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Dhundhu. It is also called Rasal Vani for its beauty. He said, "... two of my ancestors, Jaggu Khan and Makku Khan. Since Makku Khan was childless, he adopted Waras Ali Khan a great name who learnt the art of playing Been from Bade
Mohammed Khan. When my father Ashiq Ali Khan was six years old, my grand father Sadaq Ali Khan, son of Jaggu Khan died so his uncle Waras Ali Khan taught him all intricacies of Beena on the
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304:, who has started a cultural Centre in New Delhi under the name of "UMAK (acronym of Ustad Mushtaq Ali Khan) Centre for Culture", with a view to having Mushtaq Ali's music and his ideas alive. His only surbahar student Steven Landsberg lives and teaches in the United States. Mushtaq Ali Khan taught him the technique of three mizrabs and their unique application in tar paran.
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Being a purist, Khan-Saheb refused to yield to shifting popular tastes and to adopt the innovations introduced by Ravi
Shankar on one hand and Vilayat Khan on the other, which led to a gradual decline in his popularity. At the time of his death he was known as a "musicians' musician". Many of India's
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in sitar playing) His name became synonymous with the Senia style although he may actually have practised an even more austere style than his predecessors in the gharana. He eschewed much of the ornamentation of modern sitar technique (such as murki and zamzama), and embraced a clean, pure sound. His
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on 13 July 1985, Khan Sahab narrated the history of this instrument with historical references in which he has cleared the myth of this instrument. Khan Sahab had his lineage with fifth vani, called
Dhandvani named after one of the forefathers. The famous dhrupadiya of Shah Jahans Court, Nayak
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technique. Oddly enough, in spite of being a musical descendant of Masit Sen, he rarely played
Masitkhani gats in public, and none of the commercially available examples of his music includes one. He opted to play the faster Rezakhani gats instead, feeling that playing Masitkhani gats to an
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Mushtag Ali organised conferences where old masters and new artists were introduced to the cognoscenti and the novice. Among the well known names, Ravi
Shankar was first presented by him to the public in Calcutta. The Ustad was popular during the early 1930s to the late 1940s.
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Some of the other musical awards were Sitar
Sudhakar – 1932, Tantri Vilas – 1973, Sangeet Ratnakar – 1974, State Academy Award – 1974, Senior fellowship and Emeritus – 1986, Bhuwalka Award – 1987, Tansen Award – 1987, Special Honour
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Mushtaq Ali Khan belonged to the Senia
Gharana. He was the only surbahar player of India who used to play the been-ang with three mizrabs and that too, with the pakhawaj as an accompanying instrument only in pure dhrupad style.
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Khan learnt music from his father, Ashiq Ali Khan, who had learned sitar from the 19th century player
Barkatullah Khan, a descendant of Masit Sen of Delhi, the inventor of the Masitkhani gat (the major style of slow
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New Delhi. It may be recalled that in the year 1953 Pandit Ravi
Shankar was instrumental of instituting this National Programme of All India Radio and was present on this memorable occasion.
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187:. For all of the 1940s and most of the 1950s he was considered the most prominent sitar player in India, following the demise of
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Gerry
Farrell The Senia Style of Sitar Playing in Contemporary India, British Journal of Ethnomusicology, Vol. 11, No. 2. (2002)
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Gerry Farrell The Senia Style of Sitar Playing in Contemporary India, British Journal of Ethnomusicology, Vol. 11, No. 2. (2002)
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Gerry Farrell The Senia Style of Sitar Playing in Contemporary India, British Journal of Ethnomusicology, Vol. 11, No. 2. (2002)
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Gerry Farrell The Senia Style of Sitar Playing in Contemporary India, British Journal of Ethnomusicology, Vol. 11, No. 2. (2002)
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best known musicians expressed their appreciation of the purity of his style and musicality in a book published in
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and Jnanoda Mukherjee. In this instrument two angas played are alap and talparan and that is why the knowledge of
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award in 1968 (equivalent to a National Academy Award). In 1973/74 he received the title of
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was constructed along the lines of a dhrupad alap, and his jod and jhala derived a lot from
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in the earliest part of the 20th century and taught many renowned players, including
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in 1929, and performed at the 1931 Sangeet Sammelan (music conference) in
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448:– A Times of India (an Indian Newspaper) page on Mushtaq Ali Khan
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Allyn Miner, Sitar and Sarod in the 18th and 19th Century, 1993
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Allyn Miner, Sitar and Sarod in the 18th and 19th Century, 1993
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Senia gharana, its contribution to Indian classical music
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undiscerning audience would cause them to be devalued.
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Steven Landsberg on the lineage of Mushtaq Ali Khan
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426:(ed) Indian Music and Ustad Mushtaq Ali Khan, 1993
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519:Recipients of the Sangeet Natak Akademi Award
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464:Sangeet Acharya Ustad Mushtaq Ali Khan Sahab
504:20th-century Indian male classical singers
453:– The Hindu (an Indian newspaper) article
115:Learn how and when to remove this message
443:by Dhar, S., Reliance Publishing House.
435:Indian Music and Ustad Mushtaq Ali Khan
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235:In a rare exclusive interview in the
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53:adding citations to reliable sources
331:Mushtaq Ali died on 21 July 1989.
300:He taught many students including
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264:Mushtaq Ali Khan was awarded the
400:Official website. Archived from
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394:"SNA: List of Akademi Awardees"
282:Professor Emeritus in Education
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209:Sangeet Natak Akademi Award
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160:musical composition
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489:1989 deaths
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105:August 2022
478:Categories
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149:) player.
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185:Allahabad
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242:surbahar
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