question: Who brought the raga into Northern Indian music that is often sung or played in drut laya before a vilambit composition in raga Adana?
answer: Miyan Tansen
context: Title: Adana (raga)
  Passage: Adana is an Indian raga.  It is also called Adana kanada.  It is often sung or played in drut laya after a vilambit composition in raga Darbari Kanada, as Adana is straighter than Darbari in its chalan, thus allowing faster passages.  The flow of this raga is similar to a mix of Madhyamad Saranga with Darbari.  Another common vivadi some artists use sparingly is shuddha ni which enhances the Saranga mood of the raga.
  Title: Vilambit
  Passage: Vilambit (Hindi: विलंबित ; also called vilambit laya) is an introductory slow tempo, or "laya", between 10 and 40 beats per minute, used in the performance of a raga in Hindustani classical music.  For major ragas, the vilambit portion generally takes up two-thirds or more of the performance, and is followed by a short drut to conclude the performance.
  Title: Madhya laya
  Passage: Madhya laya or Madhyalaya is a medium tempo of a rhythm in Indian classical music.  While Madhya laya is sometimes confused with Vilambit and vice versa, it is about two beats per second.  According to some scholars, Madhya laya is visible in three phase:
  Title: Alapana
  Passage: Alapana is a form of melodic improvisation that introduces and develops a raga (musical scale) in Indian classical music.  As a term that is Sanskrit in language, alapana means "to speak, address, discourse, communicate".  The flavor of the raga is outlined in the alapana by rendering the raga's permitted notes in structures and phrases unique to the raga (known as "raga lakshanam").  Alapana typically precedes a song that is going to be sung in the same raga.
  Title: Sargam (music)
  Passage: Sargam refers to singing the notes instead of the words of a composition, with use of various ornamentations such as meend, gamak, kan and khatka, as part of a khyal performance.  This is generally done in medium-tempo as a bridge between the alap and taan portions.  As an example, one could sing PmRSnSRRSRnSPnmPgmnnPmgmRSnS in raga Adana, given that raga's vadi-samvadi and the rules of the raga (see "swara" for explanation of the notes).
  Title: Sanhita Nandi
  Passage: Sanhita Nandi is a prominent Hindustani classical vocalist of the Kirana Gharana.  The central motif of her style is slow tempo "raga" development (voice culture, voice throw, and tonal application) and ornamented "sargams". Sanhita Nandi has rightly established herself as a leading exponent of Khayal, earning high acclaim from discerning critics and enthusiastic audiences on an international scale.  Sanhita has developed a distinctive singing style based on firm grounding of traditional training (or taleem), combining pure lyricism with impeccable technique.To further enrich her repository of Kirana Lineage and traditional compositions, Sanhita continues to get trained under the able guidance of Ustad Mashkoor Ali Khan. The heart of her music is the slow, leisurely development of Raag Bhava in Merukhand style in Ati vilambit.  The vistar is richly embellished by meend, harkat, and sargams.  As the badhat gets slowly ornamented in the choicest pearls of melodic variations that build the sculpture of the raga, it slowly gets decorated into faster tempo where it befriends sargams, chota khayal, tarana and soft silky sapat taans . Extreme care is taken not to disrupt the Raag Bhava even in faster tempo . Even the phirat adds to the wet, warmth of feelings embedded in the raga.
  Title: Suhi (raga)
  Passage: Suhi (Raga), a very old North Indian raga. : it also appears in the Sikh tradition from northern India and forms part of the "Guru Granth Sahib".  In the "Guru Granth Sahib" composition appear in 31 ragas and this is the fifteen raga to appear in the series.  The composition in this raga appear on 67 pages from 728 to 795.
  Title: Darbari Kanada
  Passage: Darbari Kanada, or simply Raga Darbari, (pronounced darbāri kānada), is a raga in the Kanada family, which is thought to have originated in Carnatic music and brought into North Indian music by Miyan Tansen, the legendary 16th-century composer in emperor Akbar's court.  This tradition is reflected in the name itself; "Darbar" is the Persian derived word in Hindi meaning "court."  As the most familiar raga in the Kanada family, it may sometimes also be called Shuddha Kanada or "pure Kanada".  It belongs to the Asavari thaat.  This raag is called Kannada in Yakshagana.
  Title: Bihagara
  Passage: Bihagara is an Indian musical raga (composition) that appears in the Sikh tradition from northern India and is part of the Guru Granth Sahib.  Every raga has a strict set of rules which govern the number of notes and their interplay that has to be adhered to for the composition of a tune.  The Guru Granth Sahib consists of 31 ragas and this is the seventh raga to appear in the series.  The composition in this raga appear on 20 pages from page 537 to 557.
  Title: Drut
  Passage: Drut (द्रुत; also called drut laya) is the concluding section, in fast tempo (or "laya"), between 160 and 320 beats per minute, of the performance of a vocal raga in Hindustani classical music.
citations: Darbari Kanada Adana (raga)