My purpose in this article is to bring out the basic features of Hindustani music—the music of North India. Karnatik music, or the music of the South, is different. Fortunately, however, some basic concepts are common to both the styles. More important of these are: alāpa, rāga, tāla. So, a treatment of Hindustani music is not to be regarded as throwing no light on the Karnatik style. The bases of my attempt are provided essentially by my own experiences as a listener. But I have also drawn upon established musicology; and, what is equally important, upon the aesthetic insight revealed by our master musicians in intimate conversation.