Özet:  Gharānā kavramı Hint müzik geleneklerinin başat öğreti ve pratik aktarım yoluna işaret eder. Bu önemli müesseseyi tek bir kelimeyle karşılamak mümkün değildir. Sadece bir okul/ekol değil, bir tür müzik silsilesi, ötesinde mensubiyetine girilen bir aile gibi, son derece manevî boyutları ve aidiyet-temsiliyet işlevleri de olan bir üst-kavramdır. Felsefî, ahlâkî, toplumsal, … yüklemleriyle bir yandan “müzik-dışı” sayılıp bir yandan da müziği kuşatan, tamamlayan, “kılan” kurucu öğeleriyle referans alınan, irdelenen, ve hattâ başka müzik kültürlerince öykünülen, saygın bir “müessese”dir. İçinde bulunduğumuz coğrafya dahil, birçok müzik geleneğinde de benzer oluşumların varlığı, Gharānā’yı, kimi öğelerinin benimsenebileceği ve mensup olunan geleneklere eklemlendirilebileceği bir model olarak irdelenmeye, tanınmaya değer kılar. Bu çalışmada kavramın ana hatları ve temel kolları tanımlanmaya çalışılacak, önce etimolojik ve tarihsel arka planı verilip, süreç içindeki dönüşümleri, günümüzdeki geçerliliği ve model olma potansiyeli tartışılmaktadır. Abstract:  Gharānā is a concept pointing to the main paths and institutions of Indian music traditions bridging generations and identities not only through transferring musical information and tasks, but also the supporting/embracing moral, wisdom and ethics, as well. An untranslatable term, for sure, due to its capacity reflecting much more than an école, plain school of music, but also some kinship, identity, and a chain of cultural, even pseudo-religious, belonging. While “extra-musical” idioms such as philosophic, ethic, social, … qualities do surround, establish and form the music, reflected intensely by the meta-concept Gharānā, thus is studied painstakingly and taken as a valuable, reputable institution—a reference, and even a model to be considered—also by other musical traditions. This short study tries to sum up the main qualities, specifications and characteristics of the given concept while giving first a brief historical and etymologicalframe, then reflecting the processes of respective change and, consequently question the capacity of serving as a model for other musical cultures.Kaynakça:   Bhatnagar N., The Evolution of Indian Classical Music (1200 — 1600 AD), Jaipur, India, 1997   Desai, C., The Origin and Development of Khayal, in JMA XL, 1969 Deshpande V.H., Seashore C., Banis and Gharanas, in NR Vol II, Part II, 1963 Deshpande H. Indian Musical Traditions, An Aesthetic Study of the Gharanas in Indian music, Popular Prakashan, Mumbai, 2001 Gupta S., History of Indian Music, Pvt. Ltd, Calcutta, 1962Khosla, G.D., The Last Moghul, Delhi Philosophy in a New Key, 3rd ed., Cambridge, 1957 Krishna L.R., Musical Heritage of India, Shubhi Publications, New Delhi, 2003 Lāṭha M., A Study of Dattilam: A Treatise on the Sacred Music of Ancient India, Dattila, 1978 Lunia, B.N., Evolution of Indian Culture, 5th ed., Agra, 1970 Majumdar, R.C., The History and Culture of the Indian People; Vol. X, British Paramountcy and Indian Renaissance, Bombay,1965 Manoharlal M. Prajnananda S., A Historical Study of Indian music, Publishers Pvt. Ltd, New Delhi,1981 Popley H. A., The Music of India,  Y.M.C.A. Publishing House, Calcutta, 1950 Prajfianananda, S., A Historical Study of Indian Music, Calcutta, 1965 Ranade, G.H., Hindusthani Music, Its Physics and Aesthetics, 2d ed., Bombay,1951   Ranade, A., Guru-Shishya Parampara: In Wider Perspective. In Teaching of Indian Music, Sangeet Research Academy, Bombay, 1998 Sarma D.S., Hint Dini Tarihine Giriş, Ataç Yayınları, İstanbul, 2005

Gharānā is a concept pointing to the main paths and institutions of Indian music traditions bridging generations and identities not only through transferring musical information and tasks, but also the supporting/embracing moral, wisdom and ethics, as well. An untranslatable term, for sure, due to its capacity reflecting much more than an école, plain school of music, but also some kinship, identity, and a chain of cultural, even pseudo-religious, belonging. While “extra-musical” idioms such as philosophic, ethic, social, … qualities do surround, establish and form the music, reflected intensely by the meta-concept Gharānā, thus is studied painstakingly and taken as a valuable, reputable institution—a reference, and even a model to be considered—also by other musical traditions. This short study tries to sum up the main qualities, specifications and characteristics of the given concept while giving first a brief historical and etymological frame, then reflecting the processes of respective change and, consequently question the capacity of serving as a model for other musical cultures.