|| Prabha Atre || Her Interview || Article on Her ||
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1. What brought you to music?
   Not coming from a musician's family, I do not have any family background of music. Nobody even heard classical music in my family. It was, however, my father who insisted that we participate in all the extra-curricular activities of the school. Singing was one of them. But I was not taking regular classes as such. It was, in fact, my mother's illness that brought music into our house. She used to keep brooding over her illness. She could have hardly had four to five lessons, when she declared she did not want to learn music. So, instead, I continued. I had already picked up a few tunes sitting by my mother's side.
    
   

2. You are a full time musician now. Did you plan things this way?
   Neither my parents nor I had planned things this way. I think, I was destined to be a musician. It came to me naturally. People started liking my music and they also offered remuneration for it. After my college education I joined the All India Radio in 1960. I resigned from there in 1970 and took to singing as a full time profession. However, in 1979, my interest in the academics of music led me again to join the SNDT Women's University in Mumbai. I worked there as Professor and Head of the Department of Music till 1992. My work at the university did not affect my singing, since most of the concerts were held on weekends. I believe that a good performer needs to study and experience music from different angles. My association with the All India Radio and the SNDT University has enriched my musical thinking immensely.
   
   

3. From whom did you learn music?
   I learnt classical music initially from Shri. Vijay Karandikar in Pune. Then, I went to late Shri. Sureshbabu Mane and Smt. Hirabai Badodekar, the famous musicians from the Kirana school for advanced training. In 1960, my association with Shrikant Bakre, a senior student of Ustad Amir Khan exposed me to the late Khan Saheb's style, which brought major changes in my musical thinking. I am equally indebted to Ustad Bade Ghulam Ali Khan for my thumri. Although I have not learnt from him, my thumri has its roots in his style.
   
   

4. How did you manage to go to Sureshbabu Mane?
   One has to be very lucky to get a guru like Sureshbabu Mane. After listening to my music a friend of my father suggested Sureshbabu's name. My father hesitated, thinking that he would not be able to afford his fees. But his friend said that if Sureshbabu liked my voice, fees would not pose any problem. The great day came and as Hirabai and Sureshbabu sat before me, I sang a raag first, then a thumri. After that, I waited with a cloud thickening in my throat till Sureshbabu murmured: "I will teach her". I was only 14 then.
   
   

5. Will you throw light on Sureshbabu's method of teaching?
   Sureshbabu always looked for quality and originality. He made me practice raag Yaman for one whole year. One day I begged him to teach me something else and he asked me if I was fully conversant with Yaman. I could not say `yes’. He laughed mischievously. He believed that the full command on a major melody like Yaman would render simpler the comprehension and the appreciation of other raags. He was so right. After having learnt Yaman, I had practically no difficulty in learning other raags. At times, Sureshbabu taught me only the `aroha-avaroha' and `pakad' of the raag and asked me to develop the melody. He never asked me to imitate. On the contrary, he encouraged me to compose new patterns. He made me independent, different, creative
   
   

6. In what way did Hirabai Badodekar's training help you after Suresh Babu's death?
   Hirabai was at an unparalleled peak then and I accompanied her on all her frequent concert tours through the length and breadth of the country. The exposure was very good for me and I was able to pick up the finer skills of presenting my music on stage.
   
   

7. What was your first performance like?
   In Maharashtra we have a tradition of Ganesh Festivals where I first sang… this was several years back may be over fifty years ago… you were probably not born then… (laughs). I started singing at the festival regularly after which I got invited to sing at several concerts ... that was how it started.
   
   

8. What were you feeling before the concert, was there any nervousness?
   I think there was… For an artist, I feel the first few minutes before a concert are the most trying. One is generally nervous at the start… gradually one overcomes it and sings without worrying too much. But the start before an audience is always a slightly anxious one.
   
   

9. What are the distinct musical qualities of the Kirana gharaana?
   For a layman, Kirana's sweetness of tone creates a general soothing effect on mind and evokes emotions that are not mundane. The voice straightaway hits the heart. You can feel goose pimples on your body, as a result. There is no need to know `shastra' to enjoy Kirana music.
   
   The style is characterised by step-by-step unfolding of the raag structure. The notes have peaceful movements in the taal structure. Each note is dipped in emotion and as such, involves even a common listener in music making. The essence is serenity with sweetness. In a way, Kirana has a withdrawn, introverted style, there is nothing showy, sensational.
   
   

10. How would you describe your music?
    The base of my style is very much `Kirana', but it has a modern context. My thinking has been enriched by practically every kind of music, Indian to non-Indian from all over the world. Secondly, because of my strong academic background, training and experience, I do not accept anything blindly in the name of tradition. Objectivity, analytical ability, modernity, sensitivity and selectivity are some of the things that surface in my music. Well, you can notice the following things in my music:
    - tonal beauty, notes charged with emotions.
    - variation in tonal texture in addition to variation in volume to project emotional content. 
    - ample use of `kan' swaras and long smooth glides in alaaps.
    - uncommon - simple and complicated - yet beautiful phrases in the context of raag structure and specific form such as khyaal, thumri.
    - interpretation of the raag on the basis of tradition and logic.
    - proper balance between tradition and modernity.
    - design, clarity and speed in taans.
    - emphasis on sargam phrases.
    - strong affinity towards Carnatic music (raagas and gamakas).
    - complementing literary themes in badaa and chota khyaal in the same raag to maintain the mood of the raag.
    - clarity in the pronunciation of the words.
    - keen aesthetic sense and emotional richness.
    
    

11. What are the important ingredients required for a musician vocalist?
    For a vocalist, the main asset is voice. If the voice is not good, he may face instant rejection. It is like looking at a beautiful face and getting attracted without knowing the quality of its head and heart. Of course, the natural voice needs to be cultivated further.
    
    Good breathing control is another important factor. Good tone and good breathing together can do wonderful things. The moment the artist thinks about an idea, he can present it with great ease. Voice is the only tool through which he can build his musical structure and good breathing is the backbone of good voice.
    
    Good pronunciation of the words and effective, proper projection of their emotional content are yet additional ingredients. Words help to a large extent in taking classical music to a lay listener. He perceives music through words and their meaning. The abstract quality of classical music takes on concrete meaning through judicious use of the words in the development and elaboration of the raag and form.
    
    The singer has to update himself continuously and relate his singing to the contemporary scene. Although Indian music encourages blind imitation of the tradition, it also expects one to go beyond this stage and have his stamp as a creative artist different from his teacher and contemporaries. Sufficient insight and maturity is necessary for this.
    
    

12. You are a professional singer, what makes you to take academic work?
    Thinking about different aspects of music stimulates my creativity in performance and academic study stimulates thinking.
    
    

13. How did academic background help your musical thinking?
    It has helped me to look upon music with open eyes.
    
    It makes me examine critically and objectively the various things that are offered in the name of tradition and also helps me to seek in terms of our own times, the new meaning appropriate to what has come from tradition.
    
    An academic background also helps in giving a broader perspective of the subject. In this mechanised age, we have defined many distinctive fields of study and thought. Although each is confined to its subject or topic, still each does bear a certain relation to many other fields. In case of music, it relates to psychology, sociology, philosophy, physiology, physics, acoustics, aesthetics, poetry, etc. Thus, music needs to be studied and understood from different angles. Only then can one have a complete experience of music.
    
    

14. What prompted you to work for a Ph.D. degree?
    When one works for such a degree, one touches upon many points which one normally might not think enough about. I, in my own way, would like to reduce the gap between a performer and a theoretician.
    
    

15. What made you choose `Sargam' for your doctoral thesis?
    The credit goes to our music critics. Most of the critics, especially in Maharashtra state, objected to the use of `sargam' in vocal music for various reasons. This made me think about the different aspects of `sargam' - its origin, its development, its utility in training, its potential in bringing variety in musical material and enriching overall expression of stage performance; its various styles of rendering, etc.
    
    

16. Performers do not generally like to teach. Why did you take up a job at the SNDT University?
    I joined the SNDT University because of my strong interest in the academic study of music. Also I honestly feel that teaching makes performance a conscious activity. It makes me think about the practical as well as theoretical aspects of music. One has to be clear in one's mind about the why and why not in music in order to be able to satisfy the probing questions of the modern generation. The content of what is taught and performed and its relevance to the tradition on one hand and the changing times on the other has to be constantly reviewed. In a way, a performer is also a teacher. He teaches the masses how to listen and what to listen for. He cultivates their taste indirectly. Performing and teaching can be complimentary.
    
    

17. What do you think of music education in India?
    Whatever music education is there - private or institutional, is not always being done quite properly.
    
    I am a professional singer, a product of the traditional guru-shishya system. I have taught privately for many years and for 13 years I was actively involved with institutional teaching. I find that both the systems lack-in something because they take a singular approach. In guru-shishya system, the accent is one the performance while in institutional system, the stress is on the academic study of music.
    
    The traditional guru-shishya system needs to be supplemented by an enlightened theoretical education and the institutional system must make provision for individual training in performance. We have also to think about mass education to train listeners.
    
    There are many aspects of music that have been ignored. A satisfactory education must offer a wide choice of activities. Again, it has to be job oriented. Only then, we can expect more people to get involved with music seriously.
    
    

18. What is your experience with the Universities abroad?
    During my teaching assignments at the Universities abroad, I was exposed to research work and methods which encouraged new ways of thinking about a musical culture and which included a kind of objectivity, analysis and communication. Unlike musicians in the West, who have generally equally well developed skills in theory and performance, musicians in India tend to remain passive, even scornful towards, an academic approach to performance, because they think it has no practical value. By and large, the guru-shishya parampara has also encouraged this attitude by demanding blind submission to the guru's authority. Unfortunately, even if musicians are thoughtful, their lack of communication skills and formal theoretical training in music prevents them from effectively expressing their ideas. Hence, the typical image in India of the uncommunicative musicians.
    
    

19. Are you happy with your students? 
    The old guru-shishya relationship does not hold good any more. Today, guru is not the only source of knowledge as he was some years ago. The advance technology has converted music into a saleable commodity. One can see markets flooded with a large variety of music. Then there are scholarly books on the theoretical aspects of music, music classes and academic music institutions offering degrees in music. By using these aids, a talented student can achieve a certain level without going to a guru.
    
    There was a time when student had to go in search of a good guru. Under the present circumstances, it is the guru who is in search of a good student.
    
    I have had both good and bad experiences from my students. Well, one has to be fortunate enough to get good students - students who are faithful, have a good voice, are intelligent, hard working, dedicated and committed. The sole objective of the learner today usually is to gain quick returns, fame and money by performing on radio, TV, bringing out cassettes, etc.
    
    When the guru gives his lifetime's learning, experience, time and energy, the least he expects from his student is that he will be given his due credit, especially when the student performs on stage. I know people who take names of fancy/famous gurus under whom they have not learnt -- learning one or two compositions is not learning in the real sense - just to promote themselves. Conversely, they would not think of mentioning the real guru's name, even if he has slogged years together to mould them, unless they felt they would benefit from such a mention. This, I think, is unfair and hurtful. If a student cannot bring any credit to his guru, the least he can do is not to hurt him.
    
    However, I agree, there are teachers who exploit students.
    
    I also feel there is no harm in learning different types of music under different gurus at the same time only if necessary, but it should not be done in a clandestine manner. But here, I should like to say that just as one should not take treatment from two doctors for the same ailment at one time (for his own benefit too), one should not learn the same music-form under two teachers at the same time unless he has mastered one style completely and is mature enough to decide what he wants. It is also a matter of ethics.
    
    

20. Why is classical music not very popular?
    First of all, we must realise that classical music is not the music of masses. It is a product of a more deliberate aesthetic shaping process. A lot of thinking and experimentation has gone behind its formation. To expect classical music to become as popular as film music would be wrong.
    
    Secondly, to be able to appreciate classical music, one must understand the musical meaning of music - the meaning of pure sound and rhythm patterns. To do this, one needs background, study, contemplation. The common man has no patience for this. He naturally turns to light music, which is word oriented, rhythm dominated and less of pure musical improvisations. This music is simple, full of emotions and has catchy rhythm.
    
    Thirdly, classical musicians tend to give more stress to technique, thereby making music dry and lifeless. They forget that technique is only the starting point. Music has to go beyond technique and identify itself with life, with nature, with known and the `unknown'.
    
    

21. How could classical music be popularised?
    I take it that this question does not mean that the attempt is to attract lovers of popular or film music to switch over their taste to classical music. Classical arts are always going to be appreciated by restricted audiences, because people differ considerably in their abilities. With proper measures, the size of the audience can be increased, but it will never compete with pop audience. While seeking for a way to take classical music to the masses, actually the issues to be considered are its changing patronage and the conscious active participation of mass media, music education and support from private and Government cultural institutions. Certainly, we can start with a compulsory cultural training in schools and colleges. This will develop a wider perspective of life and promote better understanding among people for the classical arts.
    
    

22. What is the future of classical music?
    I have no doubt that classical music will live in some form or the other because it embodies purity, divinity, unity, sensitivity and beauty; it has that abstract quality which makes it comprehensive, known and `unknown'. Today's most popular form - khyaal, representing classical vocal music has been changing and adapting itself to meet new situations, to cater to new demands. The new wave of `free expression' that has entered the field of classical music has affected khyaal considerably; but its fight to survive as a separate aesthetic form is really commendable.
    
    

23. What purpose do the `All India Music Conferences' serve?
    I am not sure whether they always serve useful or wholesome purpose. The conferences have created economic problems (publicity, high fees, etc.,) affecting our traditional chamber music concerts or mehfils which have not been merely venues of entertainment but also workshops where music is being made and revitalised by the mutual response of the musician and the audience. Instead, these conferences seem to foster the commercial elements (showmanship, playing-up to the gallery), so often dominant in our music today. That is why, I prefer to sing in mehfils.
    
    

24. What do you think of today's audience of classical music?
    The patronage of arts has passed from princes and aristocrats to the common man and commercial institutions. The new audience comprises common man, whose taste is cultivated by popular music. He is more demanding and less patient. The popularity of film music in general has brought with it a number of problems and responsibilities for the classical artist. The musician is expected to be well versed in all aspects of the art. He has to be proficient in practically all the forms -- khyaal, thumri, bhajan, etc. He must be able to hold the interest of his listeners somehow.
    
    

25. What made you to go abroad?
    Pandit Ravi Shankar has done a great work in introducing Indian music to foreigners. But what they heard was mainly instrumental music. A full concert of vocal music was a novelty to them. My attempt was to expose them to the beauty of vocal music, which is the soul of Indian music. Probably, I am the first woman Hindustani classical vocalist who toured extensively to give full-length concerts in the West. 
    
    

26. As a musician, do you feel it necessary to get acquainted with the music of other countries?
    Our technological age is continuously bringing us closer and closer. The new consciousness of being the citizens of the world, the common world heritage, has taken us to a common platform. In recent years, therefore, our interests have become increasingly international in scope. We have to make sincere attempts to understand each other not only for smooth and better living, but also for survival with identity. Listening to music from other countries has inspired and stimulated my thinking, my creativity in music. It has also helped me to establish better rapport with non-Indian audiences.
    
    

27. What is the reaction of the western audience to our music?
    By and large, people there are very appreciative. The discipline and receptivity of the audience is something that has to be seen to be believed. They are very sincere listeners.
    
    

28. Between classical and light, which type of music do you like to sing?
    I love both, they are complimentary to each other. In classical music, there is a lot of freedom for interpretation and individual expression. In lighter varieties, one is tied down to the words and the emotional content in them. Music comes here to beautify the words. It has no independent existence. I sing khyaal, thumri and bhajans in my concerts and even ghazals in private sittings. It's nice to be able to sing different forms. Each has its beauty, demands, audience.
    
    

29. There are few singers today who sing khyaal and thumri well. Besides, you don't sing the Kiraana thumri which has typical Maharashtrian accent. Your thumri has a North Indian flavour and Prabha Atre stamp. How do you explain this?
    Everybody cannot sing thumri because it demands a certain versatility in voice modulation, a sensuous emotional expression, suitable temperament and imagination. Strangely, I never had any formal training in thumri and lighter varieties such as geet, ghazal and bhajan. When I was young, I have listened to Bade Gulam Ali Khan, Roashanara Begum, Begum Akhtar and film actress-singer Noorjahaan. I like both Punjab and Purab styles. Besides, my interest in other kinds of music has also enriched my thinking and expression. My strong background in classical music has also proved to be an asset in the elaboration of the thumri-text. Clear diction, expressive voice, neat and compact presentation and certain amount of sophistication give my thumri a modern flavour and set it apart from the thumri rendition of the courtesans.
    
    

30. You are a classical singer. Do you listen to film music or pop or disco music?
    To me, music has only two categories - good and bad. As you know, all classical music is not good; similarly all film music is not bad. Our problem is that we are conditioned in our listening habits. Film music has widened the scope of Indian music. It has projected a different side of Indian melody and has given birth to Indian `harmony'. The variety film music has presented before us in terms of tunes, instruments, rhythms, tonal textures, expressions, etc., is amazing.
    
    I agree that pop and disco music is very `loud', at times noisy, but it has made even common man turn to music. I am sure eventually, this form will mature and make people aware of the beauty of sound and rhythm. In fact, what we should be doing is to exploit these light forms to propagate classical music.
    
    

31. You are a known composer, when did you start composing?
    I discovered my ability to compose when I worked in the All India Radio. In the beginning although I composed out of necessity, I soon got interested, almost obsessed with the composition work. It was a new challenge to my creativity. It is really a great advantage to be able to compose. I think it is necessary to have a composition, which matches with and suits your style and temperament. It is wrong to mutilate somebody else's composition to suit your requirements.
    
    

32. Why did you leave your job at the All India Radio? Didn't you like your work there?
    On the contrary, I loved my job at the AIR. It got me involved with different types of music - from folk, film, light to Carnatic music. It also gave me considerable exposure to western music. Secondly, as radio is purely a microphone media, I realised the importance of voice culture and acoustics in tonal quality. Thirdly, it gave me an opportunity to conceive and produce new programmes, to learn the techniques of recording and editing; the required technical equipment and other facilities being easily available, I could experiment there. I do miss working on these areas, but then, one also looks for variety in life and betterment of oneself. Thus, after working there for 10 years, I opted for being an independent singer.
    
    

33. What prompted you to write `Swarmayee'?
    Like teaching, writing on music is also complementary to performance. It brings clarity and precision in one's thinking and action. I have put down my thoughts and views in the form of articles. My articles have been on various musical themes written for different occasions. `Swarmayee' is a compilation of some of the articles. I was simply thrilled when this book got the Maharashtra State Government award in 1989.
    
    

34. You have another book `Swaralee' in 1992. What is it about?
    It is again a compilation of some of my articles.
    
    

35. There are very few women music composers in classical and light music. You are one of them. Have you published your compositions?
    `Swaranginee' was published in 1994. It comprises of 200 compositions covering khyaal, taraana, thumri, daadra and bhajans. Very soon there will be 2nd volume of Swaranginee.
    
    

36. Being one of the best, finest musician heard, how is it that you are the least recorded artist commercially? Similarly with your public concerts, radio and TV programmes.
    I am not a career-oriented artist, although I have taken music as a full-time profession. I have stopped regular broadcasts on Aakashvani. Similarly, I don't go for TV programmes. Radio, TV people keep phoning me on various occasions, but I keep postponing. I will not be surprised if they misunderstand my indifference for something else.
    
    I worked with the All India Radio for 10 years. I worked as Producer-Director for Swarashree Recording Company for many years. But it never occurred to me to use my positions to project myself. I have lost many opportunities like this from career point of view. My admirers feel bad and blame me for this. But I am made differently.
    
    Temperamentally, I am most comfortable and happy communicating with my audience - singing in a mehfil. Without publicity who would know about my activities and achievements? In spite of this, I have been able to survive in the field fairly well -- and that too without much publicity.
    
    People keep telling me that `it is the need of time that one has excellent public relations and good knowledge of marketing technique. One has to be in the lime light all the time. Who has time to find out what you are doing?' I think there is some truth in this. You need a different `sadhana' for this. I am not at the beginning of my career. So it does not matter now. What matters is I sing well.
    
    

37. Of late have you recorded commercially or have you brought out any books?
    There are a couple of albums I have recorded in the past 2-3 years which have been released by N.A. Classical Audio Cassettes Ltd., Ninaad, and being marketed by B.M.G. Crescendo India Ltd. In 1997 `Antahswar' a book of my poems in Marathi was published. My poems are an extension/expression of my singing. Most of them express my musical experiences. In 2000 a book in English `Enlightening The Listener: Contemporary North Indian Classical Vocal Music Performance' was published which is accompanied by an audio cassette. The idea is to reach out to a larger audience/readers and make them aware of the finer aspects of classical vocal music.
    
    

38. What do you think of music as a career for women?
    We are a modern, democratic nation. Nationalism and renewed interest in the traditional values were important aspects of the 20th century. Arts have acquired a new dimension in today's age of science. This new consciousness gets expressed in the way music and musicians are respected in the society today. However, since the family unit is the primary cell of Indian society and the role of women is still that of wife and a mother, her career would have to be fitted into the duties of home, which call for quite a bit of compromise.
    
    The status of women has improved considerably, our society's attitude towards women in performing arts is also changing. However, there are difficulties of the profession itself. For instance, there is no security. One has to be patient, hardworking and prepared for sacrifice. I think that only with sincere love towards music, can one hold on to this profession.
    
    Commercial element which has entered into the music world today has also created new problems. Public relations and publicity have become the most important part of the profession. A woman musician surely has problems unless her family members - father, brother, husband, son, friends help her in PR work or she takes help of some agency.
    
    

39. It must not have been easy for you to make a career in classical music?
    You are absolutely right. First of all, I don't have any family background in music. Nobody in the family had listened to classical music. Then, my guru Sureshbabu Mane died early. Hirabaiji also retired from the performing field early for health reasons and most important of all, I have no God father.
    
    Secondly, this field has changed considerably. Public relations now play an important role in publicity and image building and temperamentally, I am not a very social person. Under these circumstances, I had to struggle hard having no support at all. Of course, my listeners have always been with me. It is only on their unflinching support that I have come this far.
    
    The words and letters of praise of my listeners are a great treasure for me. I feel encouraged when I see them taking notice of my work in the field. I am very happy with my audience.
    
    

40. What do you think of newspaper criticism?
    Although a recent development in the professional world of music, being a part of the mass media, newspaper criticism today has become a powerful means of publicity and, therefore, one can imagine what important and crucial role the critic plays in the shaping of public opinion about an artist and his art. It is a sad situation that with the working knowledge of music and writing skill, anybody can become a music critic today. We don't realise that music criticism is a discipline and needs a special training. In fact, only such academically oriented candidates should be employed by the press.
    
    Unfortunately, the importance of serious criticism is realised by few. Authority, sincerity, sense of responsibility, awareness of changing times, practical experience, honesty and objectivity are some of the things one looks for in criticism. The main difficulty is that there is absolutely no rapport between the performer and the critic.
    
    There is a great danger that the future scholars of music might look upon these reviews as source material for their research work.
    
    

41. Have you any regrets?
    This question has two facets.
    
    It is nice to be able to sing and share that joy with others. It's equally nice to be able to enjoy good music. Music has opened before me an un-describable beauty of sound. This beauty cannot be compared with anything around in the world. I think music has given meaning to my existence. It has made me look inside, helped me meditate and go close to that `unknown'.
    
    Well, when you look at music as a profession, to be in it is not a very happy situation. It is no more merit-oriented. Publicity has assumed unthinkable dimensions. Public relations, image building are directly related to money, fame, awards and many other things. You have to learn to blatantly promote yourself to sell, say like any other commodity in the market.
    
    

42. Don't you find it strange that despite your acclaimed and well acknowledged accomplishments as outstanding performer, composer, academician, teacher and writer you have figured in the list of Government awardees very late? Also you are not a regular member of the Government delegations sent abroad.
    I wish we all know the basis or the norms the expert committee follows for preparing their list of awardees and in selection of delegates sent abroad on official tour, etc.
    
    I agree that from career point of view continuous exposure through mass media, Government invitations, awards, etc., are very important. But temperamentally, I am not very social, career-oriented. I am most happy when I do my riyaaz, when I sing for my listeners. Talent and success do not always go together. God has given me a precious gift -- music. Listeners are my biggest award. When it comes to material gains, I take an attitude of wait and watch.
    
    

43. You have a lot of achievements as a teacher, academician, singer, composer and writer. What steps have you taken to document them?
    As I have already told you, I am not a career-conscious artist. I haven't kept any record of my activities/achievements. Its going to be a great research work - even for me to collect the material and arrange it serially.
    
    

44. Don't you feel that if good performers don't take the lead to educate the audience and perform, there would be a loss to the art world and at the same time mediocrity, gimmickry in music would take over and be recognised as best?
    I wonder if our artists are conscious of their responsibility towards the society. At least we can inculcate taste for good music, we can make our audiences aware of good and bad music. `Survival of the fittest' is applied to music also. But to realise that `fittest' is not necessarily the `best', will take time. For that we need to think about music education for general public. We need to introduce music in our general education right from kindergarten.
    
    I in my small way, am educating the audience through singing, teaching, writing.
    
    

45. Today the number of artists creating new raags is far more than it was before. Is there so much dearth/need for them? Have you composed new raags?
    The scope/freedom a musician gets in Hindusthani music to create `new' in already existing raags is unlimited and unparallel. And we already have a vast treasure of traditional raags and their compositions. Creating `new' in existing raags is more difficult than creating new raags. However, it is the artist's need and each generation has added new raags which have stood the test of time.
    
    I have also composed new raags and new compositions in traditional raags because I wanted to communicate something different. I am glad my listeners have liked these raags and compositions.
    
    

46. One finds in your music a lot of influence of Carnatic music. Have you had any formal training?
    I was exposed to Carnatic music when I was working in the All India Radio. I was very much impressed by their gamaks and sargam rendition. I wish I had some formal training in Carnatic music. It would have made my understanding of it easy.
    
    

47. Should there be standardisation in the content-structure and teaching methods of Hindustani music as it is in Carnatic music?
    Personally I feel that there should be standardised, formal structure for any new student aspiring to learn music. Later on it should be left to the guru and the potential of the student. At present, I am working on the standardisation of the material to be taught to the beginner which will help him understand sur, laya, improve his voice range, thinking and skills.
    
    

48. Should Indian Classical musicians do fusion which is catching on?
    The fact that fusion is catching on reflects on us - the listeners. In today's commercial world, music has become a saleable commodity. Perhaps, it is the need of the time, and that is why, Indian classical musicians are drawn towards fusion. There can be various other reasons also in addition to `creativity'. Fusion in itself is not a bad music. We must give it time to evolve and mature. I only wish that musicians involved in fusion help popularise good classical music. Every form of music has to stand the test of time. Let us wait and see.
    
    

49. Is live-audience for music of the classical sort dwindling? Where does Music Today and Spic Macay stand in their contribution?
    It is true that the audience factor has become unpredictable. Tickets, no tickets, upcoming artist or senior popular artist -- you cannot make any equations. This is true for films also -- a very popular medium.
    
    Spic Macay and Music Today are definitely making efforts to educate listeners. But this is not enough. Music must become a part of our general education. There has to be a provision for mass education.
    
    

50. Can a raag like Darbari be sung or played in 14 minutes. Do you feel this is far, far too short?
    It is not the length of time that brings out the essence of a raag. We have recordings of old masters wherein they have sung or played raags effectively in 4 to 5 minutes.
    
    

51. Music companies aren't serious about their job?
    Recording companies aren't charitable organisations. They want to make money. If consumers fail to do their job seriously, we cannot blame them. Listeners like variety in terms of artists, raags, themes; so they get exploited; different combinations under different titles.
    
    

52. Should there be corporate sponsorship?
    Without corporate sponsorship, how are organisers going to pay artists' fees running into lakhs? Are artists willing to accept what comes through only tickets? It's a vicious circle now with no immediate solution.
    
    Today one has to work systematically, consciously to become a popular star artist. Talent alone does not give one that position.
    
    Corporate bodies are sponsoring only a few top musicians because they are doing business. They have not only spoiled our artists and audiences but have also brought in commercial element in music. Artists are asking for more and more money and audience don't want to pay to listen to classical music.
    
    

53. Should classical artists do films?
    If one is talented, one can do many different things. Why only films?
    
    

54. Do you feel that adhering to a gharaana may cramp an artist's style?
    When I was learning there was no choice, but adhering to the system. Today artists have more exposure. My teacher however was very generous and broadminded. He allowed me to imbibe from several styles as I listened to several great artists like Gulam Ali Khan Saheb, Amir Khan. I don't believe a gharaana necessarily cramps an artist's style, but at the same time one shouldn't shut himself from other styles. There is a lot to learn from exposure to other styles as well.
    
    

55. What do you see as the significance of the gharaana system?
    See… what is important is that one should have a good base in music. Once the student imbibes significant features of one style, he automatically gets a good foundation for further development and creativity. Only then I believe it is appropriate for him to get exposed to other styles. But the basic foundation must always be prepared by learning under one teacher. This is where I believe is the significance of the gharaana system.
    
    

56. Is there any particular feature of your singing that you believe you need to give to your students that might have been given to you by your own teachers?
    As far as my teachers were concerned, it was rather unfortunate that I lost them very early in my training period and I had to be on my own. However, I was always in touch with music at the All India Radio where I worked, or by listening to records and concerts… that never stopped. This conscious listening help me grow. As far as teaching my students today is concerned, I always make it a point to give them notations of the phrases and compositions that I teach, that is a luxury I did not enjoy as a student. Moreover, there are other tools like recording a class, which I also encourage. Teaching and learning both can be made simpler today because of these techniques.
    
    

57. What is the greatest challenge for you as a performer of classical music?
    Classical musician has to face audience, the members of which are at different levels in terms of understanding technical aspects. He has to reach to all of them - critics, musicologists, lay listeners etc., and make them participate in the creation of music. I believe this is the challenge for a classical performer.
    
    

58. It is often believed that to be a classical artist one must be single-minded in the pursuit of the art to make it as a professional. However, since the field is so uncertain, do you believe that it is important to hold an alternative career option… isn't it practical to do so?
    It is always nice to have an alternative. It leads to an added sense of security. However achieving excellence in the desired field requires 24 hours dedication and sacrifice expecting no returns. I think this applies to all other professional fields also.
    
    

59. What do you consider your most significant achievement?
    The fact that I am able to sing is what I consider my most significant achievement (smiles). The joy of making good music and passing on the joy to my listeners is what I feel very good about. Receiving awards is a good feeling… but that is only because I am able to perform. Therefore being able to perform on the concert platform is what I consider the most important thing.
    
    

60. What is your favourite composition or raag you like rendering?
    If I enjoy a raag I take it up almost in all of my concerts for several months… after which I don't sing it for a long time. However, in terms of what I always enjoy singing… (pauses)… I think Yaman is a melody that I'm very fond of. Not only because it is beautiful in itself but also because I have very fond memories of myself as a young student of music, as this was one the first raags I learnt from my gurus. I always enjoy rendering compositions in Yaman for the fond memories of my student days that I associate with it. 
    
    

61. What is your average day like?
    I get up around 5.00 A.M., do my pooja and sit with my taanpura. Then, a couple of students, little housework, incoming phone calls, correspondence, reading, listening, watching TV, visitors, some students, more music, cooking etc., and then bed-time. However, everything I do is connected with music. I believe that music is a 24 hours job.
    
    

62. Are you religious minded, inclined to performing poojas for instance?
    Yes, I worship Lord Shiva (Khandoba), Devi Durga (Ambabai) and Lord Ganesh; and of course, Devi Saraswati and Lord Krishna. I like to visit temples and ashrams and sing there. It gives me great peace, satisfaction and strength.
    
    

63. What are your future plans?
    Sing till the last breath. Keep composing, writing, teaching.
    
    I am working on a book of my compositions and on another book related to music and musicians in English.
    
    Yes, and most important is to start a `gurukul' where I can train deserving students. May be not in this city… probably in Pune, because I believe it will be a good idea to be able to house students of music and help them to focus more by teaching them via the gurukul system, it ensures dedication to the art. This is very definitely a future plan. I owe this to my nation, society, gurus and parents.
    
    

64. What is the ideal of your music?
    My music should identify with me in the sense that it should reflect my own thinking and musical values and the world around me. It must have qualities of both the heart and the head. It should sing through time and place i.e., it should not be confined merely to a place or period but it should strive to be universal.
    
    

65. What do you think is your contribution to the field of Indian classical music?
    Many generations of great musicians in the past have poured in their knowledge and experience in the vast ocean of music. My contribution is not even a drop. On the contrary, it is music which has contributed a lot in shaping my life. I am grateful to God for this precious gift. It has taught me to look for purity, beauty, divinity, sensitivity and unity in whatever I do. Music is the best medium to experience, express and share these fine qualities of life and nature around.
    
    

66. Given a chance to start all over again, what would you want to be and why?
    Of course, a musician. I am still far from my ideal. It's a saadhana of many births. I would like to be a `saadhak' first and then a performer.
    
    

67. What do you want to be remembered as?
    A good human being.