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?

full_context: Document 1: Atana: Atana is a raga (musical scale) in Carnatic music (South Indian classical music). It is a "Janya" raga (derived scale), whose "Melakarta" raga (parent, also known as "janaka") is "Shankarabharanam", 29th in the 72 "Melakarta" raga system.
Document 2: Dhrupad: Dhrupad (Sanskrit: ध्रुपद) is a genre in Hindustani classical music. It is one of the oldest forms of compositions in the classical Indian music and a form that is also found in its Carnatic tradition. It is a Sanskrit name, derived from the words "dhruva" (immovable, permanent) and "pad" (verse), a combination that means "pillar". The roots of Dhrupad are ancient, and it is discussed in the Hindu Sanskrit text "Natyashastra" (~200 BCE – 200 CE). It is also described in other ancient and medieval Sanskrit texts, such as chapter 33 of Book 10 in the "Bhagavata Purana" (~800–1000 CE), where the theories of music and devotional songs for Krishna are summarized.
Document 3: Melakarta: Mēḷakarta is a collection of fundamental ragas (musical scales) in Carnatic music (South Indian classical music). "Mēḷakarta" ragas are parent ragas (hence known as "janaka" ragas) from which other ragas may be generated. A "melakarta" raga is sometimes referred as "mela", "karta" or "sampurna" as well, though the latter term is inaccurate, as a "sampurna" raga need not be a "melakarta" (take the raga "Bhairavi," for example).
Document 4: Drut: 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.
Document 5: Alapana: 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.
Document 6: Sargam (music): 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).
Document 7: Madhya laya: 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:
Document 8: Baiju Bawra: Baijnath Mishra, better known as Baiju Bawra ("Baiju the Crazy"), was a dhrupad musician from medieval India. Nearly all the information on Baiju Bawra comes from legends, and lacks historical authenticity. According to the most popular legends, he lived in the Mughal period during the 15th and 16th centuries. He was one of the court musicians of Raja Mansingh Tomar of Gwalher (now Gwalior).
Document 9: Abheri: Abheri (pronounced ābhēri) is a raga in Carnatic music (musical scale of South Indian classical music). It is a "Janya" raga (derived scale), whose "Melakarta" raga (parent, also known as "janaka") is "Kharaharapriya", 22nd in the 72 "Melakarta" raga system.
Document 10: Raga: A raga (IAST: rāga; also raag or ragam; literally "coloring, tingeing, dyeing" ) is akin to a melodic mode in Indian classical music. While the "raga" is a remarkable and central feature of classical Indian music tradition, it has no direct translation to concepts in the classical European music tradition. Each "raga" is an array of melodic structures with musical motifs, considered in the Indian tradition to have the ability to "color the mind" and affect the emotions of the audience.
Document 11: Bihagara: 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.
Document 12: Vilambit: 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.
Document 13: Darbari Kanada: 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.
Document 14: Adana (raga): 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.
Document 15: Patiala gharana: The Patiala gharana is one of the "gharanas" of vocal Hindustani classical music. It was founded by Ustad Fateh Ali Khan and Ustad Ali Baksh Khan (known as Alia-fattu) and was initially sponsored by the Maharaja of Patiala, Punjab and was known for ghazal, thumri, and khyal styles of singing.
ground_truth: Miyan Tansen