1. Evolution of Songs and Lives of Great Pada Bhandopadhyaya

The

Evolution

of

Songs

and

Lives

of

Great

Musicians

FIRST

EDITION

1949

Illustrated Books on Indian Music

(HINDI)

By. S. Bandyopadhyaya.

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VANI MANDIR

BHARATIYA SANGEET SAHITYA PRAKASHAK

Prem Nagar Subzimandi, DELHI.

Mausoleum of Tan Sen

(See page ... 361)

Hazrat Amir Khusro—The Persion Poet & Musician.

(See page ... 43)

THE

Evolution

of

Songs

AND

Lives

of

Great

Musicians

BY

Shri

Pada

Bandyopadhyaya,

B.

Mus.

Birla

Higher

Secondary

School,

Subzimandi,

Delhi.

Ex

Head

of

the

Dept.

of

Band

The

All

India

Marris

College

of

Hindusthani

Music

LUCKNOW.

VANI

MANDIR

Bharatiya

Sangeet

Sahitya

Prakashak

Prem

Nagar,

Subzimandi,

Delhi.

PUBLISHED BY

VANI MANDIR

Premnagar, Subzimandi

DELHI.

ALL RIGHTS RESERVED BY THE AUTHOR

PRINTED BY

PARBHAT PTG. PRESS

Subzi Mandi,

DELHI

Music,

of all the liberal

arts, has the greatest influence

over the passion, and is that to

which the legislator ought

to give the greatest

encouragement.

NAPOLEON

D.R. Bhattacharya,

Ph. D.,D.Sc., F.N.A., F.Z.S., F.N.I., F.I.A,

Professor of Zoology. University of Allahabad.

INDIA,

14.2.48.

I have glanced through the First two

chapters of 'Evolution of Songs and

Lives of great musicians' by Mr.

S. Bandyopadhyaya. They show

great enterprise on his part,

although I do not agree with

all his views.This book will

certainly cover, a lacuna

in our knowledge of

theTheory of Indian

music and I wish

the author all

luck in his

present

undertakings.

D. R. Bhattacharya,

EXORDIUM.

Half a century ago music was confined among those, majority of whom, were professional musicians and most of them were uneducated, illempered and full of other human weaknesses but in their respective arts, to their credit, it must be acknowledged, they excelled.

The charges of these artists were so high, that they were almost beyond the reach of persons of average means. Moreover those musicians never cared to impart their art, which they usually had inherited from their forefathers, to any body.

Perhaps they might have been lacking in the necessary qualities of a teacher. Consequently these musicians were also unnoticed by the majority of the middle class people, scholars and lovers of music.

As a result of that their lives and works. if any, were also neglected by the historians of that age.

Now-a-days when the educational institutions like the Boards of Education and Universities are introducing this art in their curriculum and are. making proper arrangements for a systematic and scientific training in vocal and instrumental music, a dearth of Text books and general literature on the different topics on Hindu-

sthani music is usually felt almost by all studen-

ts lovers of music and casual readers. It is a

difficult task for an author to write books on

the theory of Indian music, which entirely

depends upon the practical aspect and

without the knowledge of practice theory

will always remain unintelligible. Over

and above, there are controversies among the

musicians representing different schools gener-

ally known as "Gharana" mainly due to their

lack of knowledge of the Shastras, i. e., Sans-

krit treatises on Indian musi:

This book is therefore written with a rope

to fill in some of the gaps that still exist in

the history of Indian music and musicians of

the North. All information that is narrated in

it is based entirely on facts gathered from

reliable sources. It is therefore expected that

there is little likelihood of any doubt on the

points dealt with herein. Effort has been made

in collecting the right information about the li-

es that are contained in this book from the ri-

ht persons. Only correct statements have been

ublished with the approval of the persons con-

erned or of their legal heirs or prominent dis-

ciples.

It

may

also

be

noted

here

that

biogra-

phies

of

the

numerous

musicians

are

still

left

untouched.

It

is

only

due

to

the

lack

of

proper

and

correct

information

about

their

lives

and

works,

but

an

up.to.date

list

containing

the

names

of

the

best

musicians

of

this

age

is

in-

cluded

in

the

Appendix

to

enable

the

readers

to

have

the

correct

information

about

the

top

most

artists.

This

is

a

book

of

general

knowledge

and

history

of

the

different

types

of

songs

and

lives

of

great

musicians

of

different

times

and

places.

Every

effort

has

been

made

to

make

this

little

book

interesting

and

simple

so

that

it

may

be

of

use

even

to

the

layman.

If

it

proves

its

utility

among

the

educated

people

and

lovers

of

music

of

this

age,

nothing

will

give

me

more

contentment.

With

awe

and

reverence

I

beg

to

express

my

greatfulness

to

Dr.

D.

R.

Bhattacharya,

Vice

Chancellor,

The

Allahabad

University,

Allahabad.,

who

was

kind

enough

to

have

a

glance

over

the

first

two

chapters

of

this

book

and

also

for

his

valuable

view

of

judgement,

which

he

had

very

kindly

expressed

for

the

4

benefit of the lovers of music. I feel proud to

express my hearty thanks to Dr. V. Raghavam.

M. A., Ph. D., Secretary, Academy of music

Madras, who, was kind enough to look at

the typed scripts of this present work and also

for the favour which he did by expressing his

own remarks on the same. Before I conclude

I must pay my deep regards to my revered

Guru Dr, S. N. Ratanjanker., B. A, D. Mus.,

Director of Indian Music. Bhatkhande Singeet

Vidyapitha, Lucknow, who, in the midst of

numerous activities, has very kindly gone

through the text and gave it the present shape

in which it is in the hands of all lovers of

Hindusthani Music.

Delhi, 6th July. 1949.

Author

—O—

5

ACKNOWLEDGEMENTS.

Thanks are due to the Superintendent Archaeology Dept, Gwalior State, Gwalior.,

Bharat Kala Bhawan, Banares., Curator. The Provincial Musium, Lucknow., and the Secretary and Curator, Victoria Memorial Hall, Calcutta,

for their Kind permission for the reproduction of many rare paintings that are reproduced in this book namely Raja Man Singh., Mausoleum of Tan Sen., Goswami Tulsi Dass., Nawab Wazid Ali Shah , Hazrat Amir Khusru and Miyan Tan Sen.

Syt. Bhavataran Shah a product of the Govt. School of Arts & Craft, Calcutta, has designed the jacket of this book with great interest and care for which he deserves thanks.

As the book have been hurried through the press, it is not unlikely that faults of omission and commission have crept in, which, however will be rectified in the second edition.

PUBLISHER.

i

CONTENTS.

Page

1. First Chapter— Evolution of Indian music … … … … 1–18.

2. Second Chapter—Evolution of Songs. … … … … 12-48.

i. Dhruvapad & Dhamar— Raja Man Singh., Swami Hari Dass & Tan Sen. … … … … 19-27

ii. Kheyal (slow & fast)—Nayak Gopal, Amir Khusru, Shah Sada Rang., Sultan Husain Shirque. … 38.

iii. Devotional songs— Jaideva Mirabai., Kabir Dass., Chaitanya., Vidyapati., & Swami Tulsi Dass. … 47.

iv. Thumri—Nawab WajidAli Shah… 56.

v. Tappa—Gulam Nabi … … … 60.

vi. Kawal & Tarana—Amir Khusru… 43 & 62.

vii. Lakshya Sangeet— V. N. Bhatkhande. … … … … 63.

viii. Swsr malika—several great musicians… … … … 64.

3. Third Chapter— Biographies … 65.

i. Khan Sahib Ustad Abdal Karim Khan … … … … 67.

ii. Khan Sahin Ustad Allah-uddin Khan. … … … … 69.

iii Shri Chandan Chaubay … …. 75.

iv. ,, Dileep Chand Vedi … … … 76.

v. The College of Indian Music Baroda. … … … … 77.

vi. Khan Sahib Ustad Faiyaz Husain Khan. … … … … 80.

vii. Shri Girja Shanker Chakraverty...

viii. , Gopeswar Banerji ... ... 83.

ix. Ustad Muzaffar Khan ... ... 85.

x. The A. I. Marris College of Hin-

dusthani Music ... ... ... 85.

xi. Shri1 Narayan Rao Vyas ... ... 90.

xii. Ustad Peyari Sahib ... ... 91.

xiii Pt. Rajabhaiya Poonchhwale ... 91.

xiv Dr. S. N. Ratanjanker ... ... 95.

xv Shri Vinayak Narayan Patwar-

Dhan. ... ... ... ... 99.

xvi Shir Vishnu Digambar Palusker... 100.

xvii ., Vadi Lal Shiv Ram Naik. ... 105.

xviii Pt.Vishnu Narayan Bhatkhande... 109.

1. Appendix ... ... ... 120.

LIST OF ILLUSTRATIONS

1. Mausoleum of Tan Sen Frontispiece (Front Page(10).

2. Hazrat Amir Khusru.

3. Goswami Tulsi Dass.

4. Tan Sen.

5. Raja Man Singh.

6. Syt. V. N. Bhatkhand.

7. ,, S. N. Ratanjankar.

8. ,, Hirji Doctor.

9.,, Vishnu Digambar

10. ,, G. S. Chakravar-ti

11 V -:1 T -1 :n:il.

EVOLUTION of SONGS

&

LIVES of GREAT MUSICIANS

First Chapter

Evolution of Indian Music.

2400 B. C. to 1200 A. D.

Two streams emerge from the perennial spring

of "NADA" (the sound) and gave birth to the

music of the East and the West. Hence the

term music is used all over the world for its three

fold meaning, namely, vocal music, instrumental

music and the art of dancing. For example "गीतं वाद्यं

तथा नृत्यं त्रयं संगतंमुच्यते" The people of the East,

particularly the Indians, were fortunate enough to

have an acute sense of proportion and due regards

towards the fine arts and they have appreciated

the same from the very beginning to this age.

Perhaps it was all due to the numerous advantages

that they receiyed from nature.

Fine arts specially music is one of the most

2

Evolution of Indian Music.

essential things that is required for the full develop-

ment of mind and body of every individual,

belonging to any nation, caste or creed. It is the

only means of upbringing the young as it removes

the wilfulness, indecency and rudeness from their

thought and behaviour. On the other hand, it

creates in them strong determination, moderation

and harmony-the only source of happiness. It

has been observed that men and women cannot

develop their mind beyond certain limit unless

they make special effort to educate and discipline

it either by spiritual thought, which is not at

all possible for the majority of the common

people, or with the enchanting power of sweet

sound, i. e. music, which is also divine but can be

achieved through some practice provided it is done

properly and scientifically.

India is compact and self contained. Her

frontiers are natural barriers. The Himalayas

with their immense range and elevation in the

North and the Indian Ocean in the South helped

to keep them free from foreign invasion for

thousands of years. The climate is milder than

that of most of the other countries of the world

and the soil is also wonderfully fertile and yields

abundant food which is also of great variety. Con-

sequently the inhabitants of this country were.

relieved of the toil and struggle for existance

from the very early age. Hence the Indians were

always after the realisation of the Truth, and were

seekers of the mysteries of nature and were ad-

mirers of natural beauty. They have never failed

to express their numerous obligations which they

received from the different sources originated from

the affectionate mother the "Nature", through

poetry and music.

The origin of music, iherefore, seems to haye

been to convey the idea of their emotions to others

and it may be said to be the medium throu3h

which an artist or a poet expresses his thoughts and

feelings. In course of time when language adyanced

to some degree of intelligibility, proper use of

the same began to be restricted to the worship

of the Supreme Being. This was the stage of

the "Sama-Gayana," i. e., the music of the Vedic

and Pauranic age, which was current through-

out India for about a thousand of years if not

more. In due course of time, after this, people

began to feel the necessity of musical instruments

for the accompaniment of vocal-music, to enrich

it. Vocal music is prior to instrumental music and

its various kinds and categories. The first invention

of this type was the flute made out of thin dried

bamboo pieces which were abundant and still are

available almost every where in this country. Lord

Krishna of the Grert Mahabharata is considered

to be the master and originator of this instrument.

He is renowned still to this time for the melo-

dious tunes which he very often used to produce

from the Murali-the flute; on the banks of the

Jamuna at Brindavan, (situated in the Center,

about thirty-five miles from Delhi) a sacred place

of the Hindus, where thousands of pilgrims gather

every year in the months of August and September

of each year in the festival of "Janmashtami" to

pay their homage and to commemorate birthday

of the great soul.

It is alsoy ident from the treatises on music

that the chanting of the Vedas was performed

with the accompaniment of musical instruments.

When people have reached at some height

in their social, economic, and religious conditions

and had improved their status as well as standard

of life, many different kinds of compositions were

also introduced in their current form of music, and

they were known as "Chandha" "Prabandha",

"Bastu", "Rupaka" and 'Jati Gayana' which were

in vogue till the end of the twelveth century. Ins-

pite of the difference of opinion regarding the

exact number of the Jatis, "Raga-Jati" was accept-

ed unanimously to be the fourth type and it had

been so popular since then that lovers of music

of the later age accepted the same and left all the

rest and that is current even to-day, through the

various changes in its original form of the past.

Every one is not expected to go into details of

the changes that had occured from time to time

but a brief account of the detailed description

of the various types of songs and their styles,

composed and set by the scholars of music of the

North, and of the different times and places, are

note worthy. New type of musical instruments were

also invented and introduced, which were meant

for the accompaniment of vocal and solo music.

Still later on, i. e., from the latter part of the

sixteenth century at the time of "Ramtanu", who,

had attached himself to the Mogul court and

served the great Emperor "Akber" for about forty

years, the technical restrictions were introduced by

the experts and came into force from that: tine,

and many styles were formed from those rules that

6

Evolution of Indian Music.

are current till now, and can be observed from any

musical demonstration performed by a good and

skillful artist.

It may be noted here that proper records of the

practical music both vocal and instrumental of the

medieval age are not available as the machineries

for recording the sound were not invented then,

so whatever information is available now, is more

or less doubtful. There is a mass of evidance to

prove that a regular system of notation was cur-

rent in India from the time of Panini 350. B. C.

The universal seven notes were distinguished by their

initial letters and this very system of the Indians

was followed by the Persians for the first time and

was passed by them on to Arabia and was thence

introduced to European music by Guido-d-Arezzo

at the begining of the eleventh century. ( Indian

Empire by Sir William Hunter ).

Information can also be gathered from the work

titled "Raga-Kalpa-Drurna" by Krishana Nand

Vyasdeva-Raga-Sagar, a voluminous book that

contains about two or more thousands of songs com-

posed and set into tunes by the leading musicians &

scholars of the medieval age, that the current music

of those days was of four kinds, namely, 1. The

Evolution of Indian Music:

7

songs in the praises of God and nature., 2. Songs

in the praises of the kings, heroes and patrons. 3.

Songs in the admiration of the natural beauty and

scenes, and lastly the songs in the appreciation of

the fair sex, i. e., the love songs. If all these points

are discussed at length and compared with the his-

tory of the people belonging to the different parts

of this vast country, one is sure to reach the con-

clusion, if he is free from all superstitions, that

according to the different taste and likings of the

inhabitants of this country, that extends 2000 miles

from North to South and 2500 miles from East

to West which covers an area of about 1,800,000

squire miles which is again divided into several

Provinces besides the native states, where different

sects of people live with numerous tongues, one

type of song cannot exist. Hence various types of

music ( that is songs ) were needed for the various

sects of people of this vast country, which are

nothing, but the tributeries only to the main

stream of "Raga-Jati".

The effect of music and specially of the different

types of songs and instrumental music on lay men

is alike, because they cannot understand and follow

the art and mainly the technique of the subject

Evolution of Indian Music.

9

the same according to their intelligence and

power of imitation. It becomes the divine

quality if properly cultivated and then utilised,

can turn a man to be the best musician.

This can be concluded from the history of the

mankind from the primitive stage to the pre-

sent time.

The cause of music is sound. This particular

sound is termed by the scholars of the East as

"Nada." They say that every existing thing

of this world has its origin from it and will remain

so till the time of annihilation of this universe.

सर्वे संगीत शास्त्रस्य नादो जीवितमीरितम्।

छ्रतो नादस्य मर्हात्स्यं क्याख्यातुं केन शक्यते ॥

This may provoke a laughter by the young

generation of this age, only due to their

ignorance. There may be some truth behind

it, that only can be revealed through a long-

practice and perseverence. The enchanting power

of music has already caused many changes in

social and religious life of the Indian masses and

have also removed so many vices that were current

among the different sects of people of the different

times and places. ( Please refer to the biographies

of Chaitanya, Mira Bai and Tulsi Dass ji. )

Evolution of Indian Music.

11

phets; If we go into details of the lives of the

personalities stated above, it can be said definitely

that none of them was a musician and none had

any training of the same, but they had mastered

in the art-which they considered to be divine;

through their penance and devotion. They used

to get inspirations direct from the Supreme

Power, that is why their compositions are ever

new and full of inspirations and charm. Their

music was only for their tutelary deity and

it was the only means of thier devotion and

not of the worldly people, who, think it to be one

of the means of pleasure and enjoyment. It is,

therefore, certain that perfection can only be

attained through the personal efforts with the

guidance and help from divinc that is from

"Guru" the tcacher and in that case only miracles

and enchanting power of music may be practically

seen even at this persent age, if it is followed assi-

duous. It is therefore desirable that every civilised

citizen of the modern age keep himself familiar

with the traditional heritage of Indian arts and

culture and be proud of the same.

Music that is composed and set in to tunes by

experts to meet the common want of the

upile to enable them to get pleasure and recrea-

10

Evolution of Indian Music.

Leaving aside the ancient and medieval system

of music, that was full of controversies and very

little of which is known to the majority of the

modern scholars, the fundamental principles of

the persent day music, are explained briefly to

enable the young readers to form an actual idea

of the various types of songs o:iginated form the

four different kinds of compositions of the medieval

age mentioned above.

The scholars of the East have classified their

music into two main heads known as "Marga-

Sangeet" and "Desi Sangeet". The former is

nothing but the "Sama-Gayan" of the Vedic and

Pauranic ages and also the devotional songs of the

later period and the latter is the current from of

music of the different times and plac:s. Marga San-

geet is mystic and therefore it was confined among

those who were religious minded and were after

their self realisation and salvation.

मार्गों देशीति तदुद्देश्या तत्र मार्गः स उच्यते ।

यो मार्गंतो विरिच्याच्चैः प्रयुक्तो भरतादिभिः ॥

Great souls like Jaideva, Mirabai, Chaitanya, Hari

Dass Swami,Guru Nanak, Tulsi Dass, Sur Dass,

Tukaram, Tyagraja, etc, were the followers of this

type of song who have been considered to be pro-

pliets: If we go into details of the lives of the

personalities stated above; it can be said definitely

that none of them was a musician and none had

any: training of the same, but they had mastered

in the art-which they considered to be divine;

through their penance and devotion. They iused

to get inspirations direct from, the Supreme

Power, that is why their compositions are ever

new and full of inspirations and charm. Their

music was only for their tutelary deity and

it was the only means of thier devotion and

not of the worldly people, who think it to be one

of the means of pleasure and enjoynment. It is,

therefore, certain that perfection can only be

attained through the personal efforts with the

guidance and help from divine that is from

"Guru" the tcacher and in that case only miracles

and enchanting power of music may be practically

seen even at this persent age, if it is followed assi-

duous. It is therefore desirable that every civilised

citizen of the modern age keep himself familiar

with the traditional heritage of Indian arts and

culture and be proud of the same.

Music that is composed and set in to tunes by

the experts to meet the common want of the

people to enable them to get pleasure and recrea-

12

Evolution of Indian Music.

tions said to be the “Desi Sangeet”, for example:

देशे देशे जनानां यदृ च्या हृदयरंजकम ।

गानं च वादनं नृत्यं तदूदेशीय भिधीयते ॥

This particular type of music was current in India just a couple of centuries after the Christian era and still later on this was again divided into two main heads according to the natural division of the country namely “The Hindusthani Sangeet” or the music of the North which is current at persent throughout the Northern India and the other is known as the “Karnatic Sangeet” that is in vogue in the South namely in Mysore, Madras, Trichino-poly and other Provinces. It should be remembered that the basic principles of both the systems stated above are alike.

It has already been stated that the cause (or the chief property) of music is sound, termed by the scholars as “Nada”. It is of two kinds, namely, musical and un-musical sound. The former is sweet and agreeable to the human ears whereas the latter is nothing but a noise and discordant. According to the function of the musical sound three diffrent aspects are ascribed to it and they are known as amplitude, quality and pitch of the sound. The musical sound has been

Evolution of Indian Music.

13

divided according to thier use into twenty-two

small divisions and they are known as the "Shrutis"

or the microtonel intervals of sound. It is very

difficult to sing the series of these twenty-two

Shrutis just rising one above the other, so the

scholars of the past had selected only seven Shrutis

and termed them as "Svaras" or notes. They

are as follows :- Sa, Re, Ga, Ma, Pa, Dha and Ni.

These notes correspond to the common notes of the

West known as Do, Re, Mi, Fa, Sol, La, and Ti.

Out of these seven notes the notes namely Sa

and Pa are known as "Achal" i. e., fixed or the

key note. They can not change their place or

position but the remaining five notes namely Re

Ga, Ma, Dha and Ni are changable and each of

them has two forms known as "Suddha" and

"Vikrita" they are similar to the flat and sharp

notes of the West. All these twelve notes ( seven

suddha and five vikrita ) are termed as "Saptak"

i. e., scale. It is nothing but a systematic arrange-

ment of the seven Suddha and five Vikrita notes

placed in between the seven Suddha notes just one

after the other in a regular order.

According to the theory of the East as well as

of the West the "Saptak" or the octave has three

increasing orders of pitch known as "Sthana" i. e.,

place. It can be ascertained from any

demonstration of vocal music of the West

that it does nor exceed more than three octaves

at the most, and that too of the female artists.

But their musical instruments namely organ and

piano certainly contain a series of notes that

usually cover a range of seven to nine octaves

as a whole and they are used to some extent

in orchestral music and band. Each note pro-

duced from any one of these "Sthanas" is double

in pitch of the corresponding note in the imme-

diate next lower Sthana i. e., each note of the

Madhya Sthana is double in pitch of the corres-

ponding note in the Mandra Sthana and similarly

the notes of the "Tara-Sthana" is double and four

times higher than the notes of the "Maddhya"

and "Mandra" Sthana, respectively.

The twelve notes of the octave when placed

in order of permutation an exact number of

seventy-two different kinds of combination each

of seven notes are produced and they are known

as "Mela" or "Thata" i. e., parent scale of the

Indian music. These parent scales are the source

Evolution of Indian Music.

15

of all Indian melodies commonly known as the

"Raga".

योऽयं ध्वनि विशेषस्तु स्वर वर्ण विभूषितः ।

रंजको जंत चित्तानां सरामः कथ्यते बुधैः ॥

A Raga is a particular combination of

notes with Vernas having the property of pleas-

ing the mind of the listeners.

The Ragas are differentiated from each other

by the prominance of a fixed note and also by the

sequence of a particular note. The basis of classifi-

cation which was adopted by the majority of the

musicians of the North in the medieval age, was

known as "Raga-Ragini-Putra" basis. It was some

what fanciful system. The details of which depend

very largely upon the choice of each individual.

No principles were followed in their division of

their Ragas and Raginis, hence the disparity was

so great that sometimes the authors and the

musicians disagree with regard to the "Raga" to

which several of the Raginis and Putras

belong. Moreover they have failed to give a

satisfactory definition even of the terms Raga and

Ragini. Hence later on this system was abandoned.

All the current Ragas of these days are

16

Evolvtion of Indiac Music.

chiefly derived from the parent scale which entirely

depend upon purely mathematical calculations. As

a rule a Raga must have seven; six or at the least

five notes belonging to the scale from which they

are produced. Only ten out of the seventy-two

scales stated above from the basis of the Raga as the

present Hindusthani system. They are as follows. :-

1. Bilaval. 2. Kalyan or Yaman. 3. Khamaj.

2. Bhairava. 5. Puravi. 6. Marva. 7. Kafi.

3. Asaveri. 9. Bhairavi. 10. Tori.

Two distinct operations are current for the

mathematical calculations. The first, entirely

based on the ascent and descent forms of the

notes that are contained in the octave, which cf

course is done according to the rules laid down for

this purpose, and produces an exact number of

484 Ragas only out of rhe 1st scale the "Mela"

i. e., Bilaval scale-similar to the Diatonic scale

of the West. If all the seventy-two scales mention-

ed before are treated similarly an exact number

of 34848 Ragas are obtained from them. The

second process is changing the sonant and conso-

nant, that is, the principal and the predominant

notes of a Raga. In doing so an exact number of

121+1055+855=2031 Ragas are again obtained

from the Bilaval scale only and 146232 Ragas are derived from all the seventy-two scales stated erenow.

It is quite clear that all these Ragas are not current at present, about 200 Ragas out of them are in vogue, out of which about fifty

is very popular and common and the rest are again confined among the scholars and top most musicians.

All the Ragas stated above cannot fulfill the most essential condition of pleasing the listeners, the most important feature in the system

of Raga formation. These mathematical calculations are essential for those, who, are particularly interested in the theory of this art or for the

research students.

It is the opinion of the majority of the leading historians of the ancient 'Hindu Period'; that purely Indian music had reached its climax during

the reign of the Hindu kings and specially of the kings of the Maurya dynasty and remained so till the begining of the Mahomedan conquest in

India. The Mahomedans were not at all interested in the theory of Indian music but they were interested in the practical side of this art and had

also proved to be the great patrons of fine arts and specially music. Majority of the

Evolution of Indian Music.

Mahomedan Emperors did a great deal to encourage

the practice of the music both vocal and

instrumental and they had musicians Hindus and

Muslims in their courts. They had brought with

them the music of their own country, which

waa as a matter of fact assimilated with the

music of this cauntry. Thus new melodies

and specially new styles and different types of

songs were introduced by the majority of the

foreign musicians, that is why, it is usully said

that the Indians gave birth to music but it was

nourished and brought up by the Mahomedans.

EVOLUTION of SONGS

&

LIVES of GREAT MUSICIANS

Second Chapter

DHRUVAPAD

Dhruvapad is the concrete form of the purely Indian music of the medieval age, which was current in India for more than a century if not more. It has its origin from the different forms of music of the ancient time, known as "Chhanda", "Prabandh", and "Jati Gayana". Dhruvapads of those days contained the correct spirit of "Jati-Gayana" and specially of "Raga Jati", as it fulfills all the conditions which are considered essential for the full development of "Raga singing" and its technicalities. Inspite of the difference of opinions as regards the name of the person, who, for the first time introduced this type of song, unique style of its kind in Indian music Raja Man Singh of TAMOR (present

20

Evolution of Songs

Gwalior ) A. D. 1486 to 1517. A. D. is consi-

dered to be the originator of Dhruvapad style of

singing. He is also said by many scholars to be the

father of Dhruvapada. It has also been told by

some of the leading historians that not only the

king but also his queen, ( who, possessed an excellent

pair of eyes, similar to the fawns, named after

it as "Mriga-Naini", that is the fawned eyed

queen, ) they both were proficient composers and

masters in the art of Dhruvapad singing.

They were great patrons and had "Nayakas"

in their court ( the term Nayak used by the scholars

of the East, for the leaders and master minds

in music ). The most renowned Nayakas of the

13th and 16 centuries were, Gopal, Baijoo, Buksou,

Bhagbaan, and the then living Nayakas Chirjo,

Dhondu, Dalu and others who were attached

to the Royal court of Raja Man Singh. Charju

and Dhondu had introduced a New style of Mallar,

that is known since then to this time

as Charju-Ki-Maller and Dhulia or Dhuriya-Ki-

Maller, after their names. Besides these Nayakas

several musicians of outstanding merit and their

disciples even. were also attached to the court

of Man Singh. It is a tradition since then that

high class musicians and scholars are still patronised

by the Royal Court of Gwalior. The state has

also been running a music school from the time

of H. H. The Maharaja Madhava Rao of Scindia

named after him as Madhava Sangeet Vidyalaya,

which is considered to be one of the best institu-

tions of music in Northern India, where specially

vocal music is taught to hundreds of students

coming from the different parts of the country

at minimum expenses.

Raja man held a conference, in which almost

all experts, scholars and musicians were invited and

the minutes of the proceedings were recorded which

is known as "Man Kutuhala" i. e., the curiosiry of

Man, the most valuable work on the current music

of his time, to enable him to provide the full infor-

mation and current technicalities of music of those

days for the benifit of his successors.

The literary meaning of Dhruvapad, is song

with a fixed tempo. ( Dhruva means fixed and pada

means stanza). It is really sung with a very slow

tempo. It is evident that Dhruvapad of the medi-

eval age was very simple in respect of both words

and musicial notes. Rich and full expression of

22

Evolution of Songs.

voice and proper pronunciation are essential, so it

was but natural that almost all musicians had to

culture their voice to the best and they had also

to take care of the wordings of the songs to give

full expression of sound on the same. Almost all

the ancient Dhruvapadas contain four parts nemly,

"Asthaiee", "Antara", "Sanchari" and "Abhoga",

which usually need a range of about three octaves

to complete the then current form of music.

The following four kinds of Dhruvapad were

current in medieval age, namely, Gobarhari or

Suddha Vani, Khandar Vani., Dagar Vani., and

Nauhar Vani. Some scolars say that these names

were given according to the difierent styles in which

they were sung and nothing else, but others say

that most of these nrmes had simply been given

to the songs according to the surnames of the

composers and this is also supported by Hakim

Ikram Ahmed the author of "Madraul Musiki" a

treatise on Indian music in Urdu script. It is said,

in that book, that Tan Sen was a Gaudiya Brahman

and the Dhruvapads that were sung by him were

generally known as 'Gobarhari" or Suddha Vani.

Maha Rana Sanmolhan Singh of Singhal Garh

Raja Man Singh—The Father of Dhruvapad Singing.

(See page ... 10

Pt V. N. Bhatkhande - The Great Scholar of Music.

facing page ... 153.

Evolvtion of Songs

23

(perhaps modern Kisanagarh ) was also a profound

scholar and musician and the particular type of

Dhruvapad that was introduced and sung by him

and his followers was said to be the "Khandar

Vani". It is probable that this type of

song was a combined form of vocal and instru-

mental music, namely, "Veena". He was a

Dhruvapad singer as well as an excellent Veena

player, consequently his particular style of Dhru-

vapad singing might have been much influenced

by the technicalities of his Veena. The rest two,

namely, Daugar and Nauhar Vani are supposed

to be the original styles or compositions of Brij

Chandra and Shri Chandra, who, were both Raj-

puts and they belonged to Daugor and Nauhar

village in Rajputana. (DONGER & NARAHAR

of this age).

All these names are familiar to every lover

of music but very few almost none among the

present day Dhruvapad singers, can differentiate

these styles referred above one from the other and

give any satisfactory answer about their original

forms and main features. They are not in common

use at present as they have already lost heir origi-

nal forms and characteristics. However, it is evident

that in by-gone-age all those styles were current

and known to almost every Dhruvpad singer for

considerable period of time.

Dhruvpad is usually sung in CHOWTAL,

SOOLTAL, ROOPAK, and "Jhamptal. Majority

of the old traditional compositions are set only in

Chowtal-the most common and popular Tala for

Dhruvpad singing but later compositions were set

in different Talas stated above. No knowledge

of Indian music is complete unless one has a sound

knowledge of Dhruvpad. It is the song, that

makes ones voice rich and expressive and also it

helps to extent the range of voice up to the highest

pitch, this can be achieved through long practice.

Not only the vocalists but also the instrumen-

talists are taught a few Dhruvapads even in these

days, before they start learning music either vocal

or instrument to have a command on the Ragas

which entirely depend upon proper production of

voice in its minute accuracy.

It is really a pity that on account of proper

support and encouragement from the state and

public of this vast country, ( majority of whom

are unfamiliar with the art ) the students of the

various

Mohamedans

and

Hindu

Schools

of

Dhru-

vapad

singing,

i.

e.,

"Gharawana"

have

changed

their

profession

and

gave

up

the

traditional

culture

which

was

their

hereditary

right

for

want

of

support

and

patronisation.

In

fact

the

art

of

music

is

deteriorating

every

day

and

most

of

the

managements

of

the

All

India

Radio

of

the

North

and

cineamas

are

more

or

less

responsible

for

the

disownment

of

the

real

Art.

They

are

almost

destroying

the

taste

and

likings

for

the

real

art

of

the

young

generation

of

these

days

by

producing

most

ordinary

and

cheap

songs

majority

of

which

are

so

indecent

that

they

may

not

be

allowed

to

be

enjoyed

by

the

young

people.

Those

who

have

fortunately

heard

Dhrnva

padas

from

the

late

ustad

Zakiruddin

Khan

and

Allahbande

Khan,

the

fore

most

musicians

of

the

first

quarter

of

the

20th

century

late

Prof.

Radhika

Mohon

Goswami

of

Bengal

late

Pt.

Chandan

Chouby

of

Mathura

late

ustad

Nasir

Uddin

Khan

of

Indore,

Ustad

Kala

Khan

of

Batia

State

and

late

pt.

Syt

Vishnu

Narayan

Bhatkhande-the

father

of

the

system

of

modern

Hindusthani

music,

are

sure

to

pronounce,

that

all

those

great

personalities

posssessed

an

excellent

voice

with

a

wide

range

of

about

three

octaves.

They

were

the

leading

representatives

of

the

Evolution of Songs

fferent Schools of iIndian music and spècially

Dhruvapad.

Quarter of a century ago when music was not

cheap and popular among the masses as it

pears now-a-days, that is only due to the immense

improvement in sound engineering; the:prominent

presentatives of the different schools of our Hindus-

ani music i. e., the Ustads, were so superstitious

at they never imparted training or instructions full

artedly, none except in rare cases and that too

ly one or two personal students. This proves

at very few persons got the chance and

ivilage to learn music from them. and those,

o, were fortunate enough to secure a good

stad, were the rich persons landiords. Thus

asic was confined among the rich and the

althy community, who never cared for its

pularity among all lovers of music with little

ans. Hence the old traditions of Dhruvapad

ying are forth dying out and the descendents

the various schools of music are now in a

st pitiable condition and lost in the midst

tìe unfor:seen current of time.

DHAMAR or HORI.

This is next in importance and sequel to Dhrupad.

This type of song was generally sung on the occasion of Holi festival in autumn.

This is sung only in the Tala known as “Dhamar” and that is why it is usually said to be “Dhamar”.

Its real name is Holi which later on misused by the professionals and become Hori or Dhamar.

The main characteristic of this type of song is the measurement of tempo.

It can develop the various forms of tempo in a fixed Tala in numerous proportions

e.g., the same piece of a song may be sung in double, triple, quadruple and quintuple speed and

even in the fractions such as one one fourth, one and a half and quarter to two and so on.

The specialists of this type of song are usually the masters in the calculation of rythm i. e., tempo

where as the Dhrupada singers are considered to be the masters in proper Intonation, production

of sound and knowledge of Raga. The combination of these two in one artist is undoubtly

rare example and he, who, masters it deserves congratulation.

The origin of Holi is unknown, as there is no record for the same nor ample historical facts

28

Evolution of Songs.

and proofs are available from which some definite

conclusion may be drawm and put before the

students for their right information. It is the opinion

of some of the modern scholars that Dhruvapadas

were sung in the simplest form and this is also

accepted by almost all the artists of these days

that the Suddha Vani Dhruvapadas were realy

nice poetical compositions full of noble ideas,

meaning and the tunes are absolutely suited to the

wordings and occasion referred there in, Moreover

The Dhruvapada singers never changed the forms

but they could changed the tempo. Thereforc it is

possible that the Dhruvapad singers never tried

to sing Dhamer and those who were keenly in-

terested in rythem e. i., tempo used to master

this particular type of songs that are usually sung

immediately after the Dhruvapads are sung.

Among the readers who have had any opportunity

to witness perfornance by the renowned late Ustad

Nasir Uddin Khan of Indore, the eldest son of

KhanSahib Ustad Allahbande Khan of Alwar must

have observed that the Dhruvapadas usually sung

by him were very nice and appealing. He himself

was a lover of "Nada", the sound. His alapa sing-

ing namely, Na, Ta, Ri, Ta, Num etc, was marvel-

Evolution of Songs

29

lous: He very often used to sing these meaning-

less words; derived from the word 'Om Ananta

Hari' for hours together and his audience

never get tired to hear his alaps. Khan Sahil

Ustad Faiyaz Hussain Khan, Aftabe Mausiki, the

state musician of the Baroda State one of the

best 'Kheyal singers of these days, sings

Dhamar excellently. He usually plays in the

course of his musical performence, hide and

seek with the tempo while singing Dhamar.

His audience and admirers are simply enraptur-

ed and he keeps them all spell bound. These

facts leads one to believe that particular type

of music appeals to particular class of people

where as the others like another type of music.

It all depends upon the individual taste and

likings. Raja Man Singh was a great patron of

Dhruvapadas and Dhamar style of singing and

as a result of that both these particular types

of songs flourished under his patronage and

thousands of compositions of Dhruvapadas

and Dhamars unique of its kind are still

available and sung by the experts of these days.

30

Evolution of Songs

RAMTÁNU MISRÁ

After Raja Man Singh Tanna Mishra was the greatest personality in the field of music of India of the 16th century A. D. and perhaps of the world, if it is not exaggerated. Those who are interested in fine arts and specialty in music and its literatures must be familiar with so many sayings about his life and miracles of music.

Ramtanu was born in the 1st quarter of the 16th century and was the only son of his parents. His father named Makaranda Misra, who lived at Banaras or Kashi formerly known as Baranashi, a holy place for the Indians to the Hindus in general. His early life was similar to those of the village boys but he was exceptionally intelligent and excellent imitator, an essential quality for all would-be-musician and could imitate any sound even of the birds and beasts so naturally that it usually created confusion to the listeners. This very natural gift lead him to attain the highest peak of Indian music and perhaps of the world. He had climbed the throne of honour and wealth for his unequivocal talents in music and challenged by none.

though there were numerous musicians and majority of them were his rivals.

Unfortunatly he had also to face the unforeseen calamity like others and lost his parents,

who were undoubtedly old at his early age.

when he was under teens. This irreparable loss of his parents at the time of his training in

music under the personal guidance of the great devout Swami Hari Dass, who lived in his

hermitage, with his numerous disciples and followers at Brindavan, near the banks of the

Jamuna removed all the mental worries of his young, but promising disciple Ramtanu

though his Supernatural power and fatherly affection. Thus he was relieved of all his worries

and he soon started devoting most of his time to the practice and learning music from

his Guru and the rest in his services. It is found in the literature of the Vaishnavites that Swami

ji had attained almost divine perfection by abstraction and austerities. He was a great devout

of lord Krishana and it was natural for Ram-tanu to receive a sound knowledge of spiritual

development from his Guru. Hence his music was in the praises of God and Goddesses. Super

being nad in nature.

32

Evolution of Songs

Ramtanu'h'd served the king of Rewa, Raja Ram for several years as, his court musician.

immediately after the completion of his training in music from Swamiji. After some years he was

presented by Raja Ram to the Emperor,xAkbar as a token of alliance and since then he served

in the Royal Court of Akber for abont forty years till his death as the Chief Court musician

The late Prof. S. N. Bhattacharya of the Banaras Hindu University, in the course of his lec-

ture on Indian music at the Usmania College, Nizam State of Hyderabad, Stated that Ram-

tanu was maried to a Brahmin vergin named Husani Brahmani, probably her father was

converted to Islam, and since after his marriage he was known for some years as Mohammad Ata

xAkbar, although engaged in so much troublesome busi-

ness in various departments, was not indifferent to the

pleasures of life. He took special delight in music, and song

and seems to have had a considerable knowledge of the tech-

nicalities of those arts. Some time in the years 1562 A. D.,

he roquired Raja Ram Chandra of Bhath or Riwa to send to

court Tansen of Gwalior, who was universally recognised

as the premier musician and singer of the age. All 'authoriti-

os, and traditions, are agreed that the best performer at

Akbar's court was Miyan Tansen, whom Akbar in the seven-

the year of his reign, had required the Raja of Riwa to sur-

render. (Vide Page 61 and 422 Akbr The Great Mogul by

V. S. Smith.

Mirza Ata Ali Khan. It is really a problem to say any thing definitely whether he was conver-

ted to Islam or simply changed his family sur-

name. However, his musical compositions of

later age prove that he was a great devote

to the Hindu God and Goddesses.

Most of his compositions are in the praises of

the Hindu divinity and very few if at all in

the praises of Mohammed and other Prophets

of the Islam. This proves that he was deeply

influenced by the Hindu philosophy and its

teachings. He was known afterwards as Tan

Sen the title awarded by Akbar in his honour

as the best musician of his Court.

It is also stated in Ain-I-Akberi. vol. 1.,

translated from the Persion copy by H. Black-

men as follows :- His Majesty pays much atten-

tion to musicians and is the patron of all who,

practice the enchanting art. There are numerous

musicians at his court. Hindus, Iranians and

Kashmercs. The court musicians are arranged

in seven divisions one for each day, in the

week. Tan Sen topped the list and was excep-

tionally favoured by the Emperor. He was a

34

Evolution of Songs

Dhruvapa singer and hence he gave the best elegence to it according to his deep khowledge

and perfect training that he had received from his Guru. Tan Sen was not only a saint and

profound musician but he was also a successful father. He had lead an excellent conjugal

life and was the father of four sons; named Suret Sen, Sarat Sen, Taranga Sen and Bilas

Khan and a daughter named Saraswati. Every one of his sons and the daughter were perfect

and master in the art of music. His daughter was married to the renowned Chief of Singhal

Garh named Mishra. Singh. (Son of late Sonnokhan Singh) the best Veena player of his

time. Thus he could successfully manifest the art of vocal and instrumental mnsic to the

perfection that could be achieved by the geniuses like him and his son-in-law, who. are still

considered to be the favoured sons of the deities the Goddess Sarawati and Kali.

Tan Sen was a Dhruvapad singer. His contribution to instrumental music is no less

than that of the numerous Ragas and various musical compositions that are still-in vogue.

The Ragas namely, Miya-Ki-Maller, Miya-Ki-

Sarang, Darveri Kanara etc., are the best examples of supreme talents in domain of music. These

Ragas are supposed to be the best and uinque of

their kind. Majority of the listners and tyros express some doubt in the validity of the state-

ment of these Ragas, referred erenow, regarding the effect of the same, details of which

are usually found in many works. May

it be noted here that it is not the Raga but it

is the musician, who, gives life to it according

to his ability, which again depends upon the

practice and knowlede of the same. It is

divine; therefore divinity should be expected.

It is said that Tan Sen was originat-

or of Rudra Veena and Rawab. He himself

was very much interested in these instruments.

These instruments contain no frets and hence

the sound produced from them are very sweet

and melodious. It is really disgraceful that

very few artists at present in India can play

on these instruments and know the real teach-

nique fully well.

prof. Allah-Ud-Din Khan of Maihar state

an artist of outstanding merit and international

fame of this age can play on Rawab and Sur-

Sringar and rightly claims to know the style and technique of these instruments, namely,

"Lari" "Guthara", "Lar-Guthava" "Laranta" etc., the higher techniques of the Indian

musical instruments, that of course not known to the majority of the Ustads of these days.

Tan Sen the great soul, expired about at the age of eighty sometimes in April 1585.A.D. at

Agra, leaving behind the immortal name "Tan Sen" in the world of music and musicians. The

burial ceremony of this great soul was performed at Gwalior near the tomb of Mohammad Gaus

deeply mourned by all. A great fair is held every year in the month of July & Agust at the tomb,

where musicians from far and near gather to pay their homage to this great soul and

sing before the tomb and pray for his blessings-the divine power. It has been told that Tan Sen

was a Dhrupad singer but after his death his survivors were divided into two groups,

known as the Beenkars. i.e., Veena players and Rawabiyas i. e., Rawab players. His

own sons and their disciples, who had mastered the instrument "Rawab" were said to be the Ra-wabiyas and his son-in- law, daughter and their

disciples who were prefect in Veena playing

proclaimed themselves to be the "Beenkarā"

The best representatives of the latter half of the

last century, were, the late, Ustad Mohammad

Wazir Khan of Rampur and Usted Mohammad

Ali Khan represented the Rawabiyas. Ustads

Allahudin Khan of Maihar state and Hafiz

Ali Khan of Gwalior state are the personal

pupils of Wazir Khan. Ustad Davir Khan one

of the grandsons of Wazir Khan, resides in

Bengal and posseses a good command on Dhru-

vapad and Veena.

It is very difficult to say definitely the

name of the representative of purely Dhruva-

pad singers among the descendents of both these

families. The late Ustad Allahbanda Khan,

who, was the state musician of Alwer state at

the 1st quarter of the 20th century, was unani-

mously admitted by his contemporary musi-

cians to be the best and pioneer of Dhruvapad

singing. He was honoured by the leading

scholars and other topmost musicians, by con-

fering the title of "Sangeet Ratnakar". His

eldest son late Ustad Nasir Ud-din Khan was

also considered to be the best and leading

38

Evolution of Songs

Dhruvapad singer of the first half of this

country.

KHEYAL

It is an ūrdu word, the literary meaning

of Kheyal is a stray thought, a lyric i. e., the ex-

tempore flight of imagination of the musicians,

who are expert in it. It is nothing but the

emotion or inspiration of the master minds in

the art of singing of the mediaeval age. This

type of song was introduced by the Mohame-

dan musician namely Niyamat Khan, who was

the court musician of the Emperor Mohammad

Shah A. D. 1719 to 1748 A. D. There are

some differences of opinion about it. Some are

of the opinion that Hazrat Amir Khusru was

the orginator of Kheyal singing and others say

that Sultan Husain Sherque of Jaunpur is to

be credited for his great contribution to music

There should not be any disparity atleast in

this mater as the facts gathered from the his-

tory lead one to believe that neither Amir

Khusru nor Sultan Husain Shirque is wholly

responsible for the credit that has wrongly

been given to them.

Hazrat Amir Khusru was attached to the

court of Allahuddin Khilji in 1926 A. D. and in

those days even Dhruvapadas were not current, so how can it be possible that Kheyal was prior or contemporary with Dhruvapad. It is absurd. Chandas and Prabhandas were in vogue in those days (13th & 14th centuries A. D.) and they were sung in different ways on various occasions. Moreover the particular type of songs that was introduced by Hazart Amir Khusru, was the religious songs of the Islam and its Prophets sung in the Tala known as kawali and the musicians are said to be the kawals, which was more or less based on the devotional songs of the Hindus introduced by Jaideva for the first time in 12th century A. D.

As regards Sultan Husain Sherque, he was a ruling chief of Jaunpur under the Government of the Nawabs of Oudh, and lived much later than his predecessors. Hence it is sure to prove that Niyamat Khan, who, himself was a Dhruvapad singer and also had a great command on Veena, in order to put his contemporary rivals down, had taught his own creation the Khayal type of songs, to two orphans, who, were under his support naturally gifted with very sweet and charming voice, for couple

40

Evolution of Songs

of years. When he found himself quite successful, in his undertakings he made a submission

before the king to allow his pupils to sing before him and other court musicians.

his request was acceded. Both the young students gave performance before the king

Mohammad Shah and his courtiers. The king was so pleased to hear this new style of song

sang by the pupil of his court musician, that he could not help but to honour him by confering

the title of 'Shah Sadaranga' i. e. king of constant charm or beauty. and he become the

chief court musician of the emperor mohammad Shah. Lovers of music are familiar with this

name. Numerous kheyals were composed by this great musician and poet in the praise of

his parton. Since then till now kheyal singing is becoming more and more popular among all

lovers of music. No doubt he was quite successful in his laudible endeavour in popularising Kheyal to win the hear of the king and

to keep his own prestige.

There is every scope for each individual to express his own feelings, emotion and inspirations through various combinations of musical

notes in each Raga in Kheyal, This is the op-

tion that was not granted to the Dhruvapad

singers. Sadaranga availed the best opportu-

nity of the time and also the taste of the patron

and exercised his full power and intelligence to

give the full scope and every prominance to his

own creation the kheyal. Kheyal is of to two kinds

according to the styles in which they are sung,

namely, the slow Kheyal and the fast Kheyal.

The former is similar to the Dhruvapads. It is

full of graces and elegence that are simply due

to the various combinations of musical notes

and lack of much wordings. the importance of

which had been given to the Dhruvapadas. It

is usually sung in the Talas, namely, Tilwada,

Jhumra, Ada-chowtal, Ektal, Teevra, Rupaka

and Jhamptal where as the fast Kheyals are

sung in the Talas known as, Trital, Ektal, Deep-

chandi and Dadra. The tendency of slow Kheyal

is towards the profundity elegence and impro-

visation where as the fast Kheyal creates the

sense of anxiety, curiosity and excitement in the

mind of the listeners Much importance is of set

different notes and their varieties given to slow

Kheyal. The whole beauty depends on the vari-

ous combinations of notes in the fixed tala.

Prof.

H.

Doctor—A

worthy

Principal.

(See

page

...

notes in each Raga in Kheyal, This is the op-

tion that was not granted to the Dhruvapad

singers. Sadaranga availed the best opportu-

nity of the time and also the taste of the patron

and exercised his full power and intelligence to

give the full scope and every prominence to his

own creation the kheyal. Kheyal is of two kinds

according to the styles in which they are sung,

namely, the slow Kheyal and the fast Kheyal.

The former is similar to the Dhruvapads. It is

full of graces and elegence that are simply due

to the various combinations of musical notes

and lack of much wordings- the importance of

which had been given to the Dhruvadas. It

is usually sung in the Talas, namely, Tilwada,

Jhumra, Ada-chowtal, Ektal, Teevra, Rupaka

and Jhamptal where as the fast Kheyals are

sung in the Talas known as, Trital, Ektal, Deep-

chandi and Dadra. The tendency of slow Kheyal

is towards the profundity elegence and impro-

visation where as the fast Kheyal creates the

sense of anxiety, curiosity and excitement in the

mind of the listeners Much importance is of set

different notes and their varieties given to slow

Kheyal. The whole beauty depends on the vari-

ous combinations of notes in the fixed tala.

42

Evolution of Songs

Every Kheyal singer must have to sing the " Nayaki " i.e., the exact lesson he had received from his teacher and then he is permitted to develop the " Gayaki " i.e., the method of development and his own ideas in forming various combinations full of beauty and charm. In Gayaki the following four technicalities are usually sung and then developed. Firstly the development of the Raga according to the rules laid down by the scholars and experts for this purpose in accordance with the wordings of the song in many ways. So that the same piece may not be repeated twice. Repeatations of the same piece with the same combination of notes are not permitted. 2ndly When the wordings of the whole song are sung slowly and steadily keeping the correct spirit of the Raga in aid of the numerous combinations of different notes, the tempo is to be increased then. The ratio of the speed will be in proportion with the song. 3rdly the " Bol Tanus " are to be composed and sung in continuation with the performance. (It is the different combinations of the wordings of the song itself set to different notes that are not used in the song in any of its im-

provisations). Lastly the simple and complex

Tanas are sung . They are also sung according

to the wordings of the song and the suitability

to the occasion and sense of the musical compo-

sition. It is to be remembered that they must

not be monotonous and acrobatic.

Fast Kheyal is also sung in the way stated

above but the tempo of the same is almost

double of that of the slow Kheyal. Proper use of

Tanas and improvisation of tempo are the main

aspect of this type of songs.

Hazrat Amir Khusru.

Hazrat Amir Khusru was a great Persian

poet and musician. He was associated with

the reign of Sultan Allah-Ud-Din Khilji A.D.

1926 to 1315 A.D. He was not only one of the

best Persian poets of his time but also a liberal

minded connoisseur of Indian music. He was a

brilient student of Persian music and culture.

He was the first pioneer, who, approached the

Indian culture and specially music to under-

stand and appreciate the same. In his life by

Shibli, known as " Sher-Ul-Azam " it is stated

there that Amirs versitible genius turned to music

44 Evolution of Songs

and raised it to such a degree of excellency that

he remained unrivalled for about two centuries.

He spared no pains to cultivated, the Indian art

and culture to patronize, spread to and the part

he took in developing the Indian melodies is in-

deed remarkable. By a judicious combination

Persian air ( Muquams ) and Indian Ragas, he

had introduced many derivative melodies hith-

erto unknown to the system of Indian music.

He had also made a very interesting innovation

by producing a number of mixed Ragas, a class

of melodies known formerly as Sankerna Ragas.

He was also a great imitator, the most essential

quality of the musicians.

Amir was the originator of the qawal type of

singing. His contribution towards the Indian

musical instruments deserves every attention of

those who, are interested in the subject

"S I T A R " the prince of musical instruments

which is the modified form of the ancient "Tri-

Tantri" ( Tri means three and Tantri means

wired i.e. three wired instrument). and renamed

it after his modification, only in shape as "Saha-

tara-Ala" i.e. the best instrument with three

wires., and later on three more wires were

Evolution of Songs

45

added to it by Masid Khan the originator of

the Mashid Khani Baj of sitar. and gave the

instrument the shape in which it is found at pre-

sent. and practised by the beginners and novices.

Tabla and Banya are also his inventions.

Pakhawaj- the foremost Indian instrument

among the drums, was the common instrument

and usually played by the drummers in his

time. The sound produced from it is very deep

and voluminous, So to make it a little soft and

mild he had divided original one in the to two

parts in shape only and named each part as

Tabla and Banye. The right hand drum is said

to be the " Tabla " where as the left hand

drum is known as " Banya ". He had also in-

troduced some Bols for the same and the me-

thod displayed by him appealed to the listeners

hence these instruments got the popularity and

became so populur that they are still in vogue.

The following Ragas were introduced by

him. :-1. Majir.,2. Sazagiri.,3. Yaman.,4. Usha-

shag.,5. Muwafique., 6. Zilaf., 7. Fargana., 8.

Sarparda,, 9. Bhakara,, 10. Firodos., 11.

Ghanain and 12. Manam.

46

Evolution of Songs

It is mentioned in Raga Darpana that he had shown his best talents in " Sajagari ". " Bhakara " " Ushashag " and " Muwafique " and in the remaining Ragas he only made some alterations and gave them new names. some scholars of the modern age are of the opinion that most of these Ragas narrated above are purely compound mixture of two, three or four Ragas and it is very difficult task to combine various Ragas for that he should be credited.

also probable that such Ragas were current it is in those days as the Sanskrit texts give the name of the Sankerna Ragas that fulfils the conditions of the Ragas described above.

Nayak Gopal

Nayak Gopal is acknowledged to be the master of vocal music by all throughout India. He was contemporary to Hazrat Amir Khusru. He was the Guru or master of about twelve hundred disciples and they used to carry his " Singhasanam " that is throne upon their shoulder like the palanquin bearer of this age. He was not only a musician but also a scholar and devout. The fame of his consummate skill in

Evolution of Songs

47

music was brought to the notice of Sultan

Allah-Ud-Din Khilji and he invited him to his

court to give performence there. The Sultan

was highly pleased to hear his music.

Sultan Husain Sherque.

Sultan Husain Sherque, the ruling chief of Jaun-

pur, was also a great patron and conno isseur

of music and speacially in Kheyal singing. He

was one of those, who, spared no pains, to

make this particular style a successful and most

popular one among all lover of music. The

present elegance and perfection that are conta-

ined in Kheyal-Gayaki is due to his keen inter-

est and support to the musicians of his age. He

had also some taste in musical compositions.

DEVOTIONAL SONGS

The origin of devotional songs, is from the

ancient Chhanda, Prabandha; and poetry

composed by the numerous devouts of dift-

erent times and pläces, who, delivered the divine

message through the internal inspirations in

the current suitable words and tunes. It is ob-

served that in India, the Indians had the

privilege of having so many great soul

their midst from time to time. who us

guided them to the path of virtue and h

could easily realise the eternal truth

"Ahinsa " i.e., harmlessness or non-viole

the essence of the Indian philosophy. Lea

the mythological stories aside, if the facts sta

in the various modern history are accepted.

can be said definitely that India has produc

the greatest saints. philosophers. astronome.

scholars. artists and politicians. All these gre

personalities served their mother land in the

respective spheres and their fellow brether

followed the instructions given to them, fo

the full development of their society, the

were connected and interested in.

In India the temple and the stage were the

best media of instruction in ancient and medi-

eval age and religion was a part of the social

life which depended largely on music. Music

was considered in those days to be the only

means for full development of mind and body

of every individual as well as for the entire

community or society as aw hole body. Therefore

much attention was paid to it. The following

are the persons, whose lives are considered

devoted to music, and had served immensely

their motherland through their devotional

songs that every Indian should remember and

be proud of.

1. JAIDEVA was a great devotee of

Krishna and he preached, the divine message

of devotion ( Bhakti ) through his numerous

musical compositions (consisting the amours of

his Lord,) to the people, specially of Bengal.

The Bengalis of that age, majority of them,

were the staunch followers of " Tantrikas "

(Kapalikas), i.e. the devotees of the Goddess

Kali. The people were actually overpowered

to witness the miracles exhibited by the Kapa-

likas of those days and hence they were becom-

ing in human and savage. It was Jaideva, who,

swept away the vice from the followers of the

Kapaliks and cre it d in them an acute sense

of reverence to the superiors, love to equals and

affection to the youth. Jaideva was born at

Kendula-a village near Bolpore, the present

centre of the Indian art and culture founded

by the late Dr. Ravindra Nath Tagore. His

valuable work is known as "Geet-Govinda."

50 Evolution of Songs

compiled some time in the 12th century A.D. The compositions are really nice and they can safely be placed under the heads of the Prabandhas of the past. This work has already been translated into English by Sir Edwin Arnold in the name of "The Indian song of songs"

2. Mira Bai- the wife of Maha Rana Kumbha, A.d. 1500 is famous for her real love for Lord Krishna-the supreme divinity of the Vaishnavites, is said to have seen and talked with her tutelary deity. It is also said that the king had rebuked, persuaded and even tortured her being aloof from the worldly life and wanted to divert her mind towards luxury, so that she might lead the common course of life, i. e., suited to the queen just like her predecessonrs. Mira- the great devout was practically beyond the reach of Maha Rana Kumbha so his efforts were in vain. Her firm determination and sincere love for Krishna overpowered all troubles created by the king and she ultimately revealed the eternal truth and got salvation. Her entire devotion was through her religious songs composed by her self. She was also very

much fond of dancing. The songs namely,

" Mai-Ra-To-Giri-Dhari-Gopal ", " Mana-Cha-

Kar-Rakho -ji " etc, are the master piece in

respect of the composition, sense and the tune.

These ever new compositions inspire every man

and woman even of these days, and tears roll

down the cheeks of all pious person, interested

in devotional songs.

3. KABIR DASS:

Kabir Dass was contemporary to Mira Bai.

He was born some time in the 15th century

A. D. at Benares a sacred place for the Hindus,

where thousands of pilgrims come almost on

every Hindu festival in each year to have their

bath in the sacred river, the Ganga. Some his-

torians are of the opinion that he was a Hindu

by birth but on account of the premature death

of his parents a Mahomedan neighbour, weaver

by profession, who had no children of his own

took pity on this orphan and brought him up

like his own son. Others say that he was the

only son of a Mahomedan weaver, who lived

during tho reign of Sikender Shah Lodi king of

Delhi A. D. 1488 to 1517. A. D.

52

Evolution of Songs

However, it is a fact that he was a great devout and preacher of the truth and mystery of the world. He had innumerable disciples and followers among both the sects of Hindus and Muslims. His life and teaching are full of mysticism. He had accepted only the Supreme power and nothing else so he never praised any God or Goddess. He had always been giving every importance to the realisation of ones self. perhaps he was a great philosopher. His compositions prove that he was a poet as well as a musician. The wordings of his poetical compositions were simple and the tunes were very popular and this simplicity enabled all his followers to sing them easily. The locality where he lived at Benares. is known after his demise, as Kabir-Chowra. It is said that he was buried at Ratanpur. where his tomb is to be seen to this day.

4. CHAITANYA.

The doctrine of devotion was again revived in northern India, specially in Bengal after Jaideva by Chaitanya A. D. 1485 to 1533. A.D. He was born in Nabadwerp- now a modern town, situated in the west about 100 miles from

Evolution of Songs

53

Calcutta: His entire activity was done through music ; The particular type of devotional

songs sung through out in Northern India and mainly in Bengal since then to the present

time is known as 'Kirtan', Sankirtan or

'Nagar kirtan' or 'Nama kirtana'. It is

sung in the accompaniment of Ektara (a kind

of string instrument containing only one string)

Mridanga a special type of drum made of clay,

strengthened by a tight covering of gut or stripes

of skin and covered at both ends by a thin

sheet of skin prepared only in Bengal commonly

known as khole and kartals, i. e. cymbals,

made up of brass or nickle.

5. Vidyapati, the prominent poet and musi-

cian, who was attached to the court of Raja

Shiva Singha of Trihut was contemporary to

Chaitanya and a follower of his preachings.

The devotional songs set by Chaitanya are

unique of their kind. They are really musical

compositions set in Ragas and Talas. They are

choire music. A group of musicians sing to-

gether accompanied with Mridanga, Ektara and

Kartals. This particular type of music is meant

only for the mass. The compositions are entirely

Evolution of Songs

devoted to the life and work of Krishana. Al-

most all the nine sentiments ( Rashas ) that

are described in the Indian literatures, namely

Pathos ( Karuna ), Heroism ( Veer ), Passion

( Shringara ), and the sentiment of devotion

( Bhakti Rasa ) are mainly treated in Kirtana,

which appeals perhaps to all except in some

rare cases. Kirtan is difficult to sing: it has

also some technicalities, which depend upon

Raga and Tala. Unless one is trained in it, he can

not sing properly and bring the correct spirit

of the same. The tunes are common with the

Ragas of the present day music but the Bols of

Mridanga, i. e. drum are entirely differs from

or Tabla-Banya; but other scientific treatment

of the technicalities of Drum class instruments

are alike.

One should not forget the saints namely,

Tukaram, Pundarik. Tyaga-Raja and others,

Every one of whom had served their country,

men and brought before them the divine

message for the spiritual development not only

for each individual but also for the mass.

The readera might have observed that al-

most all the great souls, lives of whôin have

Evolution of Songs

55

already been related above were the great devo-

tees of Krishná. The great musicians and the

composers even of the Mahomedan period were

also the followers of the footsteps of these

personalities without the distinction of any

caste and community. The former had treated

almost all the sentiments (Rasha) in their

respective work while the latter dealt largely

with the sentiment of passion (Shringara).

It was Goswami Tulsidas, who perhaps for the

first t me engaged the attention of the

multitude toward the life and great deeds

of Shri Ram- the great hero of the epic

Ramayana,

"Goswami Tulsidas was also great poet and

musician of the 16th century A.D. He

is the author of the Hindi Ramayan, Vi-

naya Patrika, Shri Ramcharita Manas and

other works on the life and deeds of Shre Ram-

chandra. He has expressed the truth and

revealed the mistery of the universe in an easy

style of expression in little verses in Hindi,

which are really very helpfùl guide to all as

they are very easy to understand and follow,

even by the lay men. He had taught innumer-

56

Evolution of Songs

able good lessons to the people of Northern India

which are full of light and charm. He was one

of those who had the privilage to witness their

tutelary ideity in person. It was Tulsī Dass who

introduced for the first time the worship of they

sentiment of heroism, i.e. Yeera Rasav.

Tulsī Das enjoyed no advantages of birth

fortune, or education, being the son of ordinary

Brahman parents, who, exposed him in his in-

fancy to live or die, becaue he had been born

in an unlucky hour. Fate or providence willed

that the child should be picked up by a wonder-

ing medicant, who gave him sustinance as

well as instruction in the legendry lore of Rāma.

The rescued child wondered about with his

adoptive parent, living for some time at Chitra

Kut and Rajpur in the Banda District of Bundil-

Khand. Most of the latter part of his life was

spent at Banares. His literary career, which did

not begin until he was past the age of forty

lasted for forty years from 1574 A.D. to 1614 A.

D. In 1623, A.D. he died aged over ninety.

THUMRI.

This type of song was originated and develo-

oped under the support of the late Nawab

Evolution of Songs

57

Wazid Ali Shah- the late Nawab of Oudh, A.D.

1840 to 1870 A.D. He was a great lover of

music and a patron of musicians. He also had

a good number of musicians, at his court. He

was interested more in music than his kingdom

(subject). When he was dethroned and captured by

the Britishers and was sent to Matia Bridge, he

was allowed by the Britishers to have the artists

whom he liked best with him. Thumri was intro-

duced by him at Calcutta and late Pt. Bhaiya

Ganpat Rao, Md. Majjuddin and Shyam Lal

Khatriya and others took fancy in it and they

mastered in this particular type of song for the

first time introduced by Nawab Sahib which

appealed to them actually. It is said that Wazid

Ali Sahib was not only a poet but also an excel-

lent musician. His voice was very sweet, charim-

ing and full of lucidity. He had compiled three

books on Indian music which after their publi-

cation were distributed among the courtiers.

His compositions namely the song "Babulwa-

mori-naihar chu-to-jai" in Bhairavi and

"Neera-Bharana-Kai-Sa-Jaun" in Tilak-

kamode are supposed to be the best among his

58 Evolution of Songs

other compositions. The former song was com-

posed and sung by him when he was practic-

ally under arrest and about to leave Lucknow

for ever.

This great innovation and contribution by

him to music, will be ever remembered by all

and specially by the lovers of Thumri.

Thumri has its own beauty and character-

istics which are lacking in other types of songs

related above. The form of Dhruvapad is solid

where has Kheyal is considered to be fluid and

Thumri is but gasequs.

The art is changeable and it must please

the listeners of the different times and places.

Therefore it has to take its own shape according to

the taste and likings of the people of a

particular age. It has already been explained

that Kheyal furnished a great deal of scope for

improvisation and ornamentation, which lacked

in Dhruvapads. Tumri offered a still

greater scope for the expression of the subtler

light and shade of the emotion that Kheyal

could offer, i.e., Thumri expresses the nuanc

and overchanging perception of beauty with the slight delicacy and the finest touches that are totally beyond a pure Kheyal. The real glory of Thumri, perhaps lies in its taking cognizance of the subtlety of evanescent emotions succeeds one after the other in the musical experiences of the artist in his sacred moments of undoubted inspiration. The idea of Thumri, unlike that of Kheyal, does not lie in the presentation of a Raga in its purity. The aspiration of Thumri consists in the presentation of the minutest changes of the musical emotion of the artist. Thus the term “ correct Raga interpretation” is, unlike in Kheyal, almost meaningless in Thumri. In Thumri shades of different Ragas always keep coming in, so that sometimes the protracted enjoyment of one Raga is marred by too frequent transition into snatches of other Ragas.

Thumri cannot be sung in all the Ragas of the system of Indian music. The Ragas namely, Khamaj, Desh, Tilak-Kamod, Jhinjhoti, Kafi, Pilu and Bhairavi are particularly useful for it. Deepchandi, (Chanchar) Punjabi-Theka,

Evolution of Songs

and Dadra are the chief Talas meant for Thi

singing.

Banares and Lucknow are famous

Thumri. The Kathak Gharawana of tl

places are exceptionally interested in this pe

cular type of song and they excel in sing

the same. The famous dancer late Kalka

and Bindadeen Maharaj of Lucknow belong

the Kathak Family and they were masters

Thumri singing. Majority among the profess:

als and amateurs of the United Provir

directly or indirectly are related either to th

their descendants or to their disciples.

TAPPA

The origin of Tappa is from the punjab :

perhaps it was the folk song of that place.

was chiefly sung in old days by the camels

vers and people of low standard and ta:

The wordings of the songs express the emot

of love and passion in many ways and forl

It was Gulamnabi. alias Shorree Miyan; who,

responsible for the introduction of this sc

and also for the present beauty, elegence &

refinement. Some say that he belonged

Punjab while others are of the opinion that.

Shri Vishnu Digamber—The Great Devotee. (See page ... 100

Shri Girja Shanker Chakraverty—A Real Artist. (See page ... 82)

Evolution of Songs

61

was a resident of Lucknow. However it is a fact that he was almost mad after music and his

favourite song was only Tappa. The instincts that he had with him, a natural gift, discloses

itself that he was a born genius in music and specially in Tappa singing. He had rightly

expressed his own feelings and emotion through this species of song and it contains almost all

the beauties of the so many different types of songs.

It can be said safely that Tappa is a compound mixture of the Fast Kheyal, and Thumri.

It is sung in all the Ragas and Talas that are particularly used in Thumri. Tappa is coeval

with Thumri. Though it is free from the rules and other principles, still it is not at all easy

and practicable to all, even by the experts in music, to sing it, unless they have been trained

themselves in it. On account of its popularity among the low class of people it was naturally

overlooked by the multitude and hence it failed to keep pace with Thumri and maintain its

prestige. Every thing exists in art and so it should be expressed in its proper form and way.

On account of the negligence which was due to

ty. Lakshangeets are available in almost all

the current Ragas, that are useful to every

student of music of this age. This type of songs

are also included in the Hindusthani Sangeet

Padhat.

SWARAMALIKA.

It is commonly known as "Sargama" but

its correct name is Swaramalika, i. e. the gar-

land of notes. It is a simple composition of

purely musical notes of some particular Raga

set in different Talas.

It is the composition of the various artists

of the medieval and modern age. It is very

useful to the beginners. It helps the tyros to

remember the tune of the Raga in which it is

set. It helps them to have the proper intona-

tion and correct production of the notes that

are used in them-the most essential thing in

the practice of vocal and instrumental music.

III CHAPTER.

The Lives of Great Musicians.

FEW OBSERVATIONS.

The biographies of the great musicians that are contained here, deserve keen attention by those, who, wish to avoid the "artistic temperaments" and are desirous to follow the foot-prints of the masterminds, to reach the standard practical music of this age, and hence they may note the following points for their knowledge and guidance.

1. The common opinion among the top most musician is that to be a great musician a man must live retired from the world like an ascetic (Yogi) and this is not perhaps without some truth. As the lives of the great musicians that are narrated here prove that majority of them had to lead a solitary life not less than for a decade of years and they lived far from all worldly affairs and temptations, when they were under training of the divine art of music.

66 The lives of great musicians

2. The only way by which perfection in music can be attained is by having sound instructions from the best musicians of the time and also by studying the original, standard and authoritative works on music. As the theory of music is so little discussed at present that few even of the best artists have the least knowledge of any thing but the practical aspect of the art, in which, to their credit, it must be acknowledged they excel.

3. Majority among the top most artists had in the begining a regular practice in music for ten to twelve hours a day at least for a decade of years under an expert teacher, who, himself had a sound knowledge and practice.

4. All artists have to continue their practices at least six to eight hours a day to keep the standard and proficiency, so long as, they are in the field. In case, failing of which, they are sure to lose the accuracy and skillfulness.

5. It can be said here through experience that mostly topmost artists are not good teachers. This is only due to their ignorance in the theory of music and perhaps they do not realise the difficulties of a beginner and

The lives of great musicians

67

expect him to master their highly complicated

art. Hence it is desired that students must

not be impatient and disheartened, on the

other hand they are required to be faith-

ful and stoical to attain the perfection and re-

member the following verse quoted from

"GEETA."

श्रद्धावाल्लभते ज्ञानं तत्परः संयतेन्द्रियः।

ज्ञानं लब्ध्वा परां शान्तिमचिरेणाधिगच्छति॥

Khan shib Ustad Abdul Karim Khan.

Ustad Abdul Karim Khan was the fore-

most musician of the North. Lovers of music

and even lay men were almost mad after his

effective music. He originally belonged to the

village known as Kirana near Delhi. After

having completed his studies in music he was

for some time in the service of the Baroda State

but finally settled down in Bombay. He was

the best Kheyal singer of the 1st. half of this

century. Ustad Faiyaz Khan after the sad de-

mise of this born genius, who was only his

rival expressed his deep sorrow with the words

that his music is also gone with the departed

soul.

.68 The lives of great musicians

Ustad Abdul Karim Khan was a genius. His life was dedicated to the practice of the divine art of music. His music was not only emotional but also appealing and had its effect even on lay men, who had no knowledge and taste in music. Even the people of the South who are not expected to know and understand the highly complicated method of Kheyal singing were so much impressed by the sweet music of Khan Sahib that they looked upon him as a 'Gandharva' and the people of the South never missed to hear him, whenever they got any opportunity of listening to him.

A few records of the most popular Ragas by the late Abdul Karim khan have been taken and preserved by some Gramophone Company, specially the records Jamuna-ke-tir in Bhaira-vi and Piya-bin-nahi in Jhinjhati are remarkable.

Khan Sahib was also keenly interested in Veena. He was also an expert Veena player. A record of the same has been kept only a couple of months before his death by some Gramophone Company.

The lives of great musicians 69

Unless one has any idea of his music it is very difficult for him to give an exact idea of his songs. It is suggested that every lover of music must hear the records by the late exponent. Though Khan Sahib was a Mohamedan he was a liberal minded person to choose his life mate which he did amongst the Maharas-trian community. His only daughter named Hira Bai Barodkar was perhaps his only disci-ple, who is one of the best Kneyal singers of these days, and a popular musician of Bombay. Ustad Bahre-Wahid Khan, one of the best Kheyal singers is also related to him.

Khan Sahib Ustad Allah-Uddin-Khan.

Prof. Allah-Uddin-Khan was born in the village Sibpore, Brahminbaria sub division, Tipperah State on Durga Astami in the year about 1870. A.D. He was keenly interested in music from his very childhood and to quench his thirst of learning the divine art of music he left his native village when he was still under his teens. He came direct to the Imperial city of Calcutta- the home of numerous artists of outstanding merit and wide reputation. At

70

The lives of great musicians

first he had to face great troubles there and with great difficulties he has been able to persuade late syt Gopal Chanra Chatterji, one of the leading musicians of those days, to teach him vocal music and learnt seven years from him only "Alankara" i. e. Scale exercises Hence he acquired a sound knowledge of musical notes (Swara-Gyana).

Next he started learning violin from late Syt, Amrita Lal Dutta-the leading violinist of Bengal for about a decade and a half and mastered the said instrument.

He had told me at my request that only due to the practice of proper Scale exercises done under Mr. Chatterji, he had been able to master so many Indian musical instruments.

Prof. Allah-Ud-din Khan used to earn his bread, while he was under training, by playing, Dholak, Tabla-Banya and later on Clarionet -with the music staff of the "Star Theatro" at Calctta and finally he proved himself there to be the chief of music section and conducted the whole music.

This was not the main object of his learning. He wanted to reach the zenith and

The lives of great musicians

71

also to master all the current and rare musical

instruments of his time. He soon started

learning Sarod from the late Usted Ahamad

Ali Khan of Rampur State for several years

and could not satisfy himself with the knowle-

dge that he had already gained, so he finally,

went to Rampur State to learn from the late

Ustad Wazir Khan-the last descendant of Tan-

Sein who was really a genius in the art of vocal

and instrumental music, specially in Dhrupad

singing and on Veena playing.

It was not an easy thing to become a pupil

of the late Wazir Khan, who, was the teacher

of the late Nawab Hamid Ali-Khan still he was

not disheartened and waited there for a year

and a half and when he finally found himself

quite helpless in getting the kind favour of

Ustad Wazir Khan, he tried to commit suicide

by throwing himself before the motor car of the

Nawab, who was just out for the evening stroll.

With the grace of God he was not run-over by

the car but on the other hand, it was stop-

ped and Nawab Sahib enquired him the cause

of this strange behaviour on the part of Allahud-

72

The lives of great musicians

din Khan. Khan Sahib, with trembling voice related the real cause to H. H. the Nawab of

Rampur, who, after hearing all, asked him to attend his Durbar on the same evening and also

gave him the assurance that his request will be duly considered if he could prove himself really

deserving. He presented himself before the Nawab, who, asked him to play on the various

musical instruments on which Khan Sahib had good command, already mentioned.

His Highness was really pleased to listen him and made a request to his Ustad to teach

this promising musician to his hearts content and also allowed him a scholarship for his main-

tenance. He continued learning from Md.

Wazir Khan for about twenty years during which he was fortunate enough to receive his personal and keen interest after the sad death of the

eldest son-Md. Pyare Miya for about eight years. With the permission of his Ustad he

attached himself with the court of Maihar.

H. H. the Maharaja Brij Nath Singh Bahadur is his disciple and took much interest in music.

Khan Sahib was provided with all possible

facilities to popularise music in his state and

also outside. Hence a band of Indian musical

instruments was organised by him and he

selected the poor little village boys for this

purpose and the success that he had received

in this endeavour is only surprising.

It was the main drawback of almost all

the artists of his age that they were never

willing to impart musical training to any one

It is Prof. Allah-Uddin Khan, who is the

only exception to this invariable weakness of

the musicians. The band organised by him

only a couple of years before the 4th & 5th

All India Music Conferences held at Lucknow

in the years 1924 & 1925, proved its utility am-

ong all top most musicians, great scholars, con-

noisseurs and lovers of music and the great, ab-

ility that he possessed. The band consisted of the

following instruments; Three Sitars, Two Vio-

lins., Two Dilruvas,. Two flutes., Two pairs of

Tabla & Banya., One Sarngi. One Triangle., one

Viola., and one Naltarang (hollow metal

cylinders cut to the proper length to give the

requisite note of the scale). It was a novel

74 The lives of great musicians

combination of Indian musical instruments,

and was very highly appreciated by the au-

dience. Indeed this band was very much in

demand throughout the whole session of the

conference. Some more instruments were added

to it later on. At present this is the best band

in India.

His Highness is liberal enough to allow the

genuine deserving candidates to learn from his

teacher. Khan Sahib never objected to teach

any body who had approached him for the

same. He had produced about a dozen pupils

who are considered to be the masters on their

respective instruments, and earned a good

reputation. His own son sj. Ali Akbar Khan

the famous Sarod player, formerly was in the

services of the All India Radio, Lucknow, as

the music director, only aged about 25, is now

in the services of Jodhpur State as the state

musician. Mr. Ravi Shanker, the youngest bro-

ther of Mr. Udaishanker, is the youngest son-in

law of prof. Allah-Udin Khan. He is one of the

best Sitar players of this age and represents the

real Sitar-Baj that should be played by all in-

The lives of great musicians 75

terested in Sitar taught by him. He is the music director of the A. I. R. External Services, New Delhi.

Prof. Allah-uddin khan is the real embodiment of the popular saying “Plain living and high thinking” He is absolutely free from vices that are generally known as the artistic temperament. He is a great devotee and has every faith in religion. He had also travelled through out in Europe with the party of Mr. Udai-shankar as the music director and won the internation repute. He is the master of eighteen Indian musical instruments and represents the traditional school of Tansain. He is one of the great exponents of this century.

SHRI CHANDAN CHOUBEY,

Syt. Chandan Choubey was born in a high class Brahmin family, the resident of Mathura in 1870. A. D. His father's name was Syt. Ambaji Choubey, who, was not only a reputed Dhrupad singer but a good wrestler too of his age, a rare combination in a musician. It is said that he represented the traditional Dhru-

76

The lives of great musicians

vapadas of the School of Swami Hari Dass of

Brindavan the teacher of Miyan Tan-Sain. Syt.

Chandan Choubey had his training in Dhruva-

pad from his father. Later on he had also

learnt Kheyal. He was in the front rank of

musicians and was noted for his excellent

"Mindh" and "Gamak". He had a rich, sweet

and high toned voice. He was famous at his

native place more as a wrestler than as a musi-

cian. He breathed his last at the age of

seventy, only a couple of years ago.

SHRI DILIP CHANDRA VEDI

Shri Dilip Chandra Vedi was born at Anan-

dapur in the Punjab. He had mastered the

art of playing on Harmonium at his early age

and started learning vocal music from the

well-known practical musician Syt. Bhaskar

Rao and used to accompany him on Har-

monium occassionally. This helped him much

in acquiring the real method i.e. style of his

singing, and after his death he became a stu-

dent of ustad Faiyaz Husain Khan-thereforemost

Kheyal singer of the present age, He is an ex-

pert musician. Possesses a sweet and mel-

odious voice, and he can sing very well many

of the different types of songs, namely,

Kheyal, Thumi and Ghazal. He had earned

a very good reputation for his art. Won

several medals from the various music con-

ferences of these days. He is one of the best

among the professional musicians.

The College of Indian Music, Baroda.

The late Maharaja Sir Sayaji Rao Gaek-

war, who was deeply interested in fine arts

specially music, was graciously pleased to

establish a school of Indian music known as

"The Bharatiya Sangeet Pathshala" in the year

1886. A. D. to provide facilities for a syste-

matic training in high class Hindusthani music

both vocal and instrumental.

His Highness particularly desired that all

his subjects should acquire knowledge of and

develop a taste for classical Indian music, so

that, if it does not make them rich in worldly

things it would at least enable them to pass the-

ir leisure in delight and pleasure. The work of

supervision of the above school was entrusted .

78 The lives of great musicians

firstly to the well known Ustad the late Man.

labux and after his sad demise his son the late

UstadMurtuza Khan took over the charge of

the school and conducted it on the same line

set by his late father. After his retirement

Mr. M. Fredlis succeeded him in 1918 and he

served the school with credit till 1928.

In August 1928 one of the masters in Violin

Dilruba and Esraj playing and a scholar of In-

dian music, the well known prof. Hirji Doctor

B. A., B. Sc.. was appointed as the principal of

the said institution. with a hope to run the

school on highly scientific lines, which let be

said to his credit prof. Doctor has succeeded in

doing.

The system of teaching followed by this

institution is the same that has been laid down

by the late pt. V. N. Bhatkande. B. A., LL.B..

and the course of studies is just the same as All

India Marris College of Hindusthani Music.

lucknow. The complete course of studies cov-

ers a period of five years and every successful

student is expected to acquire a sound know-

The lives of great musicians 79

ledge of the theory and attain proficiency in

performing forty five popular Ragas.

Instruments taught in the college are

SITAR, DILRUVA, ESRAJ, VIOLIN, TABLA

AND SANAI.

Musicians of high artistic calibre and standing are employed by the Baroda Durbar as

Court Musicians, The total number of such

artists now serving there is about sixty five.

Prof. Hirji Doctor, is the Director of the

Amusement Dept also. The artists are specially maintained for the personal entertainment

of H. H. The Maharaja Sahib, distinguished

state guests and for various Durbar functions.

It is a fact that prof. Hirji Doctor, the

worthy principal, has strained every nerve to

bring this institution to its present status of

a first rate music college; which is perhaps

the oldest of its kind in India.

There is little doubt that this institution has

fulfilled a deeply felt want and promises a

bright future for the culture of Hindusthani

music in modren India.

80

The lives of great musicians

Khan Sahib Ustad Faiyaz Khan.

Khan Shaib Ustad Faiyaz Khan is one of the foremost musicians of this age. He originally belongs to Agra and had inherited the art from his father ustad late Ghulam Abbas and his uncle ustad late Kallan Khan. His father and uncle both of them were the leading musicians of the second half of the last century They were the renowned representatives of the ' Rangila Gharana ', i. e., the school of Ch- arm and beauty. which is still famous for the exposition of the various technicalities such as, ' Alapa '., ' Bant '., ' Gamak '., and ' Tan' etc.

Ustad Faiyaz Khan is a born genius. He was so interested in music that in his young age, while he was under his training, used to practise music through out the whole night for a decade of years before his father and uncle. It is said that his father was specialist in ' Dhrumar ' i. e. ' Hori ' type of songs. Hence he had learnt the same from his father and mastered in it. He had also learnt Kheyal and T'umri type of songs from his uncle, who

Nawab Wajid Ali Shah—The Lover of Music.

(See page ... 56)

The lives of great musicians

81

was also a specialists in that line. He possesses

a rich, sweet and melodious voice. His style of

" Alapa " singing " Bant " " Barhat ". and

" Tan kartab " is really wonderful. He is the

recipient of several gold medals from the 2nd,

4th, 5th, and 9th All India Music Conferences

held at Delhi and Lucknow. He had won sever-

al gold medals and titles from the chiefs of the

Native States. He has travelled through out

India and his music has been highly appreciat-

ed by almost all. H. H. The Maharaja of

Mysore honoured him with the title of "Aftab-

e-Mausiqui" i.e. the sun in the domian of

music. He is in great demand every where in

music circles.

Pt. late V. N. Bhatkhandeji was very

much moved, when he heard him at Kashmer

the Raga Yaman for about a month every day

for about an hour or so, and it was due to him

H. H. came to know the greatness of

Faiyaz Khan in music and began to pay

much attention to his music and appreciate it.

Ustad Faiyaz Khan was appointed by Her

Highness as the Baroda State Musician.

82

The lives of great musicians

He is still retaining the post there. He is also a good composer and has composed many songs in the surname of “Prem Paiy”. Few records of his music have been preserved by some Gramophone Co. Khan Sahib is a real artist He is not at all particular to impart his knowledge to any body.

Shri S. N. Ratanjanker the favourite pupil of the late Pt: Bhatkhandeji had some training from Khan Sahib. Prof. Dilip Chandra Vedi Prof. & Atta Hussain Khan are the two other pupils of Khan Sahib who have made a name and represents the style known as “Rangila Gharana”.

Ustad Faiyaz Khan is an artist of wide fame and reputation and is in the foremost rank of vocal music. Every lover of music may hear his sweet music.

Shri Girija Shanker Chakravertly...

Shri. Girija Shanker Chakraveryty was born at Bahrampur in Bengal in the year 1885 A.D. (Bangali Sambat 1292. 4th Paus). He is one of

The lives of great musicians

those, who, had the oppertunity of learning

Thumri from the leading Thumri Singers of

Northern India the late Bhaiya Sahib Ganpat

Rao for several years and after his death he stat-

ed learning Dhruvapad from the foremost Dhr-

uvapad singer of Bengal the late pt. Radhika

Mohon Goswami. After acquiring sound know-

ledge of the same Shri Chakraverty started

learning Kheyal from the reputed Kheyal sin-

ger Ustad Muzaffar Khan of Delhi. He had

also been to Rampur State to learn Dhruvapad

and Hori from the late Ustad Mohamad AliKhan

one of the last descendants of Tan Sen. He was

also under the training of ustad late Badal

Khan and Chottey Munney Khan of Calcutta

for several years.

Prof. Chakraverty possesses a sound know-

ledge of vocal music in all its styles. He had

specialised himself in Thumri. He is not only

one of the best musicians of Bengal but also a

successful teacher a rare combination among

musicians, expired only in May 1948.

Shri Gopeshwar Banerjee.

Shri Gopeshwar Banerjee was born in Ben-

84 The lives of great musicians

galat Bankura in 1879. A. D, (Bengal Sambal 1286, 25th. Paus) He had his training in vocal

music mainly in all its branches namely, Dhru-vapad, Kheyal, Tappa and Thumri etc from

his father, the late Syt. Ananta Lal Banerjee.

Though he had his training in different styles

of songs and compositions he had specialised

himself in Alapa and Dhrurapad singing only.

He was awarded a Gold Medal for his Dhru-vapad singing in the Third All India Music

Conference held at Banares. He had also com-piled in Bengali few books on Indian Music.

suitable to students of vocal music. He was at-tached to the courts of Burdawn, Mayurbhunji

and Natore in Bengal for several years and also served the music school at Calcutta known

as Sangeet Sangh, as the principal for many

years. He claims himself to be one of the re-presentatives of the Tan-Sain school of music

generally known as "SENIA-GHAIRANA."

Prof. Banerjee is one of the leading

musicians of Bengal and is free from all

artistic temperaments. He represents the

Bichnupur School of music—a renowned cen-

The lives of great musicians

85

tre of musical culture in Bengal. He has been

lionoured with the title of Geeta Samrat and

Sangeet Nayaka by H. H. The Maharaja Shri

Puran Chandra Deva Bahadur of Mayur

Bhanja & H. H. The Maharaj Shri Jatindra

Mohan Thakur (Bengal).

Ustad Muzaffar Khan.

Ustad Muzaffar Khan was born at Delhi in

the year 1868. A. D. He had his training in

music from his father late Ustad Masid Khan

a well known Kheyal singer of his age. Ustad

Muzaffar Khan has specialised himself in Khe-

yal singing and kept the traditional style of

the same which he had acquired from his fa-

ther. His exposition of Gamaka, and Tan is

worth appreciating.

Marris College of Hindusthani Music, Lucknow.

(INDIA).

The Marris college of Hindusthani music

established in 1926, to provide facilities for

systematic training in high class Hindusthani

music, namely, vocal, intrumental and dancing,

The lives of great musicians

is now the premier institution of its type in

India. The representative character of the

institution is amply borne out by the fact that

people from all parts of the country and from

all classes of society have availed themselves

of the facilities afforded by the college for mu-

sical training. The number of students on the

roll is about five hundred. This institution at

present is known as the Bhatkande Sangeet

Vidyapith and is fulfilling a deeply long felt

want and promises a bright future to the cul-

ture of Indian Music.

The system of teaching followed by this

institution is quite sound, absolutely scien-

tific and most elaborate. The complete course

of studies covers a period of five years and four

months during which a student has to acquire

perfect ear training and knowledge of musical

notes, to study in to detail the theory of music

and to practice in voice or on instruments, as

the case may be. In order to attain proficiency

in performing forty five Ragag with alapa, tan

and at least half-a dozen classical composi-

tions such as Dhrupad, Dhamar, Kheyal

The lives of great musicians

87

Lakshana-Geeta, Swaramalikas and Thumri or in the case of instruments, Gaths and Tohras.

The instruments, namely Dilruva, Esraj, Violin and Sarangee of the bowed string type, Sitar & Sarod of the plucked string type, flute of the wind instrument type, Tabla, & Banya and Pakhawaj of the drum species are taught there.

The theory portion of the course consists of a detailed study with a comparative outlook of the rules and system of Ragas of the Hindusthani system of music from the ancient time to the modern age.

High class classical, i. e., Kathak and Manipuri dances are taught.

The head of the various departments are masters in their respective subjects, hence they are producing each year quite a good number of bright students in almost all the subjects.

This course is again extended to a further period of two years for higher studies in music.

During this period about 150 Ragas are taught with higher technicalities, and critical studies in the theory of the Ancient and medieval literatures on music.

88

The lives of great musicians

After completing the full three years and

four months succesful candidates get the Certi-

ficate of I. M. C., i. e., qualified teacher in mu-

sic and enable them to get services in all the

High schools and they are authorised to teach

up-to the classes X through out India, and

after the expiry of five years and four months

the succesful students get the degree of Sam-

geet-Visharad.. Vadya Visharad or Nritya

Visharad, i. e. Graduatesin Vocal, music Instru-

mental music or Dancing. The Graduates of

this College are considered to be the best tea-

hers and expert musicians or Dancers, as the

case may be and are authorised to teach up to

the B. A., of all the Indian Universities.

The highest degree that is awarded by this

University is the Sangeet Nipuna, i. e. Master

in Music and Doctor of Music which covers a

period of further training for four years. two

years for each degree.

The Vidyapitha can rightly claim a very

large share in the present day awakening in

the line of music and is recognised to day as

The lives of great musicians

89

the best and virtually, the only institution imparting first class training in scientific and

systematic music. Its staff members and stu-

dents are in great demand all over the country

and figure prominently in music conferences,

demonstrations and gatherings all over India.

It had already produced a good number of

Scholars, Cinema-Actors, specially stage

singers, Radio artists, Music Directors, best

teachers and professional musicians.

Apart from the co-operation and assistance

of all music minded people all over the country

a very large share of the rapid progress made

by this institution can easily be attributed to

the untiring and selfless efforts of Rai Uma-

nath Bali, its Honorary Secretary, with whom

the betterment of the institution has been al-

most the only ambition in life and under the

able direction of Dr. S. N. Ratanjanker, B. A.,

D. Mus., one of the well known disciples of

the late Pt. V. N. Bhatkhande, the worthy

Principal of the institution has been in

its zenith.

90

The lives of great musicians

Shri Narain-Rao Vyas.

He was born at Kolapur in 1902 and was devoted entirely to music from his childhood.

At the age of eleven he joined the "Gandharva

Maha Vidyalaya" and studied there the art of

vocal music for about eight years. He had com-

pleted the course and passed the "Sangeet;

Pravin " Examination of the said institution in

1921. He possesses a very sweet and charming

voice. He is one of the best products of Gan-

dharva Vidyalaya. Few years later he came

to Bombay with a view to earn his livelihood. His

music was highly appreciated by the people of

there. He was soon captured by the Record-

Company, who had taken most of his popular

songs for their business purposes. Thus he gra-

dually became a well known studio artist.

Shri Narayan Rao Vyas has also attended

many music conferences and has also taken

part in numerous public functions, where he

had earned fame and recognition.

Shri Narayan Rao Vyas is an artist of high

probity.

The lives of great musicians

91

Ustad Peyare Sahib.

Ustad Peyare Sahib, is said to belong to the

family of the late Nawab Wajid Ali Shah, of

Oudh. He possesses a very high tone of voice.

He is expert in Gazal and Dadra and also

Thumri singing. He is a famous musician of

Calcutta. Several of his most popular songs are

preserved by the various Gramophone Companies.

Pundit Rajabhaiya poonchhwale,

Sangeetacharya.

Shriyut Rajabhaiya poonchhwale comes

from a respectable orthodox Brahmin family of

Gwalior. He was born at Gwalior (on the Shrawan Vaddya 14) in (the Samvat 1939) 1882 A.D

He had his early education in the local school

and was very much interested in music. Har-

monium was very much popular in those days

even a single performance of music could not

be completed without it, hence it was very po-

pular and common instrument among the pro-

fessionals and amateurs. Syt. Rajabhaiyaji

determined to learn the same and with this

92

The lives of great musicians

point in view he started learning the art of play-

ing on Harmonium from his father Syt. Bal-

deoji the desciple of Prof. Mehdi Hussain the

grandson of late Ustad Hussu Khan, the famous

court musician of Gwalior Durbar in his early

age. He could not satisfy himself with the know-

ledge thus acquired. He was a keen observer

and painstaking student all along and was very

serious in his studies in music, later on he be-

came the student of the renowned Dhruvapad

singer Shriyut Pt. Vaman Boa and his eldest

son Lala Boa of Gwalior and learnt Dhruvapad

from them for several years and perhaps till

their expiration which unfortunately occured in

the years Samvat 1964 and 1961 respectiveiy

( 1907 and 1904 A D )

Syt. Rajabhaiyaji was kneely interested in

the art and deeply anxious to study it thorough-

ly. He availed the best opportunity of learning

Kheyal from the leading artist Syt. Pt. Shanker

Rao of Gawlior which he had continued till

Panditjee's expiration. After that he happened

to meet Shriyut. Pandit V. N. Bhatkhande,

whom he met at Gwalior the year 1917.

The lives of great musicians

93

( April ) and approached him with the intention

to become his disciple, as he was deputed as

one of the teachers for starting Madhava music

school on the 10th. Jan. 1918 and sent to

Bombay with other scholarship holders for tra-

ining from Syt. Bhatkhande in the month of

October 1917 by late His Highness. His requ-

est was highly appreciated by the late Nayak

Syt. Punditji and he imparted to him the

knowledge that was lacking in him. Since then

till the sad demice of Revered Syt. Punditji he

had always been in close contact with him and

was one of the most helping hand to his work,

specially during his stay at Haridwar in the

year Samvat 1979.

Syt. Rajabhaiya is the builder of his own

career He had mastered the art of music and

mainly Kheyal singing through his personal

efforts and strong devotion to all his Gurus and

to Revered Syt. Punditji. He perfectly repre-

sents the traditional system of Kheyal singing

of the famous music school of Gwalior, of this

age. He holds a very good command in the

sphere of music. He is not only a successful

principal but also an excellent teacher the

most rare quality which almost all musicians

lack. He already has produced not less than a

hundred of brilliant students of Indian music,

who are doing their best in the field of music

and have earned wide name and reputation.

Besides all these services in the cause of music

he has all along been guiding the authorities of

the different Boards of Education in Northern

India in the preparation of the curriculum of

music for the boys and girls of the High school

and Intermediate colleges for more than a de-

cade of years.

His peaceful mind, sympathetic behaviour

and encouraging words inspire all, and those

who had any opportunity to come in his close

contact, have certainly been influenced by his

great personality. His famous work on Tan

entitled "Tan Malika" is an excellent work

that removes all the technical difficulties of

the Tans generally known as the Gwalior style

of "Tan Kartab."

He has two daughters and one son, named

Balasahib Poonchhwale, who is a graduate of

The lives of great musicians

95

the Madhava Sangeet Maha Vidyalaya and an expert musician.

Dr. S. N. Ratanjanker, B. A., D. Mus.,

All most all students, 'music loving people' and scholars of music are familiar with the popular name of Dr. Ratanjanker the most worthy principal of the All India Marris College of Hindustani music, Lucknow and the well known author of Sangeet Siksha in three parts, Abhi-nava Geet Manjari and other works, that are authoritative books on music.

Shriyut Shrikrishna Narayan Ratanjanker comes from a very respectable Maharashtrian family of Bombay. His Father, late, Shriyut Narayan Govind Ratanjanker, was a reputed police officer in Bombay. He was a religious man, thoroughly honest and above all superstitious. He was keenly interested in fine arts and literature and could appreciate the real merit and value of the same and it was only due to his innate love for art, specially music, he had not only encouraged his second son to master the divine art of music but provided all facilities

98

The lives of great musicians

that were essential for the full development of

the same along with the general education.

Syt. Ratanianker was born in Bombay, Sunday

the 31st of December 1899. He had his early

education from the Elphinstone Middle School

Bombay and passed the Entrance Examination

in 1919. He had learnt continually for three

years only Alankaras before he ectually start-

ed to learn music, and acquired complete know-

ledge of Swaras from Syt. Krishan Bhatia

a well known technician of the art of music

of those days. Some time after this he had pro-

ved himself to be one of the best amateur art-

ist of Bombay.

One day in the evening when Syt. Narayan

Govind Ratanjanker was out for a walk, he

happend to meet Syt. V. N. Bhatkhande at

Chowpati and in the course of their talk the

former requested the latter to examine his son

of the knowledge in music he had acquired

till then and wanted his guidance for his fur-

ther studies in music. The late Punditji gladly

consented to his request and when he had

-heard him he took interest in him. Syt.

The lives of great musicians

Ratanjanker became the disciple of the Revered Punditji, and began to learn from him

the real art of music both theory and practice for about twenty years continually. He passed

his B. A. from the Bombay University in 1925.

Syt. Ratanjanker was a great devotee of

his Guru and so he was able to gain every guidance, instructions and fatherly affection from

him. He has thoroughly mastered the art and

can sing any current or rare Raga to its perfection and will thus create a doubt in the

mind of the critics that perhaps he had mastered the very same Raga, which is very seldom

found in very few musicians. At present there

is none except him, who can easily sing all the

rare Ragas and can bring out and keep up the

correct spirit of the same. Majority of the musicians have few Ragas in which they are quite

capable of singing nicely but are totally ignorant about the rest. His own original compositions that are set to different Ragas are the

bright examples of his great creative power and

command on the art. ( His compositions are

collected in the book entitled " Abhinava Geet

98 The lives of great musicians

Manjari ).

Revered Punditji asked perhaps, his best student to learn the ustadi style of Kheyal singing from the well known Kheyal singer Ustad

Faiyaz Hussain Khan,. Aftabey Mausiqui the court musician of the Baroda state, which, his most obedient pupil agreed to do and so he had

been under his training for five years.

Dr. Ratanjanker had dedicated his life to the cause of music and following the footsteps of his Guru and will fulfil the ambition of the Great

Departed Soul Pt. V. N.Bhatkhande. He is a member of music committee of the U. P. Boards of Education and the Banares Hindu and

Allahabad Universities.Under his valuable guidance and directions the syllabus and curriculam of music for the High School, Intermediate, and

B. A. are formed and set up by the authorities concerned. He is the soul of the Bhatkhande Sangeet Vidyapitha, and The All India Marries

College of Hindustani Music, Lucknow and life of other institutions of music through out

The lives of great musicians

98

Northern India. His sober mind and jovial nature attracts all, who, happen to come, in

his contact. The authorities of His Master's Voice have recently recorded some very instruc-

tive but interesting records that are very useful to all lovers of music, teachers and students.

He is one of the great exponents of music of the 20th century.

Shri V. N. Patwardhan.

Syt. Patwardhan is one of the best products of the "Gandharva Maha Vidyalaya" and a personal disciple of the late Pt. Vishnu Digamber.

He had educated himself in vocal music only. He possesses a sweet and powerful voice.

Syt. Patwardhan is the principal of his own Music School named "Gandharava Maha Vidyalaya" Poona. He is a successful teacher and

free from all defects common to artists. He has received medals from the music conferences held at Allahabad, Cawnpore and Balarampur State.

Shri Patwardhan is not only a high class

100 The lives of great musicians

musician but also a good actor and the skill which he had shown of his art in the picture " MIRA " is simply astounding and his song "Jogi-mat-ja-mat-ja-mat-ja, is still remembered by all lovers of music.

Shri Vishnu Digamber Palusker.

One of the best followers of the teachings of Goswami Tulsi Dass of this age was the late Pt. Vishnu Digamber Palusker and every Hindu should be proud of him who appeared before all devoted per-sons for a very short time and dis-appeared immediately after his missionery work was done to the extent as it was needed.

Shri. Vishnu Digamber Palusker was born in the year 1872 A. D. in the Kurundwad state in the Belguam district. He began to receive education at an yearly age and showed great promise, but an accident through fire-eyes and rendered him incapable of continuing his studies. So he was sent by his father, Shri Digamber Gopal Palusker, to Miraj for train-

Ustad Ali Akbar Khan-the worthy father

Ustad Allauddin Khan Sahib-A Great Exponent of Music.

Shri Raja Bhaiya Poonchhwale—An Ideal Teacher.

(See page ... 9

The lives of great musicians

101

ing in music under Shri Balkrishana Burva,

who, it is said was an expert in music of his

time. Pt. Vishnu Digamber showed prodigi-

ous promise and a few years later he became a

noted musician. He was a great devotee of

his teacher and could not tolerate the least

happenings that might hurt his self respect.

Once there was a grand dinner in a cotton

mill at Miraj to which almost all the respect-

able persons of the town were invited and his

teacher, Shri Balkrishanaji was also a noted

person inspite of that he was not invited. Out

of curiosity he made an enquiry and learnt

that his master was not invited only because,

although belonging to a very respectable fami-

ly he happened to be a musician and this very

point made a turn in his future life. It was a

time, when a musician, however high his ac-

complishments and caste might be, was not con-

sidered fit to be invited to social functions on

terms of equality with other guests. Pt. Dig-

amberji took this matter seriously and made

a vow to restore music to the high position

which obtained in society during the glorious

days of Indian culture, and civilisation. Hence

102 The lives oi great musicians

he began to devote most of his time to the

cultivation of music like the professionals of

these days. In the year 1896 he with two of

his fellow pupils set out for the revival and

diffusion of music and also for raising its status

with a capital of Rs 25/-, that too borrowed

from a relation. They went to Girnar, where

it is said, a saint of high adept living in those

days, to pay their respect. The saint advised

Pt. Vishnu Digamberji to begin his work in

the Punjab and assured him saying that 'God

will help him in every way.'

After visiting many places in the Punjab

Sāri Vishnu Digamber finally decided to settle

at Lahore and started a music school there on

May. 5th 1901. The opening ceremony was

performed by Sir P. C. Chatterji in a small

building hired on a monthly rent of Rs 13/-.

There was not even a single student for the

first few days but through his strenous efforts

students began to come and about forty stu-

dents were on the roll after a short time. He

had no money to meet the growing expense

and hence he had to borrow. When this

The lives of great musicians 103

amount was spent up the students offered to bring money by begging. But with the grace of God he was invited by the Maharaja of Kashmere who presented him with a purse of Rs 1000/-. This amount too was spent up. Then his sympathisers held a meeting in which, the Maharaja of Kashmere and other leading citizens were present. An appeal was made to the present guests and as a result of that a sum of about Rs 2000/- was collected on the spot and the Maharaja of Kashmere promised to donate Rs. 150/- per month, which he paid till 1907.

Gradually the institution gained popularity and in 1904 a piece of land was secured by him and a building was constructed for the institution known as Gandharva Maha Vidyalaya. Now he wanted to start a similar Gandharva Maha Vidyalaya in Bombay and even built a magnificent building on Sandhurst Road which is still there, but not fortunately as Gandharva Maha Vidyalaya. He had no income from the school; as he used to teach, feed and clothe all the deserving students of his own community. Therefore he had to select Nasik as his head quarter and in 1922 he

104 The lives of great musicians

laid the foundation of a new building for this

purpose and named it as Ramnamadhar

Ashram.

There is no doubt that the intensely reli-

gious turn of his mind, which was perhaps due

to a series of terrible bereavements for out

of his twelve children, four sons and eight dau-

ghters only, one son survived, devoted all his

time to singing the songs of Tulei Dass, Sur-

dass, Mira Bai, Kabir Dass and others. He had

set the songs to different Ragas accord-

ing to his taste. It was the aim of Digamberji

to give a turn to music towards the religious

purposes as it had been in ancient times. His

favourite song 'Raghupati Raghave Raja Ram'

was sung all the 24 hours without a break by

him and his pupils in turn in the Ramanama-

dhar Ashram at Nasik. It was Shri Vishnu

Digamber who created a taste in music among

the lay men through his sweet devotional

songs of the great saints of India. This great

devotee expired on 23rd August 1931, leaving

behind the only son ten years of age and mour-

ned by all. He had numerous disciples and

the majority of there were the Maharastrains.

The lives of great musicians 105

The following are the names of his best students, who have earned a good reputation.

Shri. V. N. Patwardhan., Shri Onker Nath Thakur., Shri Narayan Rao Vyas, Shri Doedhar., Shri A. T. Herlaker. He had also written a good number of books on devotional songs.

Pt. Vadilal Naik

Syt. Vadilal Naik was born in 1882, at Siddhpur, North Gujrat, a place of pilgrimage. on the banks of the river Saraswati. His parents were very simple but religious minded His mother Shrimati Kashibai, who was deeply interested in him expired leaving behind her two sons named Vadilal and Keshavalal at a very tender age of nine and five.

A couple of months later Shri Shivaram Naik sent Vadilal to a dramatic company named “The Bombay Gujrat Natak Mandali” at Bombay in 1892 to learn the art of acting and dramatic music according to the vocation of the community and thus to earn his living.

Shri Vadilal had an innate love for the art of “ Shastriya Sangeet” Hence he could not give himself up to become an actor or a stage singer of theatrical songs. He was a good imitator by

106

The lives of great musicians

nature and this natural gift helped him to

learn music from the Ustad late Nazir Khan of

Bombay, who was highly pleased to hear from

him the pieces which he had imitated from his

music, only hearing the same standing outside

his residance near the dramatic company, took

a fancy to Vadilal and accepted him as his

pupil.

At the age of twelve or thirteen Vadilalji

had to accompany Ustad Nazir Khan and his

family to Hyderabad ( Deccan ) because they

also had to go there to earn their livelihood as

Bombay was Plague striken then. Ustad Nazir

Khan was a reputed artist, hence it was but

natural for him to be too stingy to impart his

lore to any body, but a deserving student like

Syt. Vadilal, who had not only served him but

had served all his relatives very diligently; rece-

ived the blessing of the wife of Nazir Khan and

only on account of her the Ustad taught him a

little. A couple of years later the party return-

ed to Bombay and the promising student of

music had to join again the dramatic company

to meet the expenses for his studies in Sanskrit

and for the maintainences of his father, younger

The lives of great musicians 107

brother and also for himself. This time hs had

joined the company in the capacity of a com-

poser of dramatic songs and he had done the

work quite successfully and creditably.

At the age of about fifteen Shri Vadilal had

lost his father and was left alone in this world

on the mercy of nature to look after him.

Hence he was sure to get protection and this

finally happened when in I889 he came in touch

with Pt. Vishnu Narayan Bhatkandeji, who,

was a father and Guru to him throughout his

life. The success of his life was all due to the

active influence of Revered Bhatkandeji. Afier

some time Vadilalji had expressed a desire to

him that he wanted to learn Dhruvapad and

Alapa style of singing from the reputed Ustads

late Jakuruddin Khan of Udaipur State and

also from the Ustad late Mohamed Ali ( Kothi-

wala ) of Jaipur State, Punditji, in order to

satisfy his curiosity and also to give him an

apportunity of coming into close contact with

them gladly allowed him to do so and assured

him to help whenever needed. Shri Vadi-

lal went to both these places and saw the

108 The lives oi great musicians

Ustad concerned. He was indeed very much

pleased to hear them but could not learn

much from them. Henca he had to return back

to Bombay without getting much from

them. Since then he became a disciple of

Syt. Pt. V. N. Bhatkandeji.

Right from 1899 or 1900 A. D. onwards up

to 1924 he was in close association with Pun-

ditji and learnt from him the various 'Gayakis

i. e., the styles and modes of singing of d ffer-

ent ' Gharanas ' and also studied in his pre-

sence the Sanskrit works on music. His charac-

ter and lite were moulded by the influence of

the great personality, Pt. V. N. Bhatkandeji.

Shri Vadilalji had served as the principal of

the Bansda State music School Gujrat, for a

long time. The Maharaja Saheb and the mem-

bers of the Royal family held him in great

regard Shri Vadilalji was very much apprecia-

tive the inner worth of a person. He liked a

person more because of his moral virtue than

because of his other worldly environments. He

was an embodiment of the old saying

' Plain living and high thinking '. He always

The lives of great musicians 109

cared much for righteousness and studies. He

was quite happy and successful in his

family life. This scholar of music died in

November 1947 leaving behind him his wife

and only one son Syt. Mafatlal Vadilal Naik

who is a M. A., of the Bombay University.

Vadilalji was about sixty five years of age

when he died.

CHATUR PUNDIT.

SangeetNayak Pt. VishnuNarayan Bhatkhande.

Syt. Pt. V. N. Bhatkhande was born in

a noble and high class Brahmin family in Bom-

bay on Janmashtami the 10th of August 1860

A. D. The primary education in vocal music

of this born musician, who was keenly inter-

ested in music from his very infancy and

naturally gifted with a very sweet and agree-

able voice, was imparted by his dearest mother

who, was highly religious minded, used to sing

the beautiful passages from the various works

by the renowned saints and devotees. Later on

he was admitted in the school for his education

and there also he used to take part in the acti

110 The lives of great musicians

vities in music and won several prizes. He

never took part in any of the other activities

than music and in his general study. He had

his education and training in music both to-

gether. This enabled him to acquire the sound

knowledge of the literatures and the art of

music. He had always been paying his at-

tention to both the subjects equally well and

hence he was always a successful student in

his school and college career throughout.

He had started learning Sitar for several

years from the late Vallabh Dass Damulji, one

of the disciples of Jivan Lal Maharaj, who was

a pupil of the renowned Sitar player, late Pt.

Panna Lal Bajpai of Banares and also from Sj.

Gopalgir Jairajgir, a disciple of Ali Husain

Khan Binkar, who, was one of the leading Bin-

kars of his own time. After doing his F. A., he

had joined the Gayana Uttajek Mandali, of Bom-

bay in 1884. as a member and started learn-

ing Dhruvapad from Raoji Buwa Belbagkar-the

well known Dhruvapad singer of Bombay of

those days and also from Md. Husain khan

and Vilayat Husain khan, who, were the lead-

The lives of great musicians 111

ing Kheyal singers of those days for several ye-

ars. After few years, he proved himself to be

one of the best of their pupils and consequently

he was given the charge of the music section of

the Gayan Uttajak Mandali and as such he had

to do duties such as testing the artists who, off-

ered to perform in the society. This opportuni-

ty enabled him to have the acquaintance with

so many musicians of those days to discuss wi-

th them the various intrinsic points which we-

re full of controversies. He had Graduated him-

self from the Bambay University in 1885 A.D

and two years later he took the degree of L. L.

B., from the same University.

His career as a lawyer was quite success-

ful and there too he had earned a good reputa-

tion and respect. He was a born musi-

cian and did all he could to revive

the world of music for the full develop-

ment it needed then. He was not a worldly

man at all, perhaps he was the embodiment of

Narad Rhishi. He was more inclined towards

the art than any thing else, so to have, now,

the thorough knowledge of all the literatures on

112 The lives of great musicians

music in Sanskrit, and also in other languages namely, Hindi,Gujrati Bengali and Telague etc.

he practised learning them for several years (1892-1895. A.D.) and collected all available

treatises in music with a view to compile a suitable and systematic work on the system of

Indian music, which later on was known to be the Hindusthani music.During his study period

he had conducted music classes at the Gayak Uttajak Mandali and had delivered several

lectures on Indian music and they were highly appreciated by the educated persons and also

by the leading and prominent musicians of Bombay and other places.

Now he wanted to be well acquainted with the various types of songs of the different pla-

ces in India so he setout for a tour and had visited almost all the principal towns in the

South in 1904 and gathered all current infor-

mation of the music of the South and there too he had delivered lectures on the system of

the music of the North. He went to Calcutta in 1907 and discussed with the musicians and

scholars of Bengal, he however did not get much useful information there for his work

The lives of great musicians

113

This time he had visited Nagpur, Jagannath,

Vijianagaram, and Deccan Hyderabad. Two

years later he made another tour to all the im-

portant towns of Northern India, namely,

Allahabad, Banares, Gaya, Mathura, Lucknow,

Agra, Delhi, Jaipur, Jodhpur, and Udaipur.

The musicians of Jaipur namely, Mohammad

Ali Khan and his sons Ashak Ali and Ahamad

Ali Khan the descendents of the Manaranga

family, these musicians were kind and gener-

ous with him and gave him all valuable infor-

mation regarding the rare Ragas that were

known to them. and about 300 traditional

songs of their own Gharana were recorded on

the phonograph which were added in his exce-

lent work entitled''Hindusthani Sangeet Padha-

ti Kramik Pustak Malika 1-6 parts. ''In 1910

A D, he had compiled the work in Sanskrit

named ''Lakshya Sangeet '' i. e. the ideal text

on the current music of India and laid down

the rules for the complicated points and expla-

ined them lucidly that were left and untouch-

ed by his predecessors. This is the only autho-

ritative work in Sanskrit of this age that

114

The lives of great musicians

gives all information about the art of music and therefore should be studied by every advanced student and scholar of music of this age. Ptij. never cared for his own name and publicity that is why all his works and musical compositions specially the “Lakshya Sangeet are under the pseudonym “Chatur Pundit” He had described in simple language, to enable all to understand and follow, the rules regarding the Ragas and set them into the particular Raga and Tala according to the rules and notes used in it. In 1910 the 1st volume of his monumental work, the “Hindusthani Sangeet Padhati” in Marathi, an exhaustive commentary on his work Lakshya Sangeet. was published In 1914 the 2nd and 3rd volumes of this series were published. He is the author of about twenty five works on Indian music.

Slowly but steadily his reputation spread all over India and people from far and near of all communities and status began to realies the real merit of his great contributions and merit of this pioneer of Hindusthani music system. In 1911. Thakur Nawab Ali Khan of Akberpur

The lives of great musicians

115

residing at Lucknow, came into contact with

him and he out of his curiosity sent Nazir Khan

alias Kala Nazir- a well known musician of

Lucknow to study under him the theory and

Lakshana Geetas composed by him. These songs

were published later on by the said Takur

Sahib under the name of "Muari-fun-Nagmat"

in Urdu.

The idea of music conference for the first

time started by Raja Man of Gwalior in the

15th century. A.D. and it was quite success-

ful in its endeavour. Since then to the end

of the 19th century no such music conference

was held. It was Revered Punditji, who, held

with the object of arriving at difinite solution

of difficult and disputable topies of music

was very anxious to gather all the prominent

and leading musicians of the different schools

urged the need to H. H. The Maharaja of

Baroda and H. H. gladly agreed to his pro-

posals and hence the 1st All India Music Con-

ference was held at Baroda in the year 1915-

1916. He is the father of the modern music

conference. He took the initiative part in the

116 The lives of great musicians

5 consecutive music conferences held from time to time at different places in India till 1925. Besides this he was all along one of the judges in all the conferences held at Baroda 1st conference 1915-16, Delhi 2nd A. M. C. 1918., Banares. 3rd A. M. C. in 1919 and the 4th and 5th conferences perhaps the last of the kind. in the years 1924-25. The system already laid down by him was read before the artists and scholars and it was unanimously accepted by all to be the most suitable, easy and scientific.

He had already been touch with H. H. The Maharaja of Baroda and according to the directions of Punditji a music school was started there to give scientific training in music to the lovers of music. H. H. The Maharaja of Gwalior late Madhorao Sindia took keen interest in his work and according to his suggestions and guidance a music school was started in the year 1918 after the name of the late Maharaja Sahib “Madhava Sangeet Vidyalaya”. He had always been the examiner of the said institution till 1932. During his stay at Gwalior, Balasahib Shanker Punditji and his son

Shri Gopeshwar Banerji—A Noble Musician. (See page ... 83)

Ustad Faiyaz Khan—The Foremost Musician.

(See page ... 80)

The lives of great musicians

117

Krishanarao Pundit and Raja Bhaiya Poonchhwale. The last of these took keen interest in the work of Punditji and became his personal disciple. He was under his training for several years and mastered the art of music. Later on Rajabhaiya Poonchhwale became the principal of the said institution and is still serving there in the same capacity.

He was a helping hand to Revered Bhatkhandeji, during his stay at Haridwar, where he was compiling his huge work, Hindusthani Sangeet Radhati Kramik pustak malika. Late Pt Vadi Lal Sarana of Ahmedabad., Syt. Pt. Rajabhaya Poonchhwale, of Gwalior and Syt. Pt. Shri Krishna Narayan Ratanjanker of Lucknow are the best of his personal pupils. These scholars were fortunate enough to have the sound training of the great soul. All of them have dedicated their lives to the cause of music.

Besides them he had numerous students, who, had their training under his guidance and care in the Gayana Uttajek Mandali, Majority of them among the Parsi community. It was Punditji, who, had introduced music as a subject for the first time, at the request of the

118 The lives of great musicions

late Pt. Madan Mohan Malaviya, who was his

personal friend, in the Banares Hindu Univer-

sity and also in the Indian Womens Univeristy,

Poona, where he had been for several years as

the examineer. He had also drafted a curricu-

lum of music course for the Bombay Municipal

Schools and also conducted a training class in

Bombay for the teachers concerned. The course

was prepared by him and presented to the au-

thorities of the Bombay Municipality, which

they have published for their own use.

In the month of October 1933, Revered

Bhatkhandeji was over come by an attack of

paralysis, which was further complicated by

the fracture of his thigh about the time of the

second attack. These misfortunes, confined him

to bed and prevented him from taking further

active part in the propagation of music. A

trust had been appointed by him for his publi-

cation so that it may not cease at any time for

want of finance. He never utilized for personal

needs even a pie earned through his publications.

He was a real patriot and self-less man of high

quality and rectitude. He was very often con

The lives of great musisions

119

sulted by the various states for guidance

direction, instruction and inspection of

their respective music schools but he never

charged any thing from them. During his last

illness, which extended for over three years

he was visited at his residence by His Highness

the Maharaja of Dewas (Junior) and Her High-

ness the Maharani Sahib of Baroda, all of

whom had a great regard for him. The illness

suddenly took a serious turn and Pundit

Vishnu Narayan Bhatkhande breathed his last

at five o’ clock in the morning on the auspici-

ous day of Ganesh Chaturthi, Saturday the

19th September 1936., at his residence. Shan-

taram House, Malabar Hills, Bombay. This

great soul-the exponent of Indian music. was

deeply mourned by his numerous friends, in-

cluding Sir, M. R. Jaikar and Kumar Shri

Prabhatdevji of Dharampur, who, were present

at the funeral.

THE END

APPENDIX

1. Sanskrit Works on Indian Music.

2. Nitya Shastra., 2. Dattilam., 3. Brihad-Desi., 4. Sangeet Makarand., 5. Sangeet Ratnakar 6. Sangeet Pari-jat., 7. Sangeet Darpan., 8. Chaturdandi Prakashika., 9. Sangeet Samayasax., 10. Raga Vibodha., 11. Raga Tarangini.

3. Hridaya Prakash., 13. Hridaya Kaumaka., 14., Raga Tatva Vibodha., 15. Lakshya Sangeet.

4. Exponents of Music

5. Dr. S. N. Ratan/pakcr, B. A., D. Mus., Principal, Marries Music Jollogo Lucknow. 2. Khan Sahib ustad Shri allah-uldin Khan., Sangeetacharya: Mamar. (C. 1.)

6. Leading Scholars of Music

7. Shri, Rajabhaiya Pomehwala, Sangotacharyan, Gwaiior. 2. Shri. Shivendra nath Basu, Chowk,amba. Banaras., 3 Prof. H R, Doctor., B A., B. Sc., Principal Colloge of Indian Music, Baroda. 4. Suri. N. G. Motilal Sidligir Bagi Baniras. 5. Dr. V Ragharan, M. A., Ph. D., Academy of Music, Madras. 6. Prof. P. Sambamoorthy, B. A., B. L Madras Univeristy. 7. Rev. H. A. Popley. Y. M. C. A. Madras 8. Shri. M. S. Ramaswami Iyer. Madura. 9. Mr. AlienDamlo.

8. Leading Connoisseurs.

9. Dr. D R Bhattacharya, D. Sc., Ph D., Vice Chancoilor, Allahabad University. 2. Shri. Dileep Kumar Roy, Ariend Asraram. Pondichery. 3. Dr. Jai Duo Saran Singh. M. A., Ph. D.. Principal Yuva Raj Collogo, OBI. 4. Shri. H. H. Rao Nuri Shri Bandar. Muinr. (C. I).

10. Art Critices

11. Prof. Dr. P. Mukherji, M. A., Lucknow University.

2. Prot. A. C. Mukherji, M. A., Allahabad University,

3. Shri O. C. Ganguly Calcutta. 4. Lalla Shri Panna Lal

Mathur, Sikar., 5. Amiya Sanyal, Krishna Nagar, (W.

Bengal). 6. Prof. B. R. Deodhar, Bombay., 7. Shri Biren-

dra Kishore Roy Choudhury. Gouri pur., (E. Bengal). 8.

Shrimat Swami. Pragyan Nanda.

6. Leading Musicians

(Dhruvapad Singers).

1. Ustad Rahimuddin Khan. Indore. 2. Ustad Daveer Khan.

Calcutta. 3. Shri Gopeshwar Banerji, Bankura.

7. Kheyal Singer

8. Ustad Faiyaz Khan. Baroda. 2. Ustad Bahre

Wahid Khan. Delhi., 3. Pt. Krishana Rao. Gwalior. 4.

Razab Ali Khan Devas. 5. Kesari Bai Kaskar. Bombay.,

6. Ustad Fida Husain Khan. Rampur. 7. Ustad Chand

Khan. Delhi. 8. Shri G. N. Natu. Lucknow. 9. Shri.

Dileep Chandra Vedi. Punjab. 10. Hira Bai Barodker.

Bombay. 11. Shri Onker Nath Thakur. Punjab. 12.

Shri V. N. Patwardhan. Poona. 13. Ustad Muzaffar

Khan. Delhi. 14. Shri. Sachin Deo Burman. 15. Ustad

Nisar Husain. Baroda. 16. Ustad Bare Gulam Ali Lahore.,

17. Shri. B. S. Pathak Allahabad.

18. Thumri Singers.

19. Syt. Ram Das. Banaras., 2. Ustad Peyare Sahib.,

Calcutta., 3. Shri Sambhu Maharaj Lucknow., 4. Shri.

Anath Bose. (Duet voice singer) Calcutta.

6. Veena Players:

7. Shri. S. N. Basu. Banaras., 2. Ustal Daveer Kuan.

Calcutta.

10. Sarod Players.

11. Ustad Hafiz Ali Khan Gwalior. 2. Ustad Ali Akbar Khan

Jodhpur. 3. Ustad. Shakhawat Husain Khan. Lucknow

4. Shri Timir Baran, Calcutta.

11. SITAR PLAYERS

12. Ustad Hamid Husain Khan Lucknow. 2. Shri Ravi Shanker. Delhi A. I. R. 3. Ustad Vilayat Husain Khan. Calcutta 4. Shri Dhundi Raj Krishna Aathi Wala, Ujjain 5. Syt. Rameshwar Pathak. Darbhanga 6. Syt. Dhruva Tara Joshi. Lucknow. 7 Syt. Balkrishna Asthi wala Ujjain. 8. Ustad Mushtak Ali. Calcutta. 9. Ustad Yusuf Ali Lucknow. 10. Shri Shudhansu Kumar Bhattacharya Bombay.

13. SARANGI PLAYERS

14. Ustad Bundu Khan Delhi. 2. Ghulam Sabir Delhi. 3. Mirza Mahmood Ali Lucknow. 4. Noor Mohammad, Kirana. 5. Shakoor khan Kirana.

15. VOLIN PLAYERS

Prof. H. Doctor Baroda. 2. Shri Gagan Chandra Chatterji Allahabad. 3. Syt. M. R. Shastri Madras. 4. Syt, D. V. Naidu. Madras. 5. Syt. C. S. Aiyar Bombay. 6. V. J. Jog Lucknow. 7. Hari Pada Chatterji Calcutta.

14. ESRAJ PLAYERS,

15. Shri Chandrika prasad Dubey Gaya. 2. Shri Shital Prasad Mukherji Calcutta. 3. Kali pada Ghosh Calcutta. 4. Ustad Barkat Ali. Lucknow. 5. Shri M. N. Ganguly. Calcutta.

16. PAKHAWAJ PLAYERS

17. Shri Makhan Lal Chaubey, Mathura. 2. Parbat Singh, Gwalior. 3. Ram Dev panday Allahbad. 4. Ambha Dass ji Indore. 5. Vijay Singh, Gwalior. 6. Shatrunjay Prasad Singh Jamira. 7. Sakha Ram Gurav Shirgarh.

18. TABLA PLAYERS

19. Ustad Ahmad Jan Thirakwa, Rampur. 2. Shri Harindra Kumar Ganguly, Calcutta. 3, Usted Wajid Husain, Lucknow. 4. R. B. Keshava Chandra Banorji Dacca. 5. Shri Ramesh Chandra Thakur. Calcutta. 6. Shri Anokha Lal Banaras.

' 17. DANCERS (KATHAK)

1. Shri Shambhu Maharaja, Lucknow 2. Shri

Mohan Lal, Jaipur.

ERRATA

Page No: Line. In Correct. Correct.

13 1 thier their

16 17 rhe the

17 18 Sqecially specially

18 6 waa was

27 9 chracteristic characteristic

28 7 dhrvvapadas dhruvapadas

30 4 eentury century

'' 8 iife life

31 26 nad and

24 1 Dhruvapa Dhruvpad

'' 2 khowledge knowledge

'' 11 master masters

'' 20 Sarawati Saraswati

35 21 teach tech

36 14 month months

'' '' Agust August

37 10 posseses possesses

'' '' commond command

38 2 country century

'' 4 urdn Urdu

39 8 songs song

40 13 emperor Emperor

'' '' mohammad Mohammad

'' 21 hear heart

41 7 of to two of two

44 3 cultivated cultivate

Page: No: Line

44 4 spread to spread

45 10 voluminous voluminous

11 divided original the to divided the

46 11 two original one in to two

12 also also

50 17 it is in those it is also in those

55 15 predecessonrs predecessors

21 also great also a great

58 11 mistory mystery

60 15 has as

65 9 punjab Punjab

66 15 and ard

72 21 twelve twelve

78 12 hlmself himself

83 4 instiution institution

83 14 stat start

85 22 ustad ustads

92 3 instrumental instrumental

93 11 desiple disciple

96 11 demice demise

96 25 musci music

97 1 manitainence maintenance

97 16 hs he reputed reputed

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