New Dimensions of Indian Music

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About the Author

A Gold Medalist in M.A. (Vocal), besides owning M. Phil and NET (National Eligibility Test by the U.G.C.) Gradations, Tripti Watwe is at present pursuing advanced research studies (Ph. D) in music from Visva-Bharati University, Santiniketan, West-Bengal.

Music came to her at the tender age of 3years through Sri Ram Mungi. Ustad Sirajuddin Khan, Padmashree H.H. Goswami Gokulotsavji Maharaj and Smt. Shubhda Marathe.

Tripti’s comprehensive tutelage in Indian Classical Music, received a purpose and completeness with her initiation into Spiritual life by her own Spiritual Mentor and Diksha-Guru Param Pujya Swami Abhedananda (Residential Achary and Head of Chinmaya Mission, Durban, South Africa) who has been her Friend, Philosopher and Guide.

Having performed at various prestigious platforms all over India, Tripti was felicitated twice by S.A.M. (Society for Action through Music, New Delhi) with Swarshri 2007 Samman and ‘Samman 2011 and “Sur-Mani-2008” by the “Sur-Singar Sansad”, Mumbai.

Tripti has an audio CD ‘Shravanmritam’ to her credit. Her introspective articles keep publishing in various esteemed books and journals.

Ms. Watwe, an Ex-Head of Department in the Department of Music, Women’s College of Agartala, Tripura is presently serving as an Assistant Professor at the Sachin Debbarman Memorial Government Music College, Agartala and as a Guest Lecturer at the Department of Music, Tripura University, Agartala, Tripura.

Foreword

From time immemorial music has predominantly been a subject of practical knowledge. Before the arrival of print media, music was limited within the confines of the Guru-Shishya Parampara of imparting musical knowledge, concerts and stage shows. And there was rarely a term used as a thinking musician! And if used, there was hardly any medium of expression for the musician which in turn obscured his ideologies on music from the rest world. But now times have changed, and so has the outlook for music. Today it’s equally necessary for a musician, be it a vocalist, dancer or an instrumentalist to think, assess and contemplate about the music he she performs. And it is an altogether undoubted fact that thinking always influences performances.

In this process of thinking and delving on the diverse elements of music, this book has endeavoured to present before the seekers of music an analogy of jewels of music from the practitioners of various genres like vocal, instrumental and dance forms of music belonging to various parts of prestigious Institutions of Indian as well as eloquent artists. As lamps so may this effort inspire more lamps to be enlightened.

This work holds greater significance since it has been brought out for the first time from Agartala, a small but relevant town of the North-Eastern State of Tripura which has a glorious musical and cultural heritage.

My blessings and best wishes go for the editor and the entire team behind this work. May the readers be benefited through this effort.

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