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A serious study of Indian classical music is arrestingly important these days. Music has become one of our leading industries, our performing standard are probably, now much higher than before. We are making rapid strides in music endeavours and education in many ways. How large a part in these activities of the musical instruments is Sarod an instrument that has no constraints of time.

There are many signs of an awakened interest in the Seniya Naihar Tradition of Sarod Playing. More of it is now learnt, played and recorded than ever before. This interest is not confined to India alone but beyond the seas in United State and in many European countries. During the past few years Americans and Europeans in large number, have become notable Sarod players, groomed in the Ali Akbar Khan Colleges of Music at San Rafel (U.S.A.) and Switzerland.

The sporadic literature which deals with the evolution of the Maihar Gharana and its tradition of Sarod playing, Sarod as an ancient Indian musical instrument, the style and technique, and new rages created by Baba Allaudin Khan and legendry sarod play of Ustad Ali Akbar Khan need a compact and fairly comprehensive volume of this kind for a wider world of music.