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Patron-Musicians:- A socio Imperialism in Sikkim

Patrons-Musicians' relations has been discussed in a variety of context over the years in different disciplines. There are a wide range of study on patrons-musicians' relations in Sikkim. The studies dwell on economic interaction with music between upper caste and the lower caste. In Sikkim there are mainly three musicians caste the Damai, the Badi and Gaine who directly or indirectly provide auspicious music to other castes. However, these auspicious music makers are untouchable from whom the food and water may not be accepted. The musician caste Damai are the musicians cum tailor with whom traditional way of patronage is still alive in the countryside. This study oriented on the social and traditional way of patronage among the Dalit Caste the Damai Musicians. This study is important to understand the social interaction and social transformation of Damai musician in Sikkim. Researcher visited to the remote village of Dalits in Sikkim and study the distinct culture of musician and the way of patronage. After the peasantry become weak and the influence of modern music become strong, the loop of traditional way of patronage become feeble. Because of urbanism and modern influence in music, Damai musicians change the traditional way of patronize and become the professional. The instruments like Damaha, Temko, Sahanai, Narsingha and Jhyali they only used to play for the patrons' in all rituals accordingly in traditional way but after the education empowerment, and the caste system and untouchable means is in declining position, the Damai musicians get more opportunity to spread away. Thus, the so-called impure caste is surviving by means of music in modern ways of patronage. The lifestyle in which they are still living in remote countryside is below than the average and they are suffering from hand to mouth. Dalits or untouchable caste, from whom water may not be accepted but, plays auspicious and pure music in most of the Hindu religious festival and rituals. The orthodox society and the musician caste are still in loop, however the way of patronizing is changing, and the relation between the patron castes and the musician caste is still surviving because of auspicious and pure music among the impurity.

The Research Paper was written when appointed as Assistant Professor(Guest Faculty in Department of Music Central University of Sikkim and Published in EJMC 2020 . Following link is for full paper. 



Sam Veda - a lecture series in Indian Classical Music

Sam Veda- a lecture series -2 in Indian Classical Music

The lecture series is based on the music in samveda and its linage with few examples. It a short overview of the Samveda and its music which makes you easier to understand the major components of classical music during Vedic Period. For Detail Knowledge you may read the article published in my blog or find some good book. My effort is to through light in such a huge topic and compress and conclude within few minutes that students and learners get brief knowledge about Samgaan -Samveda  

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Acoustic optimization of Indian Classical Music Practice Room



            Music practice classroom are essential constructed and well-built spaces needed in order to acclimate music students, belonging to a classical music sector from a specific mentor, in their teaching activity. The main motive of a proper music practice classroom is to establish a uniform sound communication between Guru and Kshishya (Teacher -Student communication while rendering music), Unfortunately, in most of the institution or in the academy where music is being taught, a problem is faced by the students in learning classical music because of inadequate practice room. The acoustic design of the rooms is not appropriate that’s why high reverberation and echo is generated while singing or practicing the music instruments.  Even in the most higher education institution in India where music is being taught as a major subject have similar kind of inadequate classroom not friendly in teaching – learning of music. Most of the classroom do not ensure the quality of sound, minimum optimal acoustic comfort while practicing the music which result the noisy or reverb sound that make the music unpleasant and discomfort while singing the raga. It is observed that music practice room in higher educational institution are expected to be too reverberant, not acoustic friendly and inappropriate in practicing the classical music. Actually, in Indian classical music, structure of the classroom should be proper and acoustic friendly that the sound of manual tanpura, vocal and the accompany instruments like Harmonium, Table and Sarangi, and Violin should blend in proper way and create vibrant sound that sooth the ear of mentee and mentor. The study presents an acoustic research made in the classroom of department of Performing Arts, Lovely Professional University.  The research was conducted with analyzing the various method of data collection, data evaluation and data interpretation. Acoustic measurement of the reverb time were developed according to the existing rules and scientific measurements techniques are used to calculated the actual time of reverberation, echo and inadequate sound that was heard while practicing the classical music. The obtained results were compared with the admissible limits provided by the current regulation. 


Keywords: Indian Classical Music, Acoustic, reverberation, Classroom, teaching, students  

 Kindly Find the Full Paper in Scopus Soon 


Why to learn Indian Classical Music ...

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History of Indian Music - Lecture Series-1

     The Lecture Series deals with the origin and development of Indian Classical Music.  12 min lecture mostly covers the Vedic Period, Indian Music linage and its simple definition. Kindly watch/ listen and please suggest for the area of improvement, topic to covered in upcoming lecture series. 

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