An overview of aesthetics in Music

The word ‘rasa’ has three primary associations of meaning:

[1] Of being the object of perception by the sense of taste

[2] Of being the essence of any thing or being

[3] Of being something dynamic and not static

To extrapolate this into music, we go back to the Indian tradition wherein the central point of aesthetics is ‘rasa’ or ‘aanand’ [joyful bliss].The concept of rasa originated and developed in the context of dramaturgy, since drama is a dynamic art form combining the audio and visual impact. The Rasa Theory was expounded by Bharata muni in his treatise ‘Natya-Shastra’ [2nd BC- 4th AD] wherein he stated:

‘Vibhaav-anubhaav-vyaabhichaari’ , i.e.: Rasa arises from a combination of the stimulants {vibhaava }, the physical consequents {anubhaava } and the transient emotional states { vyaabhichaari }.

[1] Vibhaava : Determinants or stimulants are comparable to the actual causes which produce a certain emotion in real life

[2] Anubhaava; Consequents comparable to effects produced by affecting causes

[3] Vyaabhichaari: Transient emotional states which accompany and point to a basic mental state [sthaayi-bhaava] comparable to auxiliary causes.

When different emotional states come together, artistic flavour comes through and makes the experience enjoyable [aasvaadniya].

There are different interpretations of this theory: I will touch upon a few of those which were prominent at that time.

[A] The musicologist Abhinavgupta stated that ‘Rasa’ is in the mind of the ‘rasika’ or listener in a dormant state. The stimulus merely awakens the dormant instincts and evokes a response or reaction. In other words, appreciation of music is an instinctive response. The psychology of this theory  recognizes and addresses the role of  the unconscious memory. The forces which form the core of this memory are a combination of racial memory, cultural memory [called samsakaras], input and impact of the environment. All these go into developing the various strata of the ‘ego’ which defines the emotional behaviour and its responses. This theory could provide an explanation to the ‘Raag-Time’ co-relation. By tradition, the Indian ear is conditioned to respond in a certain way. Devotional music seems to have an extra appeal in the early hours of the morning, because in the Indian ethos, our day begins with a ritual of prayer. Morning is a time for meditation and introspection – One looks forward to the new day with renewed faith and hope in the heart. Interestingly, most morning melodies are sombre and devotional in nature.

[B] Bhat Lolat and Shankuka conversely held an opinion which was the exact opposite to that of Abhinavgupta. They propounded the theory that Rasa is not present in the Rasika, but is created by the art form. It occurs on account of the stimulus, which plays a larger and more pro-active role than merely awakening dormant instincts and responses. The former theory however gained wider acceptance on the basis that, responses vary from person to person, depending on their emotional data bank so to speak. This is especially true for an abstract and intangible art form like music. It also explains why it is desirable but definitely not necessary to possess technical knowledge to be able to appreciate music.

[C] The great musicologist Sharangdeva [ 13th century] put forth his interpretation of the Rasa Theory in his magnum opus on music the Sangeet-Ratnakara.

At this point I would like to mention that there are 9 rasaas or navarasa, in dramaturgy. They are:

Shringaara [erotic], Roudra [anger] Haasya [ comic], Bhibhatsa [ludicrous] Jugupsa [disgust], Vismaya or Adhbhuta [wonder], Karuna [pathos], Veera [valour] and Shaantha [tranquility]. In music, one takes into account only four of these, namely: Shringaara, Veera, Karuna and Shaantha.

Sharangdeva, expounded the theory that each note carries its own emotional cloud around it.

‘Sa-Ri veeradbhutey raudrey,dha bibhatsa bhayanakey; kaaryo ga-ni tu karunaa haasya shringaaryormapou’

Sa-Ri: Veera , Roudra  and Adhbhuta

Dha- Bhibhatsa, Bhayanaka

Ga-Ni: Karuna

Ma-Pa: Haasya,Shringaara.

This theory’s validity was questionable however, because a ‘raga’ is a combination of notes and phrases, hence the element of ambiguity and in some cases sheer confusion would set in. One may assume that the mood of the raga would be dictated by the dominant notes in it, which would impart their emotional colour to the melody. E.g.: if madhyam was the dominant note it would probably be shringara rasa and so on.

Sharangdeva, however made the first attempt to co-relate rhythm – Laya- a distancing of time points to create a generative pattern, and Rasa. Rhythm is an essential and intrinsic part of music and hence it will play a large role in creating the rasa or aesthetic flavor. It was Sharangdeva, who drew a co-relation between these two factors:

Shaantha and Karuna Rasa – Vilambit Laya-slow tempo

Shringaara-Rasa- Madhya Laya- medium tempo

Veera Rasa- Drut Laya – fast tempo.

He tabulated the fact that it was of the utmost importance to choose the right tempo to convey the desired emotion. E.g : a composition depicting valour  would obviously have to be in a fast tempo and conversely a composition full of tenderness and pathos would have to be in a slow tempo.

[D] Finally, the modern musicologist Shri. V N Bhatkhande was of the opinion that a direct one-one correspondence of raga-rasa was not only difficult but impossible. It was too simplistic a way of looking at something as complex an abstract form like music in relation to an equally abstract and complex parameter like the mind and its emotional states. After all, if Sa-Ri evokes Veera Rasa and Ma-Pa- evokes Shringaara Rasa, then every raga should evoke these two aesthetic responses since these notes are present in almost all the ragas which is obviously not the case.

The theory put forth was that, besides mere notes, laya and rhythm patterns, there are several other factors which combine and interplay to create the phenomenon of Raag-Rasa.

Factors responsible for inducing Rasa:

[1] the most important factor is the ‘Raaga-Time ‘theory. This is the  mystical bond between melody and time in a 24 hour cycle when it is sung or played. Please refer to the article Kaal-Chakra for a detailed exposition of the same.

[2] Consonance and Dissonance in Music:

These are musical effects that produce opposite emotions – they come into play when 2 different notes are sung or played together. The drone provides the base notes of the musical scale. To quote Shri O Gosvami [The Story of Indian Music]-“The tanpura provides a dark background of infinite potentiality against which the music stands out as intricate embroidery”.

Different note-combinations can lead to different effects of consonance and dissonance, which in turn cause different Rasaas to be induced.

[a] Perfect Consonance: Sa-Pa; Sa-Ma

[b] Imperfect Consonance: Sa-Ga;Sa-Dha

[c] Perfect Dissonance: Sa- Re [komal/flat]; Sa-Ni; Teevra Ma-Pa; Pa- Dha][komal/flat]

[d] Imperfect Dissonance: Sa-Re;Sa-Ni [komal/flat]; Sa-Ga [komal/flat]

The musicologist Shri G M Ranade has attempted to draw a co-relation between the tonal intervals and raasa as follows-

Perfect Consonance- Veera rasa

Imperfect Consonance –Shringaara rasa

Perfect Dissonance –Karuna Rasa

Depending on the prominence given to a specific note interval in the development of the raag , the desired rasa will be induced. Raagas like Marwa, Shree and Todi use the tonal intervals of perfect dissonance to create the phenomenon of tension and relief. The sense of the sublime is experienced from the interplay of  conflict and serenity as it were. The combination of Shadaj and Shuddha Gandhaar imparts a tranquility which is the characteristic feature of the ‘sandhiprakaash’ ragas-melodies of dawn and dusk.

The sparkling radiance of  ragas like Durga, Khamaj, and Kedar are highlighted by the tonal intervals of perfect consonance.

[3] Other factors like the artiste’s  mood, the receptivity of the audience, the physical setting of the concert [the venue, ambience etc] are lesser but nonetheless important components playing their role in the overall effect of inducing Rasa.

Without delving deeper into the technicalities  of the raag – rasa theory, I would like to conclude with a few observations:

The theory of raga-rasa attempts to bring about a specific co-relation of music with emotional states.

However, a recital is an outpouring of emotions and is highly subjective and spontaneous in nature. Each artiste interprets and presents the music according to his ideas, techniques , the school of music that he belongs to and his overall understanding of the musical idiom .The whole beauty of this great art is that it says so little and conveys so much. A gentle hint here, a whiff of a long forgotten memory and it thus evokes a pleasant emotion, leaving it to the  listener to analyze his feelings. This degree of abstractness is further experienced in instrumental music which does not have lyrics to convey the meaning.

To quote the poet Shelley:

Music, when soft voices die,

vibrates in the memory

The most important aspect of rasa is that it lingers on long after the stimulus has been removed. We often ruminate over a concert for days and savour the joy of its memory. Thus, although the stimulus is transient, the rasa induced is not. The ultimate rasa is ‘Mahaarasa’ and is equated with ‘Aanand bhaava’ – or one of deep joy. When the artiste and the listener reach out together for a shared moment of joy and discovery, the result is the essence or rasa of music.

The following article was published as part of a University Grants Commission Seminar.

Change is the only constant in the world today. We see and experience it aroundus all the time. It is an all- embracing term and covers various aspects, such as the physical changes occurring around us in our environment; for example, the phenomenon of global warming. Technological advances have led to several changes in our basic lifestyle. The means of communication, transport, and day to day living have all shown a steady upward growth. Even in the work place, the dynamics have changed on account of several factors. Opportunities, career options, social perceptions have all contributed to making the workplace dynamics very different today.

The social fabric of our society is, by a natural consequence, changing, evolving and metamorphosing constantly. This is reflected in our value systems, our priorities, and perceptions of not only ourselves but also of those around us, within a social frame work.

So, how does Music impact, mould, and in some ways direct these changes? To seek the answers to these questions, we would have to look at our Music on different levels, namely the literal and the metaphorical.

A. The literal level– Here we consider the various factors contained in the musical idiom.

1. The poetry or the ‘sahitya’ of our compositions. Poetry is when an emotion has found its thought and the thought has found words. The poetry in our music, thus gives a shape to our thoughts. Thoughts are what mould us, our thinking, our actions and responses. When we relate to the beauty of nature, feeling the tranquility of a sunset or experiencing the romance of a moonlit night, it fills the heart with joy and happiness. A happy thought is like a seed that sows positivity for all to reap.

2. The interplay of melody and rhythm is one of the most perfect examples of a harmonious relationship. Each has its own identity, but when they come together, a third unique and exciting dimension comes into play, enriching the components by its mere existence. It is not too difficult to extrapolate this imagery and symbolism into the inter-personal relationships that everyone in society has at various levels in the different spheres of their life.

3. The aesthetics of the Raaga: When different emotional states come together, the aesthetic flavor of the raaga comes through and makes the experience enjoyable. The unfolding of a raaga is like that of a flower blooming-a thing of infinite beauty. The mental state evoked, lingers on long after the music has stopped – leaving the listener in a state of ‘Aanand’ or deep joy.

B. The metaphorical level:

1. Within the society: We see that the ideas conveyed through Music, at the literal level, are embodied in- Beauty in the poetry, Harmony in the interplay of Svara and Laya, and Happiness and Joy in the aesthetics of a Raaga and its expression. These ideas or concepts have a universal appeal and they transcend the limitations of boundaries, borders, religion and race. This promotes and fosters peace, and understanding which can go a long way to strengthen global ties.

2. Within the family: Music, especially our Classical Music tradition, has an intrinsic element of ‘timelessness’. Some changes have happened, for example, the different way concerts are structured today. Many artistes are featured in one evening, thus leading to shorter recitals. However, the core musical content has stayed relatively unchanged. The intrinsic nature of our Music is such that, it rises above Time and Change. It is eternal. The literature of the compositions carry their own cultural ethos. The raagas still adhere to the time theory, evoking a bygone era of natural illumination, reflected as sunlight in the ‘raaga’. When this music is enjoyed by the family as a whole, there is a sense of bonding. Everyone is able to relate to it as, it cuts across the generation gap. Such bonding is undoubtedly a very healthy environment for children to grow and bloom. Communication between different generations becomes easier as the doors of understanding open up.

In conclusion, I would like to say, that, through all the changes happening in and around us, the one reassuring constant is the presence of Music. It cleanses the mind and soul and uplifts the spirits. It is the universal language of Mankind, enabling people to reach out, connect and communicate with each other. This shared happiness has and will continue to guide and steer us towards peace and harmony in the world.

It was my final year of college; the Diwali vacations were approaching. ‘I want to celebrate this Diwali in a special way” I grandly announced to my family. “After all, this could be my last year as a student’ I said. “Oh are you planning on getting married next year?’ my father teased; “No, no, she thinks she has learnt everything in life’s book of lessons” my mother said with a chuckle. I was about to rebut these comments, when my grandmother gently said “I think she has a point”. Encouraged by my grateful smile, she continued “Why don’t we do something special- let us go to the holy city of Banaras.

I have always wanted to visit the temples there, and also see the Ganga, Diwali is such an auspicious time to undertake this trip” she added. I was speechless. A pilgrimage was definitely not what I had in mind when I said something ‘special’.

‘Oh yes, there is a Music Festival at the Banaras Hindu University campus, this Diwali” my mother excitedly added.

My brother was in his final year of engineering studies at the University, so there was the added bonus of meeting him too.

Before I could rally my thoughts to counter any of these ideas gushing forth, I was presented with a ‘fait accompli’. My special Diwali had been plotted, planned and presented to me on a platter so to speak!

I agreed to the trip, with ill-concealed disdain, typical of most teenagers. The only saving grace as far as I was concerned, was the veritable feast of music awaiting us at the festival.

Banaras is a city which dares you to look beyond the obvious and discover its true charm. Initially, I was wont to look down my nose at the chaotic character of the place, turn up my nose at the omnipresent smells and dust. But I was won over very soon by the warmth and friendliness of the locals. The impromptu home spun philosophy lectures, right from the ‘chai-wallah’ to the ‘rickshaw-wallahs’ were heart warming and very profound too.

The Music Festival turned out to be everything that I had hoped for. Listening to a concert, in the early morning hours on the lawns of the music college was divine. A treasured vignette of that recital was seeing a couple of peacocks, swaying to the music, as entranced as the rest of the audience. It was like watching a Kangra painting come alive. It was Diwali day! “I wanted this day to be special” I grumbled to my mother. ‘Of course, it is going to be just that” she said. “We are going to the banks of the Ganga today”

A dozen sarcastic rejoinders sprang to my lips, but before I could say anything, with a theatrical flourish, my brother handed me an invitation. ‘Read this” he said.” A concert, at the Ganges, of the Shehnai maestro- The living legend – Ustad Bismillah Khan” I shrieked with delight.

“What a splendid surprise!” That evening, we all assembled at the banks of the Ganga. There was no stage setting to be seen. The audience was distributed among several boats tethered together, with the main boat on which, Ustad Bismillah Khan and his accompanists were seated. We were to sail down the river, listening to the maestro. Not just that, after reaching the last ghat, the main program would continue in a regular concert setting. What a unique concept!

There I was, in the golden twilight of the setting sun, feeling the breeze ruffling my hair, the melodious shehnai transporting me into another world – a world of musical bliss. Above all, it was soul stirring, just watching the gently flowing river, the famous Ganga, around which are woven so many tales of Indian folklore. The soft swish of the oars, were a beautiful counterpoint to the music. All along the banks, we could see little lamps twinkling enchantingly, and bobbing out towards the water. I learnt that in Banaras this is a ritual on every Lakshmi Puja day during Diwali.

“Oh, this is indeed so very special, thank you” I whispered to my family.

We reached the venue for the regular concert. To everyone’s amazement, a “Ram Lila” was well underway. Seeing a stage complete with all the arrangements [including an audience waiting for the shehnai maestro], a wandering theatre troupe had just calmly taken over and proceeded to stage their play. Imagine the plight of the poor organizers.

Ustad Bismillah Khan, just smiled, and shrugged his shoulders philosophically. He went on to reassure the organizers by saying that “Every form of Art ultimately has a common aim-to reach out to people and share the beauty of the form.” In fact, at Khan Saheb’s insistence, we all sat down to watch the play.

There is something positive to learn from, in every situation in life. The musical voyage on the gently flowing river had culminated with a precious message- “The journey is just as important as the destination” Contrary to my expectations, it really turned out be a very special Diwali that year.

It was a cold wintry evening in a small German town called Bottrop.I had just concluded with a Bhairavi thumri. The concert was a fund-raiser for the victims of the Gujarat earthquake- it was a concert organized by the Mayor himself, and the town hall was filled to capacity.

I was deeply moved by the care and concern of the people in Bottrop, who were able to feel the pain and trauma of their fellow human beings several thousand miles away.

A tall, fair-haired German came up to me and introduced himself as Dr. Joachim-a physician and homeopath; “would you be willing to be part of a similar fundraiser in my hometown as well?”-he asked. I felt very happy and fortunate to be part of such a venture and said so to him in as many words.

Thus it was that a few weeks later, we were in Monchengladbach- an old town on the Dutch-German border.

The concert was to take place in an eleventh century cathedral. I was stunned at the magnificent architecture.

Once inside, I gazed spellbound at the exquisite stained glass windows, the graceful soaring arches, the faint smell of burnt candles and polished wood. It was as if, Time had stood still. The serenity of the place was incredible. On a different plane, the acoustics of the cathedral were superb.

As I began my recital, I couldn’t help thinking, how interesting this was;

The unfolding of a ‘raaga’-the manifestation of an ancient culture, in a setting which stood for another tradition and culture just as ancient.

This was so uniquely beautiful. I truly felt blessed that day – my music steering me across a bridge spanning two great cultural traditions- It was indeed a grateful moment of communion with a Supreme Power, a wonderful experience and a precious memory that I will cherish forever.

The Rasa Theory was the first systematized attempt to explain the cause-effect relationship between an intangible concept like ‘emotion’ with its tangible factors. It was expounded by Bharata Muni in his treatise ‘Natyashastra’. The concept of ‘rasa’ originated and developed in the context of dramaturgy, since drama is a dynamic art form combining the audio and visual impact.

The word ‘rasa’ has three primary associations:

1. Of being the object of perception by the sense of taste,
2. Of being the ‘essence’ of anything or any being,
3. Of being something dynamic and not static.

To paraphrase the Rasa Theory propounded by Bharata Muni: “When different emotional states come together, the aesthetic flavor comes through and makes the experience enjoyable.”

There are many factors that make up the composite texture of the aesthetic enjoyment of music. However the unique and simply outstanding characteristic of North Indian Classical Music is the ‘raaga-time’ relationship. This theory has not been postulated as such, but it has stood the most stringent test, that of time. It is an accepted set of ideas that have been laid down and adhered to since time immemorial.

The raaga-time cycle starts even before daybreak. Each raaga is assigned to a particular time of the day and evokes a certain mood, related to the human mind and its dynamic relation with nature and its surroundings. Incidentally, in Sanskrit, raaga also means color.

The ‘sandhiprakaash raagas’ are those melodies assigned for the twilight hours around dawn and dusk. The major morning ragas are essentially somber in mood and devotional in nature. In our tradition, morning is a time for introspection- one looks forward to a new day, symbolizing renewed faith in God. These melodies capture the essence of abject surrender to the Almighty, entrusting Him with our dreams, hopes, fears and joys. The pre-dawn raagas have Komal Rishabh-Dhaivat combination. These raagas have a very dominant Shuddha Madhyam-perceived as an inky Prussian blue. Wherever there are both forms of the Madhyam, the Teevra Madhyam noticeably takes a back seat as it were, e.g.: Bhatiyar, Ramkali.

As the light gets stronger, the raagas become more luminous. There is a direct relationship between the mood of the raaga and the intensity of the sun’s rays. Komal Rishabh is gently edged out by the Shuddha Rishabh and raagas like Jaunpuri and Bilawal enter the scene.

The afternoon raagas can be perceived as leafy green to a shimmering yellow.

The Saarang family of raagas performed at mid-day reflect the scorching heat of the sun’s rays. The anxious hope for long awaited showers to drench the parched earth; in fact many compositions reflect this, and are in tune with nature as she is seen during this phase of the day.

The late afternoon raagas like Patdeep, Multani, and so on are restless in nature. They reflect the intense activity in the day. Teevra Madhyam, which has been faintly but firmly perfuming the ragas, not unlike a whiff of fragrance carried by a breeze, now makes its presence felt.

An interesting observation is the role played by the Madhyam Svara. In the context of the Kaal-Chakra, the Madhyam is called the ‘Adhvadarshak Svara’ – the pointer or indicative note. My guru, the late Ustad Z.M. Dagar explained this concept with a beautiful example. Bilawal and Yaman, two raagas with the difference of the Madhyam – and what a difference it makes! Like milk and curd – an eloquent analogy indeed.

Just as in the morning melodies, the Shuddha Madhyam dominates Teevra Madhyam; when the evening sets in Teevra Madhyam takes the center stage.

The sun has set – it is time for the evening raagas to soothe you with their tranquil presence. These melodies are also introspective in nature. As in normal life, one tends to recapitulate the day’s events, so also in music. It reflects a retrospective frame of mind – looking inward, reviewing the day gone past, unlike the morning ragas, which look forward to a new day.

The same combination of Komal Rishabh and Dhaivat along with Teevra Madhyam is a peaceful one. A soothing background of blue-tempered with gray. Raagas like Marwa, Pooriya, Shree belong to this time phase.

Between sunset and late night, lie the light and lyrical melodies. Raagas that are romantic in nature, joyful creations celebrating life, the spirit of living and loving. Raagas like Khamaj, Jhinjoti, Bihag, belong to this phase.

As the night advances, the raagas become more profound. They are searching creations, as if in quest of the solutions to the aura of magic and mystery surrounding the earth. These raagas have a strong Madhyam, intriguing in its inky darkness. Raagas like Malkauns, Abhogi-Kanhada, Chandrakauns are examples in this genre.

Time has turned a full cycle – we come to that phase of the night, which is full of promise of oncoming dawn. The Shudha Madhyam in combination with the Teevra Madhyam in raaga Lalit is like blue tinged with gray, like the sea before sunrise, a combination of darkness and light. The mood is once again devotional – one of faith, prayer and hope.

Just as an artist uses colors to paint nature and people, the musician uses tonal colors to paint the state of the human mind. All sound intervals are color effects, depending on the way in which the colors are sculpted.

I have attempted to convey, what of course is a purely subjective view, of the sound images that our music evokes and inspires. After all, the whole beauty of this wonderful art form is that it says so little and conveys so much. A gentle hint here, a pleasant emotion there and then it is up to the ‘rasika’ to imbibe the heady nectar of the melody.

The unfolding of a raaga is like that of a flower blooming – a thing of infinite beauty and sheer poetry. When the artist and the listener reach out together for a shared moment of discovery that is the essence or rasa of music. This shared experience, which breathes life into our music.

Padmini K. Rao is a senior vocalist of the Kirana Gharana style of North Indian Classical Music and has trained extensively under Dhrupad Maestro Ustad Zia Moiuddin Dagar and Padma Bhushan Dr. Prabha Atre.

“ Music to me is a spiritual journey into the soul and I have felt this especially in the making of Krishn—Kanhai “

The first strains of music for this collection awoke in my heart during a trip to Vrindavan, a holy confluence of spiritual vibrations, poetic imagery and the cultural heritage of India; all wedded to the tales of Lord Krishna’s boyhood and youth.

One evening , sitting on the banks of the immortal Jamuna river and watching it flowing langorously along the ghats, I felt transported in time and had a vision of the gopikas, cowherds wending their weary way home with the cattle, the introspective hour of ‘Godhuli’, the haunting melodic strains of the celestial flute.Thus ‘Chalo ri Murali Suniye’ was born.

At Vrindavan again, I was blessed to be part of a Holi played with flowers. Called ‘phoolon ki Holi’, an incredible experience of music, with the vibrant and colourful flower-petals showering upon me, I could feel the magic of Holi come alive and transcend the dimensions of time and space. I have tried to capture this magic in the composition ‘Holi Khelath hai’ , where the cascading notes of the line ‘bhari bhari mooth gulal…’ have been structured to reflect the rise and fall of the colourful gulal or abeer, showering down on the people celebrating Phagun or Spring.

For the rest,I consider this a musical homage to the elevating spiritual poetry of saints like Meerabai, Surdas, Nand-das and Kabirdas.

I am also deeply indebted to my accompanying artistes who made it possible for me to break free of the usual framework of modern musical background scores and explore the now rarely used magic of traditional instrumentation.

It was the year 1982; I was a fresh graduate in Chemistry from Bombay University- a slightly confused young lady, on the threshold of several avenues which beckoned me. Should I pursue a course as a research scholar in Organic Chemistry- my first love? Or should I throw myself into the heady, exciting and challenging world of avant-garde theatre (a brief but intensely fascinating stint with the talented Shri Jayadev Hattangady’s theatre group had thrown my well-ordered universe topsy turvy.) Or should I pursue a path in Classical Music- which has always been a guiding ‘dhruva-taara’ for me all along , steadfast but so subtle that, I, myself was not wholly aware of just how much, a life within and around music meant to me.

Our family was privileged to be part of the extended circle of love and, of course, music that surrounded the Dagar family in Chembur-Bombay. My Guru, Ustad Zia Mohiuddin Dagar, the Rudra veena maestro had always been like a father to me. I sought his counsel, to guide me through my dilemma, to clear the confusion in my mind. It was his encouragement which helped me to decide the course of events which were to mould and channelise my life in a hitherto unforeseen direction.

Thus it was that I stood, awestruck, not to mention starry-eyed in the Department of Music at the SNDT College a few weeks later. I could hardly believe that I was seated across the table from the renowned Dr. Prabha Atre, someone who I had always admired from afar, whose voice and music had held me enthralled, like countless other music lovers . I was prepared to be faced with the challenges of pursuing a course for doing Masters in Music- a daunting task for me, with my background in Science. But I was totally unprepared for the warm encouragement that Prabhaji [ as I addressed her then] gave me to take up the challenge as it were. Such a great artiste, yet so simple and down to earth and someone who took pains to put me, a total stranger, at ease, that the path began to look clearer even before I had begun the journey.

The two years that I spent at the University, laid the foundation for the next phase of my life. I wanted to be a part of the musical heritage that Prabhatai has carved out in the rich tapestry of our Music.

It was a typically wet monsoon day in Bombay, the thunder storm outside, an apt reflection to the emotions churning within me. I was once again awe-struck, a trifle nervous, when I expressed my aspirations and dreams to Prabhatai. I hesitantly asked, “Would she guide me on the journey that I wished to embark upon? A journey that would enlighten, empower and enrich my life?” Once again I was totally unprepared for what followed. Not only Prabhatai, but also her parents Aai and Aaba enveloped me in a reassuring warm cocoon of love. In fact, one of my most cherished memories is the ‘chai’ that Aaba used to prepare with unfailing regularity after every session of riyaaz.

Prabhatai’s commitment to music in all its facets has always been absolute and uncompromising. Whether it is presenting a concert, working on a composition, or imparting knowledge- the dedication is always a 100 %. This diligence regarding every aspect of music, is a very important lesson that I have learnt from Prabhatai. She has always been a very generous guru, never holding back. In fact, if the question of ‘holding back’ ever arose, it would be on account of my [and I would safely assume, each and every one of her students] limitations to assimilate and absorb from the vast treasure trove of Prabhatai’s music. Besides the actual teaching of music, she has taught us how to focus on the aspect of presentation of a concert- the choice of ragas, the sequence of a recital, gently steering us through the intricacies of our ‘Sangeet-Mahasaagar’.

It has been a rich fulfilling journey over the past 22 years,and today as we celebrate the 75th birthday of our beloved Prabhatai, I would like to quote from her composition in Yaman Kalyan : “Guru Charana Nitha Laabho Prabho, Maangatha ek hi, daan tumhi so Prabho.” This strongly evocative bandish, very aptly expresses the anchoring role that a Guru plays in one’s life. Prabhatai has been and continues to be a pivot in my life. And I feel proud, honoured and privileged to be a part of this heritage and glorious tradition.