Pashto
پښتو
Pronunciation	[paʂˈto], [paçˈto], [puxˈto]
Spoken in	Afghanistan  Pakistan  Iran (minor) and the Pashtun diaspora around the world
Region	South-Central Asia
Native speakers	50 million  (2009)[1] to 60 million[2][3][4]
Language family	Indo-European Indo-Iranian Iranian Eastern Iranian Northeastern[5] Pashto
Dialects	Waneci Wazirwola Southwestern (Kandahari) Other Pashto dialects
Writing system	Pashto alphabet
Official status
Official language in	Afghanistan
Regulated by	Academy of Sciences of Afghanistan
Language codes
ISO 639-1	ps
ISO 639-2	pus
ISO 639-3	pus – inclusive code Individual codes: pst – Central Pashto pbu – Northern Pashto pbt – Southern Pashto wne – Waneci
Linguasphere	58-ABD-a
This page contains IPA phonetic symbols in Unicode. Without proper rendering support, you may see question marks, boxes, or other symbols instead of Unicode characters.

Pashto (پښتو, Pax̌to, IPA: [paʂˈto, paçˈto, puxˈto]; also spelled Pukhto or Pushto), also known as Afghani (Persian: افغانی‎) and Pathani (Urdu: پٹھانی, Hindi: पठानी Paṭhānī),^[6] is the native language of the Pashtun people of South Central Asia. Pashto is a member of the Eastern Iranian languages group, spoken in Pakistan and Afghanistan as well as by the Pashtun diaspora around the world.^[7]

Pashto belongs to the Northeastern Iranic branch of the Indo-Iranian language family,^[5][8] although Ethnologue lists it as Southeastern Iranic.^[9] The number of Pashtuns or Pashto-speakers is estimated 50-60 million people world wide.^{[2][3][3][4][1]} Pashto is one of the two official languages of Afghanistan (the other being Dari Persian),^{[7][10][11][12]} and a regional language in western and northwestern Pakistan.

Geographic distribution[link]

As the national language of Afghanistan,^[13] Pashto is primarily spoken in the east, south and southwest, but also in some northern and western parts of the country. The exact numbers of speakers are unavailable, but different estimates show that Pashto is the mother tongue of 35-60%^{[14][15][16][17]} of the total population of Afghanistan.

In Pakistan, Pashto is a provincial language, spoken as a first language by about 15.42%^[18] of Pakistan's 170 million people. It is the main language of the Pashtun-majority regions of Khyber Pakhtunkhwa, Federally Administered Tribal Areas (FATA) and northern Balochistan, but is also spoken in parts of Mianwali and Attock districts of the Punjab province as well as by Pashtuns who are found living in different cities throughout the country. Modern Pashto-speaking communities are also found in the cities of Karachi and Hyderabad in Sindh.^[19][20] By some estimates, there are close to 7 million of Pashtuns in Karachi.

Other communities of Pashto speakers are found in northeastern Iran, primarily in South Khorasan Province to the east of Qaen, near the Afghan border,^[21] and in Tajikistan.^[22] There are also communities of Pashtun communities descent in the southwestern part of Jammu and Kashmir.^[23][24][25]

Sizable Pashto-speaking communities also exist in the Middle East, especially in the United Arab Emirates,^[26] and Saudi Arabia, as well as in the United States, United Kingdom,^[26] Thailand, Canada, Germany, the Netherlands, Sweden, Qatar, Australia, Japan and Russia etc.

Official status[link]

The Afghan Empire comprised regions on both sides of the Durand Line before the present day ethno-linguistic situation in South-Central Asia, by which the British colonial power annexed about one third of Afghanistan. The border created a buffer zone and was drawn through the Pashtun areas of settlement leaving the larger part of them in what was to become Pakistan.

Pashto (since 1936) is one of the two official languages of Afghanistan, along with Dari (Persian).^[27] Since the early 18th century, all the kings of Afghanistan were ethnic Pashtuns except for Habibullah Kalakani, and most of them bilingual although Amānullāh Khān spoke Pashto as his second language.^[28] Persian as the literary language of the royal court^[29] was more widely used in government institutions while Pashto was spoken by the Pashtun tribes as their native tongue. Amanullah Khan began promoting Pashto during his reign as a marker of ethnic identity and a symbol of "official nationalism"^[28] leading Afghanistan to independence after the defeat of the British colonial power in the Third Anglo-Afghan War. In the 1930s, a movement began to take hold to promote Pashto as a language of government, administration and art with the establishment of a Pashto Society Pashto Anjuman in 1931^[30] and the inauguration of the Kabul University in 1932 as well as the formation of the Pashto Academy Pashto Tolana in 1937.^[31] Although officially strengthening the use of Pashto, the Afghan elite regarded Persian as a "sophisticated language and a symbol of cultured upbringing".^[28] King Zahir Shah thus followed suit after his father Nadir Khan had decreed in 1933, that both Persian and Pashto were to be studied and utilized by officials.^[32] In 1936, Pashto was formally granted the status of an official language^[33] with full rights to usage in all aspects of government and education by a royal decree under Zahir Shah despite the fact that the ethnically Pashtun royal family and bureaucrates mostly spoke Persian.^[31] Thus Pashto became a national language, a symbol for Afghan nationalism.^[34]

The status of official language was reaffirmed in 1964 by the constitutional assembly when Afghan Persian was officially renamed to Dari.^[35][36] The lyrics of the national anthem of Afghanistan are in Pashto.

In Pakistan, Urdu and English are the two official languages, but Pashto has no official status. Pashto is the regional language of Khyber Pakhtunkhwa, Federally Administered Tribal Areas and northern Balochistan.^[37] In 1984, Pashto was permitted to be used as the medium of instruction in primary schools. In government-controlled primary schools in Pashto-speaking areas, Pashto is now the medium of instruction in class 1 and 2, and taught as a compulsory subject up to class 5, but the English medium private schools don't include Pashto at all in their curricula.^[28]

History[link]

The Arachosia Satrapy and the Pactyan people during the Achaemenid Empire in 500 B.C.

The origin of Pashto language and the Pashtun tribes is unknown. The word "Pashto" derives by regular phonological processes from Parsawā- "Persian".^[38] Nonetheless, the Pashtuns are sometimes compared with the Pakhta tribes mentioned in the Rigveda (1700–1100 BC), apparently the same as a people called Pactyans, described by the Greek historian Herodotus as living in the Achaemenid's Arachosia Satrapy as early as the 1st millennium BC.^[39] However, this comparison appears to be due mainly to the apparent, etymologically unjustified, similarity between their names.^[40]

Herodotus also mentions the Pactyan "Apridai" tribe but it is unknown what language they spoke.^[41] Strabo, who lived between 64 BC and 24 CE, explains that the tribes inhabiting the lands west of the Indus River were part of Ariana and to their east was India. Since the 3rd century CE and onward, they are mostly referred to by the name "Afghan" ("Abgan")^[42][43][44] and their language as "Afghani".^[45]

Scholars such as Abdul Hai Habibi and others believe that the earliest Pashto work dates back to Amir Kror Suri in the eighth century, and they use the writings found in Pata Khazana. However, this is disputed by several European experts due to lack of strong evidence. Pata Khazana is a Pashto manuscript^[46] claimed to be first compiled during the Hotaki dynasty (1709–1738) in Kandahar, Afghanistan. During the 17th century Pashto poetry was becoming very popular among the Pashtuns. Some of those who wrote poetry in Pashto are Khushal Khan Khattak, Rahman Baba, Nazo Tokhi and Ahmad Shah Durrani, founder of the modern state of Afghanistan or the Afghan Empire.

Grammar[link]

Pashto is a subject–object–verb (SOV) language with split ergativity. Adjectives come before nouns. Nouns and adjectives are inflected for two genders (masc./fem.),^[47] two numbers (sing./plur.), and four cases (direct, oblique I, oblique II and vocative). The verb system is very intricate with the following tenses: present, simple past, past progressive, present perfect and past perfect. There is also an inflection for the subjunctive mood. The sentence construction of Pashto is akin to Indo-Aryan languages like Prakrits and Hindi-Urdu, unlike Persian. The Pashto noun comes after the adjective and the possessor precedes the possessed in the genitive construction. The verb generally agrees with the subject in both transitive and intransitive sentences. An exception occurs when a completed action is reported in any of the past tenses (simple past, past progressive, present perfect or past perfect). In such cases, the verb agrees with the subject if it is intransitive, but if it is transitive, it agrees with the object,^[48] therefore Pashto shows a partly ergative behavior. Pashto uses both preposition and postposition, but also circumpositions.

Phonology[link]

Vowels[link]

Pashto also has the diphthongs /ai/, /əi/, /ɑw/, /aw/.

Consonants[link]

The phonemes /q/, /f/ tend to be replaced by [k], [p].

The retroflex lateral flap // (/ɺ̢/) is pronounced as retroflex approximant [ɻ] when final.

The retroflex fricatives /ʂ/, /ʐ/ and palatal fricatives /ç/, /ʝ/ represent dialectally different pronunciations of the same sound, not separate phonemes. In particular, the retroflex fricatives, which represent the original pronunciation of these sounds, are preserved in the southern/southwestern dialects (especially the prestige dialect of Kandahar), while they are pronounced as palatal fricatives in the west-central dialects. Other dialects merge the original retroflexes with other existing sounds: The southeastern dialects merge them with the postalveolar fricatives /ʃ/, /ʒ/, while the northern/northeastern dialects merge them with the velar phonemes in an asymmetric pattern, pronouncing them as /x/, /ɡ/ (not /ɣ/). Furthermore, according to Henderson (1983),^[49] the west-central voiced palatal fricative /ʝ/ actually occurs only in the Wardak Province, and is merged into /ɡ/ elsewhere in the region.

The velars /k/, /ɡ/, /x/, /ɣ/ followed by the close back rounded vowel /u/ assimilate into the labialized velars [kʷ], [ɡʷ], [xʷ], [ɣʷ].

Vocabulary[link]

In Pashto, most of the native elements of the lexicon are related to other Eastern Iranian languages; those words can be easily compared to those known from Avestan, Ossetic and Pamir languages. However, a remarkably large number of words are special to Pashto.^[5] Post-7th century borrowings came primarily from the Arabic, Persian and Hindustani languages (in Pakistan),^[50][51] with the modern educated speech borrowing words from English,^[2] French,^[2] and German.^[2]

Writing system[link]

Pashto employs the Pashto alphabet, a modified form of the Persian alphabet which on its part is derived from the Arabic alphabet. The reason for this is because, it is not a Semitic language, and thus it is modified. It has extra letters for Pashto-specific sounds. Since the 17th century Pashto has been primarily written in the Naskh script, rather than the Nasta'liq script used for neighboring Persian and Urdu languages. The Pashto alphabet consists of 45 letters, and 4 diacritic marks. The following table gives the letters' isolated forms, along with the Latin equivalents and the IPA values for the letters' typical sounds:

Pashto is written from right to left.^[52]

Dialects[link]

Pashto has two main dialects: a softer dialect spoken in the south, and a harsher dialect in the north. The former is further divided into southwestern and southeastern dialects, and the latter into northwestern (also called central or Ghiljai dialect) and northeastern. It is dominated by the geographical spread of the shift in the pronunciation of these five consonants:

The morphological differences between the most extreme north-eastern and south-western dialects are comparatively few and unimportant, and the criteria of dialect differentiation in Pashto are primarily phonological.^[53]

Development of Pashto[link]

Khushal Khan Khattak (1613–1689) wrote in Pashto. His poetry consists of more than 45,000 poems. According to some historians^[who?], the number of books written by Khattak are more than 200. His more famous books are Bāz Nāma, Fazal Nāma, Distār Nāma and Farrah Nāma. From the time of Ahmad Shah Baba (1723-1773) Pashto has been the language of the court. Its first teaching text was written during the period of Ahmad Shah by Pir Mohammad Kakerr with the title of Ma'refa al-Afghāni ("Introduction of Afghani"). After that, the first grammar book of Pashto verbs was written in 1805 A.D. in India under the title of Riāz al-Muhabat ("Training in Affection") through the patronage of Nawab Mohabat Khan son of Hafez Rahmatullah Khan, the famous chief of the Barreitsh. Nawabullah Yar Khan, another son of Hafez Rahmat Khan in 1808 A.D. wrote a book of Pashto words entitled Ajāyeb-al-Lughat ("Strangeness of Words").

See also[link]

	Afghanistan portal
	Pakistan portal
	Languages portal

• Iranian Languages vocabulary comparison table
• Pashto alphabet
• Central Pashto Language
• List of Pashto-language poets
• List of Pashto-language singers
• Pre-Islamic scripts in Afghanistan

Bibliography[link]

• Schmidt, Rüdiger (ed.) (1989). Compendium Linguarum Iranicarum. Wiesbaden: Reichert. ISBN 3-88226-413-6. 
• Gusain, Lakhan (2008??) " A Grammar of Pashto". Ann Arbor, MI: Northside Publishers. ISBN ??
• Georg Morgenstierne (1926) Report on a Linguistic Mission to Afghanistan. Instituttet for Sammenlignende Kulturforskning, Serie C I-2. Oslo. ISBN 0-923891-09-9
• Daniel G. Hallberg (1992) Pashto, Waneci, Ormuri (Sociolinguistic Survey of Northern Pakistan, 4). National Institute of Pakistani Studies, 176 pp. ISBN 969-8023-14-3.
• Herbert Penzl A Grammar of Pashto A Descriptive Study of the Dialect of Kandahar, Afghanistan ISBN 0-923891-72-2
• Herbert Penzl A Reader of Pashto ISBN 0-923891-71-4

References[link]

External links[link]

Wikimedia Commons has media related to: Pashto language

Pashto language edition of Wikipedia, the free encyclopedia

• Pashto Language & Identity Formation in Pakistan
• Indo-Aryan identity of Pashto
• Henry George Raverty. A Dictionary of the Puk'hto, Pus'hto, or Language of the Afghans. Second edition, with considerable additions. London: Williams and Norgate, 1867.
• D. N. MacKenzie, "A Standard Pashto", Khyber.org
• Freeware Online Pashto Dictionaries
• A Pashto Word List
• Origins of Pashto
• Resources for the Study of the Pashto Language

v t e Languages of Pakistan Official languages Urdu English Provincial languages Punjabi Pashto Sindhi Balochi Regional languages Brahui Chitrali Dari Hindko Kashmiri Persian Potwari Saraiki Shina Related topics Dardic languages Iranic languages Indo-Aryan Languages Pakistani Sign Language Arabic

Ghani Khan غني خان
Picture of Ghani Khan
Born	Khan Abdul Ghaffar Khan 1914 Hashtnagar,
Died	1996
Resting place	Charsadda
Nationality	Pakistani
Other names	Abdul Ghani Khan, Ghani Baba, Ghani Dada and Ghani Malang
Ethnicity	Pakhtun
Citizenship	Pakistan
Known for	Poetry
Notable work(s)	Da Panjre Chaghar, The Pathans, Da Ghani Latoon
Home town	Peshawar
Title	Baba, Dada
Religion	Sunni, Muslim

Ghani Khan (Pashto: غني خان) (1996-1914) is widely considered as one of the best Pashto language poets of the 20th century, along with Ameer Hamza Shinwari. He stands on a par with Khushal Khan Khattak and Rahman Baba. He was also a respected writer and artist. He was son of Khan Abdul Ghaffar Khan and older brother of Khan Abdul Wali Khan.

Life[link]

Khan Abdul Ghani Khan was born in Hashtnagar, Khyber Pakhtunkhwa (then NWFP), British India, modern day Charsadda, Village Utmanzai, Pakistan, the son of the Red-Shirt Leader Khan Abdul Ghaffar Khan and older brother of Khan Abdul Wali Khan. His wife Roshan came from a Parsi family and was the daughter of Nawab Rustam Jang. He went to study at the art academy at Rabindranath Tagore’s university in Shantiniketan and developed a liking for painting and sculpture. He visited England and studied sugar technology in the United States, after which he returned to India and started working at the Takht Bhai Sugar Mills in 1933. Largely owing to his father’s influence, he was also involved in politics, supporting the cause of the Pashtuns of British India. He was arrested by the Government of Pakistan in 1948 – although he had given up politics by then – and remained in prison till 1954, in various jails all over the country. It was during these years that he wrote his poem collection Da Panjray Chaghaar, which he considered the best work of his life. His contribution to literature (often unpublished) was ignored by the Pakistan government for much of his life although near the end of his life his works did receive much praise and as well as an award from the Government of Pakistan. For his contributions to Pukhto literature and painting, the President of Pakistan, General Muhammad Zia-ul-Haq, conferred on him the prestigious award of Sitara-e-Imtiaz (23 March 1980).

Works[link]

Aside from a few poems of his youth and early manhood, Ghani Khan’s poetry, like his temperament, is anti-political. His poem collections include Panoos, Palwashay, De Panjray Chaghar, Kullryat and Latoon. He also wrote in English; his first book was The Pathans (1947). His only published work in Urdu was his book titled Khan Sahib (1994).

The singular distinction of his poetry – aside from his obvious poetic genius – is a profound blend of knowledge about his native and foreign cultures, and the psychological, sensual, and religious aspects of life.^[1]

Quotes & Prose[link]

Ghani Khan's love for nature and the local habitat of the Pashtun people is visible in his work. He wrote

• "Pashtun is not merely a race but, in fact, a state of mind; there is a Pashtun lying inside every man, who at times wakes up and overpowers him."

• "The Pashtuns are a rain-sown wheat: they all came up on the same day; they are all the same. But the chief reason why I love a Pashtun is that he will wash his face and oil his beard and perfume his locks and put on his best pair of clothes when he goes out to fight and die."

• As a progressive and intellectual writer, he wrote, "I want to see my people educated and enlightened. A people with a vision and a strong sense of justice, who can carve out a future for themselves in harmony with nature."

Tribute[link]

After his death, in recognition of his outstanding achievements, the Government of Khyber-Pakhtunkhwa Province built a public li and park as a memorial to him on about 8 acres (32,000 m²) of land, naming it "Ghani Derai" (the mound of Ghani). The site is an historical mound very near his home, Dar- ul-Aman, and within the confines of his ancestral village, Utmanzai, on the main highway from Razzar to Takht-i-Bhai.

Literature[link]

• Mohammad Arif Khattak: Ghani Khan – A Poet of Social Reality, ISBN 978-3-639-32391-7

References[link]

See also[link]

• Khan Abdul Bahram Khan
• Khan Abdul Ghaffar Khan
• Khan Abdul Wali Khan
• Bahram Khan Family
• Khan Abdul Ali Khan

External links[link]

Wikiquote has a collection of quotations related to: Khan Abdul Ghani Khan

• Ghani Khan - interviews, images, and poems
• Harappa - Audio and video interviews
• Ghani Khan - The Man in the Poet
• Ghani Khan - Poetry

• Life & Works of Ghani Khan

v t e Pashtuns Key figures Amir Kror Suri · Ibrahim Lodi · Sher Shah Suri · Khushal Khan Khattak · Rahman Baba · Ghiasuddin Ghori · Shahabuddin Ghori · Ala'uddin Ghilzai · Bahlul Khan Lodi · Nazo Tokhi · Mirwais Hotak · Ashraf Hotaki · Mahmud Hotaki · Mahmud Hotaki · Ahmad Shah Durrani · Timur Shah Durrani · Zaman Shah Durrani · Azad Shah Afghan · Jamaluddin Afghan · Akbar Khan · Malalai of Maiwand · Ayub Khan · Abdur Rahman Khan · Mullah Powindah · Faqir of Ipi · Amanullah Khan · Nadir Shah · Bacha Khan · Zahir Shah · Daoud Khan · Abdul Ahad Mohmand · Samad Khan · Nur Muhammad Taraki · Hafizullah Amin · Wali Khan Culture Pashtunwali · Pashto language · Pashtun tribes · Pashtun dress · Loya jirga · Attan · Khattak Dance · Mahsud Dance · Adam Khan and Durkhanai · Yusuf Khan and Sherbano Poets Amir Kror Suri · Pir Roshan · Rahman Baba · Khushal Khan Khattak · Nazo Tokhi · Abdul Hamid Baba · Hussain Hotaki · Ahmad Shah Durrani · Hamza Baba · Malang Jan · Ajmal Khattak · Kabir Stori · Ghani Khan Topics and controversies Durand Line · Khudai Khidmatgar · Pashtunistan · Kalabagh Dam · Taliban · Names of Khyber Pakhtunkhwa Battles and conflicts First Battle of Panipat · Battle of Gulnabad · Third Battle of Panipat · First Anglo-Afghan War · Battle of Attock · Battle of Multan · Battle of Shopian · Battle of Nowshera · Battle of Jamrud (1837) · Siege of Malakand · Second Anglo-Afghan War · Battle of Maiwand · Tirah Campaign · Battle of Saragarhi · Third Anglo-Afghan War · Soviet war in Afghanistan · War in Afghanistan (2001–present) · War in North-West Pakistan

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Ustad Bahadur Khan (born Bahadur Hossain Khan, January 19, 1931) was a sarod player.

Early Life & Family[link]

Ustad Bahadur Khan, a Bengali, was born on January 19, 1931 in Shibpur, Comilla, Bangladesh, (then British India), and died on October 3, 1989 in Calcutta, India. He was the son of famous Indian classical musician Ustad Ayet Ali Khan ^[1], nephew of the Sarode legend Ustad Alauddin Khan, cousin of Sarode player Ustad Ali Akbar Khan and Surbahar player Shrimati Annapurna Devi, and former cousin-in-law of Sitar legend Pandit Ravi Shankar. Ustad Bahadur Khan learnt playing Sarode initially from his father Ustad Ayet Ali Khan in Bangladesh, and then from his uncle Ustad Alauddin Khan in Maihar, before he finally settled in Calcutta. He also practiced vocal music and earned many gold medals for his performances ^[2]. He was later guided in Sarode by his senior cousins Ustad Ali Akbar Khan and Shrimati Annapurna Devi for a long time. Ustad Bahadur Khan was one of the three celebrated musician sons of the great maestro Ustad Ayet Ali Khan ^[3]. His two other brothers, Ustad Abed Hossain Khan ^[4] and Ustad Mobarak Hossain Khan were famous Sarode and Sitar maestros based in Bangladesh, and were the highest civilian honour recipients from the Government of Bangladesh for their contributions to classical music ^[5]. Bahadur Khan was the teacher of the Sarod maestro Tejendra Narayan Majumdar. Tejendra Narayan Majumdar serves as the current Khilafa (torchbearer,leader) of the Sarod in the Maihar Gharana.

Music & Accomplishments[link]

His special contribution to Indian classical music, that he could wonderfully combine folk music elements with that of the classical music, made a unique niche for himself among fellow musicians ^[6].

Ustad Bahadur Khan was a regular performer at the All India Radio, Radio Pakistan, and Radio Bangladesh. He composed and directed music for many films of the legendary Indian filmmaker Ritwik Ghatak. He received the best music director award for Ritwik Ghatak's film Subarnarekha (The Golden Line). Other films that brought out his musical virtuosity into celluloid were Meghe Dhaka Tara (The Cloud-clapped Star), Komal Gandhar (E Flat), Jukti Takko Aar Gappo (Reason, Debate and A Story), Titash Ekti Nadir Naam (A River Named Titash), Nagarik (The Citizen), Shwet Mayur (White Peacock), Yekhane Dariye (Where I Am Standing), Trisandhyay (Three Twilights), Notun Pata (New Leaf), Garam Hawa (Hot Winds), and Ajantrik (The Unmechanical) to name a few ^[6]. He also directed music on documentaries on Nobel laureate poet Rabindranath Tagore and painter Jamini Roy, and was also a highly esteemed figure in the Indian film-music industries of Bombay and Calcutta ^[7].

He has extensively traveled Europe, Asia, and North America to perform Sarode recitals; and was an honorary delegate of India to the former USSR and China.

Teaching[link]

Ustad Bahadur Khan was a highly sought-after musical guru, and a faculty member at the Ali Akbar College of Music, in California, USA, where he taught Indian classical music ^[8],^[9] Tejendra Narayan Majumdar (student - Sarode player) . It is because of the fame of Tejendra Narayan Majumdar Bahadur Khan's name has come to shine.

Discography[link]

• Ustad Bahadur Khan: Raga Ahir Bivash, Raga Dayabati; HMV, India & EMI, U.K.
• Ustad Bahadur Khan: Raga Nat Bilawal, Raga Rageshri; Classic Collection, Atlantis Music, India
• http://www.sawf.org/audio/bilawal/bk_natbilawal.ram Listen to Raga Nat Bilawal from the South Asian Women's Forum, California, U.S.A.
• Ustad Bahadur Khan: Raga Kausi Kahnara, Heritage; Bihaan Music, India

References[link]

Notes and references[link]

This article's citation style may be unclear. The references used may be made clearer with a different or consistent style of citation, footnoting, or external linking. (May 2009)

• [10] Article from Bangladesh on Classical Music.
• [11] On Ustad Ayet Ali Khan.
• [12] On Ustad Bahadur Khan.
• [13] "Great Ustad Ayet Ali Khan", The Daily Star Insight, 2006.
• [14] On Ustad Abed Hossain Khan.
• [15] The Daily Star Newspaper, Bangladesh.
• [16] Review of Subarnarekha.
• [17] Bangladesh Film Archive, U.K.
• [18] Bangladesh Film Archive, U.K.
• [19] Ustad Bahadur Khan's works at The Internet Movie Database (IMDB).
• [20] The Daily Star Newspaper, Bangladesh.
• [21] Faculty, Ali Akbar College of Music, California, U.S.A.
• [22] Jaan Haag.
• [23] ITC Sangeet Research Academy, Calcutta.
• [24] Sitarist Tadao Ishihama, Japan.
• [25] The Daily Star Newspaper, Bangladesh.
• [26] Research Database on Alauddin Khan.
• [27] On Alauddin Khan's students.
• [28] The Arts, New Age, Bangladesh.
• [29] MP3.Com

External links[link]

• Kalyan Mukherjee's Homepage
• Shahdat Hossain Khan's Review
• Review of the film Subarnarekha'
• Home Page of Ali Akbar College of Music