Lalmani Misra

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Lalmani Misra (11 August 1924 – 17 July 1979) was an Indian classical musician.

Initiation into music[edit]

Lalmani learnt Dhruvapada (Dhrupad) Dhamar in the tradition of Shankar Bhatt and Munshi Bhrigunath Lal. He learnt Khayal singing with Ustad Mehndi Hussain Khan, a disciple of Ustad Vazir Khan of Rampur Seni Gharana. He received training in Dhruvpad, Bhajan and Tabla from Swami Pramodanand and in sitar from Shri Shukdev Roy. Under the tutelage of Ustad Amir Ali Khan, he perfected his playing of several other musical instruments.

Lalmani was appointed to the post of assistant music director in Shehanshahi Recording Company, Calcutta at the age of twelve. He worked on several films for the following two years. His interaction with fellow cast and film crew members kindled an interest for orchestration in Lalmani.

Making music work[edit]

Performing in Berlin, with a troupe, April 1932

Lalmani returned to Kanpur in 1940 after his father's death. A musical prodigy himself, he experimented with ways of imparting musical training to children, at a time and place where the learning of music was shunned by the chaste and noble. He opened several "Bal Sangeet Vidyalaya" – music schools for children. He modified the syllabus according to the needs of the learner, in both academic and informal situations. At this time, he started an orchestra society. He established the reputed institution of the region, "Bharatiya Sangeet Parishad", and a music college known as "Gandhi Sangeet Mahavidyalaya".[1]

Creating Raga-s[edit]

Dr Pushpa Basu has documented following Raga-s in her book.[2]

  1. Madhu Bhairava. Hexatonic Raga of Bhairava Ang performed in early morning.
  2. Shyam Bihag. Penta-heptatonic Raga of Kalyan Thaat and Ang, performed in late evening.
  3. Madhukali. Penta-heptatonic Raga blending Madhuvanti, Multani and Ramkali, played in early evening.
  4. Sameshwari. Penta-heptatonic Raga blending Rageshri and Kalavati, played in early evening.
  5. Baleshwari. Hexa-hexatonic Raga blending Bageshwari and Bilaskhani Todi, played before noon.
  6. Jog Todi. Hexa-heptatonic Raga blending Jog and Todi, played any time due its light nature.
  7. Anand Bhairavai. Revived through research. Kind of Bhairavi called Madhyam-Pradhan (subdominant centric), which shuns Rishabh (supertonic)

Sources and links[edit]

  1. Nada Rupa, Sharma, Dr. (Miss) Premlata, Ed. College of Fine Arts, B.H.U., Varanasi: 1961. Special Issue with Supplement, Vol I, No. 1, January 1961
  2. Sangeetendu Pandit Lalmani Ji Misra: Ek Pratibhavan Sangeetagya, Tewari, Laxmi Ganesh. Swar Sadhana, California, 1996.
  3. Shruti Aur Smriti: Mahan Sangeetagya Pandit Lalmani Misra, Chourasiya, Omprakash, Ed. Madhukali Prakashan, Bhopal, August 1999.
  4. Sangeetendu Acharya Lalmani Misra. Vidushi Premlata Sharma
  5. Ethnomusicologist Dr. Laxmi Ganesh Tewari
  6. Sindura on Vichitra Veena, a short movie clip on Online Music Education
  7. Celestial Music of Pandit Lalmani Misra. DVD. Santa Rosa, California: Svar Sadhana, 2007.
  8. Raga-Rupanjali. Ratna Publications: Varanasi. 2007. A collection of Compositions of Sangeetendu Dr. Lalmani Misra by Dr. Pushpa Basu.
  9. Raga Vibodh: Misrabani. Dr. Ragini Trivedi. Hindi Madhyam Karyanvaya Nideshalaya: Delhi. 2010.
  10. Sitar Compositions in Ome Swarlipi. Dr. Ragini Trivedi. 2010.
  11. Links to musical pieces
  12. Madhukali – Organization in memory of Sangeetendu Dr. Lalmani Misra


  1. ^ Sangeetendu Pandit Lalmani Ji Misra: Ek Pratibhavan Sangeetagya. Tewari, Laxmi Ganesh. California:Sangeetendu Pandit Lalmani Ji Misra: Ek Pratibhavan Sangeetagya, Tewari, Laxmi Ganesh. Swar Sadhana, California. 1996.
  2. ^ Raga Rupanjali. Basu, Dr Pushpa. Varanasi:Ratna Publications, 2007,