INTERVIEW - DR. PRABHA ATRRE

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. Both my parents were teachers. My father was a headmaster in a school in Pune. He insisted that my sister and me 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. To divert her mind a haarmonium teacher was engaged. 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. Everything that happened took me to music. 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. I believe that a good performer needs to study and experience music from different angles. My work, both at the All India Radio and the university, did not come in the way of my giving public concerts, since most of the concerts are held at weekends. On the contrary, my association with the All India Radio and the SNDT University has enriched my musical thinking and inspired my creativity immensely.
3.	Where did you learn music and from whom?
	I come from Pune. I was born, brought up and educated there. My music training however was in the guru-shishya paramparaa system. I learnt classical music initially from Shri. Vijay Karandikar. 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 Gulam Ali Khan for my thumri. Although I have not learnt from him, my thumri has its roots in his style.
4.	When and where was your first public performance? Were you nervous?
	In Maharashtra we have a tradition of celebrating Ganesh festival for ten days. It was there that I first sang in this festival… around 1950. Yes, I was nervous in the beginning. But when I saw audience appreciating… openly saying “Wah, Wah” and clapping, I gained confidence.
5.	What is the significance of the gharaanaa 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 gharaanaa system.
6.	Do you feel that adhering to a gharaanaa may cramp an artist's style?
	I don't think a gharaanaa necessarily cramps an artist's style; but at the same time one shouldn't shut oneself from other gharaanaas. There is a lot to learn from exposure to other styles as well. When I was learning there was no choice, but adhering to the system. Today artists have more exposure. My guru however was very generous and broadminded. He allowed me to imbibe from other styles. I have learnt many things by listening to great artists like Bade Gulam Ali Khan, Amir Khan.
7.	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 with the All India Radio. I was very much impressed by their gamakas and sargam rendition. I wish I had some formal training in Carnatic music. It would have made my understanding of it easy.
8.	What are the distinct musical qualities of the Kirana gharaanaa?
	Kirana's sweetness of tone creates a general soothing effect on mind and evokes emotions that are not mundane. The voice straightaway touches the heart. You can feel goose pimples on your body, as a result. One need not know shaastra (grammar) to enjoy Kirana music. The style is characterised by note-by-note 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 is a withdrawn, introverted style; there is nothing showy, sensational.
9.	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 in my music that: I look for tonal beauty, my notes are invariably charged with emotions. I try to bring in variation in tonal texture in addition to variation in volume to project emotional content. I make ample use of kan swaras and smooth glides in the formation of phrases. I like to compose new - uncommon - simple and complicated - yet beautiful phrases in the context of raag structure and specific form such as khyaal, thumri. My interpretation of the raag is on the basis of tradition and logic. There is a proper balance between tradition and modernity. I see that at any speed, design and clarity are maintained in taans. I have special love for sargam phrases. My singing has strong affinity towards Carnatic music (raagas and gamakas). I use complementary literary themes in badaa and chota khyaal in the same raag to maintain the mood of the raag. I maintain clarity in the pronunciation of words and use them consciously. I try and see that every phrase is rich aesthetically and emotionally.
10.	What are the important ingredients required for a 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 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 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.
11.	Why did you leave your job at the All India Radio? Don't you think it would have helped your career?
	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.
12.	You are a professional singer, what makes you to take academic work?
	Academic study stimulates thinking. Thinking about different aspects of music stimulates my creativity in performance.
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 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 reasons best known to them. 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.	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 shaping 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.
17.	Performers do not generally like to teach. Why did you take up a job at the SNDT University?
	I joined 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.
18.	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 nearly 35 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 on 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.
19.	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.
20.	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 paramparaa 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.
21.	Has guru-shishya paramparaa changed? 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 - audio / video cassettes. Then there are scholarly books on the theoretical aspects of music. For practical training there are 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 a 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 have a good voice, are intelligent, hard working, dedicated, committed and faithful. The sole objective of the learner today usually is to gain quick returns, fame and money by performing on radio, TV, bringing out recordings, etc. When a 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 for 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. What is important and what matters is honesty at least when such gurus teach their 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 would like to say that just as one should not take treatment from two doctors for the same ailment at the same 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.
22.	Why is classical music not popular?
	First of all, we must realise that classical music is an abstract art and 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 and 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 on the 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'.
23.	How can classical music be popularised?
	I take it that this question does not mean that we have to attract lovers of popular or film music and make attempt 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. 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 institutions 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.
24.	What is the future of classical music?
	I have no doubt that classical music will live in some form. It represents purity, beauty, divinity, unity and sensitivity. It has that abstract quality which makes it comprehensive, covering 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.
25.	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.
26.	What purpose do the `music festivals / 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.
27.	What made you to go abroad?
	Pandit Ravi Shankar has done a great work by 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 female Hindustani classical vocalist who toured extensively to give full-length concerts in the West.
28.	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.
29.	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 and appreciate 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.
30.	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, daadraa 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, demand, audience.
31.	There are few singers today who sing khyaal and thumri well. Besides, you don't sing the Kirana thumri which has typical Maharashtrian accent. Your thumri has a North Indian flavour and Prabha Atrre stamp. How do you explain this?
	Everybody cannot sing thumri because it demands 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 Roshanara Begum, Bade Gulam Ali Khan, 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, judicious placement of words in the phrases, expression, voice throw, 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.
32.	You are a classical singer. Do you listen to film music or pop, disco or fusion 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 the 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.
33.	There are very few women music composers in classical and light music. 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. I am happy that my very first composition in raag Maaru Bihaag `Jaagoo main saari raina...' has been immensely popular and when one talks about Maaru Bihaag they refer to my recording. There was an increasing demand from the music lovers and students to publish my compositions. That made me work for `Swaranginee' which was published in 1994. It comprises 200 of my compositions covering khyaal, taraanaa, thumri, daadraa and bhajans. Very soon there will be 2nd book of my compositions.
34.	What prompted you to take writing?
	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. `Swaramayee' is a compilation of some of the articles. I was simply thrilled when this book got the Maharashtra State Government award in 1989. My second book `Swaraalee' published in 1992 is also a compilation of my articles. Madhya Pradesh Government Hindi Granth Academy has published Hindi translation of both Swaramayee and Swaraalee in 1996.
35.	What inspired you to write poetry?
	I am not a poetess. Poetry is just an extension of my musical expression. `Antahswar', a book of poems in Marathi was published in 1997. Most of them express my musical experiences.
36.	Have you brought out any book in English?
	My first book in English `Enlightening the Listener: Contemporary North Indian Classical Vocal Music Performance' was published in 2000 by one of the leading Indological publishers of the country M/s. Munshiram Manoharlal of Delhi. It is also accompanied by an audio cassette. I am happy that the book was released by our then Prime Minister, Shri. Atal Behari Vajpayee. The book has been well received by academicians, musicians and lay listeners - in India and abroad. Second book `Along the Path of Music.....' has been released recently.
37.	How many of your cassettes and CDs are available in the market today?
	I think there are about 13 cassettes and CDs available in the market. There is almost 20/25 years gap between the release of the first LP and the rest of the recordings.
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 Godfather. 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.	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.
41.	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.
42.	What do you consider is your most significant achievement?
	I sing like Prabha Atrre and no body else. 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... momentarily, but that is only because I am able to perform. There are other related activities like composing, writing which have Prabha Atrre stamp. This identity in the music world I think is a significant achievement.
43.	What is the ideal of your music?
	My music should identify with me; in the sense that it should reflect my thinking and musical values. It should 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.
44.	What made you to start the Foundation?
	I was organising programmes related to music on and off. Now, for the last 13 years, I have been organizing `Sureshbabu Hirabai Smruti Sangeet Samaroh' in memory of my gurus, the doyens of the Kirana gharaanaa, where senior top artists and accomplished artists of the next generation are participating and keeping the classical tradition alive and going. Three to four thousand music lovers attend this festival which has become the major festival in Mumbai. And also for the last 5 years, I have also been organizing `Gana Prabha' to provide a platform for young talented artists. I thought having an institution would help organize such festivals and other activities related mainly to performing arts. Thus `Dr. Prabha Atrre Foundation' took its inception in May 2000.
45.	Lately one finds that especially recording companies put the same old stuff under different catchy labels and misguide people around?
	You will agree that perception, experience or understanding of anything changes with the content. However, when the context is created with purpose for better understanding, the selection of material and its reorganisation need to be done carefully. In case of recorded music, the choice is very limited and therefore the only option is to package it under different labels. This is what is happening with the recording companies. They also have to sell their products. But if something is recorded or presented with pre thought one can go into minute details of the content keeping in mind the context.
46.	Are you in favour of theme based programmes?
	Yes. Theme based programmes stimulate ones own creativity, they make one think differently and most importantly help to educate audience. I have occasionally presented theme based programmes like: Bhairav prakaar - theme of the compositions in these raags was lord Shankar. Bhairav is another name for lord Shankar. Kauns prakaar - theme of the compositions in these raags was lord Krishna. Presuming that Kauns has some relation to lord Krishna's uncle Kauns. Carnatic raagas were presented in Hindustani style and the compositions were specially composed to emphasise this aspect. light classical forms - thumri, daadraa, etc. Marathi ghazals and bhakti geet. Organisation of the programmes becomes possible and easy through Foundation. Besides my own concert presentations, I have organised other theme based programmes with the help of other artists like: 'stree guru vandana' - all female gurus were felicitated for their contribution to their field of performing arts and their disciples performed. 'all women musicians music festival' (including accompanists like tablaa and haarmonium players), symbolising women empowerment. 'swar-nritya prabha' - well known Bharatanatyam dancer Dr. Sucheta Bhide Chapekar choreographed items based on my compositions which were adapted for the dance form. 'naadavaleli akshare' (syllables immersed in music) - the beauty as also special features of my compositions were discussed / presented.
47.	What are your future plans?
	Sing till the last breath. Keep composing, writing, teaching. I am working on the second book of my compositions. I have started `Swaramayee Gurukul' at Pune in April 2003, as one of the major steps in fulfilling the objectives of my Foundation. It has been a dream project of mine to set up a unique institution which houses a gurukul wherein talented students aspiring to take music as a professional career can stay and equip themselves to meet the challenges of the profession. I believe by housing students of music and helping them to focus only on music, I will have better results. In a way gurukul system ensures total dedication to the art. To facilitate this, Swaramayee Gurukul shall be providing training aided by a small auditorium, library of audio-video cassettes and books, facility for audio-video recording etc., It is also to provide a platform for mehfils, seminars, workshops, discussions, press conferences, etc. The institution, aims to bridge the prevailing gap between the academic institutions and the traditional guru-shishya paramparaa. I am working towards establishing the set up. I wish the system / institution receives national and international recognition. I owe this to my nation, society, gurus and parents. I am also working towards standardising the content-structure and teaching methods of Hindustani music as in Carnatic music.
48.	Being one of the best, finest musicians 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. Temperamentally, I am most comfortable and happy communicating with my audience --- singing in a mehfil. In fact, I am to be blamed for keeping myself away from the media like Aakashvani (radio), Doordarshan (television), recording companies and other publicity channels. 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. 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 saadhanaa for this. I am not at the beginning of my career. So it does not matter now. What matters is, I sing well. I have been able to survive in the field fairly well, and that too without much publicity. Isn't that great?
49.	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 necessarily 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.
50.	How do you feel about receiving the Padmabhushan award?
	Of course, I feel happy. Better late than never. You know, my Padmashree award itself came very late. Then again there was a long gap of 12 years and now only Padmabhushan. I wonder if I will be alive to receive higher awards. In my case, Government recognition has come very late. It is almost like receiving "Wah, Wah" appreciation after the concert is over. A timely reward is so important in an artist's life. I am sorry to say this. But I have observed that those who manage to keep themselves in limelight and maintain good PR are considered most eligible for such awards irrespective of their expertise and contribution. Media is playing a great role in building image of the artist. I would also like to say that awards give only momentarily happiness. The real award for a musician is his success in music itself and his listeners - without them, awards have no meaning. They remain either on the paper or sit in the cupboard. I pray God that he blesses me with good music till my last breath and my listeners to share my joy.
51.	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 Hindustani 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 also new compositions in traditional raags because I wanted to communicate something different. I am glad my listeners have liked these raags and compositions.
52.	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.
53.	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.
54.	Should classical artists do films?
	If one is talented, one can do many different things. Why only films?
55.	Don't you think 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. `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. At least we can inculcate taste for good music, we can make our audiences aware of good and bad music. I in my small way, am educating the audience through singing, teaching, writing.
56.	Is live-audience for classical music dwindling? Where do music companies and organizations like 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. Music companies and organizations like Spic Macay, Sanskar Bharati, etc., 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.
57.	Music companies aren't serious about their job?
	Recording companies are not 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; but the contents remain the same.
58.	Should there be corporate sponsorship?
	Corporate bodies are sponsoring mainly `star' musicians because they are doing business. They have not only spoilt our artists and audiences but have also brought in commercial element into music. Artists are asking for more and more money and audience don't want to pay to listen to classical music. Under the present circumstances 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. The interesting part is, to become a popular, star artist one has to work systematically, consciously. Talent alone does not give one that position.
59.	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.
60.	Because of the uncertainty of the profession as a classical musician do you believe that it is important to have 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.
61.	Which is your favourite raag?
	If I am practising a raag I sing it in all the concerts for several months... after which I don't sing it for a long time. However, I always enjoy singing Yaman. 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.
62.	What fears you the most?
	With ageing if I am unable to sing what I want to and also at one point if for some reason I loose my singing voice - fears me the most. I do not know if I will be able to cope up with such a situation. I only pray God that he takes me away before something like this would happen.
63.	What is your average day like?
	I get up around 5.00 A.M., do my pooja and sit with my taanpuraa. 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.
64.	Are you religious minded, inclined to performing poojas for instance?
	Yes, I worship Lord Shiva (Khandoba), Devi Durga (Ambabai) --- our family deities. Also, Lord Ganesh, Devi Saraswati and Lord Krishna. I like to visit temples and ashrams and sing there. It gives me great peace, satisfaction and strength.
65.	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 saadhanaa of many births. I would like to be a saadhak first and then a performer.
66.	What do you want to be remembered as?
	A good human being.