Dhrupad, derived from the terms 'Dhruva,' meaning immovable or fixed, and 'Pada,' meaning text or word, refers to a form of musical composition. 'Dhruva Pada,' translating to immovable text, is used for literary compositions dealing with attributes and prayers to God, and is now commonly known as 'Dhrupada.' The exact origins of this musical form are unclear, with some attributing it to Nāyaka Gopāla and Baijū Bārvā, while others credit Mānsingh of Gwālior (1486-1526) with its introduction.

Miyān Tānsen's compositions remain archetypal in the Dhrupada tradition. Though some lineages occasionally mention Nāyaka Gopāla and Baijū Bārvā, Miyān Tānsen and his lineage, which has evolved in three directions, are widely acknowledged. The direct school, Rabābī Gharānā, focuses on Dhrupada composition in Gauḍa, Gauḍahāra, or Gobarahāra Vāṅī.

Miyān Tānsen's daughter's lineage, known as Binkār Gharānā, employs the Ḍāgara, Nauhāra, and Khaṇḍāra Vāṅī. These are the two primary lineages stemming from Miyān Tānsen. Additionally, Miyān Tānsen's son, Sūrat Sen, founded the Seniyā Gharānā in Jaipur, recognized today as the Jaipur Gharānā.

Typically, Dhrupada comprises four stanzas or sections—Sthāyī, Antara, Sañcārī, and Ābhoga. These compositions exhibit a solemn character, often addressing themes of moral rectitude and wisdom. The use of slow rhythmic cycles and the scarcity of light or fast rhythms contribute to the somber nature of Dhrupada compositions.

The contents of these compositions vary, with some exploring emotional activities of the God Kṛṣna and others delving into philosophical themes. Regarding the use of various Tālas, compositions employing Dhamāra Tāla are termed Dhamāra, those using Jhāṁptāla are Sādarā, and those containing themes related to God Kṛṣna during spring holidays are called Horī. Occasionally, Ṭappās also incorporate themes akin to Horīs, but the latter specifically denote Dhrupada compositions in Dhamāra Tāla.

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The term Dhrupad is also used to identify a genre within Hindustani classical music, holds the distinction of being the oldest known major vocal style associated with this tradition. It is deeply rooted in the rich cultural tapestry of the Indian subcontinent and shares connections with Haveli Sangeet of Pushtimarg Sampradaya and the South Indian Carnatic tradition.

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The historical lineage of Dhrupad is associated with prominent figures such as Swami Haridas, Surdas, Govind Swami, Asht Sakha of Haveli Sangeet, and later, Tansen and Baiju Bawara. When Dhrupad compositions center around Bhagwan Shri Vishnu or his incarnations, they are specifically termed Vishnupad.

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In its contemporary form, Dhrupad is performed by a solo singer or a small ensemble accompanied by the pakhavaj. The Rudra Veena, surbahar, and sursringar are traditional instruments used in Dhrupad, known for their deep bass register and long sustain.

Dhrupad's diverse stylistic variants, or "banis," include Gauri (Gauhar), Khandar, Nauhar, and Dagar. Each bani is tentatively linked to five singing styles known from the 15th century: Shuddha, Bhinna, Gauri, Vegswara, and Sadharani. The Dagar family, known for the Dagar Gharana, is one of the most well-known gharanas within the Dhrupad tradition.

Beyond concert performances, Dhrupad continues to be sung in temples, displaying variations such as the use of bells, finger cymbals, and the mrdang drum. The gharanas associated with Dhrupad, including Dagar, Bishnupur, Darbhanga, Dumraon, and Bettiah, have contributed to its rich legacy, with notable artists preserving and propagating this ancient musical form.