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1954 yılında başarısız bir teşebbüsten sonra Narayan 1956 yılında solo konserler veren bir sanatçı oldu. Solo albümler kaydetmeye başlayan Narayan, Amerika ve Avrupa turnelerine 1960'larda çıktı. Narayan, 2000'lerde sıklıkla Hindistan dışında performansta bulundu. Hindistan'ın ikinci büyük sivil Onur Nişanı [[Padma Vibhushan]]'a 2005 yılında layık görüldü.
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==Early life==
[[File:Udaipur-citypalace.jpg|thumb|alt=Side view of an ornately decorated palace with several towers on a hill over a city of terraced houses.|[[City Palace, Udaipur|City Palace]], [[Udaipur]], where the [[Maharana]] of Udaipur held court]]
Ram Narayan was born 25 December 1927 in [[Udaipur]] in the [[princely state]] of [[Mewar]].<ref name=Bor>{{cite journal |last=Bor |first=Joep | year=1987 |month=March |day=1 |title=The Voice of the Sarangi |journal=Quarterly Journal |volume=15, 16 |issue=3, 4; 1 |page=p. 148 |publisher=[[National Centre for the Performing Arts (India)|National Centre for the Performing Arts]] |location=Mumbai, India}}</ref> His great-great-grandfather Bagaji Biyavat was a singer from [[Amber, India|Amber]], and he and Narayan's great-grandfather Sagad Danji Biyavat sang at the court of the [[Maharana]] of Udaipur.<ref name=Sorrell11>{{cite book |title=Indian Music in Performance: a practical introduction |last=Sorrell |first=Neil |coauthors=Narayan, Ram |year=1980 | publisher=[[Manchester University Press]] | isbn=0719007569 |page=11 | url=http://books.google.com/books?id=LxkNAQAAIAAJ}}</ref> Narayan's grandfather Har Lalji Biyavat and his father Nathuji Biyavat were farmers and singers, Nathuji played the [[dilruba]], and Narayan's mother was a music lover.<ref name=Sorrell13>Sorrell 1980, p. 13</ref> Narayan's first language was a dialect of [[Rajasthani language|Rajasthani]],<ref name=Q108>{{cite book |title=Master musicians of India: hereditary sarangi players speak |last=Qureshi |first=Regula Burckhardt |year=2007 |publisher=[[Routledge]] |isbn=0415972027 |page=108}}</ref> and he learned [[Hindi]] and later English.<ref name=Q109>Qureshi 2007, p. 109</ref> Narayan found a small sarangi left by the family's ''Ganga guru'', a genealogist, at an age of about six and was taught a [[fingering]] technique developed by his father,<ref name=Sorrell14>Sorrell 1980, p. 14</ref><ref name=Bor149>Bor 1987, p. 149</ref> despite his father's initial worries about the low status of the sarangi due to its association with courtesan music.<ref name=Sorrell13>Sorrell 1980, p. 13</ref> After a year, Biyavat sought lessons for his son from sarangi player Mehboob Khan of [[Jaipur]], but changed his mind when Khan said Narayan would have to change his fingering technique.<ref name=Bor149 /> Narayan's father later encouraged his son to leave school and devote himself entirely to playing the sarangi.<ref name=Sorrell14 />
At about ten, Narayan learned the basics of ''[[dhrupad]]'', the oldest genre of [[Hindustani classical music]], from sarangi player Uday Lal of Udaipur by observing and imitating Lal's practice.<ref name=Bor149 /><ref name="Guide">{{cite book |title=[[The Raga Guide]] |last=Bor |first=Joep |coauthors=Rao, Suvarnalata; Van der Meer, Wim; Harvey, Jane |year=1999 |publisher=[[Nimbus Records]] |isbn=0954397606 |page=180}}</ref> After Lal died of old age, Narayan met traveling singer Madhav Prasad, originally of [[Lucknow]], who had performed at the court of [[Maihar]].<ref name=Bor151>Bor 1987, p. 151</ref><ref name=Sorrell15>Sorrell 1980, p. 15</ref> Narayan performed the ''ganda bandhan'' with Prasad, a traditional ceremony of acceptance between a teacher and his pupil, in which Narayan swore obedience in exchange for being maintained by Prasad.<ref name=Sorrell17>Sorrell 1980, p. 17</ref> Narayan served Prasad and was taught in ''[[khyal]]'', the predominate genre of Hindustani classical music, but returned to Udaipur after four years to teach music school.<ref name="Guide" /><ref name=Bor151 /> Prasad later visited Narayan and convinced him to vacate his position to improve as a musician,<ref name=Bor151 /> but the idea of giving up a secure existence for the life of a traveling musician was not well received by Narayan's family.<ref name=Sorrell15 /> Narayan stayed with him and traveled to several Indian states until Prasad died in Lucknow.<ref name=Bor151 /><ref name=Sorrell16>Sorrell 1980, p. 16</ref> Narayan enacted the ''ganda bandhan'' with another teacher who gave him a few lessons, but Narayan soon left for Lahore and never performed the ritual again.<ref name=Sorrell17 />
==Career==
Narayan in 1944 traveled to Lahore to find work in a film studio, but was unsuccessful.<ref name=Bor151 /> He instead auditioned for the local [[All India Radio]] (AIR) as a singer, but the station's music producer Jivan Lal Mattoo noticed grooves in Narayan's fingernails.<ref name=Bor151 /> Sarangis are played by pressing the fingernails sideways against three playing strings, which strains the nails.<ref>Bor 1987, p. 30</ref> Mattoo instead employed Narayan to accompany vocalists on the sarangi.<ref name=Bor151 /> Mattoo gave Narayan a room to stay in and later helped him contact ''khyal'' singer [[Abdul Wahid Khan]], a rigorous teacher under whom Narayan learned four [[Raga|ragas]].<ref name=Bor151 /> Narayan learned only through singing, as he had already mastered the sarangi playing technique.<ref name=Sorrell19>Sorrell 1980, p. 19</ref>
[[File:Ram Narayan 2.jpg|thumb|left|alt=A middle-aged man wears a shirt and looks to the side with a bowed instrument held close to his body.|Narayan in middle age]]
After the [[partition of India]] in 1947, Narayan moved to [[Delhi]] and played at the local AIR station.<ref name=Bor152>Bor 1987, p. 152</ref> His work for popular singers increased his repertoire and knowledge of style and he accompanied [[Amir Khan (singer)|Amir Khan]] in 1948, when Khan sang for the first time at AIR Delhi after partition.<ref name=Neuhoff>{{cite encyclopedia |last=Neuhoff |first=Hans |editor=Finscher, Ludwig |encyclopedia=[[Musik in Geschichte und Gegenwart|Die Musik in Geschichte und Gegenwart: allgemeine Enzyklopädie der Musik]] |title=Narayan, Ram |language=German |edition=2nd |year=2006 |publisher=[[Bärenreiter]] |volume=12 |isbn=3761811225 |pages=911–912}}</ref><ref>Qureshi 2007, p. 116</ref> Narayan was allowed occasional solo performances and had begun thinking of a solo career.<ref name=Sorrell20>Sorrell 1980, p. 20</ref> As an accompanist for vocalists, Narayan showed his own skill and refused to stay in the background.<ref name=Sorrell20 /> Traditionally, the sarangi and the other stringed instruments as well as the [[harmonium]] are used to accompany vocal music and are supposed to play after the singer, imitate the vocal performance, and fill in gaps between phrases, when the singer breathes and prepares a new phrase.<ref name=Sorrell21>Sorrell 1980, p. 21</ref> Some vocalists complained Narayan was not a consistent accompanist and too assertive,<ref name=Sorrell20 /><ref name=Sorrell22>Sorrell 1980, p. 22</ref> but he maintained he wanted to keep singers in tune and inspire them in a friendly competition.<ref name=Sorrell21 /> Other singers and [[tabla]] players publicly expressed admiration for Narayan's playing.<ref name=Sorrell22 /> Narayan became frustrated with his supporting role for vocalists and moved to [[Mumbai]] in 1949 to freelance in film music and recording.<ref name=Bor152 /><ref name=Q107>Qureshi 2007, p. 107</ref> He recorded three solo 78 rpm [[Gramophone record|gramophone records]] for the British [[HMV Group]] in 1950 and he and [[Vilayat Khan]] recorded early 10 inch [[LP album]]s in Mumbai in 1951,<ref name=Bor152 /><ref>{{cite news|last=Chandvankar|first=Suresh|title=LP/EP Records|publisher=''[[Screen (magazine)|Screen]]''|date=3 May 2004|url=http://www.screenindia.com/old/fullstory.php?content_id=7421|accessdate=23 July 2009}}</ref> but Narayan's record was not popular.<ref name=YahooIndia>{{cite web |first=Soma |last=Ghosh |title=एक जुनून है सारंगी | url=http://in.jagran.yahoo.com/sakhi/?page=article&articleid=4702&edition=200811&category=6 |publisher=Yahoo! India |trans_title=Sarangi is a passion |language=Hindi |accessdate=19 July 2009}}</ref> His compositions and performances were popular in the Mumbai film industry, which offered a steady salary and anonymity for work that would have lowered his standing among classical musicians.<ref>Qureshi 2007, p. 17</ref> For the next 15 years Narayan played and composed songs for films, including ''Humdard'', ''Adalat'', ''Milan'', ''[[Gunga Jumna]]'',<ref name=Q119>Qureshi 2007, p. 119</ref> ''[[Mughal-e-Azam]]'', and ''[[Kashmir Ki Kali]]''.<ref>{{cite news|last=Suryanarayan|first=Renuka|title=Sarangi maestro returns to where it began|publisher=''[[The Indian Express]]''|date=27 October 2002|url=http://cities.expressindia.com/fullstory.php?newsid=33558|accessdate=16 April 2009}}</ref><ref name=official>{{cite web|title=An Interview with Pandit Ram Narayan|publisher=Official website|url=http://ramnarayansarangi.com/interview.htm|accessdate=25 June 2009|archiveurl=http://www.freezepage.com/1246468587ZLHJFLVNDZ|archivedate=25 June 2009}}</ref>
[[File:Cowasji Jehangir Hall 2007.jpg|thumb|alt=The front of a tall neo-Gothic building with a porch is seen behind palm trees.|[[Cowasji Jehangir Hall]] in 2007]]
Narayan performed in Afghanistan in 1952 and China in 1954 and was well received in both countries.<ref name=Sorrell25>Sorrell 1980, p. 25</ref> His first solo concert at a 1954 Mumbai music festival in the [[Cowasji Jehangir Hall]] was cut short by an impatient audience waiting for a performance by [[Ravi Shankar]] and [[Ali Akbar Khan]], and Narayan contemplated giving up the sarangi for singing.<ref name=YahooIndia /><ref name=Sorrell24>Sorrell 1980, p. 24</ref> He later gave performances to smaller crowds and received a favorable response after another attempt to play solo for a Mumbai music festival in 1956.<ref name=Neuhoff /><ref name=Sorrell24 /> Narayan gave up accompaniment in the early 1960s;<ref>Bor 1987, p. 153</ref> this decision carried a financial risk, because demand for solo sarangi had yet to be created.<ref>Neuman 1990, pp. 93, 263</ref> Following Ravi Shankar's success at performing in Western countries Narayan became one of the Indian instrumentalists who followed his example.<ref name=Mastersp48>{{cite book |title=Masters of Raga |last1=Bor |first1=Joep |last2=Bruguiere |first2=Philippe |year=1992 |publisher=[[Haus der Kulturen der Welt]] |location=Berlin |isbn=3803005019 |page=48}}</ref> He started to record solo albums and made his first international tour in 1964 to America and Europe,<ref name=Q107 /> together with his older brother [[Chatur Lal]], a tabla player who had toured with Shankar in the 1950s.<ref name=Sorrell26>Sorrell 1980, p. 26–27</ref> Beginning in the 1960s, Narayan often taught and gave concerts outside of India.<ref name=Q109 /> On his several Western tours Narayan encountered interest in the sarangi because of its similarity to cello and violin.<ref>{{cite book |title=Music Makers: Living Legends of Indian Classical Music |last=Roy |first=Ashok |year=2004 |publisher=[[Rupa & Co.]] |isbn=8129103192 |page=206 |url=http://books.google.com/books?id=BpGfAAAAMAAJ}}</ref> He continued to perform and record in India and abroad for the next decades and his recordings appeared on Indian, American, and European record labels.<ref name=Neuhoff /><ref name=Q107>Qureshi 2007, p. 107</ref> During the 1980s he typically spent a few months each year visiting Western nations.<ref name=Sorrell25 /> He performed less frequently in the 2000s.<ref name=Patil>{{cite news|last=Patil|first=Vrinda|title=Dying strains of sarangi|publisher=''The Tribune''|date=9 December 2000|url=http://www.tribuneindia.com/2000/20001209/windows/main2.htm|accessdate=8 March 2009}}</ref> In 2009, Narayan performed at [[BBC]]'s [[The Proms]] in the [[Royal Albert Hall]] with his daughter Aruna.<ref>{{cite news|last=Hewett|first=Ivan|title=BBC Proms 2009: Indian Voices – review |publisher=''[[The Daily Telegraph]]''|date=17 August 2009|url=http://www.telegraph.co.uk/culture/music/proms/6044228/BBC-Proms-2009-Indian-Voices---review.html|accessdate=17 August 2009}}</ref>
==Style==
[[File:Ram Narayan - Shiraz Arts Festival.ogg|thumb|Narayan performs the raga [[Jog (raga)|Jog]] at the Shiraz Arts Festival in [[Iran]] in the 1970s.]]
Narayan has stated that he sees it as his function to please an audience and lead it to stimulation or a state of peace of mind, but expects it to assist him by reacting to his playing.<ref name=Sorrell29>Sorrell 1980, p. 29–31</ref> His performances are a combination of slow and serious ''[[alap]]'' (non-metrical introduction) and ''[[jor]]'' (performance with pulse) in ''[[dhrupad]]'' style, followed by a faster and less reserved ''[[Gat (music)|gat]]'' section (composition with rhythmic pattern provided by the [[tabla]]) in ''[[khyal]]'' style.<ref name=Sorrell125>Sorrell 1980, p. 125</ref> Narayan experimented with a style of ''[[jhala]]'' (performance with rapid pulse) developed by [[Bundu Khan]], but considered it better suited for plucked instruments and stopped performing it.<ref name=Sorrell111>Sorrell 1980, p. 111</ref> Narayan practices and teaches using a limited number of ''paltas'', exercises in a small scale range that repeat the notes of the ''[[swara]]'' (Indian music scale) and are used to practice playing different numbers of notes per bow.<ref name=Sorrell7071>Sorrell 1980, pp. 70–71</ref> Derived from ''paltas'' are lengthy note patterns, called ''tans'', which contain characteristic "melodic shapes" and are used for fast playing by Narayan.<ref name=Sorrell75>Sorrell 1980, p. 75</ref> The ''gat'' section consists of one or two compositions.<ref name=Sorrell123>Sorrell 1980, p. 123</ref> When two ''gats'' are used, the first one is in slow or medium tempo and the second one is faster, and they are usually in the 16-beat rhythmic cycle ''[[tintal]]''.<ref name=Sorrell125 /><ref name=Sorrell126>Sorrell 1980, p. 126</ref> Narayan uses his left (fingering) hand for runs and to play an extended melodic range, and his right (bowing) hand for rhythmic accentuations.<ref name=Neuhoff /> He often concludes performances with ragas associated with ''[[thumri]]'' (a popular light classical genre), which are referred to as ''mishra'' (mixed), because they allow for additional notes, but Narayan stated that he does not consider his versions to be ''thumri'' because they are not derived from vocal compositions.<ref name=Sorrell125 />
Narayan is associated with the [[Kirana gharana|Kirana ''gharana'']] (stylistic school of Kirana) through [[Abdul Wahid Khan]], but his performance style is not strongly connected to it and has been described as eclectic.<ref name=Sorrell28>Sorrell 1980, p. 28</ref> Most of Narayan's compositions are from the vocal repertoire of his teachers and modified and adapted to the sarangi.<ref name=Sorrell123 /> He has created a few original compositions and varies those he learned in performance.<ref name=Sorrell127>Sorrell 1980, pp. 127–128</ref> Narayan disfavors the creation of new ragas, but developed combinations of [[Nand (raga)|Nand]] with [[Kedar (raga)|Kedar]] and [[Kafi (raga)|Kafi]] with [[Malhar (raga)|Malhar]].<ref name=Sorrell127>Sorrell 1980, pp. 127–128</ref>
Narayan uses a sarangi obtained from Uday Lal and built in [[Meerut]] in the 1930s in his concerts and recordings.<ref name=Sorrell55>Sorrell 1980, p. 55</ref> He plays on foreign harp strings to produce a clearer tone.<ref>{{cite book |title=The Life of Music in North India |last=Neuman |first=Daniel M. |year=1990 |origyear=1980 | publisher=[[University of Chicago Press]] | isbn=0226575160 |page=228 | url=http://books.google.com/books?id=f3wMwD1Xn-QC&pg=RA2-PA228}}</ref> Narayan experimented with modifications to his instrument and added a fourth string, but removed it because it hindered fast playing.<ref name=Sorrell56>Sorrell 1980, p. 56</ref> In the 1940s, Narayan substituted [[Catgut|gut]] with steel for the first string and found it easier to play, but reverted to using only gut strings because the steel string altered the sarangi's sound.<ref name=Sorrell56 />
==Contributions and recognition==
[[File:Sarangi close-up crop.jpg|thumb|alt=A sarangi being played with fingers and bow by a bearded man.|Detail of a sarangi performance by Narayan student Surjeet Singh]]
Narayan increased 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, an example later followed by [[Sultan Khan (musician)|Sultan Khan]].<ref name=Neuhoff /><ref>{{cite encyclopedia |last=Slawek |first=Stephen |editor=Arnold, Alison |encyclopedia=The Garland Encyclopedia of World Music: South Asia: The Indian Subcontinent |title=Hindustani Instrumental Music |url=http://books.google.com/books?id=ZOlNv8MAXIEC&pg=RA2-PA207 |year=2000 |publisher=[[Taylor and Francis]] |volume=5 |isbn=0824049462 |page=207}}</ref><ref name=Mastersp78>Bor 1992, p. 78</ref> He contributed to the playing of the sarangi by codifying its playing technique.<ref name=TH001203>{{cite news|last=Viswanathan|first=Lakshmi|title=Three masters|publisher=''[[The Hindu]]''|date=3 December 2000|url=http://www.hinduonnet.com/folio/fo0012/00120100.htm|accessdate=7 March 2009}}</ref> Narayan's simplified fingering technique allows for glide (''[[meend]]'')<ref>Bor 1987, pp. 34–35</ref> and influenced the contemporary sarangi concert style, as aspects of his playing and tone production were adapted by sarangi players from Narayan's recordings.<ref name=Q108 /> Narayan taught at [[Wesleyan University]], Connecticut, and [[Mills College]], California, in 1968,<ref name=Massey>{{cite book |title=The Music of India |last=Massey |first=Reginald |year=1996 |publisher=Abhinav Publications |isbn=8170173329 |page=159 |url=http://books.google.com/books?id=yySNDP9XVggC&pg=PA159}}</ref> and at the [[American Society for Eastern Arts]] and the [[National Centre for the Performing Arts (India)|National Centre for the Performing Arts]] in Mumbai in the 1970s and 1980s,<ref name=Q107 /><ref name=Q130>Qureshi 2007, p. 130</ref> where he gave the first master class for sarangi.<ref name=Q110>Qureshi 2007, p. 110</ref> Narayan privately trained sarangi players, including his daughter Aruna Narayan Kalle,<ref name=Q126>Qureshi 2007, p. 126</ref> his grandson Harsh Narayan,<ref name=Q133>Qureshi 2007, p. 133</ref> and Vasanti Srikhande.<ref name=Pratap>{{cite news|last=Pratap|first=Jitendra|title=Juggling with jugalbandis|publisher=''The Hindu''|date=7 October 2005|url=http://www.hindu.com/fr/2005/10/07/stories/2005100702400200.htm|accessdate=7 March 2009}}</ref> He also taught [[sarod]] players,<ref name=TIE031114>{{cite news|title=Magic in his fingers|publisher=''Screen''|date=14 November 2003|url=http://www.screenindia.com/old/fullstory.php?content_id=6637|accessdate=25 June 2009}}</ref><ref>{{cite news|last=Sharma|first=S. D.|title=Basant beats|publisher=''The Tribune''|date=5 February 2009|url=http://www.tribuneindia.com/2009/20090205/ttlife1.htm#8|accessdate=8 March 2009}}</ref> including his son [[Brij Narayan]], as well as vocalists<ref>{{cite news|last=Govind|first=Ranjani|title=Varied emotions|publisher=''The Hindu''|date=1 May 2008|url=http://www.hindu.com/mp/2008/03/01/stories/2008030151000400.htm|accessdate=7 March 2009}}</ref><ref>{{cite news|last=Rajan|first=Anjana|title=When the skylark sings|publisher=''The Hindu''|date=18 February 2005|url=http://www.hindu.com/yw/2005/02/18/stories/2005021801090300.htm|accessdate=8 March 2009}}</ref><ref>{{cite news|title=Quality music is forever|publisher=''The Tribune''|date=3 November 2000|url=http://www.tribuneindia.com/2000/20001104/ldh2.htm#2|accessdate=8 March 2009}}</ref> and a violinist.<ref>{{cite news|last=Sinha|first=Manjari|title=Tunes of friendship|publisher=''The Hindu''|date=27 February 2009|url=http://www.hindu.com/fr/2009/02/27/stories/2009022750750200.htm|accessdate=8 March 2009}}</ref> In 2002, he had 15 Indian students and more than 500 students in the United States and Europe had studied with him.<ref name=Suryanarayan>{{cite news|last=Suryanarayan|first=Renuka|title=Sarangi at its best|publisher=''The Indian Express''|date=7 September 2002|url=http://cities.expressindia.com/fullstory.php?newsid=28762|accessdate=16 April 2009}}</ref> ''Indian Music in Performance: a practical introduction'', released in 1980 by Neil Sorrell in cooperation with Narayan, was described as "one of the best presentations on modern North Indian music practice" in [[Bärenreiter]]'s ''Allgemeine Enzyklopädie der Musik''.<ref name=Neuhoff />
{{Quote box|quote="My mission was to obliterate the blemish which the sarangi carried due to its social origins. I hope I have succeeded in this."<ref>{{cite news|last=Dhaneshwar|first=Amarendra|title=Saviour of the sarangi, Pandit Ram Narayan|publisher=''The Indian Express''|date=18 February 2002|url=http://cities.expressindia.com/fullstory.php?newsid=10069|accessdate=14 April 2009}}</ref>|source=Ram Narayan, quoted in ''The Indian Express''|width=20%|align=left}}
Narayan dismissed modern [[Filmi|Indian film music]] and argued recognition of him and the sarangi came only after acceptance by the Western audience.<ref name=Sharma /> He attributed the lack of sarangi students to a lack of competent teachers.<ref name=Sharma /> The Pt (Pandit) Ram Narayan Foundation in Mumbai offers scholarships and teaches sarangi, but Narayan stated he was skeptical the sarangi would survive.<ref name=Patil /><ref>{{cite news|last=Tandon|first=Aditi|title=Preserving traditional melodies|publisher=''The Tribune''|date=25 March 2006|url=http://www.tribuneindia.com/2006/20060326/cth2.htm#7|accessdate=8 March 2009}}</ref>
Narayan received the national awards [[Padma Shri]], in 1976, [[Padma Bhushan]], in 1991, and [[Padma Vibhushan]], in 2005.<ref>{{cite web|title=Padma Awards|publisher=[[Ministry of Communications and Information Technology (India)|Ministry of Communications and Information Technology]]|url=http://india.gov.in/myindia/advsearch_awards.php?start=10&award_year=&state=&field=3&p_name=Narayan&award=All|accessdate=8 March 2009}}</ref> The Padma Vibhushan, India's second highest civilian honor, was awarded by [[President of India|Indian President]] [[A. P. J. Abdul Kalam]].<ref>{{cite news|title=President presents Padma awards|publisher=''The Hindu''|date=29 March 2005|url=http://www.hindu.com/2005/03/29/stories/2005032909011200.htm|accessdate=7 March 2009}}</ref> Narayan was awarded the [[Sangeet Natak Akademi Award]] in 1975,<ref>{{cite web|title=SNA: List of Akademi Awardees – Instrumental – Sarangi|publisher=[[Sangeet Natak Akademi]]|url=http://www.sangeetnatak.org/sna/awardeeslist-sarangi.htm|accessdate=2 July 2009}}</ref> the [[Kalidas Samman]] by the [[Government of Madhya Pradesh]] in 1991–92,<ref>{{cite web|date=2006|url=http://www.mpinfo.org/mpinfonew/hindi/award/kalidas.asp|title=राष्ट्रीय कालिदास सम्मान|language=Hindi|trans_title=Rashtriya Kalidas Samman|publisher=Department of Public Relations of Madhya Pradesh|accessdate=9 April 2009}}</ref> and the Aditya Vikram Birla Kalashikhar Puraskar, which was named in honor of [[Aditya Vikram Birla]], in 1999, presented by [[P. C. Alexander]], governor of [[Maharashtra]].<ref>{{cite news|title=Sarangi maestro Pt Ram Narayan gets Aditya Birla award|publisher=''The Indian Express''|date=15 November 1999|url=http://www.indianexpress.com/ie/daily/19991115/ige15088.html|accessdate=7 March 2009}}</ref> Narayan received the [[Jialal Vasant|Uttam Vaggayekar Jialal Vasant Award]] in 2005 and the Guru Madan Lal Koser and Guru Shobha Koser Award in 2008.<ref name=Sharma>{{cite news|last=Sharma|first=S. D.|title=Sarangi maestro calls present music soulless drudgery|publisher=''[[The Tribune]]''|date=28 February 2008|url=http://www.tribuneindia.com/2008/20080229/cth2.htm#14|accessdate=8 March 2009}}</ref><ref>{{cite news|title=Uttam Vaggayekar Jialal Vasant Award for Lata|publisher=''Screen''|date=9 March 2007|url=http://www.screenindia.com/old/fullstory.php?content_id=15121|accessdate=22 June 2009}}</ref> In 2007, the biographical film ''Pandit Ramnarayan – Sarangi Ke Sang'' was shown at the [[International Film Festival of India]].<ref>{{cite news|title=Films about India's creative legends at IFFI|work=[[Indo-Asian News Service]]|publisher=[[Hindustan Times]]|date=28 November 2007|url=http://www.highbeam.com/doc/1P3-1389699451.html|accessdate=22 June 2009}}</ref>
==Family and personal life==
[[File:Ram and Aruna Narayan 2009 crop.jpg|thumb|alt=A mixed-gender group of five people sits on a platform, two playing long-necked lutes, another two playing bowed instruments, and one resting his hands next to drums.|Narayan performs with his daughter Aruna (in red) in 2009.]]
Narayan shared a close personal and musical relationship with his older brother [[Chatur Lal]], who took up playing the [[tabla]] mainly to accompany his sarangi playing.<ref name=Sorrell26 /> Lal studied under tabla teachers in his youth but later turned to farming.<ref name=Sorrell26 /> After Narayan had become a professional sarangi player he was visited by Lal in Delhi in 1948, and Narayan convinced Lal to work as tabla player at the local AIR station.<ref name=Sorrell26 /> Lal became an acclaimed musician, toured with [[Ravi Shankar]] and [[Ali Akbar Khan]] in the 1950s, and helped popularize the tabla in Western countries.<ref name=Naimpalli>{{cite book |title=Theory and Practice of Tabla |last=Naimpalli |first=Sadanand |year=2005 |publisher=Popular Prakashan |isbn=8179911497 |page=107 |url=http://books.google.com/books?id=Z63zvthhbhAC&pg=PA107}}</ref> When Lal died in October 1965, Narayan had difficulty performing and struggled with alcoholism, but overcame the addiction two years later.<ref name=Sorrell26 />
Narayan's wife Sheela, a homemaker, came to Mumbai in the 1950s,<ref name=YahooIndia /><ref name=Q131>Qureshi 2007, p. 131</ref> and they had four children.<ref name=official /> She died prior to 2001.<ref name=Q133 /> His oldest son, [[sarod]] player [[Brij Narayan]], was born 25 April 1952 in Udaipur.<ref name=TIE031114 /> His only daughter Aruna Narayan Kalle was born in the mid-1950s in Mumbai.<ref name=Q129>Qureshi 2007, p. 129</ref><ref name=Q131 /> She was the first woman to give a solo sarangi concert and later immigrated to [[Canada]].<ref name=Q130 /><ref name=Q126 /> Another son, Shiva, learned to play the tabla.<ref>{{cite album-notes|title=Volume 1|bandname=Ram Narayan|year=1989|notestitle=Pandit Ram Narayan en concert|first=Christian|last=Ledoux|pages=p. 3|format=CD booklet|publisher=Ocora|publisherid=OCR 83|location=Paris}}</ref> Brij Narayan's son, Harsh Narayan, also plays the sarangi.<ref name=Suryanarayan /> Narayan has performed in concert with Brij, Aruna, and Harsh.<ref name=Suryanarayan /><ref>{{cite news|title=Pop and Jazz Guide|publisher=''[[The New York Times]]''|date=31 October 2003|url=http://www.nytimes.com/2003/10/31/movies/pop-and-jazz-guide-927686.html?pagewanted=all|accessdate=19 June 2009}}</ref><ref>{{cite news|title=Chords & Notes|publisher=''The Hindu''|date=19 May 2009|url=http://www.thehindu.com/thehindu/mp/2003/05/19/stories/2003051900720300.htm|accessdate=24 June 2009}}</ref> Chatur Lal had four children and Narayan assisted them after their father's death.<ref name=official /> Chatur Lal's son, Charanjit Lal, is a tabla player who has toured Europe with Narayan.<ref name=Sorrell28 />
Narayan is a [[Hinduism|Hindu]] and stated "music is my religion", arguing that there was no better approach to divinity than music.<ref name=Sorrell29 /> He is still based in Mumbai.<ref name=Sharma />
==Discography==
{{main|Ram Narayan discography}}
==Writings==
*{{cite book |title=Indian Music in Performance: a practical introduction |last=Sorrell |first=Neil |coauthors=Narayan, Ram |year=1980 | publisher=[[Manchester University Press]] | isbn=0719007569 | url=http://books.google.com/books?id=LxkNAQAAIAAJ}}
==References==
{{reflist|2}}
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==Dış bağlantılar==
*{{allmusicguide|id=11:wpfwxqu5ldse|label=Ram Narayan}}
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{{Müzisyen-taslak}}
[[Kategori:Hintli müzisyenler]]
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[[Category:Hindustani instrumentalists]]
[[Category:Indian Hindus]]
[[Category:Living people]]
[[Category:People from Udaipur]]
[[Category:Recipients of the Kalidas Samman Award]]
[[Category:Recipients of the Padma Bhushan]]
[[Category:Recipients of the Padma Shri]]
[[Category:Recipients of the Padma Vibhushan]]
[[Category:Recipients of the Sangeet Natak Akademi Award]]
[[Category:Sarangi players]]
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[[bn:রাম নারায়ণ]]
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