आपके पिता पंडित गोविंदराम जी एक विद्वान संस्कृत पंडित तथा शिक्षक थे, जिनके संरक्षण में बालक कैलाशचंद्र ने संस्कृत की प्रारंभिक शिक्षा प्राप्त की। पुरातन और आधुनिक प्रशिक्षण पद्धति के समन्वित रूप ने आचार्य जी के बहुमुखी व्यक्तित्व का निर्माण किया। उन्होंने बाल्यकाल से ही सद्गुरुओं के चरणों में बैठकर विभिन्न शास्त्रों का अध्ययन किया तथा काव्य और संगीत कला की साधना की।

आचार्य जी का जीवन प्रारंभ से ही संघर्षमय रहा। जब उनकी आयु मात्र दस वर्ष थी, तभी उनके पिता का देहांत हो गया। इसके पश्चात उनकी माता ने अत्यंत साहस और धैर्य के साथ उनका पालन-पोषण किया। माता द्वारा दिए गए संस्कार इतने दृढ़ थे कि बालक कैलाशचंद्र धीरे-धीरे एक विलक्षण व्यक्तित्व के रूप में विकसित होते चले गए। वे सदैव अपनी वंश-परंपरा की रक्षा के प्रति सजग रहे।

साढ़े तीन वर्ष की आयु में उनका उच्चारण पूर्णतः शुद्ध हो गया था। पाँच वर्ष की आयु में वे संस्कृत के अनेक श्लोक कंठस्थ कर चुके थे। दस वर्ष की आयु में उन्होंने एक संस्कृत श्लोक की रचना कर सभी को चकित कर दिया। चौदह वर्ष की आयु में उन्होंने सुंदर काव्य रचना की। सन 1936 ईस्वी में उन्होंने लाहौर से शास्त्री की उपाधि प्राप्त की।

शिक्षा प्राप्त करने के पश्चात सन 1942 में उनका विवाह साधना देवी जी से संपन्न हुआ।

लाहौर से अध्ययन कर लौटने के बाद रामपुर में उन्हें अध्यापक पद प्राप्त हुआ, जिस पर उन्होंने कुछ समय तक कार्य किया। किंतु उनकी प्रतिभा इस सीमित क्षेत्र में बंधी नहीं रह सकी। अतः उन्होंने वह पद छोड़ दिया और धर्म एवं भारतीय संस्कृति के प्रचार हेतु रेडियो के लिए विविध साहित्यिक रचनाएँ करने लगे। इसी अवधि में उन्होंने रेडियो के लिए अत्यंत उत्कृष्ट नाटकों और काव्य की रचना की। इन नाटकों के माध्यम से उन्होंने भारत के गौरवशाली अतीत की महिमा को प्रभावशाली रूप से प्रस्तुत किया।

आवश्यकता पड़ने पर वे इन नाटकों में स्वयं अभिनय भी करते थे तथा निर्देशन की भूमिका भी निभाते थे। कई बार उन्होंने स्वर परिवर्तन के माध्यम से एक साथ अनेक पात्रों का सफल अभिनय किया। उनके अनेक रेडियो रूपकों का अनुवाद भारत की अन्य प्रादेशिक भाषाओं में भी किया गया।

दिसंबर 1949 में वे कानपुर के विक्रमाजीत सिंह सनातन धर्म कॉलेज में धर्माचार्य के पद पर नियुक्त हुए। वस्तुतः यहीं से उनके जीवन का स्वर्णकाल आरंभ होता है। कॉलेज में रहते हुए उन्होंने विश्वविद्यालय पद्धति से अध्ययन कर बी.ए., एम.ए. तथा पीएच.डी. की उपाधियाँ सम्मानपूर्वक प्राप्त कीं। इसके पश्चात वे धर्मोपदेश के साथ-साथ बी.ए. एवं एम.ए. कक्षाओं में हिंदी साहित्य का अध्यापन भी करने लगे।

उन्होंने यह भी कहा कि रामपुर दरबार में ऐसे लोग भी आए हैं जिन्होंने भरत और शारंगदेव जैसे महापुरुषों के ग्रंथों को अस्पष्ट कहकर उपहास किया, जिससे उन्हें अत्यंत कष्ट हुआ। उन्होंने बृहस्पति को स्मरण कराया कि उनके पूर्वज विद्वान एवं संगीत-मर्मज्ञ रहे हैं और यदि वे प्राचीन ग्रंथों को समझने के लिए तपस्या नहीं करेंगे तो और कौन करेगा।

उन्होंने विश्वास दिलाया कि परिश्रम कभी व्यर्थ नहीं जाता। उन्होंने कहा कि भले ही वे स्वयं न रहें, किंतु शिष्य की सफलता से उनकी आत्मा को शांति मिलेगी और वही उनकी गुरुदक्षिणा होगी। अन्यथा वे सदा के लिए ऋणी बने रहेंगे।

आचार्य जी को अनुसंधान की प्रेरणा देने वाले दूसरे महत्त्वपूर्ण व्यक्ति रामपुर राज्य के अनुपम ग्रंथागार के विद्वान एवं यशस्वी प्रबंधक मौलाना इम्तियाज अली खां अरशीद थे, जो बृहस्पति जी को अपना अंतरंग मित्र एवं सखा मानते थे।

Acharya Ji's Biography and Childhood

The Rampur court has given birth to many great artists, musicians, and music scholars. Among these scholars associated with this court, Acharya Brahaspati was the last Vaggeyakaar. By the latter half of the eighteenth century, the Rampur state had become a haven for scholars and musical luminaries who had left the decaying Mughal court. Pandit Dattaram Ji was the royal priest during the reign of Yusuf Ali Khan, whose reign lasted from 1855 to 1864 AD, and his successor, Nawab Kalbiali Khan. This appreciative and learned scholar enjoyed the company of poets like Daag, Ghalib, and Amir, as well as Braj Bhasha poets like Gwalior. In addition to these royal patrons, Rampur also boasted a circle of North India's finest musicians, who received practical and rigorous training in the Tansen and Sadarang traditions. Pandit Dattaram Ji possessed poetic prowess, as well as proficiency in the Veena. Following in his footsteps, his son, Pandit Ayodhya Prasad Ji, also became the royal priest. Due to his unique lineage, Pandit Kailash Chandra, son of Pandit Govind Ram, was exposed to traditional virtuosos and connoisseurs of music from childhood. This great man dedicated his entire life to the revival of Indian music. From childhood, this embodiment of selflessness dedicated his life to the service and study of music. Acharya Brahaspati was born in the state of Rampur on January 20, 1918, and four generations of his family had lived in Rampur. As mentioned earlier, Brahaspati's great-grandfather, Pandit Datta Ram, was the royal priest of the state of Rampur. He was a renowned scholar, expert in astrology and mathematics, an accomplished tantric, poet, and musician. He was a jewel in the court of Nawab Kalbe Ali Khan, the king of Rampur. Once, when one of his remarkable predictions came true, the then Nawab was pleased and commissioned a Shiva temple to be built for him, the first brick of which was laid by the Nawab himself, made of pure gold. This Shiva temple still stands in Rampur, and the street in which it stands is known as Mandir Wali Gali, also known as Dattaram Ji's temple. This temple remains an immortal symbol of the dynasty's learning and fame. Muslims opposed the construction of this temple, but the Nawab fulfilled his promise to Pandit Dattaram Ji. Acharya Brahaspati himself was a devotee of Shiva and also a worshiper of Bagla Devi. He received the teachings of democracy from Pandit Shivnarayan Dixit of Rampur, who belonged to such a prestigious royal priestly family. For this reason, he received the same royal respect from all the Nawabs of Rampur that his ancestors received.

Pandit Govind Ram Ji was unable to provide much education to his son himself, but when Acharya Ji was ten years old, his father passed away. After Pandit Govind Ram Ji's death, he had to shoulder the responsibility of being the elder brother and sister at a young age. A combination of ancient and modern training methods shaped Acharya Ji's multifaceted personality. From childhood, he sat at the feet of Satgurus, studied various scriptures, and practiced poetry and music. Acharya Ji's life was full of struggle. After his father's death, his mother raised him with great courage and patience. She was also a religious and learned woman. Her name was Narmada Devi, a woman of strong convictions and self-respect. By giving birth to a capable son and educating him properly, she enhanced the dignity and prestige of her clan. Her mother instilled such values in her son that Acharya Ji's personality became charismatic and he developed a sense of responsibility for preserving the lineage.

The result was that at the age of three and a half, his pronunciation was perfectly accurate. By the age of five, he had memorized numerous Sanskrit verses. At the age of ten, he astonished scholars by composing a Sanskrit verse. By the age of fourteen, he had already demonstrated his talent by composing beautiful poetic works.

Education

Acharya Ji received his early education at the feet of his father until the age of ten. He then received his rhetorical training from Mahamahopadhyay Parameshwaranand Shastri, Nyaya from the late Pandit Harishankar, grammar from Pandit Chhedilal Jha, and early education from Pandit Kanhaiyalal Shukla, Raj Pandit Ramchandra Shastri, and his father. In vocal music, he was a disciple of the late Mirza Nawab Hussain of the Rampur court, and in percussion, he was a disciple of the late Pandit Ayodhya Prasad, the Madangik of the same court. Brahaspati Ji's mature vocal knowledge, along with the Mridang and Tabla, is the result of the rare grace of his guru. This cycle of learning was interrupted for a few years when young Kailash Chandra had to study at MD College, Lahore. In 1936, he passed the Acharya examination, securing first place in the college. During his short period of study, he became a favorite and favored disciple of the renowned Pandit Parameshwaranand. Upon his return to Rampur and becoming a teacher at Raza Inter College, the same continuous musical pursuit resumed. After completing his education, he was married to Sadhna Devi in 1942. After working at Raza Inter College, Rampur, for a few years, he left Rampur to expand his talent and scope of work. He began writing various literary works for All India Radio, promoting religion and Indian culture. During this period, he began composing rich plays for All India Radio. Through these plays, he was highly successful in highlighting India's glorious past. When required, he would also act in these plays himself and provide instruction on the techniques used. Many times, he successfully portrayed more than one character simultaneously, changing his voice. Some of his contemporary Akashvani versions were also translated into other regional languages of India.

Regarding the literary maestros who view music with contempt, Acharya ji says that among the worshippers of the Veena, the book-bearer, a certain section has no connection with the Veena. In this section's view, even if Saraswati were to give the Veena a break, it would make no difference. It would only ease the burden on poor Saraswati. This class of worshippers of the book-bearer is as far removed from the world of music as the Vaishnav class is from the non-Vaishnav sect. (These thoughts are taken from questions four and three of the first section of Sangeet Chintamani). Those familiar with Acharyaji's sense of humor know that while he wrote a series of articles in the monthly magazine Sangeet under the pen name Parabrahmanand Saraswati, he also wrote under the pen name Mushtari Rampur. His columns, "Prashna Aapke" (Questions for Your Questions) and "Uttarachar Brahaspati Ke" (Brahmastha) for years, answered the questions of inquisitive readers, and his series of articles, "Raag Chintan," was eagerly read by many readers.

Temperament

As calm and serious as Acharya Ji appeared, he was equally humorous. He never refrained from adding a touch of humor even in serious discussions. Once, a gentleman sensed a criticism of his guru in his thoughts. At that time, Acharya Ji was contemplating the desirable qualities of a person worthy of discussing Maharishi Bharata. The gentleman replied, "We cannot tolerate criticism of our guru." Acharya Ji smiled and said, "I am not discussing your guru in songs, but imagine that if I were to call him my guru, I might call him Acharya Kamalnayan, but the world would still call him Ekaaksha." The gentlemen present burst into laughter. Acharya Ji believed that analyzing music is the job of critics, but to enjoy listening to it, one needs to be sympathetic. The deer that gives up its life by being dragged away by music cannot be a scholar of Bharata Natyashastra or Sangeet Ratnakar.

Acharya ji did not consider the use of the word "Acharya" appropriate for himself. Once, when a senior and veteran scholar of music wrote to him, using it in his address, he replied, "These days, the word 'Acharya' has become very cheap. To be called 'Acharya' in that sense is not an honor. If the ancient meaning of 'Acharya' is taken, then I am a very insignificant person, a poor beggar from Sharangdev's Dwarka, who truly deserved the title of 'Acharya'." Regarding the literary maestros who view music with contempt, Acharya ji says that among the worshippers of the Veena, the book-bearer, a certain section has no connection with the Veena. In this section's view, even if Saraswati were to give the Veena a break, it would make no difference. It would only ease the burden on poor Saraswati. This class of worshippers of the book-bearer is as far removed from the world of music as the Vaishnav class is from the non-Vaishnav sect. (These thoughts are taken from questions four and three of the first section of Sangeet Chintamani). Those familiar with Acharyaji's sense of humor know that while he wrote a series of articles in the monthly magazine Sangeet under the pen name Parabrahmanand Saraswati, he also wrote under the pen name Mushtari Rampur. His columns, "Prashna Aapke" (Questions for Your Questions) and "Uttarachar Brahaspati Ke" (Brahmastha) for years, answered the questions of inquisitive readers, and his series of articles, "Raag Chintan," was eagerly read by many readers.

With his arrival in Kanpur, the time had come for Acharyaji to free himself from the debt of his gurus. In the Sanskrit department of Vikramaditya Sanatan Dharma College's library in Kanpur, he found a copy of "Sangit Rachnakaar" by Sharangdev, which had not been borrowed from the library until then. Upon receiving this text, Acharyaji enthusiastically engaged in its study, and from there his research began. While the original text was complete, the interpretation was fragmented and incomplete. There was a special reason for this. The ancient system of discussing scriptures used sutras and incorporated all the intervening sources directly from the gurus. Over time, the system of direct guidance from gurus declined, and these teachings were also almost lost. However, due to Acharyaji's excellent knowledge of both aspects, the hidden secrets were revealed and success became evident. Acharyaji studied Bharatmuni's Natyashastra, Abhinavguptapadacharya's commentary on it, and the texts of Matanga and Sharangdeva. To illustrate the practical aspects of the principles, special instruments like the Brahaspati Veena, Shruti Darpan, and Brahaspati Kinnari were specially constructed. Subsequently, his achievements were validated in the material science laboratory located in the college. Research work illuminating the essence of music began to be published in various journals. Acharyaji frequently spoke at All India Radio symposia. Drawing on his knowledge of Urdu and Persian, Acharyaji also explored Indian history from a musical perspective. Acharya Ji submitted his PhD thesis on Dhrupad and its development. However, Sir, in 1960, his wife Sadhana Ji passed away, who had contributed significantly to Acharya Ji's achievements. After some time, the grief-stricken Acharya Ji entered the field of spiritual practice to connect with departed souls. After achieving success in this practice, he established contact with many departed souls of the past. He also received divine visions of sages like Tumru, Bharat, Abhinavagupta, etc. These great men inspired and encouraged him to rediscover the scriptures of music. The knots in the scriptures and errors in the texts became clear through the blessings and inner inspiration of these great men.

In 1965, All India Radio invited him to Delhi with a twelve-year contract. Acharya Ji served as the top advisor on music, Sanskrit, and Braj Bhasha at All India Radio.

After arriving in Delhi, Acharya Ji married Kumari Sulochana Kalekar, a capable disciple of Pandit Bholanath Bhatti. Finding a capable disciple and life partner like Sulochana Ji, Acharya Ji taught her the secrets of Raga through the Rampur Sadarang tradition. As a result, all of Acharya Ji's achievements are still realized in the form of Mrs. Sulochana Brahaspati. Sulochana Ji's singing possesses a unique beauty of voice, rhythm, emotion, and literature.