Originally referred to as a raga rather than a genre, thumri is believed to have originated in the nineteenth century court of Wajid Ali Shah. Changes in the political situation led to the development of two strains of thumri:- one under the patronage of the landlords of Lucknow, and the other in Benaras and Gaya. The lively rhythm of the Lucknow thumri soon lost its identity to the chhota khayal; whereas the other, serious thumri steadily developed into an art form.

Artistes of the calibre of Jagdip Mishra (a Kathak dancer and a singer) and Bhaiya Saheb Ganpat Rao (a thumri singer and a son of the Maharaja of Gwalior) rendered the serious thumri close to the bada khayal through the use of bol-banao (extensive text sung in a slow tempo). The careful selection of tăls, the thumri ragas, laggi (playing the tabla at a fast pace without altering the ongoing pusle): all lent thumri a regality that has ensured it a place among classical forms.

The language of the text is usually Braj bhasha (i.e. the language spoken in a particular of Uttar Pradesh and associated with the legends of Krishna). The mood is shringara rasa, but the songs deal with romantic love as symbolic of spiritual love. The ragas and tăls associated with thumri are closely aligned to folk music but the structure retains the classical form of the sthayi and the antara, and the mukhda here as in other forms is a vital part of the composition.

Traditionally, the texts are sung in the female context but male singers too have partaken of this genre.

Renowned singers: Bade Ghulam Ali Khan, Abdul Karim Khan, Siddheswari Devi.

Vocal Hindustani Music : Dhrupad, Dharmar, Khayal, Tarana, Tappa.

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