Contrasting Rhythmic Aesthetics in Tabla Accompaniment: A Comparative Study of Khyal and Thumri

The rhythmic elements of Tabla accompaniment play a vital role in both musical traditions. Yet researchers have devoted most of their studies to the melodic and lyrical elements of Khyal and Thumri while ignoring the rhythmic aspects. The research investigates how Tabla accompaniment functions in Khyal and Thumri, which represent two essential Hindustani vocal music genres, while showing their different artistic approaches and teaching methods. The research collected data through active musical components as recorded data, interviews with practitioners, and institutional curriculum assessment, which were analyzed through comparative transcription analysis and thematic coding, revealing their impact on musician identity formation. The Tabla accompaniment in Khyal music maintains rhythmic order while following a structured pattern, which enables the vocalist to discover raga through controlled improvisation. The musical style of Thumri enables musicians to express themselves through their delivery of sensitive lyrics and their creative rhythmic exchanges, which they accomplish through laggi and modification techniques. The research shows Khyal achieves intellectual complexity through its organised stage performance structure, yet Thumri demonstrates complete musical freedom because of its natural playing approach, although both musical styles need performers to collaborate during their improvisational segments. The research reveals two main institutional pedagogical weaknesses because educational programs lack proper accompaniment training, yet experts confirm that this content should exist to maintain teamwork competencies. The re-search establishes a better comprehension of Hindustani music through its analysis of accompaniment within cultural, pedagogical, and theoretical frameworks, which reveals its dual nature between structured and expressive elements.