Video summary

Rajasthan Computer Anudeshak Bharti 2026 | Art and Culture वाद्ययंत्र | Art & Culture Classes

Main summary

Key takeaways

Educational

Main ideas / lessons conveyed

  • The session explains types of musical instruments and how to identify/classify them based on:
    • the way sound is produced, and
    • a few characteristic parts.
  • It then focuses on specific instruments (especially from Rajasthan / North Indian folk & classical contexts) and gives exam-oriented facts to remember, such as:
    • materials, construction, playing method, and key terms.
  • A study strategy is emphasized: follow the syllabus + past questions (PYQ) and use memory tricks to retain instrument lists and definitions.

Structured methodology & key lists

A) Four types (classification) of musical instruments

  1. Tat (String) Vadyantra / Elemental instruments (string-based)

    • Sound source: vibration of strings
    • How played: pressing/strumming/using strings (described like “tann-tann” sound)
    • Examples: Veena, Sarangi, etc.
    • Core idea: instruments played using strings (taar)

  2. Sushir (Wind) Vadyantra / Sushir instruments (air/blowing-based)

    • Sound source: air/fuk-fuk (blown air)
    • How played: sound comes when air is blown into the instrument
    • Examples: Shehnai, Flute (bansuri/murli), Pungi, Shankh, etc.
    • Core idea: blowing produces sound

  3. Avanaddh (Percussion) Vadyantra / leather/skin-covered instruments

    • Sound source: striking/slapping/collision of parts covered with leather/skin
    • How played: struck with sticks/hands, making the leather/skin vibrate
    • Examples: Dholak, Damru, Dhak, Mridang, Pakhawaj, etc.
    • Core idea: wood/structure + leather/skin coating; sound when struck

  4. Ghan (Metal) Vadyantra / metal collision instruments

    • Sound source: metal collision (bell/cymbal-like “ton ton” effect)
    • How played: struck/collided so metal vibrates
    • Examples: Bell, Manjira, Jhanjhar, Ghanta, Ghunghru, Kartal, etc.
    • Core idea: primarily metal instruments; sound from colliding metal parts

B) Instrument lists mentioned under categories (as provided)

Tat (String) instruments (string category)

  • Ek Taar, Charangi, Ravanhatta, Kamaicha, Tandoora, Jantar, Bhapang, Rabaj/Rabag, Tikara, Surinda, Dukako

Wind instruments (blown air category)

  • Algoja, Flute, Shehnai, Pungi, Shankh, Singhi, Bankiya, Musk, Bhangal, Satara, Nagphani, Nad, Morchang, Karana, Turai, Murala, Surnai

Avanaddh (leather/skin percussion) instruments

  • Leather/skin-covered drum examples:
    • Dhak, Dholak, Damru, Daffah, Mandal, Mridang, Pakhawaj
  • Additional instruments mentioned:
    • Naubat, Nagada, Chang, Khanjari, Tassa, Dhosa, Dama, Ghera

Ghan (metal) instruments

  • Metal-collision examples mentioned:
    • Manjira, Jhanjh, Thali, Tongs, Ghanta, Jhalar, Ghunghru, Bharni, Ghada, Kartal, Khadtal, Ramjhol

C) Memory “trick” / mnemonic for remembering Tat (string instruments)

  • Mnemonic given:
    • “Ravan Gujri Chithu Nab Tak Sai Ke Rab Ka Sur Do”
  • The teacher links parts of the phrase to instruments, for example:
    • Ravan → Ravanhatta
    • Cha → Chikara
    • Du → Dukako
    • J → Jantar
    • Bha → Bhapang (and note that Bhapang/Apang are treated as different)
    • Ta → Tandoora / Chautara (as stated)
    • Kha → Khambach
    • Sa → Sarangi (stated as having 27 strings)
    • I → Ikara (stated as having one or two strings)
    • K → Kendura / Canara
    • Rab → Rabab / Rabaaz (stated as two different things)
    • Ka → Kamaicha
    • Sur → Surinda / Surmandal
    • Do → Do Tara
  • Study guidance: use the mnemonic in the way that works best; no strict “only rote” requirement is enforced.

Detailed instrument-focused notes (construction / key facts)

1) Sarangi (string instrument; Tat category)

  • Category: Tat / string instruments (treated as the “first” in the discussion)
  • Material: Amer (wood) and Sheesham (incl. rosewood/sheesham)
  • Strings: 27 strings (explicitly emphasized)
  • Playing method: played with a bow (gaj)
  • Construction idea: the bow (gaj) touches strings; sound produced through this contact
  • Associated facts / names:
    • Langa caste association (instrument “used by Langa caste”)
    • Pandit Ramnarayan ji (Udaipur): presented as a famous Sarangi player
    • Kanphata Nath Jogis: singing Jeen Mata songs using Sarangi and Damru
  • Exam recall: teacher asks where the Jeen Mata temple is — answer given as Rewasa in Sikar

2) Jantar (named percussion/folk instrument described)

  • Basic structure:
    • A round gourd/tumba is fixed into a bamboo stick
    • Made by attaching crocodile skin “curtains” onto bamboo sticks using wax
  • Counts mentioned:
    • 14 crocodile skin “curtains”
    • 5 to 6 wires inside
  • Wire/string materials:
    • Goat intestine (one type)
    • Horse tail (another type)
  • How it’s played: hanging around the neck
  • Cultural linkage: used during Devarayan ji’s Phad recitation/singing

3) Phad (folk art / depiction on cloth)

  • Definition: depicting the life of gods/goddesses on cloth is called Phad
  • Exam relevance: repeated as an important concept
  • Connection to Jantar: during Phad recitation (Devarayan ji’s Phad), Jantar is used

4) Ravana Hatta (string instrument; Bhopas’ main instrument)

  • Role: described as the main instrument of Bhopas
  • Strings: 9 strings (explicitly stated)
  • Used while singing folk deities’ stories:
    • Dungar Ji, Jawahar Ji, Pabuji, Ramdev Ji, and other Adi folk deities (as cited)
  • Construction/material details (key terms):
    • Made by pasting/tanning goat skin over a half-cut coconut
    • Tied/sealed, then cut into a bamboo-stick-like structure
    • Main horsehair string named: “Vokaj”
    • Other taught terms:
      • Mor(n)i/a / Morniya: refers to wooden pegs on Ravana Hatta
      • Pukhavaj / Pukhwaj: referred to for horsehair-based string/instrument-related term
  • Playing methods (two mediums):
    • One method involves a gaj (bow/contact)
    • Another involves “naqvi” (described like nails; “tang tang tang” sound from the Naqvi region)

Exam/study advice included (methodology)

  • For any exam:
    1. Study the syllabus first
    2. Keep past questions (PYQ) in mind (maintain them permanently/regularly)
  • The session stresses that:
    • Learning only facts without understanding causes forgetting
    • Practice + revision improves retention
  • Notes/pictures are said to be prepared for easy learning/printing (reference to PDF and drawn pictures)

Speakers / sources featured

  • Speaker/Instructor: Pankaj Bishnoi (referred to as “your brother Pankaj Bishnoi”)
  • Other named figures mentioned (not necessarily speakers):
    • Pandit Ramnarayan ji (Sarangi player from Udaipur)
    • Kanphata Nath Jogis / Konfartez Jogi (folk singers)
    • Devarayan ji (associated with Phad recitation)
    • Jeen Mata (temple/location referenced)
    • Langa caste (associated instrument usage)
    • Bhopas (community associated with Ravana Hatta)
    • Ravana (referenced via Ravana Hatta and related stories)

Original video