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VOL. 13, ISSUE 2 (2026)
A critical study of the various opinions regarding the origin of the Tabla
Authors
Vimasen Parida
Abstract
The Tabla, as the most prominent percussion
instrument of North Indian classical music, occupies a central position in both
performance and pedagogy. Despite its widespread use and cultural importance,
its origin remains a subject of considerable debate, shaped by historical
assumptions, mythological narratives, and inconsistent scholarly
interpretations. This study undertakes a critical examination of the major
theories concerning the origin and development of the Tabla, including its
proposed derivation from ancient Indian instruments such as the Tripushkar, its
alleged connection with West Asian membranophones, and the widely circulated
claim attributing its invention to Amir Khusro. By drawing upon textual
references, sculptural evidence, linguistic analysis, and historical context,
this paper challenges simplistic origin theories and argues for a more nuanced
understanding of the Tabla as an outcome of gradual evolution rather than
sudden invention. Particular attention is given to the transformation of percussion
practices in medieval India, the role of folk traditions, and the functional
demands of emerging musical forms such as Khyal. The study concludes that the
Tabla represents a complex synthesis of indigenous continuity and external
influence, shaped over several centuries through cultural interaction,
practical necessity, and artistic innovation.
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Pages:221-227
How to cite this article:
Vimasen Parida "A critical study of the various opinions regarding the origin of the Tabla". International Journal of Multidisciplinary Research and Development, Vol 13, Issue 2, 2026, Pages 221-227
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