Mewati gharana

[3] With its own distinct aesthetics, stylings, practices, and repertoire, the gharana emerged as an offshoot of the Khandarbani Dhrupad, and Qawwal Bacchon musical traditions.

After Motiram's unexpected demise, Maniram and Pratap Narayan were instrumental in grooming their younger brother, Jasraj, in the Mewati tradition after the latter renounced playing tabla, his primary training at the time.

Jasraj was initially influenced by the music of Amir Khan and Begum Akhtar but later developed a separate style.

Through their union, Bade Mohammed Khan acquired the status of being a Gwalior gharana exponent and was regarded for his "taan bazi" repertoire.

[17] Seeking musical patronage, their ancestors immigrated from their origins in Delhi and Gwalior, settling first in Bhopal and later western Rajasthan.

Eventually, these changes resulted in the Mewati gayaki becoming distinct although reminiscent of the Gwalior and Qawwal Bacchon styles.

[29] Some contemporary compositions invoke the name and attributes of Aga Khan as the manifest Imam and the tenth incarnation of Lord Vishnu according to the dashavatara.

[citation needed] The verse "Om Shri Anant Hari Naaraayañ" is typically invoked as the initiation of a performance, and as the grammatical medium for an alap.

[30] These include: Informed by the gharana's kirtankar tradition, Jasraj researched the haveli sangeet of Mathura and Brindavan.