On the secretive ustād: Pride among musicians and patrons in North India
Why did Muslim masters of Hindustani music or ustāds of the past century sometimes refuse to record, perform or teach? These acts appear to justify a common depiction of ustāds, propagated by their detractors and defenders alike as jealously guarding their hereditary knowledge. A deeper look, however, reveals that ustāds withheld their music for fear that it would be played in lowly places, consumed by ill-mannered audiences or taught to disloyal students. Drawing on the oral history of one aristocratic family’s relationship with their Muslim teachers, I argue that the pride that prevented some ustāds from playing to the masses reflected an elitism learned from their patrons and students among the gentry, many of whom were Hindu. This argument develops two existing narratives: one in which ustāds adopted the manners and pursuits of their patrons, and another in which patrons risked losing prestige by performing. Stories of both ustāds and their patrons shunning the public, read together, not only decouple secretiveness from its association with Muslims, but also reveal discipleship as a transformative space in which musicians and their patrons learned from one another, cultivating shared attitudes, morals and dispositions.