Ram Narayan

Narayan in Delhi in October 2010

Ram Narayan ( Hindi : राम नारायण ; Rām Nārāyaṇ ; pronunciation : [ ˈraːm naːˈraːjn ]; born December 25, 1927 in Udaipur ) is an Indian musician who established the sarangi as a solo concert instrument in classical North Indian music and was the first internationally successful sarangi -Gamer became.

Narayan learned to play sarangi at an early age. He practiced with singers and other sarangi players and worked as a music teacher and traveling musician from a young age. All India Radio , Lahore , hired Narayan as a musical accompanist for singers in 1944. After the partition of India in 1947, he moved to Delhi and in 1949 to Mumbai to work on film production.

Soon the vocal accompaniment no longer satisfied him. He wanted to be a soloist. After an unsuccessful attempt in 1954, Narayan became a concert soloist in 1956 and later gave up musical accompaniment altogether. He released solo albums and toured America and Europe from the 1960s. Narayan taught Indian and overseas students and performed publicly, often outside of India, until after 2000. In 2005 he was awarded India's second highest civil order, the Padma Vibhushan .

youth

The city palace of Udaipur , where the Maharana Udaipur held court

Ram Narayan was born on December 25, 1927 in Udaipur in northwestern India. His great-great-grandfather, Bagaji Biyavat, was an Amber singer , and he and Narayan's great-grandfather, Sagad Danji Biyavat, sang in the court of the Maharana of Udaipur . Narayan's grandfather, Har Lalji Biyavat, and father, Nathuji Biyavat, were farmers and singers, Nathuji played the string instrument, Dilruba, and Narayan's mother was a music lover. Narayan's mother tongue was Rajasthani , he learned Hindi and later English. When Narayan was about six years old, he found a tiny sarangi that had been left behind by the family's Ganga Guru , a genealogist, and his father taught him a fingering technique he had developed . Narayan's father taught him, but was concerned about the difficulty of the instrument and its poor social standing due to its connection to courtesan music . After a year, Biyavat asked sarangi player Mehboob Khan from Jaipur to teach his son, but changed his mind when Khan told him Narayan had to change his fingering technique. Narayan's father later encouraged him to quit school and concentrate on playing sarangi .

At around ten years old, Narayan learned the basics of dhrupad , the oldest style of North Indian music , by observing and imitating the practices of sarangi player Uday Lal from Udaipur, a student of dhrupad singers Allabande and Zakiruddin Dagar. Giridhari Lal and Jahauddin Khan were other teachers from whom Narayan learned in Udaipur. After Uday Lal's old age, Narayan met the traveling musician Madhav Prasad, who was originally from Lucknow and had performed at the court of Maihar . With Prasad, Narayan performed the Ganda Bandhan , a traditional bondage ceremony between teacher and student, in which Narayan swore obedience in return for Prasad's teaching and maintenance. Narayan served Prasad and was taught khyal , the most common style of North Indian music, but returned to Udaipur after four years to teach in a music school. Prasad later visited Narayan and convinced him to quit his position and work to become a better musician. The idea of ​​giving up a secure existence for the life of a wandering musician was badly received by Narayan's family. He stayed with Prasad and traveled through several Indian princely states until Prasad fell ill and advised him to learn from the singer Abdul Wahid Khan in Lahore . After Prasad's death in Lucknow, Narayan performed the Ganda Bandhan with another teacher who gave him lessons, but soon left for Lahore and never repeated the ceremony.

Career

Narayan traveled to Lahore in 1944 and tried to find work in a film studio, but was unsuccessful. Instead, he auditioned on the local All India Radio (AIR) station, but the station's record producer, Jivan Lal Mattoo, noticed marks on Narayan's fingernails. A sarangi is played by pressing the fingernails sideways against three playing strings, which puts stress on the nails. Mattoo then hired Narayan as an accompanist for singers. Traditionally, the sarangi and other stringed instruments, as well as the harmonium, are designed to mimic the chant, complementing the melody line of the chant and filling in gaps between phrases as the singer breathes and prepares a new phrase. Mattoo gave Narayan a living room, led his exercises and later helped him to contact the khyal singer Abdul Wahid Khan , under whose strict guidance Narayan learned four ragas in singing lessons . Narayan was occasionally allowed solo appearances on AIR and he began to consider a solo career.

Narayan in 1974

After the partition of India in 1947, Narayan moved to Delhi and played in the local AIR station. His work for well-known singers enriched his repertoire and stylistic knowledge. Narayan played with classical singers Omkarnath Thakur , Bade Ghulam Ali Khan , Hirabai Badodekar and Krishnarao Shankar Pandit , and he accompanied singer Amir Khan in 1948 when he sang for the first time after the partition at AIR Delhi. As an accompanist for singers, Narayan showed his own skills and refused to stay in the background. He became notorious among the town's singers, who complained that Narayan was not a reliable companion and too stubborn, but he insisted that he wanted to keep singers in the mood and inspire them to friendly competition. Other tabla (drums) players and singers, including Omkarnath Thakur and Krishnarao Shankar Pandit, have publicly recognized their appreciation for Narayan's playing.

Narayan was frustrated with his support for singers and moved to Mumbai in 1949 to work freelance in the film and music industries. He recorded three solo 78 min ⁻¹ records for the British His Master's Voice company in 1950 and recorded a 10-inch LP in Mumbai in 1951, but the album was unsuccessful. Narayan's compositions and performances were coveted by the city's film industry, which offered steady income and anonymity so as not to diminish his standing among classical musicians. For the next 15 years he played and composed songs for films; Narayan composed for Humdard , Adalat and Gunga Jumna , and played for Adalat , Noorjehan , Mughal-e-Azam and Kashmir Ki Kali , among others . He was considered a favorite artist by film music composer OP Nayyar .

Narayan is set in New Delhi in the late 1980s.

Narayan performed in Afghanistan in 1952 and China in 1954, and was received favorably in both countries. His first solo concert at a music festival at Cowasji Jehangir Hall in Mumbai in 1954 was foiled by an impatient audience waiting for performances by famous musicians and driving him off the stage. Narayan toyed with the idea of giving up the sarangi in favor of singing. He later regained his confidence, played solo for smaller audiences, and was well received when he performed solo again for a music festival in Mumbai in 1956. Narayan gave up musical accompaniment in the early 1960s; this decision was associated with financial risk, since demand for solo sarangi had yet to arise.

After sitar player Ravi Shankar performed successfully in front of western audiences, Narayan followed suit. He began recording solo albums and went on his first international tour of America and Europe in 1964, accompanied by his older brother Chatur Lal , a tabla player who toured with Ravi Shankar in the 1950s. The European tour included appearances in France, Germany, supported by the Goethe Institute , and at the City of London Festival in England. Since the 1960s, Narayan has taught and played frequently outside of India. On tours to the west, Narayan became interested in the sarangi because of their resemblance to the cello and violin. The Tabla poker players Suresh Talwalkar was a frequent companion for Narayan in the late 1960s. Narayan continued performing and recording music in India and abroad for the next several decades, and his albums appeared on record labels in India, America and Europe. During the early 1980s he typically spent months each year in western countries. Narayan was less common in the 2000s.

style

Play media file

Narayan played raga jog at the Shiraz arts festival in Iran in the 1970s. (Duration: 10:07)

Narayan's style is typical of classical North Indian music , but his choice of solo instrument and training with teachers beyond his community are unusual for the musical genre. He has stated that his role is to please and stimulate the audience, or to bring them into a state of spiritual peace, and that he expects to be supported by the audience in response to his performance.

Narayan's appearances are a combination of slow, serious Alap (rhythmically unaccompanied introduction) and Jor (unaccompanied playing with pulse) in the Dhrupad style, followed by a faster and less restrained Gat section (composition based on the rhythmic structure of the tabla ) in the Khyal -Style. He experimented with a type of jhala (fast-paced game) developed by Bundu Khan , but found it better suited for plucked instruments and stopped performing it. The Gat section consists of one or two compositions. When two gats are used, the first is in slow or medium tempo, the second is faster, and both are usually on the rhythmic cycle of 16 beats, tintal . Often, Narayan ends concerts with ragas associated with thumri (a popular light classical genre) referred to as mishra ( Sanskrit : mixed) as they allow for additional notes, or with a dhun (song based on folk music).

Narayan practices and teaches using a limited number of paltas , exercises in a small scale section that are used to practice bowing a varying number of notes. Longer note patterns, called tans , are derived from paltas and contain characteristic "melody forms" and are used by Narayan for fast playing. He uses his left (grip) hand for quick runs across the scale and to exhaust the range, and his right (bow) hand for rhythmic accentuation. Narayan's low right hand posture, bringing the bow to the string at close to a right angle, and his use of the full length of the bow are uncommon among sarangi players.

Narayan is linked to the kirana- gharana (the stylistic school of kirana) through Abdul Wahid Khan , but his performance style is not closely related. The majority of Narayan's compositions come from the vocal repertoire of his teachers and were modified by him and adapted to the sarangi . He has also created his own compositions and varies those that have been taught to him. Narayan disapproves of the invention of new ragas , but has created combined ragas , including those of Nand with Kedar and Kafi with Malhar .

In his concerts and recordings, Narayan uses a sarangi that he received from Uday Lal and that was built in Merath in the 1920s or 1930s. He plays on foreign harp strings for a clearer sound quality. Narayan experimented with changes to his instrument and added a fourth playing string, but removed it again because it interfered with fast playing. In the 1940s, Narayan replaced the gut of the first string with steel and found it easier to play, but reverted to using gut strings only as the steel string changed the sound of the sarangi .

Contributions and recognition

Narayan at Thames Valley University , Slough, England in May 2007

Narayan raised the status of the sarangi to that of a modern concert solo instrument, made it known outside of India and was the first sarangi player with international success, later followed by Sultan Khan . Narayan's simplified fingering technique allowed glissando ( meend ) and influenced the contemporary sarangi concert style, as sarangi players learned aspects of his playing and sound production with the help of Narayan's recordings.

Narayan taught at Wesleyan University , Connecticut, and Mills College , California, in 1968, and in the 1970s and 1980s at the American Society for Eastern Arts and the National Center for the Performing Arts in Mumbai, where he gave the first master class for sarangi there. Narayan privately trained sarangi players, including his daughter Aruna Narayan Kalle, his grandson Harsh Narayan, and Vasanti Shrikhande. He also taught sarod players, including his son Brij Narayan , as well as singers and a violin player. In 2002 he had 15 Indian students and more than 500 foreign students from the United States and Europe had studied with him. Indian Music in Performance: a practical introduction , published in 1980 by Neil Sorrell with the help of Narayan, has been described by The Music Past and Present as "one of the best representations of recent North Indian musical practice".

“It was my goal to eradicate the blemish that the sarangi had because of their social background. I hope I was successful in it. "

- Ram Narayan, quote translated from The Indian Express

Narayan claimed he and the sarangi did not gain recognition until they were accepted by Western audiences. Narayan attributes the small number of sarangi students to a lack of competent teachers and stated that the Indian government should help to save the instrument. The Pt ( Pandit ) Ram Narayan Foundation in Mumbai offers scholarships and teaches sarangi , but Narayan has expressed doubts about the continued existence of the sarangi .

Narayan received the national awards Padma Shri (1976), Padma Bhushan (1991) and Padma Vibhushan (2005). The Padma Vibhushan, India's second highest civil honor, was presented by Indian President APJ Abdul Kalam . Narayan received the Rajasthan Sangeet Natak Akademi Award for 1974-75, the national Sangeet Natak Akademi Award for 1975, and was declared a Fellow of the Rajasthan Sangeet Natak Akademi 1988-89. He received the Kalidas Samman from the government of Madhya Pradesh for 1991-92 and was awarded the Aditya Vikram Birla Kalashikhar Puraskar by PC Alexander , Governor of Maharashtra in 1999. He also received the Maharashtra Gaurav Puraskar, the Shiromani Award, and the Rajasthan Welfare Association Award. The biopic Pandit Ramnarayan - Sarangi Ke Sang was screened at the 2007 International Film Festival of India .

Family and personal

Narayan performs with his daughter Aruna (in red) in 2009 at the Royal Albert Hall , London.

Narayan was personally and musically closely connected with his older brother Chatur Lal ; Lal had started playing tabla mainly to accompany his brother's sarangi game. Lal learned from tabla teachers during his youth but later worked as a farmer. Lal visited Narayan in Delhi in 1948 after Narayan became a professional sarangi player and was persuaded by Narayan to start as a tabla player at the local AIR station. Lal became a respected musician, touring with instrumentalists Ravi Shankar and Ali Akbar Khan in the 1950s, and helping popularize the tabla in the West. When Lal died in October 1965, Narayan had difficulty performing and fell into alcoholism, which he overcame two years later. Chatur Lal had four children who were supported by Narayan after his death. Charanjit Lal Biyavat, son of Chatur Lal, is a tabla player and toured Europe with Narayan.

Narayan's wife, the housewife Sheela, came to Mumbai in the 1950s and had four children with Narayan. She died before 2001. His eldest son, sarod player Brij Narayan , was born on April 25, 1952 in Udaipur and his daughter Aruna Narayan was born in 1959 in Mumbai. She was the first woman to give a public sarangi solo concert and immigrated to Canada in 1984 . Another son, Shiv, is a year younger than Aruna, learned to play the tabla and toured Australia with his father. Brij Narayan's son, Harsh Narayan, plays the sarangi . In 2009 Narayan performed with his daughter Aruna at the BBC Proms at the Royal Albert Hall , London , and played with Harsh at the Sawai Gandharva Music Festival in 2010.

Narayan is Hindu ; he declared "Music is my religion" and that there is no better access to the divine than music. He lives in Mumbai.

bibliography

• Neil Sorrell, Ram Narayan: Indian Music in Performance: a practical introduction . Manchester University Press, 1980, ISBN 0-7190-0756-9 .
• Ram Narayan: एक सुर मेरा एक सारंगी का . Kitabghar Prakashan, New Delhi 2009, ISBN 81-907221-2-3 . (Hindi)

Discography

→ Main article : Ram Narayan / Discography

Abbreviation	Full title
Bor, Voice	Joep Bor: The Voice of the Sarangi . In: National Center for the Performing Arts (Ed.): Quarterly Journal . Volumes 15, 16, No. 3, 4; 1, Mumbai, India, March 1, 1987.
Bor, raga master	Joep Bor, Philippe Bruguiere: Master of the Raga . House of World Cultures, Berlin 1992, ISBN 3-8030-0501-9 .
Bor, Raga Guide	Joep Bor, Suvarnalata Rao, Wim Van der Meer, Jane Harvey: The Raga Guide . Nimbus Records, 1999, ISBN 0-9543976-0-6 .
Massey, India Music	Reginald Massey: The Music of India . Abhinav Publications, 1996, ISBN 81-7017-332-9 .
Naimpalli, tabla	Sadanand Naimpalli: Theory and Practice of Tabla . Popular Prakashan, 2005, ISBN 81-7991-149-7 .
Neuhoff, history	Hans Neuhoff: Ludwig Finscher (Hrsg.): The music in the past and present: general encyclopedia of music , 2nd Ed. Edition, Volume Volume 12, Bärenreiter, 2006, ISBN 3-7618-1122-5 .
Neuman, Life	Daniel M. Neuman: The Life of Music in North India . University of Chicago Press, 1990, ISBN 0-226-57516-0 .
Qureshi, master	Regula Burckhardt Qureshi: Master musicians of India: hereditary sarangi players speak . Routledge, 2007, ISBN 0-415-97202-7 .
Roy, Music Makers	Ashok Roy: Music Makers: Living Legends of Indian Classical Music . Rupa & Co., 2004, ISBN 81-291-0319-2 .
Slawek, Garland	Stephen Slawek: Alison Arnold (Ed.): The Garland Encyclopedia of World Music: South Asia: The Indian Subcontinent , Volume Volume 5. Taylor & Francis, 2000, ISBN 0-8240-4946-2 .
Sorrell, performance	Neil Sorrell, Ram Narayan: Indian Music in Performance: a practical introduction . Manchester University Press, 1980, ISBN 0-7190-0756-9 .
Sorrell, New Grove	Neil Sorrell: Stanley Sadie (Ed.): The New Grove dictionary of music and musicians , 2nd Ed .. Edition, Volume 17, Macmillan, London 2001, ISBN 0-333-60800-3 .

swell

1. ↑ ^{a b c d} Bor, Voice , pp. 148–149
2. ↑ ^{a b c d} Sorrell, Performance , pp. 11-14
3. ↑ ^{a b c} Qureshi, Master , pp. 108-109
4. ↑ ^{a b c} Sorrell, New Grove , p. 637
5. ↑ ^{a b c} Bor: Raga Guide. P. 90. ( online )
6. ^ Childhood and Training . Official website. Archived from the original on March 15, 2010. Retrieved on April 23, 2010.
7. ↑ ^{a b c d e} Bor, Voice , p. 151
8. ^ ^{A b c} Sorrell, Performance. Pp. 15-17.
9. ↑ Bor, Voice , p. 30
10. ^ ^{A b c} Sorrell, Performance. Pp. 19-22.
11. ↑ ^{a b c} Bor: Voice. P. 152.
12. ↑ ^{a b c d e f g} Neuhoff: History. Pp. 911-912.
13. ↑ ^{a b} Amarendra Dhaneshwar: Savior of the sarangi, Pandit Ram Narayan , The Indian Express . February 18, 2002. Archived from the original on July 25, 2010 Info: The archive link was automatically inserted and not yet checked. Please check the original and archive link according to the instructions and then remove this notice. . Retrieved April 23, 2010.  
14. ^ Qureshi, Master , p. 116
15. ↑ ^{a b c d} Qureshi, Master , p. 107
16. ↑ Suresh Chandvankar: LP / EP Records , Screen . March 5, 2004. Archived from the original on August 23, 2009. Retrieved April 23, 2010. 
17. ↑ ^{a b c} Soma Ghosh: एक जुनून है सारंगी (Sarangi is a passion) , Dainik Jagran . November 2008. Retrieved April 23, 2010.  (Hindi)
18. ↑ Qureshi, Master , p. 17
19. ^ Qureshi, Master , p. 119
20. ↑ Renuka Suryanarayan: Sarangi maestro returns to where it began , The Indian Express . October 27, 2002. Archived from the original on July 25, 2010 Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. . Retrieved April 23, 2010.  
21. ↑ ^{a b c} An Interview with Pandit Ram Narayan . Official website. Archived from the original on January 27, 2010. Retrieved on April 23, 2010.
22. ^ Sorrell, Performance , pp. 24-25
23. ^ Bor, Voice , p. 153
24. ^ Neuman, Life , pp. 93, 263
25. ↑ Bor, Raga Meister , p. 48
26. ^ ^{A b} Sorrell, Performance , pp. 25-27
27. ^ Narayan To Give Concert Friday Night , The Gettysburg Times . November 6, 1968, p. 1. 
28. ^ Roy, Music Makers , p. 206
29. ↑ Narayan, maître du sarangi, en récital à Montréal , Le Devoir . November 27, 1981, p. 18. 
30. ↑ ^{a b} Vrinda Patil: Dying strains of sarangi , The Tribune . December 9, 2000. Retrieved April 23, 2010. 
31. ↑ Sorrell, Performance. S. viii, 29-31.
32. ↑ Sorrell, Performance , pp. 111, 123, 125-126
33. ^ Sorrell, Performance , pp. 63, 70-71, 75
34. ↑ Sorrell, Performance , pp. 28, 123, 127–128
35. ↑ Sorrell, Performance , pp. 55-56
36. ^ Slawek, Garland , p. 207
37. ↑ Bor, Raga Meister , p. 78
38. ^ Bor, Voice , pp. 34–35
39. ^ Massey, India Music , p. 159
40. ^ Qureshi, Master , pp. 107, 110, 130
41. ↑ ^{a b c} Qureshi, Master , pp. 126, 133
42. ↑ Jitendra Pratap: Juggling with jugalbandis , The Hindu . October 7, 2005. Retrieved April 23, 2010. 
43. ^ ^{A b} Magic in his fingers , Screen . November 14, 2003. Archived from the original on August 22, 2009. Retrieved April 23, 2010. 
44. ↑ SD Sharma: Basant beats , The Tribune . February 5, 2009. Archived from the original on July 25, 2010 Info: The archive link was automatically inserted and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. . Retrieved April 23, 2010.  
45. ↑ Ranjani Govind: Varied emotions , The Hindu . May 1, 2008. Retrieved April 23, 2010. 
46. ↑ Anjana Rajan: When the skylark sings , The Hindu . February 18, 2005. Retrieved April 23, 2010. 
47. ^ Quality music is forever , The Tribune . November 3, 2000. Archived from the original on July 25, 2010 Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. . Retrieved April 23, 2010.  
48. ↑ Manjari Sinha: Tunes of friendship , The Hindu . February 27, 2009. Retrieved April 23, 2010. 
49. ↑ Renuka Suryanarayan: Sarangi at its best , The Indian Express . September 7, 2002. Archived from the original on July 25, 2010 Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. . Retrieved April 23, 2010.  
50. ↑ ^{a b} S.D. Sharma: Sarangi maestro calls present music soulless drudgery , The Tribune . February 28, 2008. Archived from the original on July 25, 2010 Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. . Retrieved April 23, 2010.  
51. ^ Bor, Voice , p. 118
52. ^ Aditi Tandon: Preserving traditional melodies , The Tribune . March 25, 2006. Archived from the original on July 25, 2010 Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. . Retrieved April 23, 2010.  
53. ^ Padma Awards . Ministry of Communications and Information Technology. Retrieved April 23, 2010.
54. ^ President presents Padma awards , The Hindu . March 29, 2005. Retrieved April 23, 2010. 
55. ↑ Awardees . Rajasthan Sangeet Natak Akademi. Archived from the original on April 3, 2010. Retrieved on April 23, 2010.
56. ^ SNA: List of Akademi Awardees - Instrumental - Sarangi . Sangeet Natak Akademi. Archived from the original on July 25, 2010. Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. Retrieved April 23, 2010. 
57. ↑ राष्ट्रीय कालिदास सम्मान (National Kalidas Samman) . Department of Public Relations of Madhya Pradesh. 2006. Archived from the original on July 25, 2010. Info: The archive link was automatically inserted and not yet checked. Please check the original and archive link according to the instructions and then remove this notice. Retrieved April 23, 2010. (Hindi) 
58. ^ Sarangi maestro Pt Ram Narayan gets Aditya Birla award , The Indian Express . November 15, 1999. Archived from the original on May 25, 2010. Retrieved April 23, 2010. 
59. ↑ Kinjal Shah: Strung together . The Times of West Mumbai . October 4, 2008. Archived from the original on July 14, 2011. Info: The archive link was automatically inserted and not yet checked. Please check the original and archive link according to the instructions and then remove this notice. Retrieved April 23, 2010. 
60. ^ Films about India's creative legends at IFFI . In: Indo-Asian News Service , Hindustan Times, November 28, 2007. Archived from the original on October 25, 2012 Info: The archive link was automatically inserted and not yet checked. Please check the original and archive link according to the instructions and then remove this notice. . Retrieved April 23, 2010.  
61. ^ Sorrell, Performance , pp. 26-28
62. ↑ Naimpalli, Tabla. P. 107
63. ^ Qureshi, Master. P. 131.
64. ↑ Harvey, Jane: The sarangi today. S. 5 [CD booklet], 1995. Liner Notes for Raga Bairagi Bhairav, Raga Shuddh Sarang, Raga Madhuvanti by Aruna Narayan. United Kingdom: Nimbus Records (NI 5447).
65. ^ Malini Nair: Serenading solo , Daily News & Analysis . March 10, 2010. Accessed April 23, 2010. 
66. ^ Anna Murdoch: Music lesson for the West , The Age . September 22, 1986, p. 14. 
67. ↑ Ivan Hewett: BBC Proms 2009: Indian Voices - review , The Daily Telegraph . August 17, 2009. Retrieved April 23, 2010. 
68. ^ Sarangi, sitar maestros regale Puneites . In: Times News Network , The Times of India, January 11, 2010. Retrieved April 23, 2010. 
69. ↑ Sorrell, Performance , pp. 29-31

Web links

Commons : Ram Narayan  - album with pictures, videos and audio files

Wikiquote: Ram Narayan  - Quotes

• Pandit Ram Narayan . Official website. Retrieved January 18, 2011. (English)
• Ram Narayan - Ram Narayan on Allmusic (English)

This version was added to the list of articles worth reading on December 4, 2009 .