Sarangi musical instrument
Early 20th Century
Materials: wood, metal, leather, sinew
This sarangi is a 26-stringed musical instrument made of dark stained cedar wood with a long wide neck and a short wide body. It has a white leather sounding platform and metal and gut strings. It is meant to be played with the accompanying bow, and it traditionally was used in Hindu classical music. This instrument has multiple internal chambers, typically 3-4 hollow chambers that help perpetuate the sound.
Musical tradition is very important in India. Children can learn musical tradition from a young age, becoming an apprentice to a master player. These musicians are respected in the broad public community as well as the religious sector.
The sarangi has been in India for as long as musical traditions have been present in the region. The instrument has deep-rooted cultural and religious significance. For instance, the sarangi is valuable to the Indian tradition of meditation, as its sound induces human concentration and religious thought. Vocal harmonies are extremely important in Hindu prayer in some regions of India, and the sound produced by the sarangi complements the human voice during religious performances, creating a more complete sound of praise.
While it is possible to make a sarangi out of gourds, the stringed instrument is traditionally crafted from cedar wood. The sarangi is analogous to the Western violin, as it is also a stringed and bowed instrument. One of the biggest and most obvious differences between the sarangi and the Western violin are the numbers of strings. The Indian sarangi usually contains thirty five to thirty seven strings (even though the example from the Sam Noble Oklahoma Museum of Natural History only has 26 strings) while the Western Classical violin contains only four strings. This instrument can be played standing up, but traditionally, the sarangi is played while sitting down on the ground cross-legged.
To learn more about the sarangi, take a look at this interesting video:
The Indian Sarangi: Sound of Affect, Site of Contest, Regula Burckhart Qureshi Yearbook for Traditional Music, Vol. 29 (1997), pp. 1-38
Napier, John. “The Distribution Of Authority In The Performance Of North Indian Vocal Music.” Ethnomusicology Forum 16.2 (2007): 271-301. Music Index.