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Ram Narayan
From Wikipedia, the free encyclopedia
Ram Narayan
An old man sits cross-legged on a platform and plays a bowed instrument.
Narayan in Delhi in October 2010
Background information
Born 25 December 1927 (age 89)
Mewar, British India
Genres Hindustani classical music
Instruments sarangi
Years active 1944present
Associated acts Abdul Wahid Khan, Aruna Narayan Kalle, Brij Narayan, Chatur Lal,
Suresh Talwalkar
Website ramnarayan.com

Ram Narayan (Hindi: ??? ??????; IAST: Ram Naraya?, IPA: ['ra?m na?'ra?jn]; born 25
December 1927), often referred to with the title Pandit, is an Indian musician who
popularised the bowed instrument sarangi as a solo concert instrument in Hindustani
classical music and became the first internationally successful sarangi player.

Narayan was born near Udaipur and learned to play the sarangi at an early age. He
studied under sarangi players and singers and, as a teenager, worked as a music
teacher and travelling musician. All India Radio, Lahore, hired Narayan as an
accompanist for vocalists in 1944. He moved to Delhi following the partition of
India in 1947, but wishing to go beyond accompaniment and frustrated with his
supporting role, Narayan moved to Mumbai in 1949 to work in Indian cinema.

After an unsuccessful attempt in 1954, Narayan became a concert solo artist in

1956, and later gave up accompaniment. He recorded solo albums and began to tour
America and Europe in the 1960s. Narayan taught Indian and foreign students and
performed, frequently outside India, into the 2000s. He was awarded India's second
highest civilian honour, the Padma Vibhushan, in 2005.

Contents

1 Early life
2 Career
3 Style
4 Contributions and recognition
5 Family and personal life
6 Discography
7 Writings
8 Notes
9 References
10 External links

Early life
Side view of an ornately decorated palace with several towers on a hill over a city
of terraced houses.
City Palace, Udaipur, where the Maharana of Udaipur held court

Ram Narayan was born on 25 December 1927 in Amber village, near Udaipur in
northwestern India.[1][2] His great-great-grandfather, Bagaji Biyavat, was a singer
from Amber, and he and Narayan's great-grandfather, Sagad Danji Biyavat, sang at
the court of the Maharana of Udaipur.[2] Narayan's grandfather, Har Lalji Biyavat,
and father, Nathuji Biyavat, were farmers and singers, Nathuji played the bowed
instrument dilruba, and Narayan's mother was a music lover.[3] Narayan's first
language was Rajasthani and he learned Hindi and, later, English.[4][5] At an age
of about six, he found a small sarangi left by the family's Ganga guru, a
genealogist, and was taught a fingering technique developed by his father.[6][7]
Narayan's father taught him, but was worried about the difficulty of playing the
sarangi and its association with courtesan music, which gave the instrument a low
social status.[3][8] After a year, Biyavat sought lessons for his son from sarangi
player Mehboob Khan of Jaipur, but changed his mind when Khan told him Narayan
would have to change his fingering technique.[7] Narayan's father later encouraged
him to leave school and devote himself to playing the sarangi.[6]

At about ten years of age, Narayan learned the basics of dhrupad, the oldest genre
of Hindustani classical music, by studying and imitating the practice of sarangi
player Uday Lal of Udaipur, a student of dhrupad singers Allabande and Zakiruddin
Dagar.[7][9] After Uday Lal died of old age, Narayan met travelling singer Madhav
Prasad, originally of Lucknow, who had performed at the court of Maihar.[10][11]
With Prasad, Narayan enacted the ganda bandhan, a traditional ceremony of
acceptance between a teacher and his pupil, in which Narayan swore obedience in
exchange for being maintained by Prasad.[12] He served Prasad and was taught in
khyal, the predominate genre of Hindustani classical music, but returned to Udaipur
after four years to teach music school.[9][10] Prasad later visited Narayan and
convinced him to resign his position and dedicate his time to improvement as a
musician, although the idea of giving up a steady life was not well received by
Narayan's family.[10][11] He stayed with Prasad and travelled to several Indian
states until Prasad fell ill and advised him to learn from singer Abdul Wahid Khan
in Lahore.[13] Following Prasad's death in Lucknow, Narayan enacted the ganda
bandhan with another teacher who gave him lessons, but soon left for Lahore and
never performed the ritual again.[12]
Career

Narayan travelled to Lahore in 1943 and auditioned for the local All India Radio
(AIR) station as a singer, but the station's music producer, Jivan Lal Mattoo,
noticed grooves in Narayan's fingernails:[13] sarangis are played by pressing the
fingernails sideways against three playing strings, which strains the nails.[14]
Mattoo instead employed Narayan as a sarangi player.[13] Traditionally, the sarangi
is supposed to play after the singer and imitate the vocal performance, and play in
the space between phrases.[15] Mattoo advised Narayan and helped him contact khyal
singer Abdul Wahid Khan, a rigorous teacher under whom Narayan learned four ragas
through singing lessons.[8][10][16] Narayan was allowed sporadic solo performances
on AIR and began to consider a solo career.[17]
A middle-aged man wears a shirt and looks to the side with a bowed instrument held
close to his body.
Narayan in 1974

After the partition of India in 1947, Narayan moved to Delhi and played at the
local AIR station.[8] His work for popular singers increased his repertoire and
knowledge of styles.[18] Narayan played with the classical singers Omkarnath
Thakur, Bade Ghulam Ali Khan, Hirabai Badodekar, and Krishnarao Shankar Pandit, and
he accompanied singer Amir Khan in 1948, when Khan sang for the first time at AIR
Delhi following the partition.[19][20] As an accompanist for vocalists, Narayan
showed his own talent and came to the foreground.[17] Singers of the city
complained that he was not a dependable accompanist and too assertive, but he
maintained he wanted to keep vocalists in tune and inspire them in a cordial
contest.[21] Other tabla (percussion) players and singers, including Omkarnath
Thakur and Krishnarao Shankar Pandit, expressed admiration for Narayan's playing.
[22]

Narayan became frustrated with his supporting role for vocalists and moved to
Mumbai in 1949 to work independently in film music and recording.[23][24] He
recorded three solo 78 rpm gramophone records for the British HMV Group in 1950 and
an early ten-inch LP album in Mumbai in 1951, but the album was not in demand.[25]
[26][27] The Mumbai film industry offered a good salary and obscurity for work that
would have lowered his stature among classical musicians.[28] For the next 15 years
he played and composed songs for films, including Adalat, Gunga Jumna, Humdard,
Kashmir Ki Kali, Madhumati, Milan, Mughal-e-Azam, and Noorjehan.[29][30][31][32] He
was considered a desired choice of film music director O. P. Nayyar.[30]
Two men sit on a platform, one playing a bowed instrument and another plucking a
long-necked lute in the background.
Narayan performs in New Delhi in the late 1980s.

Narayan performed in Afghanistan in 1952 and in China in 1954 and was well received
in both countries.[33] His first solo concert at a 1954 music festival in the
Cowasji Jehangir Hall, Mumbai, was cut short when an impatient audience, waiting
for performances by famous artists, drove him from the stage.[27][34] Narayan
pondered giving up the sarangi and becoming a singer.[34] He later regained
confidence, performed solo for smaller crowds, and was favourably received in his
second attempt to play solo for a Mumbai music festival in 1956.[34] He has since
performed at the major music festivals of India.[18] Narayan later gave up
accompaniment; this decision carried a financial risk because interest in solo
sarangi was not yet substantial.[35]

After sitar player Ravi Shankar successfully performed in Western countries,

Narayan followed his example.[36] He recorded solo albums and made his first
international tour in 1964 to America and Europe with his older brother Chatur Lal,
a tabla player who had toured with Shankar in the 1950s.[24][37] The European tour
included performances in France, Germany, sponsored by the Goethe-Institut, and at
the City of London Festival, England.[38] Beginning in the 1960s, Narayan often
taught and gave concerts outside of India.[24] On his Western tours he encountered
interest in the sarangi because of its similarity to cello and violin.[39] The
tabla player Suresh Talwalkar became a frequent accompanist for Narayan in the late
1960s.[40] Narayan continued to perform and record in India and abroad for the next
decades and his recordings appeared on Indian, American, and European labels.[24]
During the early 1980s he typically spent months each year visiting Western
nations.[33] Narayan performed less frequently in the 2000s and rarely in the
2010s.[41][42]
Style
File:Ram Narayan at the Shiraz Arts Festival.ogvPlay media
Narayan performs the night raga Jog at the Shiraz Arts Festival in Iran in the
1970s. (Duration: 10:07)

Narayan's style is characteristic of Hindustani classical music, but his choice of

solo instrument and his background of learning from teachers outside his community
are not common for the genre.[24][43] He has stated that he aims to please the
audience and create a feeling of harmony, and expects the audience to reciprocate
by reacting to his playing.[44]

Narayan's performances are strung together from the meditative and measured alap
(non-metrical introduction) and jor (performance with pulse) in dhrupad style,
followed by a faster and less reserved gat section (composition with rhythmic
pattern provided by the tabla) in khyal style.[45] He experimented with a style of
jhala (performance with rapid pulse) developed by Bundu Khan, but considered it
more appropriate for plucked instruments and stopped performing it.[46] The gat
section includes one or two parts with compositions.[47] When two gats are used,
the first one tends to be at a slow or medium tempo, and the second one is faster;
the gats are usually performed in the 16-beat rhythmic cycle tintal.[45][48]
Narayan often completes performances with ragas associated with thumri (a popular
light classical genre), which are referred to as mishra (Sanskrit: mixed) because
they allow for additional notes, or with a dhun (song based on folk music).[45]

Narayan practices and teaches using a limited number of paltas, exercises in a

small scale range that are used to prepare playing different numbers of notes per
bow.[49] Derived from paltas are lengthy note patterns called tans, which contain
characteristic "melodic shapes" and are used by Narayan for fast playing.[50] He
uses his left (fingering) hand for runs and to play an extended melodic range, and
his right (bowing) hand for rhythmic accentuations.[18] Narayan's fingering
technique, his low right hand position, keeping the bow in a close to right angle
to the string, and his use of the full bow length are unusual among sarangi
players.[51]
External video Full performance of Mishra Des, recorded 1991, YouTube video by
Music Today

Narayan is associated with the Kirana gharana (stylistic school of Kirana) through
Abdul Wahid Khan, but his performance style is not strongly connected to it.[52]
Most of Narayan's compositions are from the singing repertoire of his teachers and
were modified and adapted to the sarangi.[47] He has created original compositions
and in performance varies those he was taught.[53] Narayan disfavors the creation
of new ragas, but developed compound ragas, including those of Nand with Kedar and
Kafi with Malhar.[53]

Narayan uses a sarangi obtained from Uday Lal and built in Meerut in the 1920s or
1930s in his concerts and recordings.[54] He plays on foreign harp strings to
produce a clearer tone.[55] Narayan experimented with modifications to his
instrument and added a fourth string, but removed it because it hindered playing.
[56] In the 1940s, he exchanged gut with steel for the first string and found it
easier to play, but reverted to using only gut strings because the steel string
altered the sound.[56]
Contributions and recognition
An old man sitting in front of an ornamented partition wall speaks into a
microphone and holds a bowed instrument.
Narayan at Thames Valley University, Slough, England, in May 2007

Narayan increased the status of the sarangi to that of a modern concert solo
instrument, made it known outside of India, and was the first sarangi player with
international success, an example later followed by Sultan Khan.[18][57][58]
Narayan's simplified fingering technique allows for glide (meend)[59] and affected
the modern sarangi concert style, as aspects of his playing and tone creation were
taken up by sarangi players from Narayan's recordings.[4]

Narayan taught at the American Society for Eastern Arts and the National Centre for
the Performing Arts in Mumbai in the 1970s and 1980s, where he gave the first
master class for sarangi.[24][60][61] Narayan privately trained sarangi players,
including his daughter Aruna Narayan Kalle, his grandson Harsh Narayan, and Vasanti
Srikhande.[62][63][64] He also taught sarod players,[65][66] including his son Brij
Narayan, as well as vocalists[67][68][69] and a violinist.[70] In 2002, he taught
15 Indian students and more than 500 students in the United States and Europe had
studied with him.[71] Indian music in performance: a practical introduction,
released in 1980 by Neil Sorrell in cooperation with Narayan, was described as "one
of the best presentations on modern North Indian music practice" by Hans Neuhoff in
Musik in Geschichte und Gegenwart.[18]

"My mission was to obliterate the blemish which the sarangi carried due to its
social origins. I hope I have succeeded in this."[19]
Ram Narayan, quoted in The Indian Express
Narayan argued that appreciation of the sarangi and him came only after
acknowledgment by the Western audience.[72] He attributed the lack of sarangi
students to a lack of competent teachers and said that the Indian government should
assist in preserving the instrument.[72][73] The Pt (Pandit) Ram Narayan Foundation
in Mumbai awards scholarships to sarangi students, but Narayan stated he was
skeptical the sarangi would survive.[41][74]

Narayan received the national awards Padma Shri in 1976, Padma Bhushan in 1991, and
Padma Vibhushan in 2005.[75] The Padma Vibhushan, India's second highest civilian
honor, was presented by Indian President A. P. J. Abdul Kalam.[76] Narayan was
awarded the Rajasthan Sangeet Natak Akademi Award for 197475, the national Sangeet
Natak Akademi Award for 1975, and was made a fellow of the Rajasthan Sangeet Natak
Akademi for 198889.[77][78] He received the Kalidas Samman from the Government of
Madhya Pradesh for 199192 and was presented with the Aditya Vikram Birla
Kalashikhar Puraskar in 1999 by P. C. Alexander, governor of Maharashtra.[79][80]
He received the Rajasthan Ratna for 2013, was awarded the Lifetime Achievement
Honour Classical at the 4th Gionne Star Global Indian Music Academy (GiMA) Awards
2014, and was awarded the Pandit Bhimsen Joshi Lifetime Achievement award for
20152016 in the field of classical music by the government of Maharashtra.[81][82]
[83] The biographical film Pandit Ramnarayan Sarangi Ke Sang was shown at the
2007 International Film Festival of India.[84]
Family and personal life
A mixed-gender group of five people sits on a platform, two playing long-necked
lutes, another two playing bowed instruments, and one resting his hands next to
drums.
Narayan performs with his daughter Aruna (far right) at the Royal Albert Hall,
London, in 2009.

Narayan shared a close relationship with his older brother, Chatur Lal, who learned
the tabla primarily to accompany his brother's sarangi playing.[37] Lal studied
under tabla teachers in his youth, but later turned to farming.[37] Lal visited
Narayan 1948 in Delhi after Narayan had become a professional sarangi player, and
Narayan convinced Lal to work as a tabla player at the local AIR station.[37] Lal
became an acclaimed musician, toured with instrumentalists Ravi Shankar and Ali
Akbar Khan in the 1950s, and helped popularise the tabla in Western countries.[85]
When Lal died in October 1965, Narayan had difficulty performing and struggled with
alcoholism, but overcame the addiction after two years.[37] Narayan assisted his
brother's four children after their father's death.[31] Chatur Lal's son, Charanjit
Lal Biyavat, is a tabla player and has toured Europe with Narayan.[86]

Narayan's wife Sheela, a homemaker, came to Mumbai in the 1950s and they had four
children.[27][31][87] She died prior to 2001.[63] His oldest son, sarod player Brij
Narayan, was born on 25 April 1952 in Udaipur, and his daughter Aruna Narayan was
born in 1959 in Mumbai.[65][88] She was the first woman to give a solo sarangi
concert and immigrated to Canada in 1984.[62][89] Another son, Shiv, who is a year
younger than Aruna, has learned to play the tabla, and toured Australia with his
father.[90] Brij Narayan's son, Harsh Narayan, plays the sarangi.[71] In 2009,
Narayan performed at BBC's The Proms in the Royal Albert Hall, London, with Aruna,
and he played at the 2010 Sawai Gandharva Music Festival, Pune, with Harsh.[91][92]

Narayan is a Hindu and has stated "music is my religion", arguing that there was no
better access to divinity than music.[44] He is based in Mumbai.[72]
Discography
Main article: Ram Narayan discography
Writings

Sorrell, Neil; Narayan, Ram (1980). Indian music in performance: a practical

introduction. Manchester University Press. ISBN 0-7190-0756-9.
 Narayan, Ram (2009). ?? ??? ???? ?? ?????? ?? [A tune of mine, one of the
sarangi] (in Hindi). New Delhi: Kitabghar Prakashan. ISBN 81-907221-2-3.

Notes

Shanker, Vijay (11 August 2012). "Pandit Ram Narayan: 100 colours of sarangi".
Narthaki. Archived from the original on 19 October 2013. Retrieved 30 November
2013.
Sorrell 1980, p. 11
Sorrell 1980, p. 13
Qureshi 2007, p. 108
Qureshi 2007, p. 109
Sorrell 1980, p. 14
Bor 1987, p. 149
Sorrell 2001, p. 637
Bor 1999, p. 180
Bor 1987, p. 151
Sorrell 1980, p. 15
Sorrell 1980, p. 17
Sorrell 1980, p. 16
Bor 1987, p. 30
Sorrell 1980, p. 21
Sorrell 1980, p. 19
Sorrell 1980, p. 20
Neuhoff 2006, pp. 911912
Dhaneshwar, Amarendra (18 February 2002). "Saviour of the sarangi, Pandit Ram
Narayan". The Indian Express. Archived from the original on 25 July 2010. Retrieved
9 May 2010.
Qureshi 2007, p. 116
Sorrell 1980, p. 2022
Sorrell 1980, p. 22
Sorrell 1980, p. 23
Qureshi 2007, p. 107
Bor 1987, p. 152
Chandvankar, Suresh (3 May 2004). "LP/EP Records". Screen. Archived from the
original on 25 May 2010. Retrieved 25 May 2010.
Ghosh, Soma (November 2008). "?? ????? ?? ??????" [Sarangi is a passion]. Dainik
Jagran (in Hindi). Yahoo! India. Archived from the original on 25 July 2010.
Retrieved 9 May 2010.
Qureshi 2007, p. 17
Qureshi 2007, p. 119
Suryanarayan, Renuka (27 October 2002). "Sarangi maestro returns to where it
began". The Indian Express. Archived from the original on 25 July 2010. Retrieved 9
May 2010.
"An Interview with Pandit Ram Narayan". Pandit Ram Narayan (Official website).
Archived from the original on 27 January 2010. Retrieved 25 June 2009.
Parvez, Amjad (5 May 2017). "The unsung heroine". Daily Times. Archived from the
original on 13 May 2017. Retrieved 14 May 2017.
Sorrell 1980, p. 25
Sorrell 1980, p. 24
Neuman 1990, pp. 93, 263
Bor 1992, p. 48
Sorrell 1980, p. 2627
"Narayan To Give Concert Friday Night". The Gettysburg Times. 6 November 1968. p.
1.
Roy 2004, p. 206
"Narayan, matre du sarangi, en rcital Montral" [Narayan, master of sarangi,
performs in Montreal] (in French). Le Devoir. 27 November 1981. p. 18.
Patil, Vrinda (9 December 2000). "Dying strains of sarangi". The Tribune. Archived
from the original on 25 July 2010. Retrieved 9 May 2010.
Deb, Arunabha (10 December 2011). "Sarangi Is Orphaned". Tehelka. 8 (49). Archived
from the original on 7 December 2011. Retrieved 7 December 2011.
Sorrell 1980, p. viii
Sorrell 1980, p. 2931
Sorrell 1980, p. 125
Sorrell 1980, p. 111
Sorrell 1980, p. 123
Sorrell 1980, p. 126
Sorrell 1980, pp. 7071
Sorrell 1980, p. 75
Sorrell 1980, p. 63
Sorrell 1980, p. 27
Sorrell 1980, pp. 127128
Sorrell 1980, p. 55
Neuman 1990, p. 228
Sorrell 1980, p. 56
Slawek 2000, p. 207
Bor 1992, p. 78
Bor 1987, pp. 3435
Qureshi 2007, p. 130
Qureshi 2007, p. 110
Qureshi 2007, p. 126
Qureshi 2007, p. 133
Pratap, Jitendra (7 October 2005). "Juggling with jugalbandis". The Hindu. Archived
from the original on 25 July 2010. Retrieved 9 May 2010.
"Magic in his fingers". Screen. 14 November 2003. Archived from the original on 25
May 2010. Retrieved 25 May 2010.
Sharma, S. D. (5 February 2009). "Basant beats". The Tribune. Archived from the
original on 25 July 2010. Retrieved 9 May 2010.
Govind, Ranjani (1 May 2008). "Varied emotions". The Hindu. Archived from the
original on 25 July 2010. Retrieved 9 May 2010.
Rajan, Anjana (18 February 2005). "When the skylark sings". The Hindu. Archived
from the original on 25 July 2010. Retrieved 9 May 2010.
"Quality music is forever". The Tribune. 3 November 2000. Archived from the
original on 25 July 2010. Retrieved 9 May 2010.
Sinha, Manjari (27 February 2009). "Tunes of friendship". The Hindu. Archived from
the original on 25 July 2010. Retrieved 9 May 2010.
Suryanarayan, Renuka (7 September 2002). "Sarangi at its best". The Indian Express.
Archived from the original on 25 July 2010. Retrieved 9 May 2010.
Sharma, S. D. (28 February 2008). "Sarangi maestro calls present music soulless
drudgery". The Tribune. Archived from the original on 25 July 2010. Retrieved 9 May
2010.
Bor 1987, p. 118
Tandon, Aditi (25 March 2006). "Preserving traditional melodies". The Tribune.
Archived from the original on 25 July 2010. Retrieved 9 May 2010.
"Padma Awards". Ministry of Communications and Information Technology. Archived
from the original on 25 July 2010. Retrieved 9 May 2010.
"President presents Padma awards". The Hindu. 29 March 2005. Archived from the
original on 25 July 2010. Retrieved 9 May 2010.
"Awardees". Rajasthan Sangeet Natak Akademi. Archived from the original on 3 April
2010. Retrieved 13 March 2010.
"SNA: List of Akademi Awardees Instrumental Sarangi". Sangeet Natak Akademi.
Archived from the original on 25 July 2010. Retrieved 9 May 2010.
"????????? ??????? ??????" [Rashtriya Kalidas Samman] (in Hindi). Department of
Public Relations of Madhya Pradesh. 2006. Archived from the original on 25 July
2010. Retrieved 9 May 2010.
"Sarangi maestro Pt Ram Narayan gets Aditya Birla award". The Indian Express. 15
November 1999. Archived from the original on 25 July 2010. Retrieved 9 May 2010.
"Govt selects 7 persons for Rajasthan Ratna Award 2013". CNN-IBN. Press Trust of
India. 16 August 2013. Archived from the original on 7 October 2013. Retrieved 8
October 2013.
"Sonakshi Sinha is beautiful in blue at GiMA Awards gala... but she's got stiff
competition". Mail Today. January 22, 2014. Archived from the original on 23
January 2014. Retrieved January 23, 2014.
Mishra, Ambarish (5 February 2016). "State accolade for man who brought sarangi out
of kothas & on to stage". The Times of India. The Times Group. p. 10.
"Films about India's creative legends at IFFI". Indo-Asian News Service. Hindustan
Times. 28 November 2007. Retrieved 22 June 2009.
Naimpalli 2005, p. 107
Sorrell 1980, p. 28
Qureshi 2007, p. 131
Harvey, Jane (1995). "The sarangi today". Raga Bairagi Bhairav, Raga Shuddh Sarang,
Raga Madhuvanti (CD booklet). Aruna Narayan. United Kingdom: Nimbus Records. p. 5.
NI 5447.
Nair, Malini (10 March 2010). "Serenading solo". Daily News & Analysis. Archived
from the original on 25 July 2010. Retrieved 9 May 2010.
Murdoch, Anna (22 September 1986). "Music lesson for the West". The Age. p. 14.
Hewett, Ivan (17 August 2009). "BBC Proms 2009: Indian Voices review". The Daily
Telegraph. Archived from the original on 25 July 2010. Retrieved 9 May 2010.

"Sarangi, sitar maestros regale Puneites". Times News Network. The Times of
India. 11 January 2010. Archived from the original on 25 July 2010. Retrieved 9 May
2010.

References

Bor, Joep (1 March 1987). "The Voice of the Sarangi". Quarterly Journal.
Mumbai, India: National Centre for the Performing Arts. 15, 16 (3, 4; 1).
Bor, Joep; Bruguiere, Philippe (1992). Masters of Raga. Berlin: Haus der
Kulturen der Welt. ISBN 3-8030-0501-9.
Bor, Joep; Rao, Suvarnalata; Van der Meer, Wim; Harvey, Jane (1999). The Raga
Guide. Nimbus Records. ISBN 0-9543976-0-6.
Naimpalli, Sadanand (2005). Theory and Practice of Tabla. Popular Prakashan.
ISBN 81-7991-149-7.
Neuhoff, Hans (2006). "Narayan, Ram". In Finscher, Ludwig. Die Musik in
Geschichte und Gegenwart: allgemeine Enzyklopdie der Musik (in German). 12 (2nd
ed.). Brenreiter. ISBN 3-7618-1122-5.
Neuman, Daniel M. (1990) [1980]. The Life of Music in North India. University
of Chicago Press. ISBN 0-226-57516-0.
Qureshi, Regula Burckhardt (2007). Master musicians of India: hereditary
sarangi players speak. Routledge. ISBN 0-415-97202-7.
Roy, Ashok (2004). Music Makers: Living Legends of Indian Classical Music. Rupa
& Co. ISBN 81-291-0319-2.
Slawek, Stephen (2000). "Hindustani Instrumental Music". In Arnold, Alison. The
Garland Encyclopedia of World Music: South Asia: The Indian Subcontinent. 5. Taylor
and Francis. ISBN 0-8240-4946-2.
Sorrell, Neil; Narayan, Ram (1980). Indian music in performance: a practical
introduction. Manchester University Press. ISBN 0-7190-0756-9.
Sorrell, Neil (2001). "Narayan, Ram". In Sadie, Stanley. The New Grove
Dictionary of Music and Musicians. 17 (2nd ed.). London: Macmillan Publishers. ISBN
0-333-60800-3.

External links
Find more about
Ram Narayan
at Wikipedia's sister projects
 Media from Commons
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Pandit Ram Narayan. Official website.

Ram Narayan at Allmusic

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Padma Vibhushan award recipients

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v t e

Padma Bhushan award recipients (19901999)

Authority control

WorldCat Identities VIAF: 79837654 LCCN: n85269866 ISNI: 0000 0001 0784 444X
GND: 134888650 SUDOC: 079114377 BNF: cb13897859c (data) MusicBrainz: c94a221f-1708-
4882-b035-37a1ed3d9cb4

Categories:

1927 births20th-century Indian musiciansAll India Radio peopleHindustani

instrumentalistsIndian HindusLiving peopleMusicians from MumbaiPeople from Udaipur
districtRajasthani peopleRecipients of the Padma Bhushan in artsRecipients of the
Padma Shri in artsRecipients of the Padma Vibhushan in artsRecipients of the
Sangeet Natak Akademi AwardSarangi players

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