1893 {{ndash}} 1989) was a musician of the Gwalior gharana heritage. His father, Shankarrao Pandit was a student of Haddu Khan, Nathu Khan and [[Nissar Hussain Khan]], Nathu Khan's son. Krishnarao Shankar Pandit practiced [[Khayal]], [[Tappa]] and [[Tarana]] singing as well as layakari.

In 1914, Krishnarao Shankar Pandit opened a school in Gwalior, the Shankar Gandharva Mahavidyalaya. In 1921, he was awarded the title ''Gayak Shiromani'' at the All India Congress. Pandit became the court musician to [[Madhavrao Scindia]] of Gwalior; the State Musician of Maharashtra, an emeritus professor at Madhav Music College, Gwalior and an emeritus producer at [[All India Radio]] and [[Doordarshan]]. For his contribution to the world of classical music, he received awards including the [[Padma Bhushan]] in 1973 and the [[Tansen Samaroh#Tansen Samman|Tansen Award]] in 1980.

The students of Krishnarao Shankar Pandit included his son, Laxman Krishnarao Pandit, Sharadchandra Arolkar, Balasaheb Poochwale, and his granddaughter [[Meeta Pandit]].

==Pedagogical genealogy==
The following map is based on accounts that Makkan Khan and Shakkar Khan were not related.<ref>{{cite book |last1=Te Nijenhuis |first1=Emmie |author-link=Emmie te Nijenhuis |title=Indian Music: History and Structure |date=1974 |publisher=E. J. Brill |location=Belgium |isbn=90-04-03978-3}}</ref> These accounts are supported by research indicating that Makkan Khan's descendants were [[dhrupad]]iyas and Shakkar Khan's descendants were [[khayal]]iyas, thus reflecting different genealogies.<ref>{{cite book |last1=Nadkarni |first1=Mohan |title=The Great Masters: profiles in Hindustani classical vocal music |date=1999 |publisher=HarperCollins Publishers India |location=India |page=38}}</ref>

===Ancestral pedagogy===
{{tree chart/start|style=font-size:70%;line-height:100%;}}
{{tree chart| | | | |LUCKN|LUCKN=[[Lucknow Gharana|''Lucknow Gharana Guru Parampara'']]}}
{{tree chart| | | | | |!| | | | | | | | | | | | | | | | | | | | |}}
{{tree chart| | | | |GULAM|GULAM=[[Gulam Rasool|Ghulam Rasool]]}}
{{tree chart| | | | | |!| | | | | | | | | | | | | | | | | | | | |}}
{{tree chart| | | | |MAKKA|MAKKA=[[Makkhan Khan|Makkhan Khan]]}}
{{tree chart| | | | | |!| | | | | | | | | | | | | | | | | | | | |}}
{{tree chart| | | | |PIRBU|PIRBU=[[Nathan Pir Baksh|'''Nathan Peer Baksh''' (progenitor)]]}}
{{tree chart| | | | | |!| | | | | | | | | | | | | | | | | | | | |}}
{{tree chart| |,|-|-|-|(| | | | | | | | | | | | | | | | | | | | |}}
{{tree chart| |!| | |QADAR|QADAR=[[Kadar Baksh|Kadar Baksh Khan]]}}
{{tree chart| |!| | | |)|-|-|-|v|-|-|-|-|-|-|-|-|-|v|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|v|-|-|-|-|-|-|-|-|.|}}
{{tree chart|KHUDA| | |!| | |NATTH| | | | | | | |HADDU| | | | | | | | | | | | | | | | | | |HASSU| | | | | | |MASID|HASSU=[[Hassu Khan|'''Hassu Khan''' (founder)]]
|NATTH='''[[Natthu Khan]]'''
|HADDU=[[Haddu Khan|'''Haddu Khan''' (founder)]]
|KHUDA=[[Ghagge Khuda Baksh|Ghagge Khuda Baksh]]
|MASID=Masid Khan ''(wrestler)''}}
{{tree chart| |)|-|-|.|!| | | |!| | | | | | | | | |!| | | | | | | | | | | | | | | | | | | |,|^|-|v|-|-|.| | | |!| | |}}
{{tree chart|AGRAG| |`|(| | | |!| |,|v|-|-|v|-|-|v|^|-|v|-|-|-|-|-|v|-|-|v|-|-|v|-|-|.| | |!| | |!| |GULEI| | |!| | |AGRAG=[[Agra Gharana|''Agra Gharana Parampara'']]
|GULEI=Gule Imam Khan}}
{{tree chart| |:| | | |!| | | |)|-|'|!| | |!| | |!| | |!| | | | | |!| | |!| | |!| | |!| | |!| | |!| | |!| | | |!| | |}}
{{tree chart| |:| | | |!| | | |!| |VISHN| |!| | |!| |BANNE| | | | |!| | |!| | |!| |CHOTE|VASUD|DEVJI| |!| | |JILAY| | |VISHN=[[Vishnupant Moreshwar Chatre|Vishnupant Chattre]]
|DEVJI=[[Ramkrishnadev Paranjpe|Ramkrishnadev Paranjpe "Devjibuwa"]]
|VASUD=[[Vasudev Joshi|Vasudevbuwa Joshi "Joshibuwa"]]
|BANNE=[[Banne Khan|Banne Khan]]
|CHOTE=[[Chhote Mohammed Khan|'''Chhote Mohammed Khan''']]
|JILAY=Jilaye Khan ''(daughter)''}}
{{tree chart| |:| | | |!| | | |!| | | | | |!| | |!| | |!| | | | | |!| | |!| | |)|-|-|^|-|.|!| | |!| |MEHEN| | |!| | |
|MEHEN=Mehendi Hussain Khan}}
{{tree chart| |:| | |FAIZM| |NISSA| | | |RAHIM|INAYA| |!| | | | | |!| |INAYH|GHAGG| | | |!|!| | |!| | | | | | |!| | |NISSA=[[Bade Nissar Hussain Khan|'''Bade Nissar Hussain Khan''']]
|FAIZM=[[Faiz Mohammed Khan|Faiz Mohammed Khan]]
|RAHIM=[[Rahimat Khan (singer)|'''Rahimat Khan "Bhu Gandharva"''']]
|INAYA=[[Ustad Bade Inayat Hussain Khan|Bade Inayat Hussain Khan]]
|INAYH=[[Inayat Hussain Khan|Inayat Hussain Khan]]
|GHAGG=[[Ghagge Nazir Khan|Ghagge Nazir Khan]]}}
{{tree chart| |:| | | |!| | | |!| | | | | | | | |!| | |!| | | | | |!| | |!| | |!| | | | |`|^|v|-|'| | | | | | |!| |}}
{{tree chart| |:| | | |!| | | |!| | | | | | | | |!| |AMIRK| | | |ALIFA|RAMPU|MEWAT| | | | |BALKR| | | | | | | |!| |BALKR=[[Balakrishnabuwa Ichalkaranjikar|Balakrishnabuwa Ichalkaranjikar]]
|ALIFA=[[Patiala Gharana|Ali Baksh & Fateh Ali Khan "Aliya-Fatu"]]
|RAMPU=[[Rampur-Sahaswan Gharana|''Rampur-Sahaswan Gharana Parampara'']]
|MEWAT=[[Mewati Gharana|''Mewati Gharana Parampara'']]
|AMIRK=[[Amir Khan (Gwalior singer)|Meeran Baksh "Amir" Khan]]}}
{{tree chart| |:| | | |!| |,|-|+|-|-|.| | | | | |!| | |!| |,|-|-|-|(| | |:| | |:| | |,|-|v|-|+|-|v|-|.| | | | |!| |}}
{{tree chart| |:| | | |!| |!|SHANK|EKNAT| | | | |!| | |!| |!| | |PATIA| |:| | |:| | |!| |!| |!| |!| |!| | | | |!| |SHANK=[[Shankar Pandit|Shankar Pandit]]
|PATIA=[[Patiala Gharana|''Patiala Gharana Parampara'']]
|EKNAT=[[Eknath Pandit|Eknath "Mao" Pandit]]}}
{{tree chart| |:| | |BHASK|)|-|+|-|-|.| | | | |QURBA| |)|-|^|.| | |:| | |:| | |:| |VISHN|!|ANANT|!|NILKA| | |ABDUL|NILKA=[[Nilkanthbuwa Alurmath|Nilkanthbuwa Jangam Alurmath]]
|BHASK=[[Bhaskarbuwa Bakhale|Bhaskarbuwa Bakhale "Dev Gandharva"]]
|VISHN=[[Vishnu Digambar Paluskar|Vishnu Digambar Paluskar]]
|QURBA=[[Qurban Hussain Khan|Qurban Hussain Khan]]
|ANANT=[[Anant Manohar Joshi|Anant Manohar Joshi]]
|ABDUL=[[Abdul Karim Khan|Abdul Karim Khan]]}}
{{tree chart| |:| | | |:| |!|RAJAB| |!| | | | | |:| |PYARE| |!| | |:| | |:| | |:| | |:|GANPA|:|MIRAS|:| | | | |!| |RAJAB=[[Raja Bhaiya Poonchwale|Raja Bhaiya Poonchwale]]
|GANPA=[[Ganpati Ichalkaranjikar|Ganpatibuwa Ichalkaranjikar]]
|PYARE=[[Pyare Khan|Pyare Khan]]
|MIRAS=[[Mirashi Buwa|Yashwant Sadashiv Mirashibuwa]]}}
{{tree chart| |:| | | |:|RAMKR|:| |KRISH| | | | |:| | | | |SINDH| |:| | |:| | |:| | |:| |:| |:| |:| |:| | | |KIRAN|KRISH=[[Krishnarao Shankar Pandit|Krishnarao Shankar Pandit]]
|RAMKR=[[Ramkrishnabuwa Vaze|Ramkrishnabuwa Vaze]]
|SINDH=[[Sindhe Khan|"Baba" Sindhe Khan]]
|KIRAN=[[Kirana Gharana|''Kirana Gharana Parampara'']]}}
{{tree chart| |:| | | |:| |:| |:| | |:| | | | | |:| | | | | | | | |:| | |:| | |:| | |:| |:| |:| |:| |:| |:| | |:|}}
{{tree chart/end}}

=== Recent pedagogy ===

==Style==
===Ashtanga Gayaki===
This gharana is known for adhering to what is described as the "ashtangi gayaki," a systematic aesthetic framework of eight elements to approach [[singing|vocalization]]. The eight elements of ashtanga gayaki include:
* [[Alap]] (includes bol alap)
* Behlava (includes layakari)
* [[Taan]] (includes bol taan)
* Kampan
* [[Meend]]
* [[Gamaka (music)|Gamaka]]
* Khatka
* [[Murki]]

Each body has distinct subvarieties, but meend and behlava are considered the most important.<ref>{{cite book |author=Sangit Mahabharati |title=The Oxford Encyclopaedia of the Music of India |date=2011 |publisher=Oxford University Press |isbn=9780195650983}}</ref>

===Aesthetics===
This gharana is known for its commitment to simplicity. Often, musicians of this tradition opt for siddha and well-known ragas rather than aprachalita and obscure ones.

====Format====
Musicians of this tradition opt for taans that are sapaat (straight) rather than vakra (zig-zag). This tradition emphasizes vistara (melodic expansion) and [[Alankāra|alankara]] (melodic ornamentation) to develop the raga presentation.

====Tempo====
This tradition does not employ the extra slow tempo alap that other traditions (like [[Kirana gharana|Kirana]]) are known for.

Vilambit khayals are still rendered relatively briskly, rarely below 30 bpm. For Gwalior khayaliyas, the [[bandish]] (composition) is key as it provides the melody of the raga and indications on its performance. While doing bol-baant (rhythmic play using the words of the bandish) the Gwalior style uses all the words of sthayi or antara in proper sequence, without disturbing their meaning.

The behlava is a medium tempo rendition of the notes which follows the pattern of the [[Arohana|aroha]] (ascent) and the [[avaroha]](descent) of the raga. The behlava is divided into the asthayi (notes from Ma to Sa) and the antara (noted from Ma, Pa, or Dha to Pa of the higher register). The asthayi section is sung twice before the antara. Then follows a swar-vistara in a medium tempo using heavy meends (glides) and taans. The dugun-ka-alap follows in which groups of two or four note combinations are sung in quicker succession while the basic tempo remains the same. The bol-alap is the next part where the words of the text are sung in different ways. Then there is in faster tempo the [[murki]] where notes are sung with ornamentation. The bol-taans have melodic sequences set to the words of the bandish. The other taans, including the gamak, follow.

The sapat taan is important to the Gwalior style. It is the singing of notes in a straight sequence and at a [[vilambit]] pace. Both dhrupad and [[khayal]] singing evolved in Gwalior and there are many overlaps. In the khyal style there is one form, Mundi Dhrupad, that incorporates all the features of dhrupad singing but without the Mukhda.

==Exponents==
<gallery mode="">
File:Vishnu_Digambar_Paluskar.jpg|[[Vishnu Digambar Paluskar]] (1872 {{ndash}} 1931) founded the [[Gandharva Mahavidyalaya|Gandharva school]] in 1901.
File:Gururao_Deshpande_1.jpg|[[Gururao Deshpande]] - (1889 {{ndash}} 1982)

</gallery>

===19th Century and Earlier===
* Babasaheb Dixit, disciple of Hassu Khan.
* [[Vishnupant Moreshwar Chatre|Vishnupant Chattre]] (1840 {{ndash}} 1905), disciple of Haddu Khan.
* [[Ghagge Nazir Khan]] (c. 1850 {{ndash}} c. 1920), [[Qawwal Bacchon gharana|Qawwal Bacchon]] who learned from Chote Mohammed Khan and co-founded the [[Mewati Gharana]].
* Faiz Mohammed Khan (d. 1920), disciple of Kadar Khan.<ref>{{cite book |last1=Joshi |first1=Lakshman Dattatray |title=Sangeetshastrakar va Kalavant Yancha Itihas |date=1935 |publisher=Aryabhushan Press |location=Pune |pages=108–109}}</ref>
* [[Ustad Bade Inayat Hussain Khan|Bade Inayat Hussain Khan]] (1840 {{ndash}} 1923), son of Ustad Haddu Khan Saheb
* [[Balakrishnabuwa Ichalkaranjikar]] (1849 {{ndash}} 1926), disciple of Vasudevbuwa Joshi, Devjibuwa, and Chote Mohammed Khan.
* [[Bhaiyya Ganpatrao|Bhaiyyasaheb Ganpatrao]] (1852 {{ndash}} 1920), disciple of Bande Ali Khan and [[Inayat Hussain Khan]].
* [[Vishnu Digambar Paluskar]] (1872 {{ndash}} 1931), disciple of Balkrishnabuwa Ichalkaranjikar.
* Vishnu Keshav Utturkar (c. 1880 {{ndash}} c. 1940), disciple of Neelkanthbuwa Alurmath.

===20th Century===
* [[Ramkrishnabuwa Vaze]] (1871 {{ndash}} 1945), disciple of Bade Nissar Hussain Khan.
* [[Anant Manohar Joshi]] (1881 {{ndash}} 1967), disciple of Balakrishnabuwa Ichalkaranjikar, received [[Sangeet Natak Akademi Award]] (1955).
* [[Raja Bhaiya Poonchwale]] (1882 {{ndash}} 1956), disciple of [[Balakrishnabuwa Ichalkaranjikar]]<ref>{{cite news | url=http://www.thehindu.com/todays-paper/tp-features/tp-fridayreview/music-from-the-school/article4560143.ece | title=Music from the 'school' | date=29 March 2013 | access-date=19 October 2014 | author=Kumr, Ranee}}</ref>
* [[Mirashi Buwa|Yashwant Sadashiv Mirashibuwa]] (1883 {{ndash}} 1966), disciple of Balakrishnabuwa Ichalkaranjikar.
* [[Krishnarao Shankar Pandit]] (1894 {{ndash}} 1989),<ref name=SRA/> disciple of Shankar Pandit
* Sharadchandra Arolkar (1912 {{ndash}} 1994), disciple of Krishnarao Shankar Pandit, Eknath Pandit and Krishnarao Mule (Beenkar)<ref>{{cite web | url=https://mohannadkarni.org/impassioned-recital-by-arolkar/ | title=Impassioned recital by Arolkar | the writings of Mohan Nadkarni }}</ref>
* [[Omkarnath Thakur]] (1897 {{ndash}} 1967), disciple of Vishnu Digambar Paluskar.
* [[Bhai Lal Mohammad|Lal Mohammad Khan]] (d. 1962), son and disciple of Ata Muhammad Khan.
* [[Vinayakrao Patwardhan]] (1898 {{ndash}} 1975), disciple of Vishnu Digambar Paluskar and Ramkrishnabuwa Vaze, awarded [[Padma Bhushan]] (1972).
* Rajarambuwa Paradkar (1899 {{ndash}} 1975), disciple of Yashwantrao Mirashibuwa.
* [[B. R. Deodhar]] (1901 {{ndash}} 1990), disciple of Balakrishnabuwa Ichalkaranjikar, Vishnu Digambar Paluskar, Abdul Karim Khan, and Vinayakrao Patwardhan, received [[Sangeet Natak Akademi Fellowship]] (1964) and [[Padma Shri]] (1976).
* Shankarrao Sapre, disciple of Vishnu Digambar Paluskar who founded Shriram Sangeet Vidyalaya at [[Nagpur]] in 1926.<ref>{{cite book |last1=Deodhar |first1=B. R. |title=Gayanacharya Pandit Vishnu Digambar |pages=104–105}}{{full citation needed|date=November 2024}}</ref><ref>{{cite book |last1=Bakhle |first1=Janaki |title=Two Men and Music: Nationalism in the Making of an Indian Classical Tradition |date=2005 |publisher=Oxford University Press |isbn=9780195166101 |page=297}}</ref><ref>{{Cite news |url=https://timesofindia.indiatimes.com/city/nagpur/mahal-once-the-citadel-of-musicians-now-strums-broken-notes/articleshow/58084268.cms |title=Mahal, once the citadel of musicians, now strums broken notes |website=[[The Times of India]] |date=9 April 2017}}</ref><ref>{{Cite web|url=https://www.dailypioneer.com/2021/state-editions/sahitya-akademi-broadcasts-recitation-of-sant-singaji-verses-under----gamak---.html|title=Sahitya Akademi broadcasts recitation of Sant Singaji verses under 'Gamak'}}</ref>
* [[Deenanath Mangeshkar]] (1900 {{ndash}} 1942), disciple of Ramkrishnabuwa Vaze.
* [[Qurban Hussain Khan]] (1901 {{ndash}} 1970), son and disciple of Bade Inayat Hussain Khan.
* [[Narayanrao Vyas]] (1902 {{ndash}} 1984), disciple of Vishnu Digambar Paluskar, received [[Sangeet Natak Akademi Award]] (1976).
* [[Balwantrai Bhatt]] (1921 {{ndash}} 2016), disciple of Omkarnath Thakur.
* [[D. V. Paluskar|Dattatreya Vishnu Paluskar]] (1921 {{ndash}} 1955), son of Vishnu Digambar Paluskar who learned from Mirashibuwa, Narayanrao Vyas, and Vinayakrao Patwardhan.
* [[Manzoor Ali Khan]] (1922 {{ndash}} 1980), son and disciple of Jamalo Khan who also learned from Seendo Khan.
* [[Kumar Gandharva]] (1924 {{ndash}} 1992), disciple of B. R. Deodhar.
* [[Gajananrao Joshi|Gajananbuwa Joshi]] (1911 {{ndash}} 1987), son and disciple of Anant Manohar Joshi. Also learned from [[Vilayat Hussain Khan]] of [[Agra gharana]] and [[Bhurji Khan]] of [[Jaipur-Atrauli gharana]].
* [[Vinayakbuva Utturkar]] (Joshi) (1914 {{ndash}} 1989), disciple of father Vishnu Utturkar and Yashwantrao Mirashibuwa.
* [[Ghulam Hassan Shaggan]] (1928 {{ndash}} 2015), disciple of Bhai Lal Muhammad.
* [[Vasundhara Komkali]] (1931 {{ndash}} 2015), wife and disciple of Kumar Gandharva.
* [[Narayanrao Bodas]] (1933 {{ndash}} 2017), son and disciple of Laxmanrao Bodas. Also learned from Pralhad Ganu.<ref>{{Cite news|url=https://www.thehindu.com/news/national/other-states/pandit-narayanrao-bodas-no-more/article21011681.ece|title = Pandit Narayanrao Bodas no more|newspaper = The Hindu|date = 27 November 2017|last1 = Banerjee|first1 = Shoumojit}}</ref>
* [[Sunanda Patnaik]] (1934 {{ndash}} 2020), disciple of Vinayakrao Patwardhan.
* [[Ashok Ranade]] (1937 {{ndash}} 2011), disciple of B. R. Deodhar, Gajananrao Joshi, and Laxman Bodas. Also learned from [[Pralhad Ganu]] of [[Agra gharana]].
* [[Malini Rajurkar]] (1941 {{ndash}} 2023), disciple of Govindrao Rajurkar, awarded [[Sangeet Natak Akademi]] award.
* [[Veena Sahasrabuddhe]] (1948 {{ndash}} 2016), daughter and disciple of Shankar Bodas, also learned from elder brother Kashinath, [[Gajananrao Joshi]], [[Balwantrai Bhatt]].
* [[Kedar Bodas]] (b. c. 1963 {{ndash}} 2023), son and disciple of [[Narayanrao Bodas]]. Also learned from [[Ashok Ranade]].

===Contemporary artists===
* Shankar Abhyankar (b. 1934), disciple of Narayanrao Vyas.<ref>{{Cite web|url=https://www.oxfordreference.com/view/10.1093/oi/authority.20110803100459372|title=Shankar Abhyankar}}</ref>
* Laxman Krishnarao Pandit (b. 1934), son and disciple of Krishnarao Shankar Pandit, awarded [[Sangeet Natak Akademi Award]] and Sangeet Natak Akademi Fellowship- [[Tagore Ratna and Tagore Puraskar|Tagore Ratna.]]
* [https://www.sharadsathe.com/ Sharad Sathe] (1932 - 2019), disciple of DV Paluskar, BR Deodhar and Sharadchandra Arolkar.
* [[Neela Bhagwat]] (b. 1942), disciple of Sharadchandra Arolkar and Jal Balporia.
* [[Iqbal Hussain Khan Bandanawazi|Iqbal Hussain Khan]] (1942 {{ndash}} 2010), son and disciple of Qurban Hussain Khan.
* [[Arun Kashalkar]] (b. 1943), disciple of [[Gajananrao Joshi]]. Also learned from [[Ram Marathe]], D. V. Panke, Rajabhau Kogje, and [[Babanrao Haldankar]].
* [[Vidyadhar Vyas]] (b. 1944), son and disciple of Narayanrao Vyas.
* [[Nusrat Fateh Ali Khan|Fateh Ali Khan]] (b. 1948), son and disciple of Ghulam Rasool Khan.
* [[Vikas Kashalkar]] (b. 1950), disciple of [[Gajananrao Joshi]].
* [[Ulhas Kashalkar]] (b. 1955), disciple of [[Gajananrao Joshi]]. Also learned from [[Ram Marathe]] of [[Agra gharana]].
* [[Meeta Pandit]] (b. 1974), daughter and disciple of Laxman Krishnarao Pandit. Also learned from grandfather, Krishnarao Shankar Pandit.
* [[Shashwati Mandal]] (b. 1973), disciple of Balasaheb Poonchwale.<ref>{{cite news | url=http://www.thehindu.com/todays-paper/tp-features/tp-fridayreview/the-eternal-note/article3966369.ece | title=The eternal note | date=5 October 2012 | agency=The Hindu | access-date=7 October 2014 | author=Sarvamangala, C.S.}}</ref>
* [[Manjusha Kulkarni-Patil]] (b. 1971), disciple of D. V. Kanebuwa and Ulhas Kashalkar.
* [[Apoorva Gokhale]] (b. 1973), disciple of grandfather Gajananrao Joshi, uncles Madhukar Joshi and Manohar Joshi, as well as Sucheta Bidkar and Arun Kashalkar. Also learned from [[Ashwini Bhide-Deshpande]].
* [[Pallavi Joshi]] (b. 1980), disciple of grandfather Gajananrao Joshi, uncle Madhukar Joshi, father Manohar Joshi, Sucheta Bidkar, and Arun Kashalkar.
* [[Ateeq Hussain Khan]] (b. 1980), son and disciple of Iqbal Hussain Khan.
* [[Izat Fateh Ali Khan]], son of Fateh Ali Khan.
* Muslim Shaggan, grandson of [[Ghulam Hassan Shaggan]]. <ref>{{cite news | title=Muslim Shaggan - Asar| date=20 February 2025| url=https://culturedarm.com/muslim-shaggan-asar/}}</ref>

==References==
{{Reflist}}

{{Authority control}}

{{DEFAULTSORT:Gwalior Gharana}}
[[Category:Gwalior gharana| ]]
[[Category:Gwalior culture]]
[[Category:Indian classical music]]
[[Category:Music schools in India]]

Gwalior gharana - Revision history

MerleGrier1601 at 11:22, 25 February 2026