Along with being a Tabla player. Dr. Aban Mistry was also a researcher, an academician. a social worker of music, guru, musicologist etc. She brought about an ideological revolution in the field of Tabla and her work has provided guidance to the entire music fraternity. In this book, the authors have humbly attempted to document all the work done by Abanji which would be valuable information, beneficial for students, academicians, researchers and music lovers. For this, the authors have taken the help of various books, magazines, artistes, academicians, musicologists, journalists, member of the Swar Sadhna Samiti etc. and uncovered Abanji's personality.
Prof. Gaurang Bhavsar is a Professor and Head of the Department of Tabla at Faculty of Performing Arts, The Maharaja Sayajirao University of Baroda, an institution of international repute in education. Prof. Bhavsar is a disciple of Prof. Sudhir Kumar Saxena and Dr. Aban Mistry. Prof. Bhavsar has a teaching experience of 27 years and research experience of more than 25 years in the field of Music Tabla. He has successfully guided many doctoral students and currently many more are pursuing doctorate under his guidance. He has also guided more than 75 MPA students for their dissertation. He has authored two books and has more than 70 publications in various journals. He has had the privilege to perform at various forums at International, National and State level. And has also been a recipient of various awards for his contribution in the field of Music-Tabla. Prof. Bhavsar is associated with the academic bodies of various Universities at National level.
Dr. Chirag Solanki is working as an Assistant Professor in Performing Arts at the Department of Vidyaniketan, Children's University, Gandhinagar, a reputed educational institution working for the holistic development of the society and future generation. He joined Children's University in the year 2021.
He has done Bachelors in Economics, Bachelors and Masters in Performing Arts-Tabla and Ph.D from The Maharaja Sayajirao University of Baroda. He has also been awarded with Junior Research Fellowship by UGC in the Year 2016.
Dr. Chirag Solanki started his professional career as a freelance artist (percussionist) and has performed in more than 500 concerts on local, state, national and international platform. He has toured as a successful musician in countries like USA, Australia, Oman, Africa, Europe etc. Since 2018, Dr. Solanki had stepped into academics and joined as an assistant professor at the Department of Tabla, Faculty of Performing Arts, The M.S. University of Baroda and continued for 3 consecutive years in the same institution. He has 04 years of teaching experience, 05 years of research experience and has penned 07 publications in various journals. Other than his academic and professional career, his association and interest in various co-curricular activities like Sports, Singing, Student's cultural activities, Social work etc. has enhanced his usefulness as a teacher and teacher's educator.
The introduction and prelude to Indian classical music can be found since the pre-historic times. The association of percussion instruments with the inception of music can be seen since the Vedic times. This tradition has travelled through centuries and is preserved with us in the form of our heritage. With changing times, percussion instruments like Tabla, gharanas and artists playing the same have gone through an evolution. Along with their propagation and promotion, innovations took place. Because of this, music evolved into new forms which was separate from the Margi, Deshi, Classical and Folk Music which was prevalent. With the evolution and progress of music, the tradition of artists also evolved and these artists had great devotion towards their gurus and traditions and they worked very sincerely. These ethics were carried forward in the tradition of Tabla as well. After considering all the above things and studying different topics like traditions, personal attributes, compilation etc. the authors have thought about penning on an aspect of Tabla Guru that has not been explored or touched by anyone else. The authors have decided to do a prime documentation through research on India's First Lady Tabla Player-Dr. Aban Mistry.
Along with being a Tabla player, Dr. Aban Mistry was also a researcher, an academician, a social worker of music, guru, musicologist etc. She brought about an ideological revolution in the field of Tabla and her work has provided guidance to the entire music fraternity. In this book, the authors have humbly attempted to document all the work done by Abanji which would be valuable information, beneficial for students, academicians, researchers and music lovers. For this, the authors have taken the help of various books, magazines, artistes, academicians, musicologists, journalists, member of the Swar Sadhna Samiti etc. and uncovered Abanji's personality.
This book is divided in four chapters, wherein the authors have talked about the traditional disciple lineage of Farukhabad Gharana till date, Abanji's family, her education, establishment in the field of music, Abanji as a performer, as a researcher, as an academician, as a guru, as a composer, as a national personality etc. based on interviews of various scholars and journalist, newspapers cuttings, audio recordings, photographs, awards, Swar Sadhna Samiti programs and souvenirs etc.
Indian society and culture are religion-centric. On studying any aspect of Indian culture, it is found to be affiliated to religion. Music has also not escaped the influence of this special feature of Indian culture. It is for that very reason that the ancient seers and scholars of Indian Music have termed it as the Naad Deva and have shown its origin to have been at the hands of the Creator, Lord Brahma. This knowledge passed from Brahma to Shiva to Mother Saraswati and Narad Muni. They, in turn, passed it on to the Yakshas, Gandharvas, Kinnaras, and Apsaras. Thereafter, it was learnt by Bharata, Hanuman and other rishis, through whom it reached to the Earth.
Music is an integrated form of gayan, vaadan and nritya. Studying all of these three art forms lead to the realisation that Swar and Laya are the pillars on which all of these arts are supported. These two are sophisticated forms of Naad and Gati. Despite being subtle, the cycle of Naad and Gati has been ongoing since time immemorial. All transactions in the universe depend upon these two elements. Both of these elements have a deep bond with Music, having donned the form of Art, they have entranced the entire world and the Universe with its charm. The mobile and the inanimate, animals, birds, children and youth, men and women and all other life forms-none have escaped its influence. This entrancing energy of Music contained in Naad and Gati is the seed that gave rise to the world. On imbibing Swar and Laya within his own person, Man experiences the highest contentment.
On account of their sophisticated sensibilities, human beings were able to clearly outline the difference between them and other worldly creatures and create a form of beauty that was different from the beauty of Nature called Art. In Art, Philosophy, Knowledge and Science, the prevalence of the unknown always keeps curiosity alive. Unravelling the unknown by the power of knowledge is the goal of the best principles in Art.
**Contents and Sample Pages**
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