Historical Development of Indian Music: A Critical Study c2.18

c2.18

I also pay homage and obesiance to my revered music teachers, Ācarya Harinārāyaṇa Mukhopādhyāya of Devanāthpurā, Banaras, Saṅgītācārya Pāñch Kari Banerjee, my elder brother, Nikuñja Bihārī Dutt, the noted disciple of Saṅgita-ratnākara Aghore Nāth Chakravurty, Saṅgita-Nāyaka Gopeśwar Banerjee of Viṣṇupur, Jñanendra Prasād Goswāmī, and others, from whom I learned Dhruvapada and Kheyāl, for years together. The sweet remembrance of Banaras, where I used to take lessons in music from the renowned Dhrupadiyā Harinārāyaṇa Bābu, study in *Navya-Nyāya* from Paṇḍit Vāmācaraṇa Bhaṭṭācārya, Nyāyācārya, and *Advaita Vedānta* from Swāmī Jagadānandajī Mahārāj of the Rāmakrishna Advaita Āshrama, inspires me even to this day, like ‘music that vibrates in the memory when soft voices die’.