Music forms the heartbeat of cultures worldwide, profoundly impacting our emotions and states of mind. It has the remarkable ability to unite people across different backgrounds, offering comfort, inspiration, and joy. It gives us energy and motivation. Music has important role to play in all walks of life. Music soothes our soul when we are worried; encourages us when we are drained; inspires us when we are dejected. A musical instrument is a device designed or modified to produce musical sounds. At the core of music’s magic are musical instruments, which existed since the dawn of human culture and have evolved alongside humanity, producing sounds that resonate with our deepest emotions. In the lush valleys of Kashmir, a place renowned for its breathtaking beauty and rich cultural tapestry, music holds a place of reverence. The traditional musical instruments of Kashmir, many of which have been crafted by the nomadic tribes of Gujjars and Bakarwals, stand as a testament to the region’s vibrant heritage. Made from natural materials like wood, animal skin, clay, and metal, these instruments not only produce enchanting sounds but also tell the story of a people deeply connected to their land and traditions.
Dr. Javaid Rahi, a researcher and author from the Gujjar/Bakarwal community, sheds light on the significance of these instruments within the nomadic tribes. They are not just tools of music but are integral to the cultural expressions during gatherings, marriages, and festivals. Among the myriad of instruments, seven stand out for their unique sounds and roles in Kashmiri music: the Dhol and Sharnai, Santoor, Kashmiri Sitar, Tumbaknari, Noet, Kashmiri Sarang, and Raabab.
Musical Instruments of Kashmir
Dhol and Sharnai: The Dhol, a drum crafted from wood and animal skin, pairs with the Sharnai, a wind instrument, to play a central role in Gujjar rituals. The combination of these instruments is essential for adding a festive atmosphere to religious ceremonies, with the Sharnai player, known as Merasi, and the Dhol player, called Mirasi in Gojri, leading the ensemble.
Santoor: The Santoor’s trapezoid shape and the melodious sound it produces through its hundred strings make it a cornerstone of Kashmiri music. Its history traces back to ancient Sanskrit texts, where it was known as the Shatha Tantri Veena, highlighting its longstanding presence in the region’s musical traditions. The instrument is made primarily of walnut and has 25 bridges. Each bridge has four strings, for a total of 100. It is a variant of the Iranian Santur.
Kashmiri Sitar: Distinguished from the Indian Sitar, the Kashmiri Sitar is a plucked lute that accompanies the Sufiana Mousiqui, underlining the shared musical heritage with Persian culture. Its design and usage cater specifically to the ensemble performance, showcasing the instrument’s versatility. The Persians, refer to the stringed instrument as Tar. This is why it was commonly referred to as Persian Sitar. This style of Sehtaror Sitar has been immensely popular in Kashmir.
Tumbaknari: Originating from Iran, the Tumbaknari is a clay pot instrument essential at Kashmiri weddings. Its presence is a must for the celebration, played predominantly by women, echoing a tradition that transcends geographical boundaries. Tumbaknari is also played in Central Asia, but the Tumbaknari used there is made of wood. On the other hand, the Tumbaknari used in Kashmir is made of clay. It is mainly used to keep time and keep rhythm during a musical performance. This instrument is known as Tumbakh or Tunbak in Iran and as Tumbal or Tumbari in the west and Tumbaknaer in Kashmir.
Noet: This ancient drum, for musical purposes, shares similarities with the Ghatam of South India and the Matki of Rajasthan.It is made of brass or copper in rest of India, however its earthenware construction is unique to Kashmiri music, embodying the area’s distinct cultural identity. It is said that water should never be stored in the Noet used for musical purpose; otherwise, the music will be distorted.
Kashmiri Sarang: The Kashmiri Sarang, akin to the Indian Sarangi but smaller in size. Its creation, possibly attributed to Maharaja Sarang Dev, highlights the instrument’s royal lineage and spiritual significance. . It has a box-shaped body. It has a 10 cm base that is embellished with a frame made by joining two pieces together. There are also seven pegs in the tuner box. In addition, eleven tuners for the resonance strings are attached to the instrument’s side. Kashmiri Sarang enjoys popularity among Sufis.
Rabab: The rabab, in its various forms, proliferated throughout West, Central, South and Southeast Asia. The soulful sounds of the Rabab are fundamental to Kashmiri music culture. Crafted from mulberry wood, it measures about three and a half feet long. Rabab is usually performed in the form of songs at special occasions and weddings. It restores the soul’s peace and calm. Rabab is the most enjoyable instrument, and people adore it. Rabab’s main three strings and body are made of goat intestinal skin, thus implying that this musical instrument bears the soul of someone, hence the name “Rabab”. It is celebrated for its ability to evoke deep emotional responses, making it a favorite among young Kashmiri artists.
The unique musical instruments of Kashmir are more than just creators of melody; they are the carriers of the region’s cultural legacy and identity. Each instrument, with its distinct sound and history, contributes to the rich tapestry of Kashmiri music, symbolizing the state’s enduring artistic spirit and its deep-rooted musical heritage. Kashmiri Musical instruments have always been the source of peace and cultural diversity. Uniqueness of these musical instruments goes on to describe and define various cultures and traditions. These instruments create unique sounds and rhythms to establish identity of Kashmiri music. Kashmiri music embodies the state’s melodic heritage and refined inheritance. As these instruments continue to charm audiences both within and beyond Kashmir, they ensure that the valley’s melodious legacy will resonate for generations to come.
Written By: Col Vinayak Jadhav – Vajr PM Cell
