// Instrument Making


Sagar Veena is meticulously constructed by a team of  craftmen in the Musical Instrument Making department of the Institute. The work in Musical Instrument Making and design is based upon creating instruments for South Asian Classical music on the premise of Raza Kazim’s work in Musicology, troche combined with modern-day knowledge of sound, vialis 40mg material and acoustics. Through these scientific theories and tools of analyzing sound, sales it is now possible to clearly identify and explore in detail the different components which go into the making of musical sounds, such as compound or layered resonances, timbre, and harmonics. Combining this knowledge, which is continuously being upgraded, with materials never used before in the sound production of instruments, new discoveries are being made about sound that are able to connect with, activate and evoke deeper emotional responses of the human being.

inst-making-1 The work of this department is headed by Mohammed Riaz, a instrument-maker belonging to a family of craftsmen dating back to the 19th century. He, along with Raza Kazim and other members of the department, have set a two-fold precedent in the field of Instrument Making. One introducing the above mentioned knowledge in the production of ‘Sagar Veena’, a new musical instrument for Indian Classical Music. Two, evolving an instrument in one generation and in one place. The objective has been to achieve a much greater musicality, and a capacity for producing complex and dynamic resonances, and micro tones, along with a greater variety of sonic timbers than is already available in the existing Indian Classical Instruments. So that the artist while trying to express and communicate his/her dynamic sensitivity processes, is not hampered by the limitations of the sound an instrument can produce. The work on improving the quality of this instrument is ongoing, in view of the constant upgrading of the perceptions and understanding of musical sound. Work on the same foundations and with the same objective is being carried out on the ‘Sur Bahar’, the redesigned version of which is being called ‘Shruti Bahar’,‘Sitar’ and ‘Tanpura’. The sound of these instruments is critically monitored through listening to their recordings on ‘Bhulley’ sound reproduction systems, developed and constructed in the Institute on the same foundations as our musical instruments. More importantly these instruments are continuously tested with reference to their objective through the feedback of the musicians exploring ‘Sanjan Sangeet’.

The surbahar and sitar have been played by various renowned musicians such as Ustad Shujaat Khan, and Dr. Brian Silver, and recordings have been done of both artists playing the instruments.