Guru-shishya training is the ancient tradition on the Indian sub-continent.

Going to a gurukul to read and

learn the Vedas has been a tradition since the dawn of Vedic culture. If we look at how music has developed
in this region, it becomes clear that the genre of music training by listening has its roots in the guru-shishya
tradition that has existed ever since music was discovered in human civilization. Later, the propensity of
music scholars to impart music training was one of the significant causes for the extensive dissemination
of raga music in the Indian sub-continent. When gharana-based raga music practice gained popularity at
the end of the 18th century, it was seen that those music learners who trained up in that genre of music
belonged to a certain group. They would go to certain locales to get gharana-based learning in the presence
of gurus. After finishing their musical learning, they would either migrate to other areas or move back to
their old ones to share their musical knowledge what they had acquired. Although genre-based classical
music practice still persists in the 20th century, organizational or group music practice seems to be on the
rise. Chhayanaut has assumed leadership in the community of Bangladeshi organizational practice of music
since its inception. Despite the fact that Chhayanaut has made a substantial contribution in the development,
interpretation, and spread of classical music, it is unknown whether there has ever been any earlier research
on the topic. The purpose of this article is to evaluate Chhayanaut's contributions in the practice of classical
music in Bangladesh.
East Bengal's classical music culture during Chhayanaut's inception
Chhayanaut was born in the turbulent political climate of East Pakistan on the eve of the 100th anniversary
of Rabindra's birth in 1961. Even though Bengali was proclaimed the state language in 1952, the common
people of East Bengal had to tolerate Pakistani domination and torture prior to the independence fight of
1971. It is obvious that this political turmoil has had a profound influence on this nation's cultural
environment. In a few distinguished locales in East Bengal, classical music was practiced before India and
Pakistan were split apart. During that period, renowned Indian musicians would visit to places like Dhaka,
Joydevpur, Mymensingh, Brahmanbaria, and Chittagong to generate teaching. Classical music was
immensely favored in these places, but once the nation was separated, its development slowed considerably.
One of the factors is the deterioration of the communication infrastructure. However, historically, some
artists have come to this country in order to live and teach music. Because of insufficient support and
collaboration, many people who tried to progress the classical music heritage in our country in the 1970s
have already disappeared into the mists of time. Once more, because of racial prejudice planted during the
country's separation, the bulk of Hindu musicians in East Bengal migrated to India. As a result, there was a
significant gap in East Bengal's classical music scene at the time. There was a Bengali proverb at the time
that said Rabindranath was a Hindu and that his works of music and literature ought to be outlawed.
Chhayanaut initially originated at a period of such cultural imbalance. With the strenuous efforts of
intellectuals like Justice Mahbub Murshed, Dr. Govindchandra Deb, Prof. Mofazzel Haider Chowdhury,
and other intellectuals of the Gopibagh-Rangking Street region of Dhaka, this music academy's first
initiative was to honor the birth centennial of Rabindranath Tagore. The establishment of such an
organization was inspired by the centennial honor of Rabindranath's birth that took place throughout the
world. A few days later, during a Joydevpur feast, Chhayanaut's association was founded. Regarding this,
Sanjida Khatun stated:
The centenary was thereafter recognized by Sidhu Bhai (Mokhlesur Rahman) of 31 Rankin Street, Roz Bu
(Shamsunnahar Rahman), Ahmedur Rahman of Gopi Bagh (Bhimrul of "Ittefaque"), Chhana (Mizanur Rahman), Manik
(Saifuddin Ahmed), and many moreWahidul Haque, Saidul Hasan, and Farida Hasan attended a feast at Joydevpur one
day with numerous other personnel. As people approached there for the afternoon discussion to conduct on the cultural
development, the organization was established. This is the origin story of Chhayanaut.

Saidul Islam provided the name for the organization. The president, Sufia Kamal, and the editor, Farida
Hasan, facilitated Chhayanaut on the glorious path of a nation rising again after being exploited and
oppressed by Pakistanis. Nevertheless, Chhayanaut's argument languished during the initial two years of
its existence because of a variety of organizational problems. Wahidul Haque and his companions resumed
the organization's activities by organizing programs for archaic Bengali music. After that, around the time
of 1963, Ustad Moti Mia who was a legendary artist from Dhaka Radio Center adorned the chair
of Chhayanaut's principal in response to a request from Wahidul Haque. Moti Miya was especially
proficient in Khayal, ancient Bengali songs, violin, flute, sitar, sarod. After accepting the position of
principal, he started teaching all of these disciplines for a 300 monthly allowance. Furthermore, Sanjeeda
Khatun started teaching Rabindra Sangeet, Sohrab Hossain Nazrul Sangeet and Bajlul Karim on Tabla.
This demonstrates that since the beginning of music integration, classical music and instrumental music
have gotten particular emphasis. In order to provide the public resources needed to continue the Bengali
cultural movement, Chhayanaut started teaching in the particular subject-based music. Such a cultural
organization may have been founded to develop Bengali culture, promote pure culture, and organize those
who admire culture.
Practice of classical music in Chhayanaut during the time before independence
The first founders of Chhayanaut were cultural workers from Dhaka and the surrounding areas. In the
region, classical music was still practiced before to Bangladesh's liberation. According to reports, the
majority of music learners in the Dhaka area formed their own musical traditions after getting training in a
variety of Indian musical styles. Among them are Ustad Khadem Hussain Khan (Setar), Ustad Munsi Raees
Uddin, Ustad Bareen Majumder, P. C. Gomez, Muhammad Hussain Khosru, Ayat Ali Khan, Azad Rahman,
Shahadat Hussain Khan, Gul Muhammad Khan, Yasmin Khan, Jalal Uddin Ahmed Yemeni, and others.%%%
Chhayanaut A. S. M. Ahsan Murshed, a learner of Chhayanaut, began teaching young students in classical
music after Ustad Moti Miya stopped teaching in 1965. Shuddha Sangeet Bivaag, a separate Department
for classical music was founded while Mithun Dey was the music teacher of this organization. Among those
who collaborated as teachers, particularly Mithun Dey (vocal), Azad Rahman (vocal), A. S. M. Ahsan
Murshed (Vocal), Late Bajlul Karim (Tabla), Madan Gopal Das (Tabla), Moti Mia (Violin, Flute & Sarod),
Mamtazur Rahman (Violin & Flute), Khurshid Khan (Setar), Fuljhuri Khan (Esraj) etc. played significant
role in this department. It should be noted that instrumental music was always treated equally to vocal music
in Chhayanaut by emulating Ustad Alauddin Khan's footsteps. In order to teach through qualified teachers,
Chhayanaut created a separate department for vocal music in addition to instrumental music in the pure
classical music practice. The guru-shishya tradition of music practice has developed here, despite efforts to
validate the learning outcomes of music learners through the annual exams. Beside the teaching program
of classical music, extensive classical music performances were arranged before to independence by
inviting artists from the North Indian music heritage. According to Sanjeeda Khatun,
Chhayanat has also organized exclusive music programs with famous masters as a possibility has emerged in order to
spread the positive aspects of music. Many programs were held with Ustad Salamat-Nazakat, Ustad Fateh Ali-Amanat
Ali, Ustad Ummid Ali Khan, and Sarodia Bahadur Hossain Khan as guests.

Classical music was given a special region to explore the authenticity of music and enhance musical
knowledge from the organization's inception, the tradition which continues to be maintained nowadays.
People with specific musical inclinations have been affiliated with Chhayanaut from its inception, and as a
result, it has grown to become the center of raga music practice and spread. Chhayanaut made an incredible
contribution by organizing a large number of classical music performances in addition to other musical
activities in the spin to liberation in order to stimulate attention in raga music among the general public. It
also made music training a required subject.
The promotion of classical music in the years following independence
Bangladesh's freedom suffered significantly in many aspects, including politics, economics, and society,
after the devastating nine-month liberation war. The Swadhin Bangla Betar Kendra's music provided the
rebels with inspiration during the liberation struggle, but the Bangladeshi music industry suffered
significantly during the decades that accompanied. The actions of Chhayanaut at this period were also
obstructed. When the situation in the country began to improve, Chhayanaut resumed its cultural activity,
and by the time of the first Pahela Baisakh of an independent Bangladesh, the organization's participation
had increased to more than 800 students. This organization has significantly impacted the practice of pure
culture in Bangladesh since its inception. Priority was given to Rabindra Sangeet, but over time, classical
music and other graceful Bengali songs gained more popularity. At Chhayanaut, classical music was taught
by Ustad Ful Mohammad, A. S. M. Ahsan Murshed, Mithun Dey, Azad Rahman, Sanjeev Dey, Khurshid
Khan (sitar), Madan Gopal Das (tabla), Kamaruzzaman Mani, Rezwan Ali Lablu, Anup Barua, Asit Dey,
and other musicians. Additionally, on this organization's invitation, prominent Indian musicians have
occasionally visited this region and performed classical music in the arranged programs while also
imparting training. Chhayanaut extends respectful invitations to outstanding artists from other nations
besides just India on a number of occasions. "Barin Majumdar, Ila Majumdar, Yasin Khan, Ava Alam,
Matiar Rahman Khan, Khadem Hossain Khan, Abid Hossain Khan, Mirkasem Khan, Khurshid Khan, and
Tablia Sakhawat Hossain Khan - they have also been performed at various times", Sanjida Khatun noted in
this context. Through a variety of events each year, this group helps to practice, promote, and spread
classical music.

Chhayanaut in the current expansion of classical music

Since 2000, vocal and instrumental music have initially been included in Shuddha Sangeet. Before that,
three different vocal music departments taught classical music as a supplemental subject. Each music
student must engage in classical music learning and training. In order to foster enthusiasm in learning
classical music, a stage-worthy environment is also required. Since its inception, Chhayanaut has been
executing both of these duties expertly. This organization has been steadfastly promoting the brilliance of
classical music in a number of ways, such as by commemorating notable masters, hosting programs in
honor of deceased talented performers, and recognizing deserving pupils through annual exams. The
planning of Shuddha Sangeet Utsav is one of the best endeavors of Chhayanaut. Since 2007, this
organization has held an annual two or three-day classical music festival known as the Shudda Sangeet
Utsav. Greatest Indian classical music artists, famous musicians from this nation, and the young artists from
the current generation are all involved in organizing this festival. Even with Bangladesh currently
experiencing a terrible culture epidemic, Chhayanaut's continued dedication to the development and
conduct of pure culture is remarkable. Since 2000, remarkable teachers of classical music include A. S. M.
Ahsan Murshed, Rezwan Ali Lovelu, Asit Dey, Anup Barua, Priyanka Gop; on the tabla, Madan Gopal
Das, Pinu Sen Das, Swarup Hossain, and Gautam Sarkar; on the violin, Alauddin Mia and Shiuli
Bhattacharya; on the flute, Setar in Ebadul Haque Beach, Asit Biswas in Esraj. Music students of
Chhayanaut Sangeet Vidyayatan have always gotten special consideration. As a result, every year, qualified
students are appointed as music teacher. If those learners carry out their responsibilities satisfactorily, this
organization chooses them to become teachers. Among the skilled teacher in the vocal department are
Shekhar Mandal, Latifun Julio, Ahsan Habib, Layka Bashir, Kaniz Lumna Ahmadi, and Srabanti Dhar. 190
students are currently enrolled in the classical music vocal department and 179 are also enrolled in the
instrumental section. The contemporary cultural advocacy of Chhayanaut is having a significant positive
influence on the practice and development of classical music.

Conclusion
The most important asset of the organization is its members. Thanks to everyone's collaboration and effort,
the organization has long held the leading position in accomplishment. In addition to teaching values like
responsibility and honesty, Chhayanaut Sangeet Vidyathan is one of these organizations. There is no
disputing Chhayanaut's contribution to the development, practice, and dissemination of classical music
However, Bangladesh was able to establish roughly fifty Rabindra Sangeet practice centers for the
promotion and dissemination of the music, although no steps were done to establish a district-level practice
center for the dissemination of classical music. All levels of music students in this nation will have the
opportunity to learn pure music if the teachers who instruct classical music in Chhayanaut consistently train
for Chhayanaut organizations in various places. The practice of classical music will grow widely if this
organization takes on the task of introducing it to the nation's citizens. As a result, classical music will be
practiced, promoted, and disseminated more quickly in Bangladesh.

2.
Dr. Sonia Sharmin Khan, Bangladesher gharanavittik uchchanga sangeet charchaa,