The Music Room

by Namita Devidayal

When Namita is ten, her mother takes her to Dhondutai, a respected Mumbai music teacher from the great Jaipur Gharana. Dhondutai has dedicated herself to music and her antecedents are rich. She is the only remaining student of the legendary Alladiya Khan, the founder of the gharana and of its most famous singer, the tempestuous songbird, Kesarbai Kerkar. Namita begins to learn singing from Dhondutai, at first reluctantly and then, as the years pass, with growing passion. Dhondutai sees in her a second Kesar, but does Namita have the dedication to give herself up completely to music — or will there always be too many late nights and cigarettes? Beautifully written, full of anecdotes, gossip and legend, The Music Room is perhaps the most intimate book to be written about Indian classical music yet.

Genres: Music, Nonfiction, India, Biography, Memoir, Biography Memoir, Art

320 pages, Paperback

First published January 1, 2007

About the author

Namita Devidayal is a journalist with The Times of India, where she has written on a range of subjects from a satirical column called 'yummy mummy' to personal finance to culture.

Reviews

[Khush · Rating 5 out of 5]

I give this book five stars because it is about Indian music. It is a tribute to music, to a tradition that is getting lost to modernity. I feel strongly about this loss. I wish it gets jelled into modernity rather than subsumed by it. Namita did a great job by writing this book; the book captures the slowly vanishing world of yore.

Very often in the preceding decades or even centuries, people who really excel in music and devout their lives to pursuing such arts are not writers; and those who can write have no firsthand experience of music. In Namita's case, she knows both these worlds. She dabbled in both music and writing. That makes the book fascinating.

Namita writes in great detail about her Guru Dhondutai. What is so admirable about an artist like her guru is this that she was so genuinely spiritual and immensely gifted. Often artists of high caliber in classical tradition show these remarkable qualities people associate with sophisticated human beings. When they sing, their music brings them to a spiritual trance. This has always been an aspect of Indian music tradition. It has always been entwined with the quest for the spiritual. However, personally, this is not what glues me to these artists. I want to know them because of their music, for the sheer beauty of their compositions. It further adds to the joy if their music has a spiritual (sexual) dimension as well. If the musical composition is only religious; it does not satiate the soul.

While the book explores Namita's intense relationship with her guru, it also gives us a glimpse of a parallel world that once thrived in India. In her day school, for instance, it is not possible to build that kind of intimate bond with teachers. However, with her Guru, her ties are not restricted in the same ways. Her relationship is eternal. This comes out in the book most strongly.

Another important feature of the book is that even though it tells the story of one true artist, in doing so, it tells a range of other stories embedded in the long tradition of Indian classical music. Although artists like Dhondutai are powerfully embedded in Hindu traditions, they are narrow in any way. A deep quest for music make true artists, like Dhondutai, unsee narrow differences that Indian society imposes on ordinary folks.

However, artists are not always pleasant and amiable people, they have their quirks and failings. The book tells some such anecdotes about eminent musicians such as Kesar Bai Kalkar.

The book in some roundabout way also tells us something about the impact of colonialism on Indian society. For instance, the writer at first was not very keen on learning music, she perhaps looked down at it. It must have been different from her day school. In fact, the impact of English education on the Indian elite is so decisive that they look (down) at their own culture as Western anthropologists do. In some sections, that comes out very clearly in the way Namita writes about her (poor?) guru. Language, for example, is one such marker that separates her from her Guru. Interestingly, such a marker is both a curse and a privilege. I guess who knows this better than Namita, having known English and someone like Dhondutai.

[Neha Gupta · Rating 4 out of 5]

This book is more than a story – it’s a tribute from a student to its teacher, to the generations of musicians and their struggles to create, excel in the musical gems and pass them to the next generations through tough training and trust, the history of the rise of a classical music empire and inheritance, the anecdotes and inspiring stories which live by word of mouth, and surely it is the soul of music – so gentle and pure!! I read somewhere – there is no one who does not like music and if there is he is a devil for sure.

To read and view more:
http://storywala.blogspot.in/2011/07/...

[Natasha · Rating 5 out of 5]

They say that a book finds you when you are ready for it. That is certainly true of Namita Devidayal's "The Music Room". I bought the book for my mother a few years back with the intention of someday reading it myself, but it found it's way to me only now. I am glad I didn't read it before, because the fact that I have started learning kathak recently helped me immensely in appreciating the book.
"The sixteen-beat cycle starts and ends and stars and ends, creating a repetitive circularity; the melody has to accommodate itself within its scaffolding; it has to negotiate with the parameters to find a happy balance between freedom and responsibility, rights and duties, exhilaration and restraint. There is scope for risk-taking, within reason, as long as one came back to the line of control in time, and hit sama, the drum stroke where one cycle ended and the new one began; a point of arrival and of departure. This is a musical metaphor for life as it should be lived. Truly great musicians can swerve into unchartered bylanes, but still find their way back to the destination. On time."
I paused on this paragraph and ruminated on it for a couple of days before I could proceed. And when I did, I had to resist the urge to underline every line!
Namita Devidayal began learning music from Dhondutai when she was still a young girl. For many years, she virtually lived a double life- the life of a Westernised young woman in Bombay and the life of a shisya of a guru who taught classical music in the traditional way. Though it might seem like the two worlds would be at odds, Namita transcended the two worlds with ease, till the time when she had to choose between her two lifestyles.
Her ruminations on the world of classical musicians, the sacrifices one has to make to remain in the world, and the highs and lows are captured beautifully in the memoir. I would recommend the book to anyone with more than a passing interest in the classical art forms.

[Rishabh Shukla · Rating 4 out of 5]

The Music Room is a memoir of the writer's musical journey and learning under the tutelage of Gaanyogini Dhondutai Kulkarni of Jaipur Atrauli gharana. Apart from Vidushi Dhondutai, the memoir also touches upon the life of two other luminaries of Jaipur Atrauli gharana, and finest musicians of their times, Ustad Aladiya Khan and Surshree Kesarbai Kerkar.

In a world where instant gratification far outweighs life long dedication, the book comes with an insightful perspective into lives of these reclusive musicians who are otherwise only known through their work and occasional anecdotes that are rumored around. Dhondutai's life long dedication to music and optimism at the height of the apathy her art and music form has been subjected to by the populace in general comes as a refreshing story (though heartbreaking at many places). I was able to associate with it even more because I have the privilege to know a few people who are on this path and struggle daily to continue this Saadhana.

[M · Rating 5 out of 5]

Marvellous memoir for lovers of Hindustani classical music. Namita is a mighty fine story teller.

[Vibina Venugopal · Rating 4 out of 5]

Before I go any further into the book I wanted to for few basics facts on Indian Classical music..Like the western music that goes with Do Re Mi Fa Sol La Ti Do., classical Indian goes with Sa Ri Ga Ma Pa Dha Ni Sa..The Indian classical music has two subgenres one being Hindustani music and the other Carnatic music., while the former is largely practiced in northern India the later is spread through Southern India...A distinct Raga (note) sung for a rhythmic tala forms the base of the Indian Classical music...

I expected the book to be more to Namita Devidayal's account of music., though it is to an extend it is more about her teacher's dedication to music., though it turned out to be quite different...At ten Devidayal is dragged for music class much against her will by her mother....She is put off also due to the locality where Dhondutai lives surrounded by brothels, her walls outside home is all clattered by betel spit marks... The book explores on the relationship of Devidayal and Dhondutai and Dhondutai's relations with her teacher Kesarbhai Kerkar who happends to be a disciple of much accalaimed Alladiya Khan...Devidayal prefers for a swim upon music class but her mother drags her to Khondubhai Kulkarni..In those times in India it was customary for all girls to learn music to enrich marital skills (I still wonder why it was so)., though now children are taught music though not for the same reason anymore...Initially reluctant Devidayal slowly gets the hang of the classic music from her devoted teacher coming face to face with her dedication., Kulkarni stays single throughout her life for the sake of her love of music., she states one cannot have two masters as both demand too much....Devidayal also describes the true meaning of gharana and the difference between each gharana...Dhondutai was the only surviving child of the family hence she was named Kondu to cast off the evil...Dhondutai not only teaches the art of singing but full aspect of music, its history, music as an art., its tradition and cultural heritage...Devidayal keeps her life apart from it and concentrates more on the guru-shishya (teacher student) relation., somewhere along the memoir she mentions about her job and about her relations..There are beautiful anecdotes describing musical legends ..In a world that go by worldly possession and recognition there are few like Dhondutai and Keserbhai who live for the love of art without any kind of expectation., and this is that sets them apart from the regular crowd gaining respect...Another important fact is emphasized on clearly that no music can be learnt from books..There has to be a teacher who can guide you through., Dhondutai teaches Devidayal two important part of music one is breath control and another to throw voice., both she mastered from Jaipur gharana... Through everyday converstaion between Dhondutai and Devidayal the reader gets to bite sweetness of the knowledge of music....While Kesarbhai Kelkar was a legendary Hindustani singer of 20th century, passed on to Dhondutai and she stayed with her till her death in 1977...Though the book the depreciation of wealth for the singer as there are no more people around to appreciate the talent..Even Dhondutai is able to retain the success of Jaipur gharana that soared sky during the times of Alladiya Khan and Keserbhai Kelkar...Dhondutai's present house itself explains a lot about her finance ., yet she is content and happier than anyone Devidayal has come across..Her life is music and it stays that way until her death....Glimpses of Mumbai life is also scattered through like the travel is local trains, instant friendship among the passengers, the busy streets ., people rushing to get home and to work., slow modernising city....Devidayal writing is an absolute treat that keep you engrossed throughtout ..This book is a must read for all who wish to get a glimpse of Indian music and its heritage....

[Akshunya · Rating 5 out of 5]

You want to achieve something, you need to be the best in it, you find the way of how to do it and then you commit yourself to do it.
What follows is the eventual success (or a partial one in this case) in whatever you ventured out to achieve.
In this seemingly simple trajectory, there is a lot that happens, and that everything happening in between is called Life.
This is anyways what truly makes a life worth living, and the story told about in this book certainly deserves to be called one.

If you are a lover of music (Hindustani classical music to be more precise), you will thoroughly enjoy this book, as there are many stories which make you see the unearthly (or Spiritual) side of this Art form.

What is really worth appreciating is that despite being a Hindustani classical singer herself, the author has not completely turned off her scrutinizing abilities, and there is a fine balance of Romanticism and Cynicism, where at one end you are introduced to this sublime world of Hindustani Music and at the other end also the ways of the people who at times are driven by Greed and Ego while taking many of their life decisions.

The biggest takeaway for me from this book is the inspiring stories of so many people who with thier unfaltering commitment to this form of music, have undoubtedly (and fortunately) still kept it alive!

[Ed · Rating 4 out of 5]

What do you know about Indian classical music? Me neither. This critically-acclaimed memoir changed that. You learn much culturally-significant data along the way, with stories stretching across a hundred years of direct musical lineage, and eons of Indian lore. I still can't "hear" in my head when the author talks about notes and ragas...but that's what CDs & the Internet are for.
I usually shy away from memoirs because they tend to bore me, but this is one such example that held me in its grip from start to finish. As an engaging narrator who knows when to fill in the blanks, Devidayal has written a terrific book.

[Tanushree Vyas · Rating 5 out of 5]

This is a memoir of the author's (reluctant) initiation into the world of Hindustani Classical Music by her mother and the journey thereof.
In this journey, she brings on board her teacher, Dhondhutai, and her teachers, tracing an entire lineage of the famous Jaipur-Atrauli Gharana, founded by Alladiya Khan.

As a student of Music and with some knowledge of the much revered and almost divine-like Hindustani Classical Music, this book allowed me a glimpse into some famous and not-yet-famous stalwarts of this particular tradition, mainly Kesarbai Kerkar, Dhondhutai Kulkarni and the family of the founder himself.
The book also allows one to view and imagine the status of female singers back in the late 20th and early 21st centuries, revealing their status as mere courtesans in the royal courts and princely states.

While reading it, I was taken to think about how musicians in the Hindustani Classical tradition treat their craft with the utmost humility and stay grounded and yet on the other hand, the tradition is rife with cut throat competition, a misplaced sense of ego and a desire to reign it. But that may have been a thing of the past when this music was performed in temples and singers had royal patrons. It's appalling to note what female singers (especially) had to endure and succumb to just so that they could have a respectable career and carve a name for themselves.

But a lot has changed since then and there's a shift away from the tendency to revere HC music as almost divine like. Even as the ages old Guru-Shishya parampara and the traditional schools of music in the form of Gharanas continue to somewhat remain in existence.

For anyone who's interested in knowing about the Jaipur Atrauli Gharana and lesser names of Kesarbai Kerkar/Dhondhutai and to get a glimpse of the music scene in the state of Maharashtra (back then with its royal courts and court singers), this can be a good book.

[Gokul Hariharan · Rating 5 out of 5]

The book felt like listening to a Tanpura tuned to perfection. The ‘sa’ resonated throughout in the shape of Dhondutai. It also got me hooked to the sensation called Kesarbai, who I must admit (with a lot of shame), I’ve never heard of before. As a musician, the book validated a lot of fears and challenges that a musician goes through.
And finally, another reaffirmation that nothing is non-political. The book subtly hints at the underlying political currents, the divide between castes and religions, but ultimately all united by music!

[Jyotsna · Rating 4 out of 5]

Rating - 4.2 stars
NPS - 9 (Promoter)

There is nothing quite comparable to it in the western world, but some scholars have compared Gharanas with the very centuries whose of thought in Europe. The difference is that the Gharana is based on a single personality. It tends to grow around a creative master, whose genius and originality attract positions, connoisseurs and aspirin into his fault. Those who adopt the master style follow his music principles with unquestioned exactitude. If the particular style survives, a couple of generations, it is recognised as a new Gharana.

This is a memoir about the author’s experience learning Hindustani classical music with the revered teacher and musician Dhondutai who is related to the Jaipur Gharana. The book explores the world of gharanas and Hindustani classical history of the Jaipur Gharana and the lessons that Namita Devidayal learnt from her teacher.

Music is considered as lifelong learning - and it specifically entails dedication, focus and precision- and an untold commitment of a humongous nature.

The author, while writing the book was still learning from her teacher and practicing the art everyday.

Creative people are often not able to handle failure. They develop mechanisms to work around reality and we get to suit their own script. They also start living in a perpetual state of paranoia with sometimes strives them towards self destruction.

My only complaint with the book is the subpar editing. The editor could have done a better job removing multiple paragraphs and refined it to be a better read.

In short, this was supposed to be 5 stars, but it’s not because of the editing rather than content.

[Aastha · Rating 2 out of 5]

I am not aware of much Indian music-related fiction out there. Naturally, then, I picked this up with a lot of enthusiasm. I liked how it began, too. Namita is taken to Dhondhutai by her parents to learn Hindustani vocal music. Dhondhutai, the only student of the great Kesarbai, takes to Namita instantly and declares that she would make an excellent musician. However, there is a duality in Namita’s world. She speaks broken Marathi, since her school teaches and encourages only English speaking. By her peers and teachers, she is exposed to the piano and violin, not the harmonium and tanpura. She is dropped and picked up from school, like the rest of her friends, but afterwards, she makes her way through buses and local trains with only her *ayah* to accompany her. This is a complex dichotomy and it’s unfortunate that the author drops it within the first quarter of the book.

In the rest, Namita simply excels. She does not struggle with her music a lot, her relationship with her teacher flourishes everyday. The book, instead of diving into what I would have found a rare exploration of what it’s like to learn classical music, dives into history. Topics like the intersection of music and religion (and the former’s perception thereof), historical foundations of the gharana tradition, etc. are relevant and significant by themselves and the author presents them in well-researched chapters, but I would go to a textbook (or one of the references the author cited) or an instructor if I were looking for that.

The first quarter of The Music Room excited me, the rest of it let me down. I wanted to sit through the last few chapters, I really did. And I cannot claim that it’s a *bad* book, either. It simply did not cater to my personal taste.

[Carol · Rating 4 out of 5]

Like it says in the book, this is perfect for music lovers. What a beautiful and enlightening story! If you have any knowledge of music, no matter how basic, you'll most certainly appreciate these memoirs.
I learnt so much about Indian music, stuff I had never even thought would be different from Western take on music. They way they learn and how they view it. I find it beautiful that music is something passed on from teacher to student only, that there is no writing at all. It makes it more important somehow, because you're making it your own, you give your life to your music and so it becomes a part of you. I loved that.
And all of her teacher's story was amazing. Life in India is different and there is much to learn from musicians, how the were regarded back in the days, how female singers came to be, the hardships they endure for their profession. I could go on and on about all the amazing stuff I discovered. And I also managed to find some classical raga music on YouTube to put on while read,ing and let me tell you, it's a wonderful experience to be listening to it while you read.

[Selva · Rating 4 out of 5]

Reading the blurb made me think that the story would be along the lines of the movie 'The Disciple' wherein a student strives for mastery in classical music despite the various other pressures of life. Here it is more about the guru who carries the legacy of the Jaipur Gharana school of Hindustani classical music. A major part of the book is devoted to anecdotes/stories about the different masters who belong to the said school of music + some history. I especially liked the chapters on Kesarbai (a celebrated woman singer) in particular and the courtesan's way of life in general. An enjoyable and informative read.
Rating: 4.5 stars.

[whoami · Rating 5 out of 5]

Reading the story of Indian Classical music was as mesmerizing as listening to the music itself. This book wonderfully brings out the story of the struggle to preserve the Jaipur gharana and the myriad perspectives of how music succeeds in breaking all the social/religious and emotional barriers. The history of this rich form of Hindustani music is pictured vividly and the reader is left to ponder about the present situation with both fear as well as promise.

[Naren Bakshi · Rating 4 out of 5]

Feels like I got the privilege to personally meet those Sangeet Yogis, thanks to this book. It showcases the lives behind those mellifluous voices that sometimes, one feels were mythical (not an overstatement!). Undoubtedly, this has increased the level of appreciation I have for this art form. Kudos to the author :)

[Avid · Rating 3 out of 5]

‘This book is a must for every musician and music lover!’ – Pandit Ravi Shankar says the front cover of the book and that was enough temptation for me to pick it up.

The book is about music and musicians. The main vein of the book is the life of Dhondutai Kulkarni, a highly regarded singer of the Jaipur gharana. Namita, the author, is a disciple of Dhondutai and this book is the singer’s life through the disciple’s eyes. The book begins with Namita meeting Dhondutai for the first time and being taken as a disciple. As Namita progresses in her musical journey, she unravels the life of her teacher.

While the majority of the book is dedicated to Dhondutai, Namita gives us a glimpse into the lives of Alladiya Khan, Bhurji Khan and Kesarbai Kerkar who all had been Dhondutai’s teachers at a point of time. The book doesn’t sound like a boring list of anecdotes and incidents. Namita intelligently weaves the present and the past and also manages to sneak in a thing or two about Indian music, its origin and its history. The latter happens to be my favorite part of the book.

Even for someone who is not interested in the singer as such, this book would still be fulfilling. It gives an overview of what a gharana is, how each gharana differs from the rest, the culture, and the much talked about arrogance of the singers. Namita even tries to justify why singers are short tempered!

The language is simple yet effective. The author does not waste too much time in listing her own life incidents. She states as a matter of fact that ’she got married’ or ’she had a son’ and so on. She has no confusions about who the book is about.

The book is visually pleasing. It has a black cover page with a woman sitting with a tanpura with her back facing. I found this picture so captivating, I would sit and ogle at the tanpura, its intricacies and what not. I wish the author was more creative in coming up with a book title. The Music Room is too plain for such an enriching book.

I completely agree with Panditji that this book is a must for every music lover. I will also add that even if you are not a music lover, you might become one after reading this book.

[Harini Dedhia · Rating 4 out of 5]

Ex of context this would perhaps be a 3/5 read for me but there was a specific reason that I picked up Namita Devidayal's The Music Room and there was a very distinct outcome for me, personally.

It is a bit serendipitous as to how I ended up reading the book. A family friend was back in town for a few days and wanted to do one of those historic walks in the city. Based on the available dates, we ended up doing one of the Opera House, Girgam and Lamington Road area. It was in the course of this walk that I was introduced to Kesarbai Kerkar, and her student- Dhondutai and the house she stayed in with 'Ayi'. Our guide, who regaled us with stories of the Jaipur Gharana, insisted that I read this book after we concluded the walk. Intrigued by the subject and having learnt hindustani classical music for sometime (in the distant past), I picked up the book.

Thematically, a question raised by the book is something I have always pondered over- how some artists with all the talent and perhaps discipline to match it, don't make the leap into the 'greats'? Musings around this question as well as over the various stories of the Jaipur Gharana make it an enjoyable read.

It is however the portrayal of her teacher, Dhondutai, that in way painted a picture of the most ideal guru; a magnanimous teacher with patience abound- that struck a chord. Reading this book was serendipitous for a classmate of mine, that I have long lost touch with was a student of Dhondutai. Having read the book, I was compelled to reach out to him for I felt that I understood a facet of him that I never had while in school. For me, this propelled the read into a category of its own. A case of right read at the right time?

[Deepak Mankar · Rating 5 out of 5]

The Music Room.

No, I’m not thinking of Satyajit Ray’s superbly visual movie, Jalsaghar (1958). I am thinking of a book. The world of books is populated by two kinds of denizens. So far as the first kind is concerned, you want to part company with them as soon as possible. With the other kind, you never want the tête-à-tête to end. Namita Devidayal’s The Music Room (St. Martin’s Press, New York, 2009) belongs to the latter sort. It is history told to perfection in the style of a fictional tale. You could perhaps best describe it as an enchanting, almost seductive, personal narrative encrusted with details recalled with care and love. In the process of telling the life story of her music teacher, the author skilfully weaves in the history of Hindustani classical music with panache and an eye for exactitude in the many sub-narratives she offers. I’m a bit puzzled, though, by an obvious slip in this regard when she describes a peace concert at Shivaji Park after the demolition of Babri Masjid (6 December 1992). She writes that she was “all of seventeen” then (page 113). If she was born in 1968 as the blurb on the back fold of the cover slip states, she must have been twenty four at the time of the Artist Against Communalism all-night vigil. Mistakes happen. This minor lapse does in no way devalue the worth of her irreplaceable contribution to the cause of Indian classical music. I recommend The Music Room to anyone who is even remotely interested in music. A stupendous read, believe you me.

[Nishant Bhagat · Rating 4 out of 5]

There is a trance-like quality in this book. The simplicity and sincerity with which it engulfs you is magical. I have just finished reading it and there isn't a thing I can say about it being written any differently.

The author's love and respect for her teacher flows so beautifully throughout. Peppered with great anecdotes from the past, this book gives you a glimpse into the world of great singers of yore.

A great book to start off with if you wish to increase your knowledge and understanding of the highly complex, yet magical world of Indian Classical music.

[Sandeep · Rating 3 out of 5]

A personal story and a treatise of Hindustani classical music. A relatively unknown singer and her passion for music.... if you want to know the basics of Hindustani music and its rich heritage all woven into a beautiful memoir.. then this book is a must read :)

[Samarpita Sharma · Rating 4 out of 5]

My review: http://sankshvet.blogspot.in/2012/11/...

[Mridula · Rating 5 out of 5]

LOVED this book! If you've learned Indian classical music or even if you're just a lover, you should read this book. I implore you.

[Mamunuru Shankar · Rating 4 out of 5]

In one of his interviews, when asked, Ram Guha said that he was reading “The Music Room” by Namita Devidayal and recommended it for anyone interested in Indian music. As Ram Guha’s recommendations are interesting, I picked up the book in a sale at a throwaway price. For a person who has no knowledge of Hindustani Classical music other than listening to a few well-known singers like Kumar Gandharv, Kaushiki Chakraborti, etc., and for one who is accustomed to Carnatic music, this book opens up the wonderful world of Hindustani classical music and its legendary singers.

It chronicles a significant part of the life, music, and career of Dhondutai, an exponent of Jaipur Gharana. The author has been one of her students and learned from her over a period of 25 years. Through the life of Dhondutai, Ms. Namita narrates the story of the origins of Jaipur Gharana and the lives and times of its originator Alladiya Khan and his disciple, the renowned Kesarbai Kerkar who also happens to be a guru of Dhondutai. The author who starts as a reluctant student grows into a promising singer and Dhondutai pins her hopes on her to carry forward the legacy of Jaipur Gharana.

The captivating aspect of the book is the depiction of the life of an artist who, with her uncompromising passion for abstract music, confronts and struggles to maintain a balance in an ever-changing world that has neither the time nor the patience to sit and absorb the meditative music transcending the mundane. She believes teaching is all about mentoring. Music is only one, the seen part of her teaching. The spaces between the teaching of music are as important as the music itself. Through her life of simplicity, dedication, uprightness, and through simple mundane chores of everyday life, like preparing tea or arranging the altar for daily prayer, Dhondutai gently suggests the importance of humility, devotion, discipline, and rigor. On reflection, one feels this is true not only for music but also for any education which, after all, should be all about mentoring.

With all her simple benign beliefs, not exactly appealing to a rational mind, and with all her idiosyncrasies notwithstanding, Dhondutai is quite progressive. She never encouraged unquestioning submission. She herself lived life on her own terms without unduly compromising her self-respect. She consciously compromises, in times of financial distress, on her standards to make a living. The author presents this without being judgemental. She feels society at large is responsible for keeping the artists in comfort to enable them to lead a life of free expression.

While the book at one level is a tender narration of the life of Dhondutai and her masters Alladiya Khan and Kesarbai, at another level it presents the social milieu of Hindustani classical singers of the late 19th to middle 20th century. In times when patronage is essential for survival, musicians were motivated to invent their own unique style of singing (known as Gharana) to stand out and attract the attention of the audience and patrons. Those were uncertain times when the survival of an artist depended on the whims of unpredictable, decadent kings who themselves were under the protection and dictates of the British. The author narrates how Hindustani classical music shifted from devotional singing in praise of God to another genre as its patronage shifted from the commons to the Royals while the Carnatic music remained essentially temple singing devoted to Gods even to this day. Many such observations and anecdotes make the book an interesting read.

Apparently, Dhondutai has not achieved the kind of popularity or the visibility of her teacher, Kesarbai Kerkar, due mainly to her puritanical approach to music and due to her Brahmanical rigidity in her profession. She realizes that she was alone and struggling to find her place in a universe that paid very less attention to someone who is trying to find a balance between great art and public recognition. One feels a sense of melancholy as the author relates the lives of Alladiya Khan and Kesarbai in their twilight years, being pale shadows of their glorious selves. Perhaps it is true for all humans as they reach the fag ends of their lives. But, for artists who achieved the pinnacles of their glory the sense of oblivion is more acute. One feels very sorry for Kesarbai who fought all kinds of patriarchy and social taboo by perfecting her music with vengeance.

The highlight of the book, in addition to its riveting narration, is its impressive cover design. Often book titles tempt many to go for the book, but rarely cover designs coax people to pick up one. In this case, while the title is good the cover design is better. The model clad in an off-white, golden bordered silk saree with her plaited long black hair embellished in jasmines, sitting with a tanpura draws one's attention instantly.

Jargon-free lucid prose makes this book a delightful read. One should have some flair for biography and an inclination to know about music in general and Hindustani classical music in particular to enjoy this book.

[Amalia · Rating 4 out of 5]

A greatly described journey through Indian classical music, you can almost hear and feel every performance mentioned.
Beautiful.

[Helios · Rating 5 out of 5]

Central to the memoir is the intimate, lifelong bond between guru and shishya (teacher and disciple), which stands in stark contrast to the more transactional relationships of modern education. The book meditates on how traditions and life lessons are passed down through generations, especially in the world of Indian classical music.

Devidayal highlights the sacrifices and challenges faced by women in classical music, such as Dhondutai’s decision to remain unmarried, believing one cannot serve both music and marriage fully. The narrative also addresses the historical marginalisation of women, who were often looked down upon or associated with courtesans if they pursued music professionally. The memoir discusses issues like communalism, the “Hinduization” of music, and the impact of colonial attitudes, especially the tendency among the urban elite to undervalue their own cultural heritage in favour of Western norms. Devidayal’s initial reluctance and her observations about her teacher’s modest circumstances reflect these cultural tensions.

The book reveals the spiritual dimensions of Hindustani music, portraying it as much more than an art form-it is a way of life, demanding total devotion. This is a world where music and spirituality are inseparable. Devidayal’s writing is praised for its empathy, honesty, and evocative storytelling. She skilfully weaves personal anecdotes, historical context, and musical lore, creating a narrative that is both intimate and informative. The memoir balances romanticism with realism, acknowledging both the sublime and the human flaws within the world of Indian classical music.

The Music Room is widely regarded as one of the most intimate and accessible books on Indian classical music, appealing to both aficionados and newcomers. It is celebrated for bringing to life the stories of musicians who have kept the tradition alive through unwavering commitment, while also offering a nuanced look at the complexities and contradictions of their lives.

The Music Room is both a tribute to a revered teacher and a meditation on the endurance of tradition in a changing world. It stands out for its emotional depth, cultural insight, and the way it illuminates the hidden world of Hindustani classical music.

[amit deshpande · Rating 5 out of 5]

The maestro and one of the greatest from the generations Pandit Ravi Shankar acclaimed the book as “Fantastic! A must for every musician and music lover!” and that was all the reason for me to pick this book from Namita Devidayal. It’s her debut in book-writing and went on to win Vodafone Crossword Popular Book Award An Outlook Book 2007!!

If you heard a note on tanpura and dwell a moment longer while passing by, then it’s a book for you.
If a flute player at bus stand or railway station makes you search for that melodic voice, then it’s a book for you.
If you divert your path in the direction of devotional song not fascinated by grace of God but by lovely music that lure your heart, then it’s a book for you!!
Because, many of us, unknowingly though, are souls entertained by purity of music that transcend the surroundings and levels us up, may be by inch or so. This book does exactly same to us.

It’s a story – more on the lines of memoir – of a young girl pursued, initially against the will, to learn Hindustani Classical Music from the Pandita Dhondutai Kulkarni – one of the last devoted scholars from the gharana well established by legendary Alladiya Khan. On the journey from a young girl to matured lady, Namita shared her growing passion for this art form. The history of three generations from gharana and smoothly but unnoticeable personal thread tied up together so well. It shreds enough technical details of the music and how different form of art it is compare to western classical but nowhere bombards with it to bore you down. Dhondutai’s special relationship bonded over teacher-student with one of the greatest singers ever produced by Hindustani Classical – the tempestuous Kesarbai Kerkar, keeps reader continue to read till last.

The book that narrates her teacher’s struggle to excel, constant thirst to learn and practice and to keep the uniqueness of gharana alive received – moreover pursued – inherently. A true tribute to Hindustani Classical music, her teacher Pandita Dhondutai Kulkarni and the earlier generations of Jaipur Gharana!!

[Manomani · Rating 5 out of 5]

The Music Room is about the sacred bond between guru and shishya. Devidayal captures the nuances of this relationship with remarkable sensitivity, portraying Dhondutai not just as a teacher but as a guardian of an entire musical legacy. The narrative reveals how the guru-shishya tradition transcends mere instruction, becoming a vessel for preserving cultural memory. Through Dhondutai's stories, we glimpse the lives of musical giants like Ustad Alladiya Khan, and we come to understand how the Jaipur-Atrauli gharana's distinctive style was shaped by both Hindu and Muslim influences.

The book also sheds light on the challenges faced by women in classical music. Dhondutai's own life—marked by sacrifice, perseverance, and quiet rebellion—mirrors the struggles of her guru, Kesarbai Kerkar, and countless other women who fought for recognition in a male-dominated field. Devidayal contrasts her own privileged upbringing in Bombay with Dhondutai's austere existence, underscoring how class and gender intersected to shape access to artistic training. These reflections add depth to the memoir, elevating it beyond a personal story into a commentary on India's cultural history.

Devidayal's prose is both lyrical and precise, blending memoir with historical insight. She writes about music with a journalist's clarity and a disciple's reverence, making complex concepts accessible without oversimplifying them. The Music Room endures as a poignant tribute to the artists who keep India's musical traditions alive. It speaks to anyone who has ever struggled to master an art form, or who has felt the weight of a legacy passed down through generations. More than just a memoir, it is a celebration of the teachers who shape us and the music that, in turn, shapes the world. For readers seeking a window into the soul of Hindustani classical music, The Music Room is an essential and deeply moving read.

[Vaidya · Rating 4 out of 5]

Sometimes you pick up a book on a whim and you get rewarded beyond expectations.
Before this book I had no idea who Namita Devidayal is or who Dhondutai Kulkarni was. Reading the blurb I actually thought the Jaipur Gharana is a made up concept. The book itself has the label of "Fiction".

But you are greeted with a photo of Dhondutai Kulkarni in the front page and that sets you on a different path. Despite the author being the narrator across decades, she doesn't let the limelight linger on her for more than a few paras. You are firmly in the world of Dhondutai, her gurus Kesarbai, Burji Khan and the patriarch Allafiya Khan. This book in a way is a biography tracing the origins of the Jaipur Gharana, likely ending with the demise of Dhondutai Kulkarni which happened in 2014. The author is strangely the one they expect to carry forth the legacy and she sidesteps it knowing that nothing short of her life will have to be given for that.

At many points the story induces goosebumps, but such is the world of the artist. I couldn't help but look up YouTube for videos and found some on Dhondutai singing and also Kesarbai (those are very old records though).

As bonus,do check out Dhondutai singing:
https://youtu.be/2sWfyiZi6RI

Also Kesarbai:
https://youtu.be/CgNeT5UtIp0

[Srijita · Rating 5 out of 5]

"I had begun to realise, in the smallest way, that this music had celestial roots and that those who had entered its folds and drunk its notes generally floated a few inches above this mortal universe." - Namita Devidayal, The Music Room
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It is safe to say that this book was like a breath of fresh air. Briefly, it's a memoir of the author and the music teacher, Dhondutai Kulkarni, the last surviving student of the Jaipur-Atrauli Gharana of music, founded by the infamous Alladiya Khan. ....
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Filled with beautiful anecdotes and insights of the musical world of Dhondutai, the book is a narration of Namita's tutelage under her and also, Dhondutai's tutelage under Bhurji Khan, son of Alladiya Khan and later under the tempestuous Kesarbai Kerkar, the Gharana's most famous singer, a woman born way ahead of her time.
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As a reader progresses with the book he is bound to be transferred in a world of classical music, Tanpuras and Tablas. The book gives quite an insight of what goes into the making of an artiste; dedication, devotion and passion, for music is a way to reach the divine and it must be treated that way.
5⭐