Abstract In the middle of the nineteenth century in cities and towns across North India a popular craze for the sitar drove untold numbers of amateur enthusiasts to seek instruction in Hindustani raga music from the only available source: the Muslim hereditary professional performers known as ustads. A long record of statements excoriating the ustads has generally been dismissed by contemporary scholars as colonially inspired propaganda that served a Hindu identitarian vision of music reform and institution-building for the incipient nation. This article accesses a collection of Urdu-language music instruction texts produced between 1863 and 1915 to offer a contrasting interpretation: the depiction of ustads as ignorant, ill-mannered, and addicted is propounded first and foremost by Muslim authors unconcerned with nationalism, but invested in opening the Hindustani music tradition to the uninitiated amateur. Close readings of narrative anecdotes from these texts alongside the 1910 and 1914 Marathi-language works of famed scholar and music reformer Vishnu Narayan Bhatkhande (1860–1936) reveal a continuity of concerns across language, region, and religious community. Bhatkhande and the earlier Urdu authors share not only their frustration with the half-trained and ill-behaved ‘fly-by-night’ ustad, but also their reverence for the masterful ustads whose reputations were threatened by the unchecked presence of charlatans in their midst.
Max Katz (2025) studied this question.