The Sound of Music & Wind

Given: Information about Evelyn Glennie's early life from the chapter.

Answer: Evelyn was seventeen years old when she went to the Royal Academy of Music in London.

Given: Details about Evelyn's hearing loss from the chapter.

Answer: Evelyn's deafness was first noticed when she was eight years old. It was confirmed by the time she was eleven years old, when doctors found that her hearing was severely impaired due to gradual nerve damage.

Given: The role of percussionist Ron Forbes in Evelyn's musical journey.

Answer: Percussionist Ron Forbes helped Evelyn continue with music. He began by tuning two large drums to different pitches and asked her to feel, not just hear, the music. He encouraged her, saying she should not think of herself as a deaf musician but simply as a musician. He helped her discover that she could sense music through different parts of her body.

Given: Information about Evelyn's performances and social work from the chapter.

Answer: Apart from regular concerts, Evelyn gives free concerts in prisons and hospitals. She also gives high priority to classes for young musicians. She is a shining inspiration for deaf children, showing them that no goal is beyond their reach. She performs for both general audiences and for those who are handicapped or underprivileged.

Given: Evelyn Glennie is profoundly deaf but is a world-class percussionist.

Concept: Evelyn perceives music through vibrations felt in different parts of her body rather than through her ears.

Answer (100–150 words):

Evelyn Glennie cannot hear music the way ordinary people do, yet she experiences it more deeply than most. She discovered her unique ability with the help of percussionist Ron Forbes, who asked her to feel the music rather than hear it. She learned to open her mind and body to the sounds and vibrations around her.

Evelyn feels the music through different parts of her body. For example, she can sense lower notes in her legs and feet, and higher notes in other parts of her body. When she plays the xylophone, she can feel the resonance through her fingertips. She removes her shoes while performing so that she can feel the vibrations through the wooden platform.

As master percussionist James Blades says, 'What we hear, she feels — far more deeply than any of us.' This extraordinary sensitivity allows Evelyn to express music beautifully and move her audiences deeply.

Answer: pungi

Justification: The pungi was originally a reeded noisemaker that was banned by Aurangzeb because of its shrill, unpleasant sound. The shehnai was a refined, melodious instrument developed later.

Answer: A barber

Justification: According to the text, a barber of a royal family in the medieval period transformed the pungi by making modifications to it, creating the instrument known as the shehnai.

Answer: professional musicians

Justification: Bismillah Khan's paternal ancestors were professional musicians who played the shehnai in the Bhojpur region.

Answer: Ali Bux

Justification: Bismillah Khan learnt to play the shehnai from his maternal uncle, Ali Bux, who was a shehnai player at the Vishwanath temple in Varanasi.

Answer: Afghanistan

Justification: Bismillah Khan's first trip abroad was to Afghanistan, after which he travelled to many other countries and became an internationally acclaimed musician.

Answer:

| Bismillah Khan's feelings about | Positive | Negative | Neutral |
|---|---|---|---|
| 1. teaching children music | ✓ | | |
| 2. the film world | | ✓ | |
| 3. migrating to the U.S.A. | | ✓ | |
| 4. playing at temples | ✓ | | |
| 5. getting the Bharat Ratna | ✓ | | |
| 6. the banks of the Ganga | ✓ | | |
| 7. leaving Benaras and Dumraon | | ✓ | |

Brief Justifications:
1. He gives high priority to teaching young musicians — Positive.
2. He was offered a role in a film but was uncomfortable with the film world — Negative.
3. He refused to start a shehnai school in the U.S.A. as he could not imagine living away from India — Negative.
4. He played at the Kashi Vishwanath temple every morning with great devotion — Positive.
5. He was honoured and moved when he received the Bharat Ratna — Positive.
6. He longed for the Ganga and considered it sacred and inseparable from his music — Positive.
7. He could never think of leaving Benaras or Dumraon — Negative (he was strongly against it).

Given: Historical context of the pungi from the chapter.

Answer: Aurangzeb banned the playing of the pungi because its sound was considered shrill and unpleasant. The emperor found the sound of the pungi so irritating and harsh that he issued a royal decree banning it from being played inside the royal residence.

Given: Description of both instruments from the chapter.

Answer: The pungi was a reeded noisemaker with a shrill, unpleasant sound. The shehnai, on the other hand, is a longer and broader instrument with a natural hollow stem and seven holes on its body. The shehnai produces a soft, melodious sound and is considered auspicious. It is a refined and improved version of the pungi.

Given: Traditional use of the shehnai and Bismillah Khan's contribution.

Answer: Traditionally, the shehnai was played in temples and at weddings and auspicious occasions. It was not considered suitable for the concert stage. Bismillah Khan changed this by bringing the shehnai to the concert stage and All India Radio, making it an important instrument in classical music performances and elevating its status to that of a solo concert instrument.

Given: Bismillah Khan's early career from the chapter.

Answer: Bismillah Khan got his big break in 1938 when he played the shehnai on All India Radio (Lucknow station). This performance brought him wide recognition and marked the beginning of his rise to national fame. His music reached a large audience through the radio broadcast, establishing him as a leading shehnai player.

Given: Bismillah Khan's performance on India's Independence Day.

Answer: On 15 August 1947, Bismillah Khan played the shehnai at the Red Fort in Delhi, before the first Prime Minister Jawaharlal Nehru addressed the nation. The event was historic because it marked India's independence from British rule. Bismillah Khan had the rare honour of being the first musician to greet free India with his shehnai, making it a deeply patriotic and unforgettable moment.

Given: Bismillah Khan's love for India from the chapter.

Answer: Bismillah Khan refused to start a shehnai school in the U.S.A. because he could not imagine living away from India, and especially from Benaras and the river Ganga. He asked, 'What would I do without the Ganga?' His deep emotional and spiritual bond with Benaras, the Vishwanath temple, and the Ganga made it impossible for him to settle abroad.

Given: Bismillah Khan's attachment to India and Benaras.

Answer: Two clear instances that show Bismillah Khan's love for India and Benaras are:

1. When asked to start a shehnai school in the U.S.A., he refused, saying he could not live without the Ganga. This shows his deep love for Benaras and India.

2. In the interview with Shekhar Gupta, when asked if he ever thought of moving to Pakistan during Partition, he exclaimed, 'God forbid! Me, leave Benaras? Never!' This strongly reflects his inseparable bond with Benaras and India.

Concept: A to-verb (infinitive) is used after certain verbs like *hope, want, advise, permit, decide* to indicate the action that follows.

Answers (sample):

1. The school sports team hopes to win the inter-school championship this year.

2. We all want to live a happy and healthy life.

3. They advised the hearing-impaired child's mother to send her to a special school for the deaf.

4. The authorities permitted us to use the school auditorium for the annual function.

5. A musician decided to give free concerts in hospitals and prisons to bring joy to the suffering.

Answers:

1. the home of royal people → palace

2. the state of being alone → solitude

3. a part which is absolutely necessary → indispensable

4. to do something not done before → to pioneer

5. without much effort → effortlessly

6. quickly and in large quantities → thick and fast

Answers:

1. When something is revived, it lives again.

2. When a government bans something, it wants it stopped.

3. When something is considered auspicious, welcome it.

4. When we take to something, we find it interesting.

5. When you appreciate something, you find it good and useful.

6. When you replicate something, you do it for the second time.

7. When we come to terms with something, it is no longer upsetting.

Concept: Some adjectives can only appear before a noun (attributive), some only after a linking verb like *be* (predicative), and some can appear in both positions.

Completed Table:

| Adjective | Only before noun | Not before noun | Both before and after the verb be |
|---|---|---|---|
| indispensable | | | ✓ |
| impressed | | ✓ | |
| afraid | | ✓ | |
| outdoor | ✓ | | |
| paternal | ✓ | | |
| countless | ✓ | | |
| priceless | | | ✓ |

Sample sentences:

1. indispensable — Water is indispensable for life. / She is an indispensable member of the team.

2. impressed — The teacher was impressed by the student's answer. *(Not used before a noun: we do not say 'the impressed teacher'.)*

3. afraid — The child was afraid of the dark. *(Not used before a noun: we do not say 'the afraid child'.)*

4. outdoor — We enjoy outdoor activities like hiking and cycling. *(Only before a noun.)*

5. paternal — He received paternal love and guidance from his uncle. *(Only before a noun.)*

6. countless — She has received countless awards for her music. *(Only before a noun.)*

7. priceless — The museum holds a priceless collection of ancient art. / This experience is truly priceless.

Notes on Kishori Amonkar:
- Parentage: Born in 1931; daughter of great vocalist Smt. Mogubai Kurdikar.
- School of music: Trained in the Jaipur-Atrauli gharana; developed her own unique individual style.
- Achievements: Finest female vocalist of her generation; revived the study of khayal; has a large following in India and abroad.
- Inspiration: Inspired by the teachings of ancient Vedic sages; approaches music with the precision of a scientist and the soul of a devotee.
- Awards: Sangeet Natak Akademi Award (1985), Padma Bhushan (1987), Sangeet Samradhini Award (1997).

Sample Introduction:

'I feel privileged to introduce to you one of the greatest vocalists India has ever produced — Padma Bhushan Kishori Amonkar.

Born in 1931, she is the daughter of the legendary vocalist Smt. Mogubai Kurdikar. Trained in the prestigious Jaipur-Atrauli gharana, she went on to develop a style so unique and individual that it is regarded as a class apart. Deeply inspired by the ancient Vedic sages, she approaches each raaga with the precision of a scientist and the devotion of a saint.

Her soulful music has revived the study of khayal and earned her a devoted following across India and the world. Among her many honours are the Sangeet Natak Akademi Award (1985), the Padma Bhushan (1987), and the coveted Sangeet Samradhini Award (1997).

Ladies and gentlemen, please join me in welcoming the incomparable Kishori Amonkar!'

Paragraph 1 — Evelyn Glennie:

Evelyn Glennie is a shining example of how hard work and determination can overcome even the greatest obstacles. Despite losing her hearing almost completely by the age of eleven, she refused to give up her dream of becoming a musician. She worked tirelessly to develop her unique ability to feel music through vibrations in her body. When she applied to the Royal Academy of Music, she had to fight against the prejudice of those who doubted a deaf person could succeed. She practised harder than most classical musicians, performed at countless concerts, and even gave free performances in prisons and hospitals. Her goal was not merely personal success — she wanted to prove that disability is no barrier to achievement and to inspire others, especially deaf children, to pursue their dreams.

Paragraph 2 — Ustad Bismillah Khan:

Ustad Bismillah Khan's journey is equally a story of lifelong dedication and hard work. From his childhood days when he would secretly follow his uncle Ali Bux to the Vishwanath temple and practise for hours on the banks of the Ganga, he devoted himself completely to the shehnai. He worked hard to elevate the shehnai from a folk and temple instrument to a respected classical concert instrument. He performed at the Red Fort on India's first Independence Day, toured the world, and received the highest civilian honour, the Bharat Ratna. Yet he remained humble and rooted. His goal was not just personal glory — he wanted to keep alive the rich musical traditions of India and share the soul-stirring music of the shehnai with the world, while never losing his deep connection to Benaras and the Ganga.

Given: The first stanza of the poem 'Wind' by Subramania Bharati.

Answer: In the first stanza, the wind is shown doing several destructive things. It breaks the shutters of the windows, scatters the papers, and throws down the books on the shelf. It also tears the pages of the books and brings rain. The wind is portrayed as a powerful, uncontrollable force that causes disorder and destruction.

Answer: Yes, winnowing is a common practice in rural India. It is the process of separating grain from the husk or chaff by tossing it in the air so that the wind blows away the lighter chaff while the heavier grain falls back down.

*(Note: The word for winnowing and the tools used will vary by language and region. Students should fill in the word from their own language.)*

Example: In Hindi, winnowing is called 'ओसाई' (osai). People traditionally use a flat, wide basket called a 'soop' (सूप) for winnowing. They toss the grain upward and let the wind carry away the chaff.

Given: The poem 'Wind' by Subramania Bharati.

Answer: The poet says that the wind god winnows the weak from the strong. Just as winnowing separates the grain from the chaff, the wind separates the weak — weak crumbling houses, weak crumbling lives, weak hearts, and weak trees — and destroys them. Only the strong and firm can survive the wind's force. The wind thus acts as a force that tests and eliminates weakness.

Given: The message of the poem 'Wind'.

Answer: To make friends with the wind, the poet advises us to build strong homes, join the doors firmly, and practise to make our bodies and hearts strong. We should develop firm and steady minds and strong, pure hearts. The poet says that the wind befriends the strong — those who are physically, mentally, and emotionally strong need not fear the wind. In other words, we must build inner and outer strength to face the challenges of life.

Given: The concluding lines of the poem 'Wind'.

Answer: The last four lines of the poem convey a deeply inspiring message. The poet says that the wind blows out weak fires but makes strong fires roar and flourish. This is a metaphor for life's challenges. Difficulties and hardships (like the wind) destroy those who are weak and unprepared, but they only strengthen those who are determined and resilient.

To me, these lines mean that adversity is not our enemy — it is our teacher. If we are strong in body, mind, and spirit, every challenge we face will only make us stronger. The wind of hardship fans the flames of a strong person's determination, making them burn brighter. We should, therefore, welcome challenges as opportunities to grow rather than fear them.

Given: The tone of the poem 'Wind'.

Answer: The poet speaks to the wind neither purely in anger nor with humour, but with a tone of gentle complaint mixed with acceptance and wisdom. In the beginning, the poet seems to mildly scold the wind for its destructive behaviour, asking it to be gentle. But as the poem progresses, the poet accepts the wind's nature and turns the experience into a philosophical lesson — urging people to become strong rather than blaming the wind.

We have all seen or heard of the wind 'crumbling lives' — in the form of storms, cyclones, and floods that destroy homes and livelihoods. My response to such destruction is one of sorrow and sympathy for those affected. However, like the poet, I also believe that such hardships teach us resilience. The poet's response is wiser — he does not waste energy in anger but instead focuses on building strength. I find this response both practical and inspiring.

Answer: Yes, there are many poems in various Indian languages that celebrate or address the forces of nature. For example:

- In Hindi, the poet Sumitranandan Pant wrote beautifully about nature, including the wind and rain, in poems like *'Badal ko ghirte dekha hai'*.
- In Kannada, there are folk songs and poems that address the rain and wind as living forces.
- In Bengali, Rabindranath Tagore wrote numerous poems addressing nature directly, such as *'Aaj Jhorojoromukhoro Badal Dine'* (On this stormy, rainy day).

*(Students are encouraged to share poems from their own regional language that address nature in a similar way.)* The tradition of speaking directly to nature — the wind, the rain, the river — is common across all Indian literary traditions, reflecting our deep cultural connection with the natural world.