Begum Parveen Sultana is an Indian Hindustani classical singer of the Patiala Gharana. She gave her first stage performance in 1962 when she was 12 and has been recording music since 1965. She has started her professional career with Abdul Majid's Assamese Film Morom Trishna. She has sung for Bollywood movies such as Gadar, Kudrat, Do Boond Pani, and Pakeezah, and several other Assamese films. Recently, she sang the theme song of Vikram Bhatt's 1920. She also sang Humein Tumse Pyaar Kitna for the film Kudrat in 1981. She has recorded for HMV, Polydor, Music India, Bharat Records, Auvidis, Magnasound, Sonodisc, and Amigo.

She was awarded the Padma Shri (1976) and Padma Bhushan (2014) by the Government of India, and the Sangeet Natak Akademi Award in 1998, given by Sangeet Natak Akademi, India's National Academy of Music, Dance and Drama.

Hariprasad Chaurasia is an accomplished Indian Classical flautist. Son of a wrestler, Chaurasia began learning vocal music from his neighbor, Pandit Rajaram, as a teenager. Later, he switched to playing the flute under the tutelage of Pandit Bholanath Prasanna of Varanasi for eight years. He joined the All India Radio, Cuttack, Odisha in 1957 and worked as a composer and performer.

Much later, while working for All India Radio, he received guidance from the reclusive Annapurna Devi, daughter of Baba Allaudin Khan. She only agreed to teach him if he switched from right-handed to left-handed playing. Till date, he plays the flute left-handed.

If Chaurasia is more earthly than many of his peers, it is probably down to his background. Indian classical music is a family business: father hands on tradition to son. Chaurasia is a first generation musician with a will of iron to perspire, persist and inspire.

In spite of having achieved so much, the maestro is still giving back to the world through his own music and by nurturing outstanding talent in his school Brindavan, which is based on the gurukul system.

A young talent of the 7th generation in an unbroken chain of the Senia Bangash School, Amaan Ali Bangash is the elder son and disciple of the Sarod Maestro Amjad Ali Khan and grandson of Haafiz Ali Khan. Initiated into the fine art of Sarod playing at a very tender age, Amaan began his public performances as early as eight.

Accompanying his father to various music festivals in India and abroad, he has today, carved out a niche for himself. His performances have evoked creditable applause. His precision in tunefulness and his bold and resonant strokes are all pointers to importance of tradition and continuity in Indian Classical Music.

Ayaan Ali Khan represents the seventh generation of a musical lineage known as the Senia Bangash School. The younger son and disciple of the Sarod Maestro Amjad Ali Khan, Ayaan stepped into the world of music and the Sarod, at a very early age, with confidence, clarity, consistency and technical mastery all of which he learnt at his father's knees. Ayaan gave his solo debut when he was eight years old and has been performing concerts in India and abroad, since then. He has also assisted his illustrious father at concerts all over the world. Over the years today, Ayaan has carved out a special niche for himself in the world of music. His approach, vision and versatility make him an icon for the youth in the music industry. His contribution in making the Sarod a cross-over instrument in a variety of genres has projected him as an artist of high repute.

Pandit Chhannulal Mishra is a Hindustani classical singer from Banaras, a noted exponent of the Kirana gharana and especially the Khayal and the 'Purab Ang' - Thumri.

His first lessons of classical music were from his father, late Pt. Badri Prasad Mishra. Having been initiated into the nuances of music by his father, he moved from his place of birth to learn music at the feet of Ustad Abdul Ghani Khan of the Kirana gharana until the renowned musicologist, the late Padmabhushan Thakur Jaidev Singh offered to groom his adolescent prodigy into the subtleties of Indian Classical music.

Although Mishra ji evolved a eclectic vocal style, blending the ecstatic Kirana Badhat and the highly embellished features of the Patiala Gharana, his classical pieces reveal a fascinating harmony of Punjab, Purab and Gaya Styles. He has transcended the confines of gharana styles and has brought a streak of spirituality into his singing.

Dr. Ashwini Bhide-Deshpande is a Hindustani classical music vocalist from Mumbai. She pursues the Jaipur-Atrauli gharana, although she has also been influenced by the Mewati and Patiala gharanas. It was not until she completed her doctorate that she even considered a professional career in music. Because of her influences from the Jaipur-Atrauli, Mewati and Patiala gharanas, she has created her own musical style. She holds a strong command over the three primary saptaks. She has an intimate understanding of Bandish and bandish-composition and has created many of her own bandishes, which she has published in her book, Raag Rachananjali (2004). A sequel titled "Ragarachananjali 2", containing 98 more bandishes (compositions) was published in 2010. She is also known for her setting of bhajans, especially those of Kabir.

Creator of the Mohan Veena and the winner of the Grammy award, Vishwamohan Bhatt is an Indian Classical instrumentalist.

He was born into a musical family in Rajasthan and began his musical training as a Sitar player under his father, who ran a music school. Being the foremost disciple of Pt. Ravi Shankar, Vishwa Mohan belongs to the elite body of musicians which trace its origin to the Mughal emperor Akbar's court musician Tansen and his guru the Hindu Mystic Swami Haridas.

Vishwamohan Bhatt has attracted International attention by Indianizing the Hawaiian Guitar with perfect assimilation of the Sitar, Sarod and Veena techniques, by giving it a revolutionary design and shape by adding 14 additional strings. With blinding speed and faultless legato, Bhatt is undoubtedly one of the most expressive, versatile and greatest slide players of the world.

His latest creation is a new instrument, the Vishwa Veena, which has 35 strings.

Disciple and son of Grammy award winner Pt. Vishwamohan Bhatt, Pt. Salil Bhatt is the creator of the Satvik Veena and heir to a 500 year old musical legacy. He has performed in India and 40 other countries in a career spanning 30 years. From solo concerts, international collaborations, exotic jugalbandis and global fusion, he has marveled audiences the world over. He is the first ever musician to perform inside the Parliament of Germany and the first Indian musician to be awarded an artiste’s residency in Taiwan. Prestigious titles like Tantri Samrat, Sangeet Ratan, Swami Haridas Sangeet Samman and a Canadian Grammy nomination have been bestowed upon him.

Aashish Khan is considered among the top handful of India's greatest living Sarod players. His pedigree of training and lineage is unquestionable, having descended from the illustrious family of great musicians.

Aashish Khan was initiated into North Indian Classical Music at the age of five by his grandfather, the legendary Acharya Baba Allauddin Khan Sahib, exponent of the Senia Beenkar and Senia Rababiya Gharana founded in the 16th Century by Mian Tansen, court musician to Emperor Akbar. He also learnt music under the guidance of his father, Ustad Ali Akbar Khan, and aunt, Smt. Annapurna Devi, leading exponents of the Senia Maihar Gharana, in the Beenkar and Rababiya Anga (style) bearing the Dhrupad style of vocal music.

Aashish, a true believer and follower of the "Guru Shishya Parampara," an age old practice and one of the oldest methods of teaching Indian Classical Music in an oral, practical, theoretical and traditional manner has won the hearts and respect of many disciples and followers all over the world.

One of India's greatest Tabla and percussion maestros, Bickram Ghosh holds the rare distinction of being one of the most well known names in the world of Indo-fusion music. Having performed the world over with the greatest names in Indian classical music, especially Pt. Ravi Shankar (whom he accompanied for over a decade), Bickram went on to form his hugely successful band Rhythmscape which made him one of the most popular musical stars of this generation. Bickram played on four albums that were nominated for Grammies including George Harrison's Brainwashed. He played on 'Full Circle' with Pt. Ravi Shankar, which won Shankar a Grammy. Bickram's extremely successful solo albums like Beyond Rhythmscape, Folktail, Drum Invasion. Kingdom of Rhythm, Interface, Electro classical, Transformation etc have consolidated his position as a pioneer of a new fusion sound.

Umakant Gundecha and Ramakant Gundecha, known as the Gundecha Brothers, are leading Dagarvani dhrupad singers. They always sing together. After training for four years, they performed in public for the first time in May 1985, at the Uttaradhikar dance and music festival in Bhopal. Umakant and Ramakant have good voices with strong lower registers. They have worked to expand the dhrupad repertoire by incorporating texts by Hindi poets such as Tulsidas, Padmakar and Nirala. They have set up a dhrupad institute outside Bhopal where they teach students from all over the world. They run a music school in the Dhrupad tradition, according to the guru-shishya style of teaching that was prevalent in India for teaching of the arts. Gundecha Brothers had been awarded Best Music Director Award in Non Feature Category in National Film Award 2006 and were awarded the Padma Shri in 2012 in the field of Art - Indian Classical Music - Vocal - Madhya Pradesh.

Shujaat Khan is a sitar maestro and seventh generation torchbearer of the embellished legacy of the Imdad gharana that has produced many a virtuoso.

He is the son and disciple of the great sitarist Ustad Vilayat Khan, and his grandfather, Ustad Inayat Khan, his great-grandfather, Ustad Imdad Khan, and his great-great-grandfather, Ustad Sahebdad Khan, were all leading artists of their respective generations. He can trace his lineage all the way back to Mian Tansen, the great court musician in Emperor Akbar's court.

Born the eldest son to not just a master musician, but a temperamental and incorruptible father, Shujaat Khan's musical career began at the age of three when he began practicing on a specially made small sitar. By the age of six, he was recognized as a child prodigy and began giving public performances.

Gifted with an exceptional voice, he's known to be a fearless collaborator with different genres of musicians

He was all of 6 years old when Amjad Ali Khan gave his first Sarod recital. It was the beginning of yet another glorious chapter in the history of Indian classical music. Taught by his father Haafiz Ali Khan Amjad Ali Khan was born to the illustrious Bangash lineage rooted in the Senia Bangash School of music. Today he shoulders the sixth generation of inheritance in this legendary lineage.

After his debut, the career graph of this musical legend took the speed of light, and on its way the Indian classical music scene was witness to regular and scintillating bursts of Raga supernovas. Thus, the world saw the Sarod being given a new and yet timeless interpretation by Amjad Ali Khan. Khan is one of the few maestros who consider his audience to be the soul of his motivation. In his case, the term 'beauty of the Ragas' acquires a special meaning as he has to his credit the distinction of having created many new Ragas. It is love for music and his belief in his music that has enabled him to interpret traditional notions of music in a new refreshing way, reiterating the challenge of innovation and yet respecting the timelessness of tradition.