mere tempelmusik fra vraja

I.493.§8: (om haveli sangit): Specific song types such as dhrupada and ddhamara are existent and known by the name of their proper gengre. Unlike the dhrupada of samajagayana, the dhrupada of haveli samgita distinguishes itself not only by its metric cycle Cautala, but by the plain vocal style devoid of fast melodic embellishments in which it is rendered. The vocal style is in fact the distinctive criterion for dhrupada songs, hence not every composition in Cautala is necessarily a dhrupada. - Herudaf kan vi altså læse, at også de andre Vraja-stilarter synger "dhrupad" - men her i anførselstegn fordi disse stilarter kun kan føre benævnelsen dhrupad tilbage til teksttypen, og ikke til de særlige musikalske kendetegn, som karakteriserer genren i den "almindelige" klassiske nordindiske musik (og i haveli sangit-stilen for den sags skyld).

II - om dhrupad: flere dhrupads med oversættelse i starten af bind II.
ii, 506: ... many dhrupada verses of the Dagar gharana are based on Sufi texts, and many other verses are praises of Mughal rulers such as Akbar which, therefore, contain at least some reference to Allah.
ii, 508: hvordan understreger brugen af pakhawaj "... the essentially sacred character of the genre."? (i øvrigt viser det sig, at jugalbandi er reglen snarere end undtagelsen).
ii, 524-25: "[In the Dagar tradition] stress is laid not so much on the dhrupada text as on its musical realization; it is not the completeness of the text for the sake of its sacred content that counts, but the way of rendering it with deep religious devotion. The attitude is somewhat different with the Hindu members of the Dagar tradition such as the Gundecha Brothers, and with the Darbhanga gharana, whose traditional compositions are normally transmitted and sung in full. [...] On the whole, dhrupada renderings by members of the Dagar gharana are characterized by their restrained and meditative performance style which is expressed in extended alapas and in the extremely slow tempo of some dhrupada compositions, and which underlines the devotional character of the dhrupada style by emphasizing its meditative, transcendental elements."
s. 525-26: interessant at Rahim Fahimuddin Dagar altid starter med mangalacaranam (og en sanskrit sloka).
ii, 528-29: man kan se det større slægtskab imellem Darbhanga gharana og Vraja-tempelmusikken fx deri, at begge benytter komal Ni i rag Kedar - dette gøres ikke i Dagar gharana.