Evolution of musical instruments-Tabla

Rhythm is claimed to be the forerunner of music about which men learnt during the early days of their sociological and cultural evolution. Before they discovered sur (musical notes) or invented saaz (musical instruments), it became clear to them that rhythm was the essence of all moving things.
The flight of birds, the movement of animals, the sound of water dripping from the heights, the function of man's physiological system, including beating of the heart, and the solar system under which the night follow the day and vice versa were all governed by a regulatory rhythmic order.
During the early stages of human development, primitive tribes learnt to use the beats of drums in getting relaxation from toils of the day. Drumming, therefore, was the earliest form of music. They also devised a system of communication pegged to the beating of drum, which was used for signalling messages across. To further consolidate this system, they manufactured several different kinds of drums, which were used to produce variegated rhythmic patterns.
Percussion instruments currently in the world over are many but the highly developed forms of the early drums, which were invented several thousand years ago. In our system of music two kinds of percussion instruments have become almost indispensable. These are Tabla and Dholak. Earlier on, pakhawaj, dholes of different sizes, khanjri, zeel naqqara and duffs were in use. But Tabla and Dholaks, which now dominate the rhythmic scene in Pakistan, have elbowed others out of circulation.
Musicians in Pakistan attribute the invention of Tabla to Amir Khusrau, the 13th century Muslim genius that they believe (although there is not historical evidence to substantiate) bisected a pakhawaj at the middle to make two different parts of it - the right named dhayaan and the left bayaan. Taking a cue from the military (marching) instrument tabal, they claim, he named the new instrument as Tabla.
B.G. Deva in his book, Indian Music, had this to say about the invention of Tabla: "There is a preposterous story about its birth. There were two professional pakhawaj players during (Emperor) Akbar's time and they were bitter rivals, always competing with each other.
Once, in such a bout of drumming competition, Sudhar Khan (one of them) lost and unable to bear the defeat dashed his drum into the floor. The pakhawaj broke into two and these were made into Tabla and duggee. There cannot be a better fairy tale!"
Tabla comprises two bowl-drums, the right one called dayaan and the left bayaan. The bayaan is of the form of a large coffee-cup and is made of wood. It is taller than the bayaan, which is like an oversized tea-cup made of metal or burnt clay. These are placed in front of the player sitting on the ground, who plays these with his palms and fingers.
The provinces of Punjab and Utter Pradesh in British India have always surpassed other areas in the sub-continent in grooming rhythm keepers of high calibre, whose marks on the annals of music will always remain vivid.
PROMINENT AMONG TABLA PLAYERS HAILING FROM THESE AREAS WERE: Ustad Ahmed Jan Thrikva (also an author of a book on the art of rhythm-keeping), Khalifa Qadir Bakhsh, (who boasted of grooming "one lakh" pupils, (including Ustad Allah Rakha Khan of India) Ustad Nabi Bakhsh Khan Kalrewaley, Ustad Muneer Husain Khan, Ustad Mast Khan, Baba Malang Khan and Ustad Karim Baksh Khan Pairana.
After political division of India, Khalifa Qadir Bakhsh, Ustad Inayati Khan, Ustad Shaukat Husain Khan, Ustad Karim Bakhsh Pairna and Ustad Talib Hussain ruled the roost in Pakistan. Later Abdus Sattar Taari took the mantle of his ancestors and demonstrated his skill, not only in Pakistan but also in several foreign countries of Europe and North America.
A large number of budding artistes are currently practising the art of Tabla playing in Pakistan with consummate skill. Tabla and Dholak players are now inseparable members of any orchestra engaged by radio, television, stage and film industry. Despite the invention of a number of electronic rhythm instruments, the efficacy of these instruments has not diminished.