nuation of the tradition in the real sense of the term. The concept of continuity of cound in khayal takes a pause for granted; in fact, it is only through punctuation that thought is communicated in any language, and so in khayal singing. Similarly, the continuation of tradition is possible only if we can deviate from the traditinal ethos, in composing, ringing as well as teaching music. Therefore, the relationships that govern our present processes of teaching also have to undergo change. The patriarchal joint family structure has to give way to a new form of socialization based on equality in relationships and objectivity in the pursuit of knowledge. Only then can we have a teacher who would be happy to see the student's progress and will be ready to learn from his student, and treat the process of imparting knowledge as team work, in an extended family-situation. One can draw a great deal from the khayal tradition and can get insights regarding the use of sound in film and theatre, to merely take one example. It is only by relating to the tradition as an outsider that one can be creative as an insider. I have tried to throw a few ideas about the relationship between an outsider and an insider in the khayal tradition. Let us take this as the basic situation and view and review the problems in music hereafter. \\Iany of the ideas expressed in the first section are those of my guru Pandit Sharatchandra Arolkar. •The musical swaras are as follows: shadja (saa\ rishabha (re\ gandhar (ga), madhyam (ma\ pancham (pa\ dhaivat (dha\ nishad (ni\ * *The notation 's* is called avagruhcL It means that the last note with which the previous word ends is prolonged for one matra (beat of the tabia). 68 July-September 1983