UW Ethnomusicology Archives video recordings: Concert: Z.M. Dagar & Z.F. Dagar, 3/15/86, 1986-03-15  PDF

Overview of the Collection

University of Washington Ethnomusicology Archives
UW Ethnomusicology Archives video recordings: Concert: Z.M. Dagar & Z.F. Dagar, 3/15/86
2 items  :  EC - 2 vcts (S-VHS); Dub - 2 vcts (VHS); Duration: 2:48:00
Collection Number
Recorded at the University of Washington, HUB Auditorium on 3/15/86; concert co-sponsored by the UW Ethnomusicology Division and Ragamala.
University of Washington Ethnomusicology Archives
University of Washington
Ethnomusicology Archives
Box 353450
Seattle, WA
Telephone: 206-543-0974
Access Restrictions

Access is restricted.


Biographical NoteReturn to Top

Zia Mohiuddin Dagar (14 March 1929 – 28 September 1990), popularly known as Z. M. Dagar, was a North Indian (Hindustani) classical musician, one of the 19th generation of Dagar family dhrupad musicians. He was largely responsible for the revival of the rudra vina as a solo concert instrument. Z. M. Dagar was born in the town of Udaipur, Rajasthan and began musical study with his father, Ustad Ziauddin Khan Dagar, court musician for the Maharana of Udaipur. He was trained both in vocals and in the rudra veena, an instrument used by vocalists to practice melodies. The veena was traditionally not played in public, but the young Zia Mohiuddin adopted it as his primary instrument, giving his first recital at age 16. Although he was discouraged by his father from experimenting with the structure of the veena, he nevertheless modified the instrument after his father's death to better equip it for solo performance, transforming it into a larger bass instrument (sometimes called a 'Dagar veena'): With the help of the instrument house Kanailal & Brother, he enlarged the tumbas (gourds) and dhandhi (hollow neck) to create greater resonance and to allow the notes to sustain longer and so better reproduce the techniques used in dhrupad singing. Because of these modifications, the instrument was too heavy to be held in the standard Northern posture (with one tumba on the left shoulder), so he played instead in the Southern posture, with one tumba on the ground and one on the left knee. Z. M. Dagar was known particularly for his slow development of ragas, typically performed only with tanpura accompaniment (he rarely played with pakhawaj), and for his meticulous attention to microtonal inflections. He was very active in the West, associating with the American Society for Eastern Arts in Berkeley, California and with Wesleyan University, Rotterdam Music Conservatory, and the University of Washington, Seattle, where he was a visiting professor.


Content DescriptionReturn to Top

Video recording by Ter Ellingson; Archives copy from his VHS originals (EC's).

Performers: Z.M. Dagar/rudra vina; Z.F. Dagar/vocalist; Manik Munde/pakhawaj; Naseem Dagar, Annie Penta, Gayathri Rajapur/tanpura.

Durations: 1:19:30; 1:28:00.

VHS set for class use.

S-VHS copies digitized 3/2015 (files saved - 2000-7.1.mov, 2000-7.2.mov)

See documentation for collection 86-7 for more complete information.

Documentation: Flyer

Administrative InformationReturn to Top

Detailed Description of the CollectionReturn to Top

2000007-0001: 2000007-0001
1 item

Names and SubjectsReturn to Top

  • Subject Terms :
  • Classical Music, Hindustani
  • Concerts
  • Dhrupad
  • Ethnomusicology
  • Rudra Vina
  • Video recordings in ethnomusicology
  • Vocal Music--India
  • Geographical Names :
  • Asia
  • India--Asia--South Asia
  • North India
  • Seattle (Wash.)
  • Form or Genre Terms :
  • Video recordings
  • Other Creators :
    • Personal Names :
    • Dagar, Zia Fariduddin, 1932-2013 (performer)
    • Dagar, Zia Mohiuddin, 1929-1990 (instrumentalist)
    • Munde, Manik (instrumentalist)