indian musical instruments essay

Heilbrunn Timeline of Art History Essays

Musical instruments of the indian subcontinent.

A Lady Playing the Tanpura

Tanjore Tāmbūra (male)

Taūs (mayuri)

Pandharpuri Tambura

Ghanti (bell)

Murari Adhikari

Allen Roda Independent Scholar

The music of the Indian subcontinent is usually divided into two major traditions of classical music: Hindustani music of North India and Karnatak music of South India, although many regions of India also have their own musical traditions that are independent of these.

Both Hindustani and Karnatak music use the system of ragas—sets of pitches and small motives for melody construction—and tala for rhythm. Ragas form a set of rules and patterns around which a musician can create his or her unique performance. Likewise, tala is a system of rhythmic structures based on the combination of stressed and unstressed beats. Within these rhythmic structures, musicians ( 1996.100.1 ) can create their own rhythmic patterns building off the compositional styles of others.

One of the main differences between North Indian and South Indian music is the increased influence of Persian music and musical instruments in the north. From the late twelfth century through the rise of British occupation , North India was under the control of a Muslim minority that was never able to extend its sphere of influence to South India. During this time, the music of North India began to acquire and adapt to the presence of Persian language, music, and musical instruments, such as the setar, from which the sitar got its name; the kamanche ( 1998.72 ) and santur, which became popular in Kashmir; and the rabab (alternately known as rebab and rubab), which preceded the sarod. New instruments were introduced, including the tabla and sitar ( 1999.399 ), which soon became the most famous Indian musical instruments worldwide. Legend has it that the tabla was formed by splitting a pakhavaj drum in half, with the larger side becoming the bayan and the smaller side the dahini. The barrel-shaped pakhavaj drum, which was the ancestor of both the tabla and the mrdangam, has been depicted in countless paintings and prints. New genres of music were formed as well, such as khyal and qawwali , that combine elements of both Hindu and Muslim musical practice.

Hindustani classical music is known largely for its instrumentalists, while Karnatak classical music is renowned for its virtuosic singing practices. Instruments most commonly used in Hindustani classical music are the sitar, sarod, tambura, sahnai, sarangi, and tabla; while instruments commonly used in Karnatak classical music include the vina, mrdangam, kanjira, and violin . The use of bamboo flutes, such as the murali, is common to both traditions as well as many other genres of Indian music. In fact, many of these instruments are often used in both North and South India, and there are many clear relationships between the instruments of both regions. Furthermore, often instruments that are slightly different in construction will be identified by the same name in both the south and the north, though they might be used differently.

Throughout its history, the peoples of India have developed numerous systems for classifying musical instruments, many of which were based on morphological characteristics. The ancient Hindu system divided instruments into four categories: stretched (strings; 2008.141.2a,b ), covered (drums; 89.4.165 ), hollow (wind; 1986.12 ), and solid (bells; 89.4.154 ). This system is widely known to be the inspiration for the Western system of instrument classification put forth by Mahillon in 1880, which renames these groups—chordophones, membranophones, aerophones, and idiophones—basing the distinction on the way in which sound is created and not exclusively on construction.

A note on spelling : All terms used for Indian musical instruments and musical concepts are common transliterations of the original terms. Subsequently, there are numerous possible methods of rendering the same term in English and inevitable discrepancies in spelling. The spellings adopted here are the ones used by The New Grove Dictionary of Music and Musicians (2001).

Kanjira (Khanjari) The kanjira is a frame drum of South India. It consists of a skin (usually iguana) stretched and pasted on a circular wooden frame. There are often three or four slots in the side of the frame, in which bell-metal jingle-disks are suspended from metal crossbars. The name kanjira is related to the khanjari and kanjani of North and East India and Nepal. The kanjira is tuned to various pitches by wetting the skin. It is held at the bottom of the frame by the left hand, which also varies the tension of the skin, and is beaten with the fingers of the right hand.

Kamanche The kamanche is one of the world’s earliest known bowed instruments. It has been altered and changed as it has traveled to other parts of the world ( 1998.72 ). Some argue that the kamanche is the predecessor of many other stringed instruments such as the rabab, the sarangi, and the Chinese erhu.

Mrdangam The mrdangam is an elongated barrel-shaped drum found predominantly in South India ( 1986.467.18 ). It is derived from the pakhavaj and is used as the primary rhythmic accompaniment in Karnatak music as well as in religious Kirtan music. In the east (Bengal, Odisha), this barrel-shaped drum is known as the khol.

Murali The murali is a transverse flute made of bamboo. It is used in a variety of musical genres and is often associated with the Hindu deity Krishna.

Pakhavaj The pakhavaj is a barrel-shaped drum with two heads, each of which contains tuning paste, or siyahi . The history of the pakhavaj is unknown, yet as the predecessor of both the Hindustani tabla drums and the mrdangam of Karnatak music, it served as the primary accompaniment for much of Indian classical music. It appears in the musical iconography of Hindu religious painting and in the artworks of the royal Muslim courts of the Mughal empire.

Rabab The rabab is a stringed instrument with a skin-covered resonator that can be bowed or plucked depending on performance tradition. It is found in various forms throughout North Africa, the Near East, South Asia, and Central Asia. Similar to the way the setar and the vina were adapted to eventually become what is known today as the sitar, the rabab was adapted to become the sarod. However, there are many musicians in India today who still play the rabab, and it is quite popular in several music genres.

Sahnai (Shenai) The sahnai is a double reed instrument of North India and Nepal. In South India, a double reed instrument called the nagasvaram is used. Both instruments have seven equidistant fingerholes and no thumbhole. Frequently, the instrument’s flared open end is made of metal while its body is made of wood or bamboo; however, they are not exclusively made in this fashion.

Sarangi A sarangi is a bowed stringed instrument with a skin-covered resonator ( 89.4.200 ). The typical sarangi is made by hand, usually from a single block of tun wood about 66 to 69 centimeters long ( 46.34.43 ). The three playing strings are made of goat gut, and the sympathetic strings (usually as many as thirty-six, though the number varies) of brass and/or steel. However, the design of sarangis varies from region to region ( 1982.143.2 ). For example, the Nepalese sarangi is generally much smaller than its Indian counterpart, and not all sarangis have sympathetic strings.

Sarod The sarod is a relatively new instrument to South Asia, having been around for less than 200 years. The sarod is a plucked stringed instrument with a skin-covered resonator and sympathetic strings. Like the sitar, it is primarily used in Hindustani music and is accompanied by the tabla.

Setar The word setar means “three strings.” Other instruments in this family include the two-stringed dutar and the single-stringed ektar. As Indian musicians adopted the setar, they added more and more strings. Early sitars, which evolved from the setar, have six strings, while more contemporary ones include six playing strings and thirteen sympathetic strings. A Persian setar in the Museum’s collection is a miniature that was made primarily for the purpose of decoration. Many such instruments exist in India.

Sitar The sitar is easily India’s most famous musical instrument overseas, having been popularized in the West by George Harrison of the Beatles, who studied with Ravi Shankar, one of the greatest sitarists of the twentieth century. The sitar has its roots in both the Persian setar as well as in the vina. Like many stringed instruments used in classical Indian music, the modern sitar ( 1999.399 ) has sympathetic strings that sound only when one of the primary strings is struck on the same note. These strings, which are never played by the performer, resound in sympathy with the playing strings, creating a polyphonic timber that many have come to associate with India through the popularity of this instrument. It is interesting to note, however, that the addition of the sympathetic strings is a relatively recent development in Indian music starting in the late nineteenth century ( 89.4.1586 ). The use of sympathetic strings is known to have existed in other parts of the world prior to their initial use in India.

Tabla The tabla is actually two drums played by the same performer. Both drums have compound skins onto which a tuning paste, or siyahi , is added to help generate the wide variety of tones these drums can produce. The bayan is the larger of the two drums and is generally made of metal or pottery. The siyahi on the bayan is off-center, which allows the performer to add variable pressure on the skin, changing the pitch of the instrument with the palm of his or her hand while striking it with the fingertips. The smaller drum is called the dahini, or sometimes referred to as the tabla. Dahini are usually made of heavy lathe-turned rosewood and provide much higher pitch sounds than does the bayan.

Tambura The tambura is a long, stringed instrument made of light hollow wood, with either a wooden or a gourd resonator. It is typically used in accompaniment with other instruments, providing a drone pitch. Some of the tamburas in the Museum’s collection are not full-sized instruments, but rather miniatures created for their aesthetic appearance. The artistic craftsmanship on the inlay in these objects is beautiful. India has a long history of creating musical instruments as decorative objects, and that tradition is represented in the Museum’s collection.

Vina Along with the pakhavaj, the vina is one of the most commonly depicted instruments in Indian iconography. The vina has taken many forms in both South and North India. In North India, it was called the bin or the rudravina, and was the predecessor of the sitar. It was often built of two large gourd resonators connected by a piece of bamboo, with frets held on with wax. Most of the vinas depicted in iconography are rudravinas. In the South, the vina—or saraswati vina—continues to be the most popular stringed instrument in classical music. In its basic shape, the vina is a hollow wooden stringed instrument with two gourd resonators (though there can often be more than two or sometimes only one gourd resonator). The gottuvadyam, or chitravina, is another important instrument in Karnatak music. Unlike the rudravina and the saraswati vina, the gottuvadyam has no frets and is played with a slide using a method similar to that of the Hawaiian slide guitar .

Roda, Allen. “Musical Instruments of the Indian Subcontinent.” In Heilbrunn Timeline of Art History . New York: The Metropolitan Museum of Art, 2000–. http://www.metmuseum.org/toah/hd/indi/hd_indi.htm (March 2009)

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Indian Musical Instruments

Last updated on November 8, 2023 by ClearIAS Team

Various Indian musical instruments, both classical and folk create complex and melodious compositions. These instruments are integral to the diverse musical genres of India, including classical music, folk music, devotional music, and popular music. Read here to learn more about the Indian Musical Instruments.

The rich and diverse musical traditions of India have indeed led to the creation of a wide variety of musical instruments.

The Indian Musical Journey is an extensive collection of over a hundred instruments, representing the creative diversity and cultural heritage of Indian music.

These instruments represent just a glimpse of the extensive and diverse musical heritage of India. They contribute to the beauty and complexity of Indian music, and each has its unique role in shaping the country’s musical landscape.

Table of Contents

The continuity of the musical traditions of India is established through a study of musical texts and numerous visual references one finds of musical instruments in painting and sculpture from prehistoric times to the present day.

• The earliest evidence of music activity is found on the walls of cave paintings at Bhimbetka and in several parts of Madhya Pradesh, which were occupied by men approximately 10,000 years ago.
• Much later, in the excavations of the Harappan Civilization, evidence is available of dance and music activity.
• The Tamil word for instrument-Karuvi is found in Sangam literature of the 2nd to 6th century A.D., the literal meaning of which is “tool”.

Over 2000 years ago, Bharata, in the Natya Shastra, classified instruments as  tata  (stringed instrument),  sushira  (wind instrument),  avanaddha  (percussion instrument), or ghana  (solid instrument). Every one of the myriad instruments invented since then fits into one of these four timeless categories.

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• The Tata Vadya or Chordophones – Stringed instruments
• The Sushira Vadya or Aerophones – Wind instruments
• The Avanaddha Vadya or Membranophones – Percussion instruments
• The Ghana Vadya or Idiophones are solid instruments that do not require tuning.

Also read:  Classical dances of India ; Folk dances of India

The Tata Vadya or Chordophones (Stringed instruments)

The tata vadya is a category of instruments in which sound is produced by the vibration of a string or chord. These vibrations are caused by plucking or by bowing on the string that has been pulled taut. The length of the vibrating string or wire, and the degree to which it has been tightened, determines the pitch of the note and the duration of the sound to some extent.

• Sitar: The sitar is one of the most iconic Indian instruments, known for its long neck, resonant gourd body, and sympathetic strings. It is widely used in classical music, particularly in the North Indian tradition.
• Veena: The veena is an ancient and traditional string instrument. It comes in various forms, with the Saraswati veena and the Rudra veena being notable examples. The veena is used in Carnatic music, the classical music tradition of South India.
• Sarod: The sarod is a fretless, plucked string instrument that is prominent in North Indian classical music. It has a metallic fingerboard, and its sound is characterized by its sharp, resonant tone.
• Violin: The violin has been adapted into Indian classical music and is used extensively in Carnatic music. It is a Western instrument that has been integrated into Indian classical traditions.
• Tanpura: The tanpura is a long-necked, plucked instrument that provides a continuous drone in Indian classical music. It helps musicians maintain pitch and rhythm.
• Ektara: The ektara is a simple, one-stringed instrument with a resonator made from a gourd. It is widely used in folk music, especially in regions like Bengal.
• Sarangi: The sarangi is a bowed string instrument that is used in various forms of Indian music, including classical and folk. It is known for its emotive and soulful sound.
• Santoor: It is a 100-string instrument and is a traditional instrument of Jammu and Kashmir from ancient times. Sufiana kalam music is accompanied by Santoor.

The Sushira Vadya or Aerophones (Wind instruments)

In the Sushira Vadya group, sound is produced by blowing air into a hollow column. The pitch of the note is determined by controlling the air passage and the melody is played by using the fingers to open and close the instrument.

• Flute: The bamboo flute, known as the bansuri, is a key wind instrument in both North and South Indian classical music. It is popular for its lyrical and melodic qualities.
• Shehnai: The shehnai is a double-reeded wind instrument known for its use in classical and folk music, especially in North India. It is often played at weddings and auspicious occasions.
• Harmonium: The harmonium is a keyboard instrument with a set of reeds. It is widely used in various forms of Indian music, including classical, devotional, and popular music.
• Mukhavina: Also known as the “Taimila,” the Mukhavina is a brass wind instrument played in the traditional music of Karnataka, particularly in the region of Tulu Nadu. It has a distinct conical shape and is a key instrument in Yakshagana, a traditional theater art form.
• Algoza: The algoza is a pair of wooden flutes bound together. It is commonly used by wandering minstrels, known as “Fakirs,” in the Rajasthan and Punjab regions. The player simultaneously blows into both flutes to create melodies.
• Nadaswaram: The nadaswaram is a large, double-reeded wind instrument used in South Indian classical music, especially in the Carnatic tradition. It has a powerful and sonorous sound and is often played during temple festivals and weddings.

The Avanaddha Vadya or Membranophones (Percussion instruments)

In the Avanaddha Vadya category of instruments, the sound is produced by striking the animal skin which has been stretched across an earthen or metal pot or a wooden barrel or frame.

• Tabla: The tabla is a pair of hand-played drums that are central to North Indian classical music. It consists of two drums, the smaller “dayan” and the larger “bayan.”
• Dholak: The dholak is a double-headed drum, popular in both classical and folk music. It is played with the hands and is a versatile instrument.
• Pakhawaj: The pakhawaj is a barrel-shaped drum used primarily in the dhrupad style of classical music. It is closely related to the mridangam.
• Ghatam: The ghatam is a clay pot used as a percussion instrument in South Indian classical music. It produces a distinctive earthy sound.
• Tabla Tarang: Tabla Tarang is a set of tuned tabla drums, each producing a different pitch. Musicians can create melodies by striking the different drums.
• Mridangam: The mridangam is a double-headed drum from South India, primarily used in Carnatic music. It is played with the fingers and palms and has a unique tonal quality.

The Ghana Vadya or Idiophones

Idiophones are musical instruments that produce sound through the vibration of the instrument itself, without the need for strings, membranes, or reeds.

• Manjira: Also known as cymbals or tala, Manjira is a pair of small, metallic hand cymbals used in classical music, folk music, and devotional songs. They are played by clashing them together to keep rhythm.
• Ghungroo: Ghungroo is a set of small metallic bells strung together on a cord or pad. Dancers, especially in classical Indian dance forms like Kathak, attach ghungroos to their ankles to create rhythmic footwork sounds.
• Khartal: Khartal is a wooden clapper instrument consisting of two rectangular blocks with jingles attached to them. It is commonly used in folk music, devotional music, and traditional storytelling.
• Kanjira: The Kanjira is a small frame drum with metal discs on one side. It is widely used in Carnatic music, a classical music tradition of South India. The player holds the instrument in one hand and plays it with the other, creating a variety of rhythmic patterns.
• Thattukazhi and Elathalam: These are small cymbals used in the traditional percussion ensemble in Kerala, particularly in the ritualistic performances of Theyyam and other art forms.
• Chimpta: The Chimpta is an idiophone that consists of a metal strip with jingles attached. It is often used in Punjabi folk music and is played by striking the strip to create a jingling sound.
• Ghungroo Tarang: This is a set of small ghungroos (bells) attached to a string or cord, similar to a string of pearls. Musicians use this instrument to create melodies and rhythms by plucking or striking the individual bells.
• Thali: A thali is a metal plate that can be played by striking it with the fingers or other objects. It is often used as a simple percussion instrument during folk and devotional songs.
• Bhapang: The Bhapang is a single-stringed instrument that produces sound by plucking the string and also by striking the resonating chamber with a stick.

These are just a few examples of the diverse range of musical instruments in India. Each instrument contributes to the unique soundscape of Indian music, whether it’s classical, folk, devotional, or contemporary music.

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Musical Instruments of India

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• World Music

Music of India An exploration of Indian music

The music of India is as diverse as its many cultures. India has over a billion people and hundreds of dialects and languages spread across the seventh largest country in the world, but there is still an undeniable “sound” that makes Indian music unmistakable.

In this series, PBS journalist Hari Sreenivasan explores different aspects of Indian music: Indian musical instruments; the styles of music across India; and what makes Indian music unique—and where it is going.

• Before you get started, think of what you already know about Indian music. What are some of the sounds or instruments you associate with this type of music? Have you heard music from the Arab world before? Who were the artists/groups/styles, etc? What do you remember about it? Keep these things in mind as you listen to the audio series.
• As you listen, think about the fact that “Indian music” can mean many different things (styles, practices, etc.) and reflect on the diversity of music from India.

Lesson Content

• For Educators

The Musical Instruments of India

Do you know which drum can speak? Or what instrument is made from a pumpkin? In this segment, we’ll learn about the many instruments that define the sounds of Indian music, and how they are played: the tabla, sitar, tanpura, sarangi, mizhavu, naal, dhol, pung…and the double-flute sitara, whose players can perform without stopping to breathe!

The Styles and Types of Indian Music

The geographic, linguistic, and cultural diversity of India contributes to a broad range of musical styles within Indian music. Certain folk styles and traditions of music important to one region may be virtually unknown in others. In this segment, we’ll learn about many common elements of Indian music—ragas, drones, improvisation, and the celebrity of being a Bollywood playback singer.

What Makes Indian Music Unique?

Indian music typically contains no harmony, can be completely improvised, and is rarely written down. So how do Indian musicians manage to play together? In this segment, we’ll learn about rhythmic patterns called taal, music unique to certain communities and even times of the year, and if deep-rooted musical traditions can continue as India undergoes fast-paced growth and modernization.

Comprehension

• What are some of the key instruments used in Indian music? Do they have counterparts/similarities to instruments in Western music?
• What are some of the unique elements of Indian music?
• What are some of the common musical roots of the diverse world of Indian music?

Critical Thinking

Describe the effect regional differences on Indian musical styles. Do other types of musical traditions from other parts of the world have this? Describe and then compare and contrast these practices.

What are some of the predictions the musicians make about where Indian music is going? What are some of their reasons for this?

Think of music from your own cultural tradition. Do you see some of the same shifts occurring?

Additional Indian Music Videos

The music and dance of India provide students with a window to the vibrant culture and traditions of one of the world's largest countries. As part of the Kennedy Center's maximum INDIA festival, Ragamala Dance introduces students to Bharatanatyam, a traditional dance form from south India. Combining virtuosity and aesthetic beauty, the dancers, accompanied by live music, demonstrate how basic body positions, rhythms, gestures, and facial expressions are woven into each piece. Acclaimed sitar and cello duo, Shubhendra Rao and Saskia Rao-de Haas, perform their own compositions blending European and Indian styles and also perform with Ragamala Dance. Rao-de Haas will show how she adapted the western instrument to create the 'Indian cello'—the only such instrument in existence (recorded in 2011 at The John F. Kennedy Center for the Performing Arts in Washington, DC).

Featuring classical music from India, these three musicians showcase the traditional styles of Indian culture.

Charanjit Singh takes the Indian musical style of Ragas to a different dimension by combining the iconic Indian sounds with the futuristic synthesizer.

From the Kennedy Center Education Archives: A faculty member at the University of Oregon at Eugene, Sreevidhya Chandramouli plays the vina (plucked Indian lute) in the Karaikudi tradition, combining voice and vina in her performances.

As part of The Kennedy Center's 2011 Maximum India festival, this free session introduces participants to Bhangra. Instructor Rina Shah leads the class in the basic movements of Bhangra dance, while DJ Rekha introduces traditional instruments like the alghoza, chimta, tumbi (or ektar), and dhol, then demonstrates how they are incorporated into modern dance music.

Combining the roots of Bollywood music with big band style, the Bombay Royale brings a unique sound to every performance.

Performing on the anniversary of Sri Lankan independence, the Channa Upuli Dance Ensemble mixes traditional dance routines with modern influences.

As part of the Kennedy Center's Maximum India festival, a panel discussion on the portrayal of Indian women in film (Recorded in 2011 at the John F. Kennedy Center for the Performing Arts).

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Allow students to listen online or to download the episodes in the series. For many students, this may be their first in-depth encounter with Indian music, and multiple listening sessions may be appropriate.

• In part 1, explore the fascinating history and sounds of musical instruments of Indian music.
• In part 2, scholars and musicians explore styles and traditions in Indian music.
• In part 3, musicians from across India discuss and demonstrate the unique poperties of Indian music, and where they believe Indian music is headed.
• For each audio story, engage in discussion around the similarities and differences between Western and Indian music-- the instruments, sounds and subject matter. Consider the traditional, classical and contemporary music of each culture.

Hari Sreenivasan

Audio Producer

Richard Paul

October 2, 2019

Related Resources

Media rhythm and raga.

The music of India is diverse, but there is still a distinct “sound” that makes Indian music unmistakable-- use this resource to learn the basics of Indian music.

Collection India

Explore India and its multiple cultures and the art they produce. Listen to experienced musicians perform tabla beats, learn about the Bharatanatyam dance, and catch a movie produced by Bollywood, one of the largest centers of film production in the world.

Collection Ancient Civilizations

From the music, theater, and mythology of Ancient Greece, to traditional music of Chinese and Arab cultures, to the lore of Arthurian England, discover past and present civilizations through their arts.

• Ancient Civilizations

Media Ragamala Dance

Learn about traditional Indian Bharatanatyam dance from the Ragamala Dance company

• World Dance

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Musical Instruments – UPSC Art & Culture Notes

Music, often referred to as the universal language of emotions, finds its heartbeat in the symphony of musical instruments. In India, the rich tapestry of musical diversity is woven through a mesmerizing array of instruments. Rooted in ancient traditions and culture, these instruments are classified into four categories in the Natyashastra, based on how sound is produced.

Table of Contents

Tata Vadya: The Stringed Instruments

The Tata Vadya, or chordophones, comprise the mesmerizing stringed instruments that enchant with their melodious tunes. These instruments thrive on the interaction of the musician’s hand with the strings and are classified into three categories:

• Bowed Instruments: This category includes instruments where sound is produced by drawing a bow across the strings. Notable examples are the Sarangi and the Violin, each capable of evoking a wide range of emotions through their distinctive tones.
• Plectral Instruments: In this category, strings are plucked by the fingers or a plectrum of wire or horn. The enchanting strains of the Veena and the Sitar belong to this group, captivating listeners with their intricate melodies.
• Struck Instruments: Instruments in this subcategory are played by striking them with a small hammer or pair of sticks. The Gotuvadyam and the Swarmandal exemplify this category, offering unique sounds that transport audiences to ethereal realms.

Sushira Vadya: The Wind Instruments

• Sushira Vadya, also known as aerophones, encompasses all wind instruments that are the breath of music. Among the most renowned members of this category are:
• Flutes: The bamboo flute, one of the oldest Indian musical instruments, has been in use since the Vedic period. Bansuri, the Indian bamboo flute, continues to enchant with its soulful melodies.
• Harmonium: Widely employed as an accompaniment to classical, light-classical, and devotional singing in Hindustani music, the harmonium adds depth and resonance to vocal performances.
• Shehnai: The double-reeded wind instrument, with its widening tube towards the lower end, is considered auspicious and is an integral part of festive occasions in India.

Avanaddha Vadya: The Percussion Instruments

Avanaddha Vadya, or membranophones, are characterized by their outer membrane, which produces distinct musical sounds when struck. These percussion instruments are an essential part of Indian music:

• Tabla: A vital accompaniment to most Hindustani classical vocals, the tabla’s intricate rhythms and beats provide a rhythmic foundation for musical compositions.
• Mridangam: The Mridangam takes center stage in Carnatic music performances, adding depth and rhythm to this classical tradition.

Ghana Vadya: The Idiophones

Ghana Vadya, the solid instruments that require no further tuning, provide a unique soundscape. Some notable examples include:

• Manjira: Small brass cymbals used in temple prayers, Manjira’s rhythmic clang is an integral part of religious music in India, invoking a divine connection.
• Santoor: With its mesmerizing 100 strings, the Santoor is a traditional instrument from Jammu and Kashmir, enriching the tapestry of Sufiana kalam music.

Folk Musical Instruments

In addition to classical instruments, India boasts a vast array of folk musical instruments, each reflecting the diverse cultures and traditions of different regions:

Chordophones:

• Tumbi: Played during Bhangra in Punjab.
• Ektara or Tun Tuna: A one-stringed instrument played by wandering monks.
• Dotara: A two-stringed instrument used by Bauls.
• Chikara: A bowed instrument used in Rajasthan, Uttar Pradesh, and Madhya Pradesh.
• Dilruba or Esraj: An accompanying instrument used in Punjab and Rabindra Sangeet in Eastern India.
• Onavillu: From Kerala and made of bamboo.
• Sarinda: An important tribal instrument used by Santhals in Eastern India, as well as in Rajasthan and Assam.

Aerophones:

• Pungi or Been: Used by snake charmers and made from a dried bottle gourd.
• Algoza: A double flute popular in North West India, especially Punjab.
• Tangmuri: A folk instrument of the Khasi hill people of Meghalaya.
• Titti: Similar to a bagpiper and made of goat skin, found in South India, especially Kerala and Andhra Pradesh.
• Mashak: An important folk instrument of the Garhwal region in Uttarakhand, Rajasthan, and Uttar Pradesh.
• Gogona: Made of bamboo and used in the Bihu festival in Assam.

Membranophones:

• Ghumot: Drum-like instrument played during the Ganesh festival in Goa.
• Idakka: Similar to the Damru and from Kerala.
• Udukai: An hourglass-shaped instrument similar to the Damru, from Tamil Nadu.
• Sambal: Drum played with sticks in the Konkan region of Maharashtra.
• Tamak: An important instrument of the Santhal tribe, a two-headed drum beaten with drumsticks.
• Diggi: A folk drum from Ghariya village in Uttar Pradesh.

Idiophones:

• Chimta: Evolved from fire tongs and used in Punjab.
• Gharha: Earthen pots used in folk music of Punjab.
• Andelu: A pair of hollow metal rings used in Burra-Katha.

The vast array of musical instruments in India is a testament to the country’s rich cultural heritage and diversity. These instruments are not just tools for creating music; they are the vesselsthat carry the soul of a nation, preserving its ancient traditions while embracing the winds of change and innovation.

FAQs on Musical Instruments

Q: how do i choose the right musical instrument for me.

• Consider your musical preferences and interests.
• Think about the size and weight of the instrument, especially if you plan to transport it frequently.
• Research the level of difficulty associated with learning the instrument.
• Factor in your budget for both the instrument and any necessary accessories.
• Visit a music store to try out different instruments and seek advice from experienced musicians.

Q: What are the basic maintenance requirements for musical instruments?

• Regularly clean your instrument using appropriate cleaning materials and methods.
• Store instruments in a cool, dry place to prevent warping or damage.
• Keep strings at the proper tension and replace them as needed.
• Check for loose screws, pads, or other parts and tighten or replace them promptly.
• Follow any specific care instructions provided by the manufacturer.

Q: Can I learn to play a musical instrument on my own, or do I need formal lessons?

• While some people can self-learn using online resources and tutorials, formal lessons with a qualified instructor are highly recommended for faster and more effective progress.
• Formal lessons provide personalized feedback, correction of bad habits, and structured learning plans.
• If opting for self-learning, consistency and dedication are crucial, and periodic evaluations or consultations with experienced musicians can be beneficial.

Q: What are the best practices for tuning musical instruments?

• Use a reliable tuner specific to your instrument.
• Tune your instrument in a quiet environment to minimize external interference.
• Follow a systematic approach, starting with the lowest-pitched string or note and progressing to the highest.
• Check the tuning regularly, as changes in temperature and humidity can affect the instrument’s pitch.
• Familiarize yourself with any unique tuning requirements for your specific instrument.

Q: How can I prevent common issues like rust on metal instruments or cracks in wooden instruments?

• Wipe down metal instruments with a clean, dry cloth after each use to remove moisture and oils.
• Keep wooden instruments in a controlled environment with stable temperature and humidity levels.
• Use a humidifier or dehumidifier as needed to maintain optimal conditions for wooden instruments.
• Inspect instruments regularly for any signs of wear, damage, or changes in sound quality, and address issues promptly.
• Invest in proper cases or covers to protect instruments during storage and transport.

In case you still have your doubts, contact us on 9811333901.  

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Indian folk musical instruments.

Author: Kothari, K. S.

Keywords: Musical instruments-India India-musical instruments

Publisher: Sangeet Natak Akademi, New Delhi

Source: Indira Gandhi National Centre for the Arts

Type: E-Book

Received From: Indira Gandhi National Centre for the Arts

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Indian Institute of Technology Bombay

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Paragraph, Essay and Speech on “Indian Musical Instruments” Paragraph for Class 9, Class 10, Class 12 Class and Graduate Exams.

Indian Musical Instruments

The beginnings of musical instruments In India can be found in implements and functions of ordinary life. For instance, pots and other vessels were beaten upon as drums. Some of the instruments have often multiple functions the conch (sankh) was in ancient times blown to announce victory in a battle and it is used in religious functions even today. Indian musical instruments provide us historical information on the socio-religious traditions of a people, geographical distribution of the flora and fauna and soon. That only some communities use a kind of instrument indicates the social taboos prevalent in earlier times. The kind of material used to prepare an instrument in a particular region tells us about the flora and fauna of that place. Study of music and evolution of any musical theory or grammar would be impossible without these instruments. This is because vocal sounds cannot be measured directly; the various features of the instruments are necessary to study the various aspects of music. The growth or decline in the use of different instruments has a deep Impact on the development of music.

 About 500 instruments, including those used in folk and classical music, are known to man. Classifications of musical instruments have been done in many ways. But the one prevalent worldwide today was formulated by Bharata (lived between 2nd B.C and 4th A.D) in Natyasastra

Drums, also avanaddha vadya (covered instruments) or membranophones are  the hollow instruments have originated from cooking, storing pots. They are covered with skin and are almost always used as rhythmic accompaniments in music and dance. The most primitive drum was a pit covered with skin. Later drums were made of earth and wood. Drums are classified in many ways depending upon their shapes, structure, the positions in which they are placed while playing.

Frame (open) drums have a circular, wooden or metal frame covered with skin on one side. The most common class is the tribal folk daff (also dafli or dappu) which includes the ghera (Rajasthan), tappattai, tappate/ tappata in the south, the chengu (Orissa). Other frame drums include the simplest soorya pirai and the chandra pirai of the south; the khanjari (of the north) or kanjira (of the south).

Drums with two faces (like the gna of Laddakh) might have been wooden and cylindrical at the beginning. Cylindrical drums, generally called the dholak when small and the dhole when large (though these terms may refer to barrel-shaped drums as well), include the ancient bheri and the popular chenda of Kerala. Many bifacial drums are classed under ‘mridanga’”the mridangam of south India, the pakhavaj of Hindustani classical music, the pung (Manipur) the sri khole (West Bengal), the barrel-shaped tavil of south India. The barrel-shaped mridangam is the only drum used in Karnatak musical concerts (the suddha maddalam is played for dances such as Kathakali). Its left face”the toppi, a plain membrane”is simpler than the right valan talai and the faces are constructed differently. The right face has the soru, a black mixture, fixed to it permanently while the toppi has a paste of soft dough stuck to it just before the actual playing begins. The wooden pakhavaj, described in the Ain-i-Akbari, is a single, barrel-shaped drum with moveable cylindrical blocks for gross tuning. Its plaits are struck by the hammer to effect pitch modifications. The paste is applied to the pakhavaj in a manner resembling that of the application in the case of the mridangam. But the syahi is used instead of the soru. Its major gharanas are that of Nath Dwara and of Kudau Singh (19th century).

Two-faced drums include the wasted or hourglass drums (the damatu or budbudke or kudukuduppe). These include the nga chung of the Tibetan region, the tudi of the south, the highly-developed eddakka or idakka (Kerala).

There are the surahi-shaped drums (the Kashmiri tumbaknari, the jamukku of Tamil Nadu, the burra of Andhra) and the conical dundubhi which includes the dhumsa of the Santals, the nissan of Orissa, and the folk drum, nagara, of north India. The tabla” contro­versial in origin”has become very popular over the years and has taken over from the pakhavaj especially in khyal singing owing to its comparatively softer and sweeter sound. It is actually a pair of drums”the right tabla proper of wood where the paste is loaded in the centre and the left dagga or duggi (also, bayan). The tabla is associated with the Delhi gharana, the Ajrada gharana, and an eastern branch influenced by the pakhavaj.

Friction drums like the burburi of south India are rare in the country.

Wind Instruments also sushira vadya (hollow instruments) or aerophones, vibration of air columns produces sound in these musical instruments. They can be classed as instruments using no mechanical parts to produce or control the sound and those using vibrators (reeds).

To the first category belong the trumpets, earliest of which were animal horns, played by using the lips to regulate the air. While in the simple (primitive) trumpets, air is directly blown, there are others where a mouthpiece is used to aid the playing lips. There are side-blown trumpets and end-blown trumpets, like the horns and conches. The horns, ancient in origin, feature in folk/tribal music and include the singe of the Bhils, the kohuk of the Marias, the reli-ki of the north-east, the deer-horn singi of Uttar Pradesh, the south Indian C-shaped trumpet of brass/copper, kombu and the S-shaped kombu (like the banke, bankya, bargu, ran-singha, narsingha, turi. The Indian sankh or conch shell is a shell trumpet now used in folk music/dance and in worship. The primitive straight trumpets include tutari, bhongal of Maharashtra, kahal (Orissa), bhenr (UP), the thunchen of the northern Himalayas and the peninsular tiruchinnam. The flute is said to have been brought by the Aryans. It is generally made of bamboo. The most common is the horizontal flute which lends itself excellently to the pitch modifications of Indian music. The air is blown into a small hole near its blocked end. The end-blown flutes have plain ends (the fifli of the north-east, the narh of Rajasthan) or beak-like narrow openings (the bansuri and the algoza”actually a pair of beak flutes). The Indian flutes go by the name of murali, bansi, vamst, pillankuzhal”in Tamil Nadu, pillanagrovi”in Andhra, kolalu”in Karnataka”as well.

Wind instruments with vibrators (reeds) may be single-reed or two-reed instruments, or free-reed instruments. While in the first type the reed beats against the hole edges and only regulates the current of air, in the latter the reed, which does not touch the sides of the hole, produces the sound. Single-reed instruments include the been (Pungi), the tarpo (also, ghonga or dobru or khongada), the tatti or mashak (the Indian bagpipe), the Assamese pepa. The major double-reed pipes are the nagasvaram, an important instrument in Karnatak music, and the sophisticated shehnai, with which is associated the name of Bismillah Khan. Both the instruments have only recently become concert instruments. There is also the mukhaveena, the sundri, the naferi, the ottu. The main among the free-reed instruments”which are rare”is the harmonium. Notes are produced when air trapped by the bellows rushes out through a narrow opening on pressing the keys. There is also the khung (rusem) of east India.

Stringed Instruments – The numerous tala vadya or chordophones of various types, many of which can be traced to primitive cultures, can be classed into drones, rhythmic instruments which do not create melody; polychords wherein a string corresponds to every note in producing melody; monochords or fingerboard instruments”a single string can produce the whole melody though there may be many strings on an Instrument.

The common and simple drones are the tun tune (a folk instrument), the gopi yantra (of Bengal, Orissa), the jamadika (Andhra), the premtal, the buang played by the Oriya Santals. The well-developed drones include the single-stringed ek tar or eka nada, the tamboori, and the four-stringed tamboora or tanpoora. It is famous for its rich sound quality which depends upon the positioning of the jeevan or javari”the thread on the bridge under the strings. The polychords (also, veena”referred to in the Vedas and identified by some with the Dravidian yazh) are the most primitive stringed instruments and mainly comprise the harps and lyres”said to have never existed in India. The harps are referred to in the ancient books depicted in the ancient monuments and music of the earliest times depended upon them. Though generally arched with a resonator and an arm (danda), there are also the box-type (dulcimer type) harps which have no arm. Chief among them is the santoor, specific to Kashmir, which has a large number of strings played with thin sticks. There is also the small svaramandal.

The monochords or fingerboard instruments may be plucked or bowed. Plucked ones include zithers, in which the resonator is fixed below the fingerboard. Typically Indian, the zithers include fretless ones”the most prim­itive bamboo zither or gintang, the ancient alapini veena, the eka tantri or Brahma veena, the vichitra veena of Hindustani music”and fretted instruments, mainly the kinnari of the middle ages and its descendant, Rudraveena. Unlike the zithers, in the lutes the resonator extends to form the fingerboard. Of the short-necked lutes, chief is the sarod. It is a fretless, wooden lute with narrow bridge and strings, plucked with the triangular ‘java’. Ali Akbar Khan and Amjad Ali Khan feature among the eminent sarod players. There is also the kacchapi, rabab of the north-west, svarabat (svaragat) and sur singar. The long-necked lutes include the Sarasvati Veena, the chief among veenas, which holds a supreme status in Karnatak music. It is the only instrument on which all the three”svara, raga and tala – can be played. Like this veena, the sitar (from Persian seh-tar) holds an exalted place in Hindustani music. It is said to have been invented by Amir Khusrau (13th century). The wooden lute has live metal wires for playing ragas, a couple of drone strings, the chikari, and a set of thin wires, the tarab. The famous Ravi Shankar is associated with this instru­ment. A popular long-necked, fretless lute is the gottuvadyarn (Mahanataka veena), the only Karnatak music instrument to have the resonating strings”tarab. The bowed monochords have not achieved the status of the plucked ones in India. Those which are held with the fingerboard above and the resonator below include the sarinda, the kamaitcha and the sarangi. The sarangi’s uniqueness lies in the finger-technique used by the player”the ‘finger nails’ are used to stop the fingers! The bowed instruments held with the sound box above and the fingerboard below include all local forms of the violin”the Ravana hatta or Ravana hasta veena of Rajasthan and Gujarat, the kingri of the Pradhans in Andhra and Maharashtra, the kenra and the banam (Orissa), the pena (Manipur), the veena kunju of the Pulluvans (Kerala).

Solids – The ghana vadya or idiophones are often believed to be the earliest musical instruments known by man. They are mainly rhythm keepers as they are not developed enough to produce the definite pitches which are important for melody. Pots used as idiophones include the matki, noot, gagri and the ghatam, which is played In Karnatak music concerts. Made of special clay, it is capable of producing a variety of sounds. The jaltarang, a set of water-filled porcelain cups struck with bamboo sticks, is used in orchestras. Ankle bells”the ghungroo, the gejje; plates such as the north Indian thali, jagte (jagante) of Karnataka and Andhra, the semmankalam of Tamil Nadu, the chennala. (chenkala) of Kerala, the Rajasthani sree mandal (a number of plates); sticks like the dandiya (Gujarat), kolu, of south India; and varieties of slit drums”the Assamese songkong, the north-eastern tak dutrang, Katola of Madhya Pradesh”feature among idiophones.

The Indian Orchestra – Though the orchestra has never existed in India, instrumental groups such as the kutapa”explained by Bharata in Natyasastra, melam of south India (the nayyandi melam, for instance), the pancha vadya ensemble of Kerala have been there. In recent years, the music in Indian films has been orchestrated to a certain extent.

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Essay on Music for Students and Children

500+ words essay on music.

Music is a vital part of different moments of human life. It spreads happiness and joy in a person’s life. Music is the soul of life and gives immense peace to us. In the words of William Shakespeare, “If music is the food of love, play on, Give me excess of it; that surfeiting, The appetite may sicken, and so die.” Thus, Music helps us in connecting with our souls or real self.

What is Music?

Music is a pleasant sound which is a combination of melodies and harmony and which soothes you. Music may also refer to the art of composing such pleasant sounds with the help of the various musical instruments. A person who knows music is a Musician.

The music consists of Sargam, Ragas, Taals, etc. Music is not only what is composed of men but also which exists in nature. Have you ever heard the sound of a waterfall or a flowing river ? Could you hear music there? Thus, everything in harmony has music. Here, I would like to quote a line by Wolfgang Amadeus Mozart, one of the greatest musicians, “The music is not in the notes, but in the silence between.”

Importance of Music:

Music has great qualities of healing a person emotionally and mentally. Music is a form of meditation. While composing or listening music ones tends to forget all his worries, sorrows and pains. But, in order to appreciate good music, we need to cultivate our musical taste. It can be cited that in the Dwapar Yug, the Gopis would get mesmerized with the music that flowed from Lord Krishna’s flute. They would surrender themselves to Him. Also, the research has proved that the plants which hear the Music grow at a faster rate in comparison to the others.

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Magical Powers of Music:

It has the power to cure diseases such as anxiety, depression, insomnia, etc. The power of Music can be testified by the legends about Tansen of his bringing the rains by singing Raag Megh Malhar and lighting lamps by Raga Deepak. It also helps in improving the concentration and is thus of great help to the students.

Conclusion:

Music is the essence of life. Everything that has rhythm has music. Our breathing also has a rhythm. Thus, we can say that there is music in every human being or a living creature. Music has the ability to convey all sorts of emotions to people. Music is also a very powerful means to connect with God. We can conclude that Music is the purest form of worship of God and to connect with our soul.

FAQs on Essay on Music:

Q.1. Why is Music known as the Universal Language?

Ans.1. Music is known as the Universal language because it knows no boundaries. It flows freely beyond the barriers of language, religion, country, etc. Anybody can enjoy music irrespective of his age.

Q.2. What are the various styles of Music in India?

Ans.2. India is a country of diversities. Thus, it has numerous styles of music. Some of them are Classical, Pop, Ghazals, Bhajans, Carnatic, Folk, Khyal, Thumri, Qawwali, Bhangra, Drupad, Dadra, Dhamar, Bandish, Baithak Gana, Sufi, Indo Jazz, Odissi, Tarana, Sugama Sangeet, Bhavageet, etc.

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Musical Preferences and Personalities: An In-Depth Analysis of Pop Enthusiasts with A Specific Emphasis on Guitar as the Main Instrument

| Published: May 12, 2024

This study delves into the intricate relationship between personality traits, musical preferences (specifically pop genre), instrument preference (with a spotlight on the guitar), and genre choice among 100 individuals aged 18-35. Utilizing a structured questionnaire format including the BFI 2 (Big Five Inventory) questionnaire and targeted queries, the research unveiled compelling insights. Notably, a robust positive correlation emerged between openness and instrument preference, suggesting that individuals with higher openness scores tend to gravitate towards specific musical instruments, particularly guitars. Conversely, a significant inverse relationship was noted between conscientiousness and instrument preference, indicating that those favouring certain instruments often exhibit lower levels of conscientiousness. Moreover, associations were identified between conscientiousness and genre choice, as well as between genre preference and extraversion, illuminating the multifaceted nature of the link between musical inclinations and personality traits within the young adult demographic. These findings underscore the pivotal role of personality dimensions in shaping individuals’ musical choices and preferences.

Personality traits , Musical preferences , Instrument preference , Genre choice , Young adults , BFI 2 (Big Five Inventory) questionnaire

This is an Open Access Research distributed under the terms of the Creative Commons Attribution License (www.creativecommons.org/licenses/by/2.0), which permits unrestricted use, distribution, and reproduction in any Medium, provided the original work is properly cited.

© 2024, Wasim, A. & Hasan, Z.

Received: March 19, 2024; Revision Received: May 08, 2024; Accepted: May 12, 2024

Md. Amaan Wasim @ [email protected]

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Published in   Volume 12, Issue 2, April-June, 2024

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5 favorite places

Eugene Levy’s Toronto

The Canadian comedian, known for “American Pie,” “Schitt’s Creek” and now, “The Reluctant Traveler,” isn’t at all reluctant to share what he loves about his hometown.

Eugene Levy called Koerner Hall, at the Royal Conservatory of Music, one of his favorite places to see concerts. “The acoustics are impeccable,” he said. Credit... Eugen Sakhnenko for The New York Times

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By Abbie Kozolchyk

• May 9, 2024

As you might guess from the title of Eugene Levy’s latest series — “The Reluctant Traveler” — he’s a guy who’s happy to stay put.

The show, now in its second season on Apple TV+ , follows Mr. Levy, a 77-year-old comedy legend known for his roles in “Waiting for Guffman,” “American Pie,” “Schitt’s Creek” and more, as he defies his anxieties about airports, heights, temperatures, textures and vast swaths of the animal kingdom. With great consternation, he leaves his comfort zone — Canada, as he often reminds viewers — to shadow an expert moose caller in Sweden, herd 600 sheep through a German resort town and politely avoid an octopus aboard a Greek trawler.

Raised in Hamilton, Ontario, about 40 miles southwest of Toronto, Mr. Levy got his big break in 1972 alongside Martin Short, Gilda Radner, Victor Garber, Andrea Martin and Paul Shaffer in a celebrated production of “Godspell” at Toronto’s Royal Alexandra Theater . He has since called the city — and one historic, leafy neighborhood — home.

“Rosedale is a residential area that is right in the heart of Toronto,” he told me over coffee at Tavern on the Green, in New York, where he’d joined the cast of the fourth season of “ Only Murders in the Building .” With new skyscrapers going up “a mile a minute” in Toronto, he said, the scene from our table in Central Park looked a little like his view from Rosedale. He and his wife, Deborah Divine, are neighborhood loyalists — Avant Goût , a local bistro, has been their go-to for decades — but spots in other areas rank high, too.

Here are five of Mr. Levy’s favorite places in Toronto.

1. Terroni Bar Centrale

“Deb and I would usually do our daily constitutional in the morning and end up at Bar Centrale for a latte and some of their fine pastries,” he said, adding that the croissants are especially good at this spot in Summerhill, a neighborhood that borders Rosedale. Occupying the ground floor of the multistory Terroni Price restaurant in a 19th-century brick building, Bar Centrale forgoes the Wi-Fi you might expect with your coffee in favor of a wall’s worth of international magazines and — according to Mr. Levy — a staff full of good conversationalists.

2. Harry Rosen

The flagship of this family-run men’s wear emporium on Bloor Street is one-stop shopping for Mr. Levy. “I hate traveling around to different places to get different things,” he said, very much on brand. This place “has every designer, if that’s what you’re into, and everything from socks to tuxedos.” There’s also a sumptuous grooming department, a tailoring service and an array of coffee table books on topics like racecars, rockers and tattoo art.

3. CN Tower

Touristy? Sure, Mr. Levy acknowledged. Still, this approximately 1,815-foot communications and observation tower offers unrivaled views of the city and Lake Ontario, even if — like him — you avoid the acrophobia-inducing glass-floored sections. “We used to take the kids there when they were young,” he said. “I couldn’t even put my toe on the edge of the glass, but my kids would just destroy me — they would lie down on it.” A less stressful view: Rogers Centre , the stadium next door, where you can see the Toronto Blue Jays play baseball. “I’ve been a Jays fan for, I guess since they started in ’77,” Mr. Levy told me. He clarified his brand of fandom during a Season 2 episode of “The Reluctant Traveler”: “I don’t go and paint my face,” he told the Spanish footballer Héctor Bellerín , but “in a championship game, I’ll stand up and give them, you know, a thumbs-up.”

4. The Royal Conservatory of Music

“The musicianship coming out of the Royal Conservatory is just awesome,” said Mr. Levy, quick to note that his wife “would go there when she was a kid taking piano lessons.” (Students at the 138-year-old institution have included the pianist Glenn Gould and the singer Sarah McLachlan .) Mr. Levy loves concerts at the attached Koerner Hall — “the acoustics are impeccable” — where you can see top students or international stars .

5. Windsor Arms Hotel

The 1972 “Godspell” role became Mr. Levy’s first steady acting paycheck: “That was huge,” he said. And with his windfall (“140 bucks every single week”) he started enjoying meals and late-night cocktails, or cake and coffee, at the Windsor Arms , a 10-minute drive from the theater. The hotel was popular, he said, because it was “quiet and more residential” than others. (The suites feel like genteel prewar apartments, with musical instruments and plenty of plush seating.) One of Mr. Levy’s favorite old haunts there — the Courtyard Cafe — is now the Courtyard, an event space worth a quick wander to see where, among other things, Elton John and David Furnish held an engagement party. Mr. Levy, now a connoisseur of 5:30 p.m. dinners, is no longer the late-night cake-and-coffee guy he once was — but he still gives the place, you know, a thumbs-up.

Follow New York Times Travel on Instagram and sign up for our weekly Travel Dispatch newsletter to get expert tips on traveling smarter and inspiration for your next vacation. Dreaming up a future getaway or just armchair traveling? Check out our 52 Places to Go in 2024 .

Open Up Your World

Considering a trip, or just some armchair traveling here are some ideas..

52 Places:  Why do we travel? For food, culture, adventure, natural beauty? Our 2024 list has all those elements, and more .

Mumbai:  Spend 36 hours in this fast-changing Indian city  by exploring ancient caves, catching a concert in a former textile mill and feasting on mangoes.

Kyoto:  The Japanese city’s dry gardens offer spots for quiet contemplation  in an increasingly overtouristed destination.

Iceland:  The country markets itself as a destination to see the northern lights. But they can be elusive, as one writer recently found .

Texas:  Canoeing the Rio Grande near Big Bend National Park can be magical. But as the river dries, it’s getting harder to find where a boat will actually float .

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