Explanation:

• Dhrupad is primarily a form of chant or worship where a singer offers prayer to the Lord through Nada or sounds. It is believed to have been a further elaboration of the prabandha structure. While it might have had an impetus for popularity even by the 14th century, it finds a blossoming period from the 15th century onwards to about the 18th century. • During these centuries we meet the most respected and renowned singers and patrons of this form. There was Man Singh Tomar, the Maharaja of Gwalior. It was he who was mainly responsible for the enormous vogue of dhrupad. There were Baiju, Bakshu and others. Swami Haridasa a hermit of Brindavan was not only a dhrupadiya, but one of the most central figures in the Bhakti cult in the Northern areas of India. By tradition, he was the guru of Tansen, one of the best-known dhrupad singers and one of the nine jewels of Emperor Akbar’s court. Hence, statements 1 and 2 are correct. • In structure, dhrupad has two parts, the anibaddha section and the sanchari dhrupad proper. The first is free alap. The dhrupad proper is a song in four parts: the asthayee, the antara, the Sanchari and the abhoga. The essential quality of the dhrupadic approach is its sombre atmosphere and emphasis on rhythm. • There were four schools or vanis of singing the dhrupad. The Gauhar vani developed the raga or unadorned melodic figures. The Dagarvani emphasized melodic curves and graces. The Khandar vani specialised in quick ornamentation of the notes. Nauhar vani was known for its broad musical leaps and jumps. These vanis ‘are now indistinguishable. • The dhrupad is even now highly respected and can be heard on the concert platform but more often in temples of North India. The dhrupad has somewhat receded to the background and is not so popular with the masses. The Been and Pakhawaj which were closely associated with the dhrupad also do not find much patronage these days.