In spite of these shortcomings and in spite of the obvious lack of ability on the part of the participants to express themselves clearly and coherently, the discussion sessions proved to be the most important part of the three-fold program of the wokshop, Dr.B.C Deva. With his refreshing sense of humor, helped to save the heated discussions from becoming bitter wrangles. Dr Deva and prof Ashoka Ranade with his keep sense of relevance kept the discussion on the right-path.

The actual demonstration given by the singer-participants while discussing certain controversial issue, along with the playback sessions and the concerts, provided the live context of musical activity to the theoretical discussions.

The recordings obtained from the sound library of the Akademi, included some rare sample of Khyals from Ustad Altaf Hussein, Ustad Aman Ali, Pt. Anant Manohar, Pt, Bholanath Bhatt, Ustad Chand Khan, Smt, Mogubai Kurdikar, Ustad Bade Gulam Ali ,Pt Ramchatur Mallik, Ustad Mushtaq, Hussein, Ustad Moujuddin Khan, and Ustad Wahid Hussein. One felt that for the benefit of students of music such rare samples from the collection of the Academia should be made available at various other centers too.

Though the absence of any Kirtana-style singers was badly felt, the singers who performed authentically represented the major trends in contemporary Khyal-singing.

Smt.Kamal Tambe's rendering of Poorvi, Chhaya Nat and Raisa Kanada were in the truly Jaipur style. The compositions were sung with at most percussion the framework of the ragas were established with great solidity, and the patterning of alaps and taans was highly complex. Smt.Kishori Amonkar's concert came as a direct contrast; though trained in the same gharana, the raga structures of Bhimpalas and Bhoop became more supple in her had; gifted with an extraordinarily rich voice, Smt Amonkar prefers to explore how far she could deviate from the raga-framework without simple ragas as well as in his clear and lucid elaboration of his themes.