Sindhis are fond of music and cultural activities. Sindhi songs have played an important part in keeping the customs and traditions of Sindhyat alive. In post partition era, the prominent Sindhi singers who are not with us now, names of Master Chandur, Ram Panjwani, Bhagwanti Navani, C. H. Atma and Bulo C. Rani are noteworthy.

Among present day Sindhis, Shri Lal K. Advani born in Karachi (1927), is the most eminent leader having reached the position of Honorable Home Minister of Government of India. Lal Kishan Advani is a dedicated nationalist, who through his true patriotic efforts and statesmanship today leads the Indian political scene. Sindhis all over the world are proud of Lal's achievements

on the side. Folk tunes are now played on this instrument. Mir Muhammad, the famous Narr Player is our most outstanding artist who plays 'Borrindo' with some sophistication.
The conjecture that the oldest music of Sind was based on three musical notes or contained at the most five notes till the rime of th Arab conquest of Sind is evident from a close examination of the Borrindo. This presumption is
further strengthened by the presence of yet another musical instrument called the 'Narr", which serves as accompaniment to the recitation of Bait commonly called 'Narr Bait'. The Narr is a type of long flute and it is so long that fingers of the player reach the last hole of the instrument with difficulty. There are different styles
A Sindhi musician pluyin^ ^urandu (nolm).

It is difficult to trace the origin of 'arts' in the absence of recorded historical material. One indulging in such a probe has to depend on conjectures and deductions which the scanty material at one's dispose provides. Like all other persons who have been working on such a project, the writer of this article may be excused if he appears to be talking in platitudes or if the reade does not find him scientifically accurate, because, the present investigation is bound to be limite< within the four walls of the material available on the subject.

The earliest material which our heritage provides and which is relevant in the present context is very little—a single musical instru ment and the Dancing-deity. But very interesting and important information is conveyed through them,

Traces of the Earliest Music:

We have more than one reason to believe that the earliest music of the Indus Valley was limited to only three musical notes. In the scant material that has survived through the centuries we find some 'earthen balls' of various sizes, hollow from within, having one hold in the middle and two on the side. These are the oldest musical instruments which were played by mouth and fingers like a flute. Like the 'bullock-cart' of the Mohen-jo-Daro civilization this instrument has survived through the ages and has been in use in the villages of Sind. They call it 'Borrindo'. This instrument has developed with the times and it now contains three to four holes of playing the 'Narr' which are distinguished by the manner in which the player blows air into this long flute. Adam Faqir and his companions are the most renowned artists of this category.

Music produced on the "Narr" sounds primitive and it ranges between three and five musical notes like the "Borrindo". One peculiarity that gives this instrument a priority of time over the "Borrindo" and provides a testimony for its earlier origin is that the Narr Player during the performance produces similar notes from his own throat. This instrument has; retained the characteristic of the most primitive music, when musical instruments were not yet invented and sound produced by human throat was employed for this purpose. The Narr, therefore, is historically an important musical instrument which bridges the pre-instrumental and instrumental music periods of our history of music.