Roshan Ara Begum’s Musical Journey : An Analysis of Raga Interpretation and Gayaki

Abstract

Roshan Ara Begum (1917–1982) stands as one of the most distinguished representatives of the Kirana gharana of Hindustani classical music. A disciple of Ustad Abdul Karim Khan’s tradition, she embodied the gharana’s quintessential features while leaving her unique stylistic imprint. This article presents a comprehensive study of her musical journey, focusing on her raga interpretation and gayaki (vocal style). Through archival listening, transcription, and comparative stylistic analysis, the paper evaluates her techniques of raga exposition, use of ornamentation, improvisational methods, and treatment of bandish. The review incorporates historical documentation, gendered perspectives, and socio-cultural contexts such as Partition and post-Partition musical institutions. Findings demonstrate Roshan Ara Begum’s ability to combine rigorous gharana discipline with emotive depth, establishing her as an influential figure both in India and Pakistan. The study concludes that her legacy offers fertile ground for computational musicology, comparative cross-gharana analysis, and pedagogical integration into contemporary training.