New textual-theoretical works and compilations were published, resulting in the reorganisation of musical knowledge.Even as music institutions grew in their reach, khayal ustads innovatively utilised the increased focus on the genre. Khayal musicians were among the first Indian musicians to be recorded.By 1947, the social dimensions of khayal music included traditional and institutional pedagogies, hereditary and non-hereditary musicianship, and live and recorded performance modes. Musicians have the freedom to experiment with different gharana styles and craft their individual approaches. Khyal bases itself on a repertoire of short songs (two to eight lines); a khyal song is called a As the songs are short, and performances long (half an hour or more), the lyrics lose some of their importance and abstract musical values are emphasized. The music itself was canonical, structured around complex theoretical principles and linked to ancient texts. Patronage to arts declined in several erstwhile royal courts and a few emerged as cultural centers, offering benefaction to musicians from across North India. Several gharana musicians, especially in Maharashtra, apprenticed Hindu non-hereditary musicians—both males and females—alongside disciples within families.

The musical form of the khayal came into full vogue during the rise of the Mughal Dynasty. Charismatic and authoritative, musicians such as Abdul Karim Khan (1872–1937), Faiyaz Khan (1880–1950) and Alladiya Khan (1855–1946) gained urban audiences through concerts and newly available sound recording technologies. Simultaneously, music schools and colleges that teach khayal have proliferated throughout northern India and beyond, training students and amateurs of varied competence.Today, khayal is one of the foremost classical music performance forms in the nation.

On the one hand, beginning in the 1960s, instrumental artists such as Ravi Shankar and Ali Akbar Khan introduced Hindustani classical music genres to mainstream audiences in Europe and North America through concerts, collaborations with popular musicians and training of non-Indian disciples. Activism in this period was inspired by an imagination of India as a modern nation-state with an ancient Hindu Brahminical past. Sahapedia® is a registered trademark of Sahapedia, a non-profit organisation registered under the Societies Registration Act of 1860. Interactions among these over the course of several centuries led to the genre’s crystallisation. In the national arena, institutional support for khayal has widened beyond state patronage to include several multinational and national corporate firms as well as non-government organisations. Growing Indian nationalist sentiments in the political contexts of British colonial rule were influenced also by Indologist and modernist ideas. Improvisation is added to the songs in a number of ways: for example improvising new melodies to the words, using the syllables of the songs to improvise material (Khyal was popularized by Niyamat Khan (known by his pen name, The compositions of Sadarang and Adarang employ the theme of Urdu love-poetry.
Dhrupad and Khayal are the two forms of classical singing that are popular today. Prominent among those that influenced this crystallisation through musical contributions and synthesis as well as patronage were musician-poet Amir Khusrow (thirteenth century AD), the Sharqui sultans of Jaunpur in the fifteenth century, and several Muslim and Indo-Persian musicians/During this period, terminology in khayal was rooted in concepts that had a long history and a public presence. Influencing their work was religious politics that was concerned with claiming the custodianship of khayal for educated Hindus, away from Muslim practitioners, thus elevating its social location, and the reinforcement of the music’s theoretical basis and historical origins.Khayal activism in early twentieth century was ambitious in its scale, and succeeded in fundamentally transforming the social character of the music.
Kheyal (a.k.a.

"Khyal) has a special place in In­dian music. Gradually, themes like alaap, raaga, taans, or bol-taan were introduced into this genre.

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