Preface

My curiosity about Indian classical music was sparked by Tushar Mathpal, a devotee of Mahavatar Babaji who resides in the town of Dwarahat, in Uttarakhand, India. The town is close to the cave where Lahiri Mahasaya met his guru (Babaji) and received initiation into the ancient science of Kriya Yoga¹.

Tushar is trained in classical Indian music and hosts the wandering devotees and children of Mahavatar Babaji at the Katyuri Kings Divine Homestay, where he lives with his mother. Deb and I made his acquaintance after our first visit to Babaji’s cave. He kindly hosted us following a day of pilgrimage trekking the foothills of the Himalayas. The next morning, from the rooftop of his house, we watched the sun rise to the sounds of birds, cows, temple bells, and the chants of devotees in the nearby temples.

His loving mother nourished our bodies with Poha (a popular Indian breakfast dish made with flattened rice), homemade yoghurt, and sweets. Tushar nourished our hearts with his singing, his voice accompanied by the recorded sounds of Tanpura drones and Tabla drums played through his portable speaker.

I enquired about classical Indian music and was then presented with an introduction to the concepts of Rāgas and Bhāvas. I listened with rapt attention and fascination. The insights transmitted through Tushar’s embodiment of the Nāṭya Shāstra and his conscious, heartfelt singing opened the doors to the path that gave birth to this bridging and application of ancient knowledge to Western Music.