Repairing A Music Box

Posted on by blogger

One of the most beautiful gifts that someone can give another person, especially a wife or daughter, is a music box. Through the gift of music, they will be able to keep a persons memory alive through the music of the music box, which can play on for decades.

Music boxes, sadly, can also break down. So, to maintain the music that may mean so much to the person who received the musical gift, it may be required that you begin to learn about repairing a music box.

Most problems in music boxes are caused by a malfunction in the starter of the music box. Thankfully, this can often be repaired at home without having to get it repaired at a shop. There are three different types of starters for music boxes, and knowing how to fix each one will make you very versatile. As well, always remember to be very delicate as you could cause more damage to a music box in your attempt to repair it.
Wire Starter

This type of music box plays when the lid is opened and pressure is released on a metal stick, and stops when the lid is closed. When the pressure is released on the metal stick, a spring pushes the spring up and moves a connected wire down, which releases an air brake and causes the music box to play. These are the types of music box movements you need to be aware of to repair it.

You should try changing the angle of the spring with pliers. You may have to adjust it quite a bit, up and down, left and right, depending on if the music starts, doesnt start, or starts but wont stop.

You can also pull the metal stick, which may be caught on something or slightly bent. If bent, it should be replaced.
Button Starter

When a button is pushed on the box, a metal plate moves the starter mechanism, which releases a latch from the wheel of the cylinder in music boxes. This releases the air brake that allows the box to play.

In these, check to make sure that the button mechanism does not have a loose nut, and if it does, tighten it. This will hopefully allow it to connect with the metal plate to start the music. You can also adjust the plate and move it closer to the starter button.
Pin Starter

These are used in toy music boxes, where the pin blocks the air brake. When pulled, the music plays, when pushed, the music stops.

If the box does not play, make sure that the pin blocks the air brake and that when it is pulled, it releases the air brake. The pin should not be too long and if it is, it may need to be filed down. If it wont stop playing, then adjust the position of the movement and make sure that the pin is not too short. If it is, put some tape on the end to lengthen it.
Summary

Music boxes are wonderful gifts for someone you love, but like anything, they can break down and it is important that when you have a music box, you know how to repair it. Thankfully, many are easy to repair and all it takes is a basic knowledge of the inner-workings of music boxes and other types of musical gifts.

It is easy to do, people love them and you can really shine with a well-made music box, so why are you not making music boxes yet? You may find that when you give a musical gift like music boxes, that you have developed a love for putting music boxes together and it could turn into something you do a lot more. It could end up being one of your favorite hobbies in fact.

Everyone loves music, everyone loves the gift of music and there isnt a person on the planet who will not appreciate the gift you have given them when you take the time to put it together for them. Two centuries after they began to be mass produced, it is still a gift that warms the hearts of millions.

Music Box Movements, Springs and Stem Pins can be purchased from http://www.giftsonline.net/catalog/Music_Box_Movements.html

Origins Of Music Boxes

Posted on by blogger

Origins of Music boxes

The year of 1796 is marked as origin of music boxes in history, as Antoine Favre from Geneva incorporated his first musical gadget. He was a watchmaker and developed many mechanical machines for nearly two centuries. For his contributions in mechanical devices, he is known as the Father of mechanical dreams. Antoine used watches, pendants, and perfume bottles to make the musical gadget. This gadget was known as a music comb. It was made from tampered and hardened steel. The comb had springy teeth of different lengths. Each of the springy teeth is plucked to produce a musical note. The length of the particular tooth is determines which musical note is produced. The comb can produce a different note from each tooth.
History reveals that the musical clocks and musical boxes were constructed for the entertainment and amusement of the wealthy and also for royalty during the 16th century. At that time, music was played by striking a pin on a revolving cylinder or disc.
Snuff boxes were originally produced by artisan watchmakers. Switzerland was the center for the bulk production of musical boxes during the 19th century. Samuel Junod and Jeremie Recordon were two entrepreneurs that started the first music box factory in Switzerland. There were also a few factories in Germany and Bohemia at that time. Some manufacturers in Europe also opened factories in United States by the end of the 19th century.
The first music boxes were of varying sizes that ranged from a tiny container which could fit in a pocket, to the size of a hat box, to the size of large pieces of furniture. Most were used as tabletop art pieces. The operative part of these instruments was cylinder that was fabricated from metal and powered by a spring. These cylindrical music boxes were used to provide live music only. They produced a melody of a bell choir or of harpists. However, there was a limitation since they had their own in built-in musical notes.
Manufacturers of cylindrical music boxes tried to remove this limitation by incorporating a method to shift the cylinder to change the melody in a box. The box incorporated several sets of pins, each representing one song. As one set of pins rang the musical notes of the comb, other sets of pins passed silently. When that particular song ends, the cylinder would pass by and other sets of pins would line up with the comb teeth, so, that one musical box could play different tunes. It is reported that some of them could play as many as 12 different tunes in that era of piano music.
In 1862, further improvements were made which permitted the cylinder to be removed to change the melody of a particular box. There were interchangeable cylinders and each cylinder had different tune. Any cylinder could be removed and replaced by a cylinder to provide a different tune.
Cylindrical music boxes were rapidly replaced by the Polyphone and other instruments made with interchangeable metal disks. By the end of the 19th century, instruments with metal disks were mass produced and people switched over to these from music boxes with cylinders. With the invention of disc players, the middle class was able to enjoy the enchanting melodies and popular music of that time in their own homes. Music boxes were great success not only in Europe, but also in America.
Symphonion, in Leipzig, Germany manufactured the first mass produced disc music boxs. The company made music boxes affordable and inexpensive, and it was easy to add more musical selections. Symphonion used a technique that punched holes onto a steel disk that plucked the comb teeth. Some of these were able to play 24 or 27-inch diameter disks. Another could play various song discs. More music was added so that bells would play with the music. The bells could be turned on or off with a switch. These improvements were added in a box named Musical Bell Symphonium.
Many manufacturers of disc music boxes also built masterpieces with mechanisms that were incorporated into hall clocks. Some even had dancing dolls built-in. The boxes were also used in birdcages, jewelry boxes, snowballs and many other art pieces.
In 1877, the phonograph was invented by Thomas Alva Edison. This instrument had major impact on the music industry of the time.
It wasnt long before there were new instruments introduced to the market like Polyphone, Kalliope, Sireon, Fortuna, Empress and Alder to name a few. All of these were produced in Switzerland and Germany. Polyphone took over the music market in America in 1892. Gustave Bachhausen from Germany, who was co-manufacturer of Polyphone disk boxes, established Regina Musical Box Company in New Jersey in 1892. Regina boxes were a huge success and achieved a milestone of 100,000 boxes sold before it disappeared from the market in 1921.
Disk music boxes were highly popular in the 20th century. These instruments were able to produce and arrange new music. Owners of these music boxes could purchase new discs to play in their machines.
In the 19th century, the player piano, phonograph, orchestrion and nickelodeon were invented and quickly became the primary instruments for home entertainment in and the contemporary coin-operated music industry. Coin-operated music boxes were placed in places like parks and train stations in Switzerland. These boxes were able to produce different musical tunes.
The Gramophone eventually replaced music boxes entirely. These record players were easy to use and affordable and permitted a choice of songs. They also offered the option of vocal or orchestral play back.
The Phonograph was invented during the First World War. The Great Depression of1929 crashed the music box industry and removed it from prominence in the market. Most of the manufacturers switched their focus and started producing products such as typewriters, watches and movie cameras that were in much-higher demand.
Today, Reuge of St.Croix, Switzerland is one of the few manufacturers that still produces music boxes of all shapes and sizes. Sanyo of Japan is the leading music box manufacturer with its own designs that compete successfully with the quality and sound of Swiss products.

Is ‘Classical Music’ Dead in the Water

Posted on by blogger

On various blogs and message boards I’ve read lately I’ve encountered a lively argument on top of could you repeat that? We ought to call Classical Music. You know the kind of composition I mean: A conductor by the front, a cluster of musicians scraping, blowing, plucking and striking a variety of instruments ranging from the ‘fit your pocket’ small, to the ‘I need a dump truck to move this mother’ behemoth; all appraisal from printed scores, the largest part likely formally dressed, seldom smiling, earnest in their endeavours.

Polite applause ripples around the audience, generally initiated either by the ‘I know my stuff, so have under surveillance my go in front and praise as I do’ cognoscenti, or, more unsuccessfully, though admittedly more hilariously, by the enthusiastic ingenue who inadvertently claps linking schedule of a line quartet — “tut, tut!” Stifled guffaws and a kind of ‘there but pro the leniency of God perform I’ embarrassment wafts around the concert entry pro a instant. The cognoscenti get pleasure from their instant of schadenfreude, the Minuet begins.

This kind of composition bears the generic label ‘Classical’, but this is inaccurate, both in the significance of Classical Literature, which refers to Ancient Greece and Rome, and in the significance of Classical Music as a episode of musical history (see below).

Here are the minority quick view: ‘Classical Music’, in musicological provisions refers specifically to composition on paper roughly linking 1750 – 1820. It’s dominated by Sonata- and Ternary-form structures and adheres to a hierarchical vocal order proven as functional tonality. So, I say, don’t untidiness with it – it’s a sound, commonly expected label of reference. We know someplace we are with it; like comfy old slippers we give birth to grown-up accustomed to its feel — it fits. It ain’t broke, so don’t arrange it.

But, ‘Houston, we give birth to a problem’ – the label ‘Classical Music’ has been hijacked by indolent thinkers and good-for-nothing generalists to mean in the least form of composition someplace you might give birth to lone or more of the following:

A) a conductor

B) musicians appraisal from notated scores

C) musicians dressed as penguins

D) an absence of bare midriffs, thongs and lycra (and that’s only this minute the men!)e) singers singing lacking amplification, but mangling syllables and consonants into a ‘projected sound’, the volume of which would deposit in the least self-respecting Town Crier to disgrace. Come to think of it, they would produce a Jumbo jet a run pro its money in the decibel stakes.

So, composition on paper since 1820, even composition on paper remaining month, gets labelled ‘Classical’ if it meets the criteria traditional banned higher than.

Recently I’ve approach across various blogs and online articles discussing this publication, with more or less attention-grabbing suggestions pro alternatives. Let’s take a look by more or less of them:

Knack Music – Pleeeeease!!! Are you fatally suggesting with the aim of the Miles Davis / Gil Evans collaborations, or Charlie Parker’s pioneering attitude to harmony doesn’t amount to art? You can’t smash-and-grab a monopoly on the disguised worth associated with such a label lacking making by hand severely unpopular with musicians of other genres.

Serious Music – are you serious? Again, I know many Jazz musicians who are each crumb as serious with reference to their composition as in the least ‘Classical’ musician.

Notated Music – this is a no-go as well, for the reason that so many other forms of composition are notated, from Pop through to Jazz & Blues. You besides leave by hand inmate to the question ‘what is notation?’. Those who declare with the aim of notation doesn’t exist in Pop or stun composition are chatting rot – it’s alive and well and, with the advent of central processing unit notating software, more than continually obtainable to Popsters pro their horn and line arrangements.

How Kids Music Influences A Child’s Personality Development

Posted on by blogger

Among kids of the same age group and sometimes among the siblings, the personalities of the children vary considerably. The reason of such variation may be anything ranging from the socio-economic background to the environment the children are exposed to. However, it can be said that the way the kids are brought up has a great role in shaping their behavior. The child psychiatrists are of the view that the child personality development is immensely influenced by music. That is why personalized kids music has significantly been popular.

There are several different advantages for such type of customized music lyrics. However, one specialized feature of kids personalized music is that the CDs containing the customized songs are developed with the child’s name being pronounced in it several times. The verses in these discs are selected keeping in mind the interest of the kids who are going to explore the world through the knowledge that they gain from the rhymes.

As the foundation of the kid’s learning procedure has significant influence on their personality, the music for children with personal touches makes it a vital tool to develop their individuality. Hence, there is a growing awareness among the parents for such customized educational products.

Personalized Kids Music Improves Cognitive Behavior in Children

Studies have proved that listening to interesting songs can literally help the cognitive development in children. There is no doubt that music has a power to calm the mind and refresh it as well. It stimulates the cognitive function of the brain and touches the modalities that help the brain to process information.

Kids who are exposed to the world of knowledge through songs and rhymes are more likely to have developed cognitive behavior. The rhymes form one of the most relevant as well as meaningful processes of teaching the kids as well. The cognitive abilities of the children greatly influence the child personality development.

Kids Personalized CDs Influence Learning Ability and Creativity of the Children

Generally, the normal brain wave function of human being falls into the BETA category. But the ALPHA and THETA brain wave states of the brain are evoked by music that can enhance creativity as well as the memory of an individual. Therefore, many primary and play schools are paying greater attention to teach the students through songs.

These days, CDs are growing popular among teachers and parents as they are easier to teach the children in a melodious way. Learning through customized children’s music is more effective than the traditional form of learning because the songs and rhymes are compatible for the children’s brain and help shaping their personality.

Personalized Kids Music Help Psychological Development in the Kids

Of late, the modern science has come to know about the psychological influence of music on the human brain. The introduction of the verses to the education is due to the finding that they are able to touch the senses of the kids. Also, the psychological development from the very beginning of the learning is really important for child personality development.

Music has a universal language. The educational and development specialists are of the view that learning through music is more beneficial for the baby learners for it touches the senses of the kids. The customized rhymes and the songs are also more interesting for the kids as the names prompted in the songs makes them feel special. But, the most important thing is the kids personalized CDs with customized popular rhymes are fundamental for the personality development of the children.

An Analysis of Anita Desais The Accompanist

Posted on by blogger

An Analysis of Anita Desai’s -The Accompanist’ BY DR. RAM SHARMA SENIOR LECTURER IN ENGLISH J.V.P.G COLLEGE, BARAUT, BAGHPAT, U.P. AND Dr.Anshu Bhardwaj(Sharma) Senior Lecturer in English Depts. Arya College of Engineering & Information Technology SP-42,RIICO Industrial Area Kukas ,Jaipur

Anita Desai, short listed three times for the Booker Prize and honoured by the Padam Shri for her literary forte, is one of the literary luminaries of the contemporary Indian fiction writing in English and a prolific post colonial writer who like Virginia Woolf deals with the psychology of mind and goes deep into the heart of her characters to expose their inner feelings and dig out the hidden questions that spring at the core of their heart and ,thus, she appears travelling with the modernist sensibilities of T.S. Eliot and Faulkner. The author of the highly acclaimed novel -Fire On The Mountain’ and six other novels, has shown her craftsmanship even in the shorter fiction i.e., short stories rather than her novels. It is true that she finds the short story form -much less satisfying-1 than the novel ,yet she keeps on writing story as she started writing it -as early as her college days.-2 In her short stories her style shows to even more advantage than in her novels. Her short stories are witty, evocative, tender and perceptive and perfect in revealing her skill and dexterity in handling this genre. Not only her novels but her short stories also are the great exposure of her psychological perspect.

Desai’s -The Accompanist’, an extract of -Games At Twlight’ (1978) delineates the emotional state of a tanpura player who, in this story, proves a true shishy and a true accompanist and is known as Bhaiya or the accompanist. The story is woven in the thread of true human relationship between ustad Rahim Khan,a former classical musician and Bhaiya ,the tanpura player who accompanies him in his performance having the quality of love and devotion.

Ajit and Bhola ,Bhaiya’s childhood friends appear in the story as Mephistophilis in Marlowe’s -Dr. Faustus’, whose business is to corrupt ,mislead and caution and dissuades Dr .Faustus from his right path. They visited the accompanist almost two decades and provoked him to come out of the shadows of his master Rahim khan and create his own identity by being a soloist. They stated:

You even know how to play the sarod and the veena. You could be a great Ustad yourself ,with some practice-why do you spend your life sitting at the back stage and playing that idiotic Tanpura while someone else takes all the fame and all the money from you.

The oft-quoted lines explain that for years he was playing the tanpura for the ustad Rahim Khan but did not get any recognition. The attention was grabbed by the ustad and all these years Bhaiya was hidden behind him on the stage without any notice of his presence. In view of his friends he must have a life of obscurity and establish himself as a full fledged musician that will bring to him more fame and more money than the few pennies given by the ustad for playing the tanpura. These suggestions went unheared and the accompanist bridled the horses (the senses).Desai’s protagonists are not as weak as Marlowe’s who come under the influence of corrupted people like Mephistophilis .Desai’s accompanist knows the art of satisfaction within his limited means.(Contentment is happiness.) His friends enticed the accompanist for coming out of his ustad’s company and he should establish himself as an independent musician of a more worthy instrument than the tanpura but he realized the great glory of his ustad’s company and got spiritual wealth through this company. He remarks, -When I first met my Ustad,I was a boy of fifteen-a stupid, backward boy as my father had often told me I was.- At his father’s instruction he delivered the tanpura to ustad Rahim Khan. Delivering it to ustad he -saw greatness in his face, the calm and wisdom and kindness of a true leader- and immediately intented to deliver his whole life into his hands along with the tanpura. Later on the words -Play for me- uttered by the ustad made him stunned and brought changes in his life. In fact, these words were new-life giver to him as they created him, created his life, gave it form and distinction and purpose. The accompanist adds, -It was the moment of my birth and he was both my father and my mother to me.-

We become the victims of desires of the senses. It is controlled by the tremendous will power or by following the suggestions of the supreme bliss which Dr.Faustus felt. We get the exposure of the mind of the speaker when he thinks two ways of taking action. First he would establish his own identity by ignoring ustad’s company as his childhood friends suggested. Second he would be his accompanist for ever.

In Anita Desai’s writings the inner climate, the climate of sensibility is more compelling than the visible action. As Iyengar puts it, -Her forte- is the exploration of sensibility-the particulary kind of modern Indian sensibility that is ill at ease among the barbarians and the philistines, the anarchists and amoralising.-3 In the present story the accompanist was persuaded by the senseless talks of his friends, Ajit and Bhola who were empty headed and leading him into it. In real sense the accompanist was not convinced with the ugly thoughts of his friends but still he was compelled to think whether he could really be a front-rank musician or a ustad himself. The lines reveal his inner conflict as –I thought, Are they right? or the sarod, or the veena? And become an ustad myself ?- He found himself in delimn and tries to analyse the situation. For this purpose he goes on thinking about the futility of the time he had spent with his ustad and states, -Now these boys who had heard me play in the dark hall of our house have been an ustad myself, sat in the centre of the stage, played for great audiences and been applauded for my performances. Were they right? Was this true? Had I wasted my life?- Then he finds the exposure of his mind after some soul-searching that he can never become -ustad’ in his own life. This idea is revealed in these lines, -Yes, anyone could play the tanpura for him, do what I do. But he did not take anyone else, he chose me. He gave me my destiny, my life,- and thus, the alchemic touch of the master turned the crude and base boy into a noble and gentle accompanist who now regards him as his God on earth and feels, -Does a mortal refuse God?-

Our mind has various waves of thoughts which sometimes deviate us from our right path and we begin to doubt on our doings and become sad as the accompanist appears whispering, -Had I wasted my life?- As the feelings of repentance enter the mind of the person, he mends his short comings, his mind becomes pure and purged and then he realizes extreme love. The accompanist confesses, -Only once I was shaken out my contentment, my complacency. I am ashamed to reveal it to you. It was so foolish of me .- Further he holds the view:

Ours is a word formed and defined and enclosed not so much by music, however, a by a human relationship on solid ground level-the relationship of love.

The idea discussed in the above line describes the relationship between the accompanist and the ustad. The accompanist feels that their relationship is not only due to the music they played together, instead it was due to story human ties. The relationship developed due to the inspiration and guidance he received from the ustad who had framed his destiny it was further strengthened due to his love and devotion to the man he admired the most in his life.

The best ingredients of Desai’s style in short stories are childhood memories and the haunting feelings surging out of a romantic heart. In view of Iyengar, -As we remain mesmorised by Anita Desai’s verbal artistry and her uncanny evocation of atmosphere ,her tale unfalteringly glides by and we force a rendition of the veil of the realm of personal experience and attain the desired finale of acceptance.-4

Childhood memories are also recollected by the accompanist when his trust was shaken out due to the provoking of his childhood friends. He cried continuously. Everything appeared to be unpleasant and evil and then he recollected the past incidents of his life when he was a vagarant or a vagabond who was without hope, without aim and without destination and was passing a meaningless life. He goes back to his childhood days and reminiscences how other things were of importance to him . Music was worshipped in his family. The central hall of his house was famous for the musical instruments made by both his father and his grand father . Cordantly and discordantly sound of his music could be heared. The accompanist himself had strong likeness for music and also started learning all ragas and raginis from his father ,Mishraji at the age of four . His father, a maker of musical instruments ,tasted his knowledge with rapid persistent questioning in his unmusical grating voice and frequently grabbed his ears and pulled it during his teaching. From such lessons he felt the need to escape and managed several times a day. He was habitual of playing gulli-danda and kho and marbles with mischievous boys of his mohalla.He was fond of watching movies of Nargis and Meena Kumari who were the Queens of heaven for him. In order to fulfill his desires he never hesitated in stealing the money from his mother or father.His mouth watered for -halwa- and -jalebis- made by his mother and used to steal his brother’s and sister’s share for which he was beaten and cursed by the whole family. It was the life which he was leading before joining the musical band of ustad Rahim Khan at the age of fifteen.He is thirty years old now and for fifteen years he has been serving his ustad being his true accompanist.

Desai’s -The Accompanist’ elaborates the beautiful relationship between Guru and Shishy and proves it more important than other relationships-mother and son, father and son, brother and sister, husband and wife etc. The accompanist has strong likeness for the sweets made by his mother instead of her. -How I loved my mother’s sweetmeats, too rather more.- What her picture he has in his life is clear in further statement, -I did the non-descript ,mumbling ,bald woman who made them.. She never came to life for me. She lived some obscure, indoor life, unhealthy and curtained, undemanding and uninviting.- He considers her as a wonderful cook. His father had been a hard taskmaster who would religiously wake up him in the early hours of morning and train him in music. He wanted his son to become a musician not an instrument maker. With this view he gave him lessons in playing the Tanpura, Harmonium, Sitar and the Tabla and taught him all ragas and raginis by testing his knowledge with persistent questioning. It was the time when he was crazy for cinemas and playing marbles and had not so much likening for music. But when he was caught in a situation , he stood up to it. When his brain was washed by his friends, he began to doubt his father and recalled him by saying, -My father had taught me to play all these instruments and disciplined me severely ,but he had never praised me or suggested I could become a front-rank musician. I had learnt to play instruments as the son of a carpenter—But I had practiced on these instruments and played the ragas he taught me to play without thinking of it as an art or of myself as an artist. Perhaps I was a stupid, backward boy .My father always said so.- Such attitude towards his father the accompanist has .Stealing the shares of his brother and sister proves him unkindly ,irresponsible ,unsociable and naughty boy. Now he is married and has become the man of the world but has no interest in his married life while in his childhood he was crazy for the street beauties and the cinema heroines and put himself in the place of their screen lovers. He considers that he married for his mother’s pleasure, -I even married. That is, my mother managed to marry me off to some neighbour;s daughter of whom she was fond. The girl lived with her. I seldom visited her. I can barely remember her name, her face.- Whenever he gets the chance to go home for a few days to rest, he desires of cutting short these holidays and returning to his house in the city to practice.

The love for music and ustad Rahim Khan changed everything in his life and he gave up all his childhood pleasures and pranks. -All fell away from me ,all disappeared in the shadows on the other side.- Ustad – took the place of – his – mother’ s sweet halwa ,the cinema heroines, the street beauties ,marbles and stolen money.- Ustad Rahim Khan’s company brought several changes in his life and gave birth to him as Bhaiya, the tanpura player. All his attractions regarding playing with the mischievous boys of mohalla and going to cinema disappeared. All his follies and stupidities or bad habits disappeared for ever .Music has taken their place and become the goal of his life.He is fully satisfied with this goal. Thus he devoted his whole life to ustad and became his true friend and accompanist because he was nothing. -It was Ustad Rahim Khan who saw me, hiding awkwardly in the shadows of an empty hall with a tanpura in my hands and called me to come to him and showed me what to do with my life. I owe everything to him, my very life to him.- Thus he decided to remain royal in the same position giving the ustad the base material on which he would compose his music.

The intimacy between the accompanist and his ustad could not be perceived or understood by his childhood friends and their act of provoking him against his ustad failed and cultivated in him a strong sense of commitment towards his ustad. Having the feelings of self-assured, poised and self-satisfed he hired a tonga and asked the driver to take him to his ustad, his creator. Only one thing was going in his heart.

I maintain I am his true accompanist, certainly his true friend.

The feelings of the accompanist to ustad Rahim Khan are expressed in the above line. He feels that he always plays the notes given by the ustad repeadly and he builds his music on the background provided by him. Thus he feels he is a true accompanist. Above all he never expects anything and never tries to compete in the performance with him. He never seeks the attention of the audience ,their attention is always on the ustad ,whenever his ustad suffers with the hacking cough in a concert ,he always asks the accompanist to prepare the opium to quieten it, these points make him a true friend as well.

Tha accompanist stands for pure love and selfless service. When the ustad asked him, -Do you play? – These words contain a sense of security and relief, love and affection which were absence in his life. As a matter of fact, love is above money, above all the material gains and achievements. About the power of love, Coleridge has rightly observed:

All thoughts ,all passions, all delights Whatever stire this mortal frame Are all but ministers of love And feed their sacred flame. 5 The accompanist keeps on showing his true love and service to the ustad without any wish for gaining anything in return. -We have traveled all over India and played in every city, at every season. It is his life and mine. We share this life, this music, this following. What else can these possibly be for me in this world?-

It is interesting to note that Desai has beautifully presented the inner conflicts of the accompanist and also his victory over them. In fact, she believes in dealing with the mind and the soul of a character ,his inner workings and hidden and silent thoughts rather than his outer appearances .Similiarly, -The Accompanist’ has a fine fusion of feelings and form and proves itself a great example of Desai’s art and craftsmanship since her main business as a fiction writer is to expose the truth. Thus the story accentuates the importance of selfless love, devotion, dedication and gratitude in human relationship.

References: All the references of Desai’s -The Accompanist’ in -Games at Twilight and Other Stories’, New Delhi, Allied, and London: Heinemann,1078.

1.Quote in Jasbir Jain’s Interview with Anita Desai on 16th November 1979,Jasbir Jain, Stairs to the Attic: The Novels of Anita Desai ( Printwell Publishers,Jaipur,1987,p.13). 2.Ibid,.p.8. 3.Srinivas Iyengar, K.R., Indian Writing In English, New Delhi, Sterling Publishers Pvt.Ltd;1985,p.464. 4.Ibid.,p.745. 5.Coleridge ,S.T., -Love’ in Golden Treasury,op.cit,p.171.