ACTIVITY OF MUSICAL INSTRUMENTS OF THE ENGLISH SUMMER HOLIDAY HOMEWORK OF THE CLASS 9TH= A

1. NAME- ANUBHAV KUMAR SAXENA
CLASS- IX-A
SECTION- A
ROLL NUMBER (NO.)-12
SUBJECT- ENGLISH
INFORMATION ABOUT MUSICAL
INSTRUMENTS PLAYED IN INDIAN WEDDING
AS WELL AS HISTORY OF THE MUSICAL
INSTRUMENTS AND ITS PLAYER.

2. SITAR MUSIC INSTRUMENT:-
Sitar is one of the most popular India classic music instruments. Sitar has a long neck
with twenty metal frets and seven cords. These frets are adjoined with thirteen strings
which are tuned to the notes of raga, A round shape or a gourd which acts as a sound
board is grounded at the lower end of the neck of the sitar. Renowned sitar players
who have established themselves playing sitar are Pt. Ravi Shankar, Ustaad Abdul
Halim Zaffar Khan and many more.
History:- The history of the sitar is disputed, with Western schloars favouring West
Asian origins, an Indian schloars favouring local Indian origins. Foreign origins:- The
predominant western schloarly opinion of the sitar’s origin is that the sitar evolved
from one or more instruments of the tanbur family, long necked lutes which they argue
were introduced and popularised during the period of Mughal rule. Those favouring this
view say that the evidence of indigeneous long- necked lutes in India is particularly
lacking. According to this view, when Muslim rule began in Northern India in 1192, the
conquerors brought with them tanbur-family instruments, and other instruments in
their “multi-national” army. In this early period, the Muslim instrument was linked to
the tradition of Sufi ecastatic dance, “sufiana-rang”. In the early Mughal Empire (1526-
1707), tanbur _style instruments continued to be used in court. They were beginning to
change; in images from the period, an instrument resembling Uzbek dutar or a tambura
is being played on the shoulder, with the “deep bridge of the modern sitar and the
tambura”. Looking at the musicians (the way they played their instruments in surviving
images, their identities that were recorded) led historian Alastair Dick to conclude that
the instrument was being adopted for Hindu music by Hindu musicians. The instrument
was used for “Persian and Hindu melodies”. According to Dick, the “modern view that…

3. HISTORY:- ….INVADING Muslims simply changed into Persian the name of an existing Hindu
instrument…has no historical or musical foundation. In the late Mughal Empire (1707-1858),
the instrument began to take on its modern shape. The neck got wider. The bowl, which had
been made of glued lathes of wood was now made of gourd, with metal frets and a bone nut on
the neck. By about 1725, the name ‘Sitar” was used in the Hammir-raso by Jodhraj , a Rajasthan
author. The insytrument had 5 strings by this time. The beginnings of the modern 7-string
tuning were present too. The gourd mounted on the top of the instrument came from the stick
zither tradition, in which the Veena is prominent. Indian origins:- Indian scholarship generally
favors evolution of Sitar from locally developed Indian instruments. This view is also the one
favored by acclaimed Indian Sitarist Ravi Shankar. Even if modern mythological studies are
taken consideration, which have indicated that an origin linked to tambur-family instruments
from West- Asia is significantly more proable, this still doesn’t negate the possibility of
influence on the development of the sitar from other native Indian instruments , such as the
veena. The veena in particular may have been a source for adding sympathetiuc strings to the
sitar. This allowed the sitar to expand into different musical traditions “ repertoire and the
conventions... Of the long-established system of rag”.
Players:- Ravi Shankar, Anoushka Shankar, Annapurna Devi, George Harrison, Nikhil
Banerjee, Vilayat Khan, Prem Joshua, Gabby La La, Reenat Fauzia, Brian Jones, Shahid Parvez
Khan, Rais Khan, Al gromer Khan, Nishat Khan, Imrat Khan, Anjan Chattopadhyay, Lowell
George, Justin Hayward, Emily Robson Strayer Summing up our list of Famous Sitarists…

4. TABLA MUSIC INSTRUMENT:-
 The Tabla consists of a pair of drums – one is the Tabla and the other is the Bayan.
The Tabla is made of wood and its upper portion is made of stretched animal skin.
The tuning of Tabla can be adjusted by striking the rim of the Tabla with a small
hammer.
The Bayan is the bass drum and is made of metal where the upper portion is a
stretched skin. Both drums have a black spot in the center made of manganese or
iron dust. Tabla is mainly occupied by harmonium which is also a well-known Indian
classical instrument. Zakir Husain is the renowned personae associated with Tabla.
HISTORY OF TABLA MUSIC INSTRUMENT:- Drums and Talas are mentioned in
the Vedic era texts. A percussion musical instrument with two or three small drums,
held with strings, called Pushkara (also spelled Pushkala) were in existence in pre-
5th century Indian subcontinent along with other drums such as the Mridang, but
these are not called tabla then. The pre-5th century paintings in the Ajanta Caves, for
example, show a group of musicians playing small tabla-like upright seated drums, a
kettle-shaped mridang drum and cymbals. Similar artwork with seated musicians
playing drums, but carved in stone, are found in the Ellora Caves, and others. A type
of small Indian drums, along with many other musical instruments, are also
mentioned in Tibetan and Chinese memoirs written by Buddhist monks who visited
the Indian subcontinent in the 1st millennium CE. The pushkala are called rdzogs
pa (pronounced dzokpa) in Tibetan literature. The pushkara drums are also
mentioned in many ancient Jainism and Buddhism texts, such
as Samavayasutra, Lalitavistara and Sutralamkara..

5. Various Hindu and Jain temples, such as the Eklingji in Udaipur, Rajasthan show
stone carvings of a person playing tabla-like small pair of drums. Small drums were
popular during the Yadava rule (1210 to 1247) in the south, at the time when Sangita
Ratnakara was written by Sarangadeva. Madhava Kandali, 14th
century Assamese poet and writer of Saptakanda Ramayana, lists several
instruments in his version of "Ramayana", such as
tabal, jhajhar, dotara, vina, bīn, vipanchi, etc. (meaning that these instruments
existed since his time in 14th century or earlier).There is recent iconography of the
tabla dating back to 1799. This theory is now obsolete with iconography carvings
found in Bhaje caves providing solid proof that the tabla was used in ancient India.
There are Hindu temple carvings of double hand drums resembling the tabla that
date back to 500 BCE. The tabla was spread widely across ancient India. A
Hoysaleshwara temple in Karnataka shows a carving of a woman playing a tabla in a
dance performance. According to classifications of musical instruments defined in
the Natyashastra, Tabla is classified in the Avanadha Vadya category of rhythm
instruments which are made by capping an empty vessel with a stretched skin.
PLAYERS:- Sarosh Sami, Yogesh Samsi, Setrak Sarkissian, Keshav Sathe,
Sudhirkumar Saxena, Lenny Seidman, Bihari Sharma, Chandra Nath Shastri, Prahlad
Shinde, Shri (musician), Chakradhar Singh, Talvin Singh, Rimpa Siva, Tina Sugandh,
Suphala, Péter Szalai, Cassius Khan, Faiyaz Khan (tabla player), Keshava (musician),
Alex Acuña…..
…

6. FLUTE MUSIC INSTRUMENT:-
Whenever we pronounce or imagine flute, the first image that pops into our mind is the image of
Lord Krishna and the melody which is associated with the instrument. Hence, it proves the
importance of flute which is associated with Indian music since time immemorial. Flute is an
instrument which provides exuberance in the mind and soul. Flute is structured into cylindrical tube
of uniform bore. To produce sound, one must hold the holes with fingers of left and right variations.
Similarly, variations of pitch are generated by the length of air column. Pt Pannalal Ghosh and Pt
Hari Prashad Chaurasia are considered as the best curator of flute playing in India.

HISTORY:- The oldest flute ever discovered may be a fragment of the femur of a juvenile cave bear,
with two to four holes, found at Divje Babe in Slovenia and dated to about 43,000 years ago. However,
this has been disputed.[23][24] In 2008 another flute dated back to at least 35,000 years ago was
discovered in Hohle Fels cave near Ulm, Germany. The five-holed flute has a V-shaped mouthpiece and
is made from a vulture wing bone. The researchers involved in the discovery officially published their
findings in the journal Nature, in August 2009. The discovery was also the oldest confirmed find of
any musical instrument in history, until a redating of flutes found in Geißenklösterle cave revealed
them to be even older with an age of 42,000 to 43,000 years.[3]
The flute, one of several found, was found in the Hohle Fels cavern next to the Venus of Hohle
Fels and a short distance from the oldest known human carving.On announcing the discovery,
scientists suggested that the "finds demonstrate the presence of a well-established musical tradition
at the time when modern humans colonized Europe".Scientists have also suggested that the discovery
of the flute may help to explain "the probable behavioural and cognitive gulf
between" Neanderthals and early modern human.

7. HISTORY OF FLUTE MUSIC INSTRUMENT:-
A three-holed flute, 18.7 cm long, made from a mammoth tusk (from the Geißenklösterle cave, near Ulm, in
the southern German Swabian Alb and dated to 30,000 to 37,000 years ago)[ was discovered in 2004, and two
flutes made from swan bones excavated a decade earlier (from the same cave in Germany, dated to circa
36,000 years ago) are among the oldest known musical instruments.
A playable 9,000-year-old Gudi (literally, "bone flute") was excavated from a tomb in Jiahu along with 29
defunct twins,made from the wing bones of red-crowned cranes with five to eight holes each, in the Central
Chinese province of Henan.The earliest extant Chinese transverse flute is a chi (篪) flute discovered in
the Tomb of Marquis Yi of Zeng at the Suizhou site, Hubei province, China. It dates from 433 BC, of the
later Zhou Dynasty.[33] It is fashioned of lacquered bamboo with closed ends and has five stops that are at the
flute's side instead of the top. Chi flutes are mentioned in Shi Jing, compiled and edited by Confucius,
according to tradition.
The earliest written reference to a flute is from a Sumerian-language cuneiform tablet dated to c. 2600–
2700 BC.[34] Flutes are also mentioned in a recently translated tablet of the Epic of Gilgamesh, an epic poem
whose development spanned the period of approximately 2100–600 BC. Additionally, a set of cuneiform
tablets knows as the "musical texts" provide precise tuning instructions for seven scale of a stringed
instrument (assumed to be a Babylonian lyre). One of those scales is named embūbum, which is
an Akkadian word for "flute".
The Bible, in Genesis 4:21, cites Jubal as being the "father of all those who play the ugab and the kinnor". The
former Hebrew term is believed by some to refer to some wind instrument, or wind instruments in general,
the latter to a stringed instrument, or stringed instruments in general. As such, Jubal is regarded in the
Judeo-Christian tradition as the inventor of the flute (a word used in some translations of this biblical
passage). Elsewhere in the Bible, the flute is referred to as "chalil" (from the root word for "hollow"), in
particular in 1 Samuel 10:5, 1 Kings 1:40, Isaiah 5:12 and 30:29, and Jeremiah 48:36.Archeological digs in the
Holy Land have discovered flutes from both the Bronze Age (c. 4000–1200 BC) and the Iron Age (1200–586 BC),
the latter era "witness[ing] the creation of the Israelite kingdom and its separation into the two kingdoms of
Israel and Judea."Some early flutes were made out of tibias (shin bones). The flute has also always been an
essential part of Indian culture and mythology, and the cross flute believed by several accounts to originate
in India as Indian literature from 1500 BC has made vague references to the cross flute.[
 PLAYERS OF FLUTE MUSICAL INSTRUMENT:- James Galway, Jeanne Baxtresser, Georges Barrère, Hariprasad
Chaurasia, Keshav Ginde, Bapu Padmanabha, Bholanath Prasanna, , Raghavendran Rajasekaran, Rupak
Kulkarni, , Nityanand Haldipur,, Amar Oak, Milind Date ,Chetan Joshi, Devendra Murdeshwar, Murtaza
Kabir Murad, Peter Kroutil, Sameer Rao, Rishab Prasanna, Rakesh Chaurasia, V.G. Karnad………

8. SHEHNAI MUSIC INSTRUMENT:- Shehnai is a traditional Indian musical
instrument where one can hear the melodious music in occasions like marriages and
temple processions. Shehnai is a double reed instrument with a tapering bore which
progressively increases towards the lower side. The Shehnai has finger-holes to
produce micro-tones. Ustad Bismillah Khan is the unrivalled maestro of the Shehnai.
HISTORY OF SHEHNAI MUSIC INSTRUMENT:- The shehnai is thought to have been
developed by improving upon the pungi (a woodwind folk instrument used primarily
for snake charming).
Another theory of the origin of the shehnai is that the name is a modification of the
word "shah-nai". The word “nai” is used in many Indian languages to mean barber.
The word "shah" refers to a Royal. Since it was first played in the Shah's chambers
and was played by a nai (barber), the instrument was named "shehnai". The sound of
the shehnai began to be considered auspicious. And for this reason it is still played in
temples and is an indispensable component of any North Indian wedding. In the past,
the Shehnai was part of the naubat or traditional ensemble of nine instruments
found at royal courts. Till recently it was used only in temples and weddings. The
credit for bringing this instrument onto the classical stage goes to Ustad Bismillah
Khan.
The counterparts to the shehnai played in West India and Coastal Karnataka. are
indigenous to the territory. Shehnai players were/are an integral part of
Goan/Konkani and temples along the western coast and the players are
called Vajantri and were allotted lands for services rendered to the temples.
PLAYERS OF THE SHEHNAI MUSIC INSTRUMENT:- Anant Lal, Ustad Bismillah
Khan, Pandit S. Ballesh, Ali Ahmed Hussain Khan………..

9. HARMONUM MUSIC INSTRUMENT:-The harmonium is a traditional and popular musical
instrument of India. The harmonium has a keyboard of over two and one-half octaves and
works on a system of bellows. The keyboard is played with the right hand while the left hand is
used to operate the bellows. Harmonium is more popular in North India than in the South.
HISTORY OF HARMONIUM MUSIC INSTRUMENT:- During the first half of the 18th century,
a free-reed mouth organ called a sheng was brought to Russia. That instrument received
attention due to its use by Johann Wilde. The instrument's free-reed was unknown in Europe at
the time, and the concept quickly spread from Russia across Europe.[1] Christian Gottlieb
Kratzenstein (1723–1795), professor of physiology at Copenhagen, was credited with the first
free-reed instrument made in the Western world, after winning the annual prize in 1780 from the
Imperial Academy of St. Petersburg. According to Curt Sachs, Kratzenstein suggested that the
instrument be made, but that the first organ with free reeds was made by Abbé Georg Joseph
Vogler in Darmstadt. The harmonium's design incorporates free reeds and derives from the
earlier regal. A harmonium-like instrument was exhibited by Gabriel-Joseph Grenié (1756–1837)
in 1810. He called it an orgue express if (expressive organ), because his instrument was capable
of greater expression, as well as of producing a crescendo and diminuendo. Alexandre
Debain improved Grenié's instrument and gave it the name harmonium when he patented his
version in 1840.There was concurrent development of similar instruments. A mechanic who had
worked in the factory of Alexandre in Paris emigrated to the United States and conceived the
idea of a suction bellows, instead of the ordinary bellows that forced the air outward through
the reeds. Beginning in 1885, the firm of Mason & Hamlin, of Boston made their instruments
with the suction bellows, and this method of construction soon superseded all others in
America.

10. HISTORY OF HARMONIUM MUSIC INSTRUMENT:- The term melodeon was applied to concert saloons in
the Victorian American West because of the use of the reed instrument. The word became a common
designation of that type of resort that offered entertainment to men.
Harmoniums reached the height of their popularity in the West in the late 19th and early 20th centuries.
They were especially popular in small churches and chapels where a pipe organ would be too large or
expensive; in the funeral-in-absentia scene from Mark Twain's The Adventures of Tom Sawyer, the protagonist
narrates that the church procured a "melodeum" (a conflation, likely intended by Twain for satirical effect, of
the names "melodeon" and "harmonium") for the occasion. Harmoniums generally weigh less than similar
sized pianos and are not easily damaged in transport, thus they were also popular throughout the colonies of
the European powers in this period not only because it was easier to ship the instrument out to where it was
needed, but it was also easier to transport overland in areas where good-quality roads and railways may have
been non-existent. An added attraction of the harmonium in tropical regions was that the instrument held
its tune regardless of heat and humidity, unlike the piano. This "export" market was sufficiently lucrative for
manufacturers to produce harmoniums with cases impregnated with chemicals to prevent woodworm and
other damaging organisms found in the tropics. At the peak of the instruments' Western popularity around
1900, a wide variety of styles of harmoniums were being produced. These ranged from simple models with
plain cases and only four or five stops (if any at all), up to large instruments with ornate cases, up to a dozen
stops and other mechanisms such as couplers. Expensive harmoniums were often built to resemble pipe
organs, with ranks of fake pipes attached to the top of the instrument. Small numbers of harmoniums were
built with two manuals (keyboards). Some were even built with pedal keyboards, which required the use of an
assistant to run the bellows or, for some of the later models, an electrical pump. These larger instruments
were mainly intended for home use, such as allowing organists to practise on an instrument on the scale of a
pipe organ, but without the physical size or volume of such an instrument. For missionaries, chaplains in the
armed forces, travelling evangelist etc., reed organs that folded up into a container the size of a very large
suitcase or small trunk were made; these had a short keyboard and few stops, but they were more than
adequate for keeping hymn singers more or less on pitch.
The invention of the electronic organ in the mid-1930s spelled the end of the harmonium's success in the
West, although its popularity as a household instrument had already declined in the 1920s as musical tastes
changed.

11. The Hammond organ could imitate the tonal quality and range of a pipe organ whilst
retaining the compact dimensions and cost-effectiveness of the harmonium as well as
reducing maintenance needs and allowing a greater number of stops and other features.
By this time, harmoniums had reached high levels of mechanical complexity, not only
through the demand for instruments with a greater tonal range, but also due to patent
laws (especially in North America). It was common for manufacturers to patent the action
mechanism used on their instruments, thus requiring any new manufacturer to develop
their own version; as the number of manufacturers grew, this led to some instruments
having hugely complex arrays of levers, cranks, rods and shafts, which made replacement
with an electronic instrument even more attractive.
The last mass-producer of harmoniums in North America was the Estey company, which
ceased manufacture in the mid-1950s; a couple of Italian companies continued into the
1970s. As the existing stock of instruments aged and spare parts became hard to find,
more and more were either scrapped or sold. It was not uncommon for harmoniums to be
"modernised" by having electric blowers fitted, often very unsympathetically. The
majority of Western harmoniums today are in the hands of enthusiasts, though the
instrument still remains popular in South Asia. Modern electronic keyboards can emulate
the sound of the pump organ.
PLAYERS OF THE HARMONIUM MUSIC INSTRUMENT:- M. S. Baburaj, Husnlal
Bhagatram, R. K. Bijapure, Tulsidas Borkar, Krishna Das (singer), Mehmood Dhaulpuri,
Santosh Ghante, Farrukh Fateh Ali Khan, Nusrat Fateh Ali Khan, Larry Knechtel, Arwind
Thatte, Govindrao Tembe, Jai Uttal……………

12. MRIDANGAM MUSIC INSTRUMENT:-It is a primary accompaniment of Carnatic music.
Mridangam finds place in ancient temples, music, hymns, and paintings, especially in South
India. It is a double-sided drum made from jackfruit wood which is known to be very thick. The
two open ends are covered with goat skin and leather straps are tied around the circumference
to tighten them. According to Hindu mythology, Lord Ganesha and Nandi are said to have
played this to accompany Lord Shiva’s Tandava. The word Mridangam is derived from two
different words, Mrida- meaning earth, and Anga-meaning limb/part, and in earlier days the
instrument was made out of these materials. Nagercoil Ganesa Iyer, Palana Subramaniam
Pillai, Palghat Mani Iyer, Palghat R. Raghu
HISTORY OF MRIDANGAM MUSICAL INSTRUMENT:- Over the years, the mridangam evolved
and was made from different kinds of wood for increased durability, and today, its body is
constructed from the wood of the jackfruit tree. It is widely believed that the tabla, the
mridangam's Hindustani musical counterpart, was first constructed by splitting a mridangam
in half. With the development of the mridangam came the tala (rhythm) system.
The mridangam has a large role in Newa music. One of the earliest Nepal Bhasa manuscripts
on music is a treatise on this instrument called Mridanga anukaranam.[1]
The range of its use has changed over the years. In the old days, percussionists were only
employed to accompany the lead player, often the vocalist. Now its use is not restricted to
accompaniment, and it is used for solo performances.

13. TAMIL CULTURE:- In Tamil culture, it is called a tannumai, The earliest
mention of the mridangam in Tamil literature is found perhaps in the Sangam
literature where the instrument is known as 'tannumai'. In later works, like the
Silappadikaram, we find detailed references to it as in the Natyasastra. During
the Sangam period, it was one of the principal percussion instruments used to
sound the beginning of war, along with the murasu, tudi and parai, because it
was believed that its holy sound would deflect enemy arrows and protect the
King. During the post-Sangam period, as mentioned in the epic Silappadikaram,
it formed a part of the antarakoṭṭu - a musical ensemble which performed at the
beginning of dramatic performances, and that would later develop
into Bharathanatyam. The player of this instrument held the title tannumai
aruntozhil mutalvan.
PLAYERS OF MRIDANGAM MUSICAL INSTRUMENT:- Murthy, Dandamudi Ram
Mohan Rao, T. V. Gopalakrishnan, Umayalpuram K. Sivaraman, Vellore G.
Ramabhadran, T S Nandakumar, Karaikudi Mani, Trichy Sankaran, Mannargudi
Easwaran, Yella Venkateswara Rao, and Thiruvarur Bakthavathsalam, who have
been playing and advancing the technique for decades………..

14. SARANGI MUSICAL INSTRUMENT:- This instrument forms an important part of Hindustani music.

It is believed that Sarangi is made up of two words- Sar, meaning “essence”, and Ang, meaning
“limb/part”. Another theory also says that Sarangi is derived from “sol rang”, which simply means a
hundred colors. It is a block like structure with three hollow chambers, namely- pet, chaati and
magaj. The pet is the lower chamber and is covered with goat skin, on which a think strip of leather is
placed. There are three main playing strings i this instrument, and players use fingertips, nails and
surrounding flesh to play them. Not only is this difficult to play, but also difficult to master. Ram
Narayan, Dhruba Ghosh, Surinder Sandhu, AR Rahman……..
HISTORY OF SARANGI MUSICAL INSTRUMENT:- Sarangi derives its name from the bow of Lord
Vishnu and probably as it is played with a bow it is named sarangi. According to some musicians, the
word sarangi is a combination of two words: seh ('three' in Persian) and rangi ('coloured' in Persian)
or Persian sad-rangi, sad for 'hundred' in Persian ('hundred coloured) corrupted as sarangi.The
term seh-rangi represents the three melody strings. However, the most common folk etymology is
that sarangi is derived from sol rang ('a hundred colours') indicating its adaptability to many styles of
vocal music, its flexible tunability, and its ability to produce a large palette of tonal colour and
emotional nuance.

The repertoire of sarangi players is traditionally very closely related to vocal music. Nevertheless, a
concert with a solo sarangi as the main item will sometimes include a full-scale raag presentation
with an extensive alap (the unmeasured improvisatory development of the raga) in increasing
intensity (alap to jor to jhala) and several compositions in increasing tempo called bandish. As such,
it could be seen as being on a par with other instrumental styles such as sitar, sarod, and bansuri.

15. It is rare to find a sarangi player who does not know the words of many classical
compositions.The words are usually mentally present during the performance, and a
performance almost always adheres to the conventions of vocal performances
including the organisational structure, the types of elaboration, the tempo, the
relationship between sound and silence, and the presentation
of khyal and thumri compositions. The vocal quality of sarangi is in a separate
category from, for instance, the so-called gayaki-ang of sitar which attempts to
imitate the nuances of khyal while overall conforming to the structures and usually
keeping to the gat compositions of instrumental music. (A gat is a composition set to
a cyclic rhythm.)
The Nepali Sarangi is also a traditional stringed musical instrument of Nepal,
commonly played by the Gaine or Gandarbha ethnic group but the form and
repertoire of sarangi is more towards the folk music as compared to the heavy and
classical form of the repertoire in India. In Nepal, Sarangi is viewed as an iconic
musical instrument to identify the Gandarbha people.
PLAYERS OF SARANGI MUSICAL INSTRUMENT:- Growing into Music – includes
several films by Nicolas Magriel on Indian musical enculturation including films
about the sarangi players, Farooq Latif Khan (b. 1975), Sarwar Hussain Khan (b.
1981), Mohammed Ali Khan, Sarangi (d. 2002), Ghulam Sabir Qadri (1922-), Vidya
Sahai Mishra (d. 2019), Siddiqui Ahmed Khan (1914-), Ghulam Sabir Khan (b.
1948), Murad Ali (b. 1977), Faiyaz Khan (Varanasi), Zakan Khan
(Varanasi) and Kanhaiyalal Mishra (Varanasi).

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