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Archive for September, 2006

Erste Deutschausgabe des IMC-Specials “StudioTalk” …

Posted by ElJay Arem (IMC OnAir) on September 25, 2006


(FHH/25-09-2006) – “IMC OnAir” der Förderinitiative “IMC – India meets Classic” stellt Ihnen heute die erste Deutschausgabe des englischen IMC-Specials “StudioTalk Nr. 1: Musik folgt dem Bewusstsein!” vor.

IMC OnAir ist die einzige Ganzjahressendung für indisch klassische Musik im deutsch-sprachigen Raum (DE/AU/CH). – Und präsentiert monatlich Musikbeispiele und Wissenswertes über die Geschichte, Form und das Regelwerk der indisch klassischen Musik.

Hörerseitig sind keine musikalischen Vorkenntnisse erforderlich. Alle Sendungen können mit Download des Moderationsskriptes im PDF-Format (via kostenfreiem PodCast-Abo) nachgelesen und -gehört werden.

S P E C I A L F E A T U R E : S T U D I O T A L K N r . 0 1

Bereits seit dem 26. Juni 2006 gibt es bei “IMC OnAir” das neue Special “STUDIOTALK”, mit der ersten englischen Ausgabe “Music follows Behaviour!” – Die StudioTalks werden in loser Folge via Radio (Kabel/Antenne) + PodCasting ausgestrahlt.

Für STUDIOTALK Nr. 1 war der indische Musikmeister Shri Sugato Bhaduri (Mandoline), Kalkutta während seiner EuropaTournee 2006 im Hamburg-Studio zu Gast bei IMC – India meets Classic … S. Bhaduri gehört als Interpret der indisch klassischen Musik zu dem hoffnungsvollen Musikernachwuchs Indiens.

Mit dem Format “STUDIOTALK” bietet IMC OnAir dem interessierten Hörer exklusive Themengespräche aus der Welt zur indisch klassischen Musik ! – Mit STUDIOTALK haben indische Musikmeister, Musikwissenschaftler, Event-Organisatoren u.a. die Chance, sich dem europäischen/internationalen Hörer in einem direkten Dialog zu präsentieren.
STUDIOTALK ist kein klassisches Interview von 5-10 Minuten “SmallTalk” zu Konzerttourneen, CD/DVD-Neuerscheinungen o.ä. Vielmehr bietet IMC OnAir mit einer aufwendigen Sendeplanung und detaillierten Vorrecherchen den Rahmen für spezielle Themenaspekte, die einen Beitrag zu einem tiefergehenden Verständnis (aus europäischer Sicht) für die indisch klassische Musik leisten sollen.

Erfahren Sie von Shri S. Bhaduri, wie die indisch klassische Musik eine Art Lebensphilosophie verkörpert: “… die älteste Seele der Musik ist die Natur”. Auch im Westen haben viele Denker, Wissenschaftler, Psychologen, Philosophen und Schriftsteller das Bewusstsein beschrieben und umschrieben. Zitat …

“… es wird ein Bewusstein
hörender Menschen sein.
Nicht mehr das Auge wird
– wie allgemein heute –
Vorrang vor dem Ohr haben,
sondern umgekehrt das Ohr
Vorrang vor dem Auge haben.
Das Hörbare, der Klang, wird
wichtiger als das Sichtbare.”

(aus Einleitung zu “Nadah Brahma”)

Joachim Ernst Behrendt

Der STUDIOTALK Nr. 1 unter der Themenheadline “Musik folgt dem Bewusstsein! (im Original: “Music follows Behaviour”) steht ab sofort als 58-minütige Sendungen im deutschen und englischen Format und weltweit als PodCast zur Verfügung. Wie alle Sendungen bei IMC OnAir gibt’s auch die StudioTalks zum Nachlesen und Nach-Hören:

“Sendeprotokoll + Re-Print des Interviews” …
PDF-Download via PodCast (RSS-Feed), registrierungsfrei … direkt (DE/ENG) oder via “Archiv” @

Posted in IMC OnAir - News, StudioTalks | Leave a Comment »

Symposium: Indian music and number theory (Leiden University – The Netherlands)

Posted by ElJay Arem (IMC OnAir) on September 25, 2006

Music is all about number theory.  For theoreticians of music in the Middle Ages, this was an obvious fact. A fact which the eminent mathematician Manjul Bhargava from Princeton will demonstrate on Thursday with the help of his Indian drums.

The tabla, the Indian drum is the most important instrument in Indian classical music.  A musician plays two drums, one for the right and one for the left hand.

Visiting Professor
Manjul Bhargava is a world-famous mathematician.  This numbers theorist already performed pioneering work during his doctoral research, won prestigeous prizes and, most exceptionally, was offered full tenure at Princeton Unversity just two years after his graduation in 2001.  For the past academic year he was visiting professor at the Stieltjes Instute, an inter-university research school in mathematics.

To bring his year in Leiden to a close, he will be returning this week and will appear on 14 September as one of the three speakers and performers in the public symposium ‘Mathematical Patterns in Indian Poetry and Music ‘, organised by the Stieltjes Institute, and two Leiden faculties: Mathematics and Natural Sciences, and Creative and Performing Arts.

Manjul Bhargava
Foto: The Daily Princetonian

Indian drum
Bhargava was born in Canada, the son of Indian immigrants, but grew up in the US.  He learned Sanskrit from his grandfather, a famous Sanskrit scholar, and from his mother he gained a love of both mathematics and the tabla, the traditional Indian drum. Number theory, which looks at the characteristics of and relations between integer numbers, is in Bhargava’s view closely related to classical Indian music, and could in fact have its roots here.

Unknown culture
The symposium is an initiative of Dr. Derk Pik, who was trained as a pianist and mathematician and gives lectures in ‘mathematics and music’ to his students at the Royal Conservatory and at Leiden University. Bhargava’s visit to Leiden was too good an opportunity for him to miss.  ‘Indian classical music is a very rich, and completely unknown culture.  In terms of cooperation between different disciplines, this subject is still in its early days.  I expect we will be able to learn a lot from one another.’

Symposium Mathematical Patterns in Indian Poetry and Music

Thursday 14 September 2006 19.45-22.30 hrs
Venue:  Kamerlingh Onnes Gebouw, Steenschuur 25, Leiden
Lorentzzaal (A 144)

Entry is free; you can reserve a ticket by create_mail(“secretariaat”,””, “email”)email.


Prof.  Manjul Bhargava (
Princeton University): Poetry, Drumming and Mathematics
Dr. Emmie te Nijenhuis: Metre in Indian Music and Poetry
Dr. Derk Pik (Leiden University): Indian Rhythm in Music by Messiaen

Further information on the lectures.

Prime number
And it goed further than theory. Pik: ‘It’s not without good reason that we have a Faculty of Creative and Performing Arts here. Manjul Bhargava will demonstrate with his tabla why it is so important that the number of units of a rhythm is a prime number.  And I will show using the piano how Olivier Messiaen used Indian rhythms in his music, and more importantly, why he did so.’

Pik is fascinated by the work of this French composer, whose life spanned almost the whole of the twentieth century. ‘Messiaen used many Indian elements in his music and has passed this on to students such as Boulez and Stockhausen. In his turn, Messiaen was influenced by Debussy, from whom he learned to regard musical phrases as units in themselves and not as steps to reach a subsequent point, as was common in nineteenth century western music until then.  As a young composer, Messiaen knew Indian music only from theory.  He had read an article in the French  Encyclopédie de la Musique from 1913. When he read this as a Conservatory student, he had probably never heard a tabla, and certainly had never heard the thirteenth century rhythms from the Sangita Ratnakara. He was fascinated by the constructions of these thythms, recognised them in other already existing music and used the theory to account for the magical nature of Stravinsky’s Sacre du Printemps.’

Strong rhythm
Messiaen, Pik continues, sees rhythms as personalities, each with its own character. ‘ He has studied all 120 rhythms of the Sangita Ratnakara in great detail, and recognises all kinds of general musical and mathematical principles: symmetry, palindromes, prime number rhythms.  A rhythm stands as a whole if it cannot easily be split into several equal parts: the rhythm is therefore strong if the number of units is a prime number.  Messiaen used the word prime mumber, but was, on the other hand, unfamiliar with many other mathematical concepts, such as symmetry and permutation groups. But he used them, with made-up names. For example, he called a collection of tones which is invariable under a shift – in other words, it remains the same – as an impossibility.  Although he does not refer to the things by their official mathetical name, he must have had considerable mathematical insight.

Derk Pik and Emmie te Nijenhuis. Pik: ‘Indian classical music is very rich, and is relatively unknown among western music lovers.  Cooperation between thesespecialist fields is in very early days.’ Te Nijenhuis: ‘Indian musicological works from the Middle Ages are full of mathematics.’

Pioneering work
The third performer at the symposium will be Dr. Emmie te Nijenhuis, pianist and musicologist, and member of the KNAW (Royal Netherlands Academy of Arts and Sciences) for her pioneering work in the field of classical Indian music.  Thirty years ago, as part of her doctoral studies, she went to India to study the country’s rich musicological tradition. Indian musicological works from the Middle Ages are full of mathematics.  ‘It is as if Indian music is more formal, more mathematical, if you like, than other musical traditions.’ says Te Nijenhuis. ‘Melodies and metres have been placed in lists in all conceivable combinations.  But these are all theoretical considerations, in which you find very little about practice.  Just as in Europe before the advent of modern science, musicologists were general scholars.  Theoreticians who were at home in didfferent disciplines.  Sometimes they were also musicians, and sometimes not.  Of the oral traditions, which also existed, a great many have disappeared.’

Text metre and musical rhythm
Te Nijenhuis’s lecture which will be interspersed with musical fragments on cd, will be about the relationships, and also tensions, between the metre of poetic texts and the rhythm of the music to which the texts are sung.  ‘The instrumental tradition, or drumming, and the textual tradition developed separately and then come together again at an appropriate point.  You then get a situation of polyrhythmics, with a text metre which extends beyond the border of a rhythm block.  But after a particular number of blocks – which can be calculated – they come together again.’

Leiden University
P.O. Box 9500
2300 RA Leiden
The Netherlands

Rapenburg 70
2311 EZ  Leiden
+31 (0)71 527 27 27 (operator)

For International Students:
Information requests and applications

Research in Leiden

Marieke van Eeden
 create_mail(“mr.vaneeden”,””, “”)
 +31 071 527 33 01

News and In Focus

Dini Hogenelst
  +31 071 527 33 45 / 06 52 58 24 26

Hilje Papma
 +31 071 527 32 82 / 06 11 35 15 62

Steven Hagers
 +31 071 527 46 91 / 06 52 33 72 21

 create_mail(“wetenschap”,””, “”)


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special feature: From India to Europe… FestivalReport 2006 (part 1 and 2)

Posted by ElJay Arem (IMC OnAir) on September 23, 2006

From India to Europe … FestivalReport 2006.
– Sangita Sammelana-s … Indian Music Festivals

End of September IMC OnAir presents it’s second and new special feature “From India to Europe … FestivalReport” in a two hours show broadcasted via radio + podcasting.

The FestivalReport2006 has it’s focus on the history and development of the biggest music festivals in India, so called “Sangita Sammelana-s“. Moving from the 20th to the 21st century the festival culture nowadyas presents itself to the live audience far over the borders of India.

d a t e   o f   b r o a d c a s t i n g
part 1 and 2Saturday, 30th September 2006 – 02:00-03:58 p.m. (MESTZ)

History & India’s democracy …

IMC-Special-FESTIVALREPORT2006-Screensplash-30092006-1-small-230-210The origin of the Indian music festivals can be dated back to the 18th century. One of the eldest Festivals for Dance and Music is the Chennai Dance & Music Festival, which has it’s roots in the first Margazhi Festival in 1927 … It is astonishing from most of these fantastic festivals there exist only some few live recordings being published.

At the end of the 19th century Raja S.M. Tagore had proclaimed as a rich landowner from Bengale a campaign in favor of the Indian Classical Music. He published or let publish different art works and gifted collections of instruments to museums in Europe. Rabindranath Tagore has been descended from this family as India’s most famous and genius universal scholar and nobel prize winner for literature (1922).

During that time period first time music weeks were organized, so called “sagita sammelana-s” (music festivals). Herefore to all great virtuosos an invitation was extended.

Short behind the setting up of the Federal Republic of India on 26th January 1950 the importance of the Indian music culture far over the frontier have been recognized. At the inauguration of the Sangeet Natak Academy in 1953 in New Dehli it is approved as following (quotation):

indiamapIndia’s precious heritage of music, drama and dance is one which we must cherish and develop. We must do so not only for our own sake but also as our contribution to the cultural heritage of mankind. Nowhere is it truer than in the field of art that to sustain means to create. Traditions cannot be preserved but can only be created afresh. It will be the aim of this Akademi to preserve our traditions by offering them an institutional form …

– Maulana Azad
28th of January 1953 (New Dehli)

Tradition …

The Indian music festivals are a specific form of care of tradition on the sub continent as it is expressed by the names of many of the festivals to express the recognition and to honour the diligence in art work of India’s famous music maestros.

200px-TyagarajaAll metropoles in India dispose of an annual and profiled festival programme for Indian Classical Music. From the south west head in Tirvandrum, in Chennai (former Madras on the East coast), in Mumbai on the west cost to both capitals of India, New-Deli as the main capital and head office for politics and administration and Kolkatta (former Calcutta) as the cultural capital many considerable events extist: Tansen Music Festival (Tansen Sangeet Sammelan), Thyagaraja Music Festival, Savai Gandharva Music Festival Pune, Saptak Music Festival, Soorya Festival, Swati Tirunal Festival, ShriKrishna Gana Sabha, Madras Music Academy Festival, Vasanta Habba, SRA Music Festival, Swami Vivekanand Birthday Music Festival, ITC Sangeet Sammelan or Dover Lane Music Festival & Music Conference.

Vocalists-and-TanpuraThe audience enjoys the the visits of numerous great musicians, the “who’s who” of Indian Classical Music. Even the younger generation of artists get the chance to perform with the best of their owns.

Far over India the sangita sammelana-s pleasure a growing popularity and derivation worldwide.

Indian-Dance-CoupleSince centuries between India and Europe exist economic and diplomatic relationships. However late in 1985 the cultural spectacle “Cultural Festival of India”, an event of 33 days duration took place in London, which was unique in the Western world till that time. Indian Music and it’s melodies, the sciences and spirituality of India, the arts and architecture were being presented. All decorations had been manufactured in India and being transported by ship to England.

In the last decades, during the immigration wave from the British Commonwealth in the fivtees and sixtees existed several endeavours to keep alive the cultural heritage of India on different continents.

This kind of cultural consciousness following the tradition of India’s music festivals is being reflected in the music events from Australia, North America (New York, Washington, Baltimore and Detroit) to Asia (Hongkong, Singapore and Japane) and Europe (England, Switzerland, Belgium, Italy, Norway and France):

Lakshminarayana Global Music Festival, Charindaa – The Festival of Indian Music in Australia, Festival of Universal Sacred Music (New York / U.S.A.), Southampton Mela Festival, Raga Festival 2006, a concert edition in the West Midlands Englands, darban – South Asian Music Festival, world new music festival and others more.

Posted in FestivalReport, IMC OnAir - News | 1 Comment »

dropping knowledge project: The Table of Free Voices

Posted by ElJay Arem (IMC OnAir) on September 9, 2006

The Table of Free Voices

On September 9, 2006, over 100 social visionaries from over 50 countries worldwide came together around a table in Berlin’s historic Bebelplatz square. Over the course of nine hours, they responded on-camera to 100 questions donated to dropping knowledge by the global public.The speakers at the Table came from the global North and the global South, from 56 countries across the so-called First, Second and Third Worlds.

Protagonists in the fields of human rights and planet rights, corporate consciousness and ecological sustainability, cutting-edge science and age-old wisdom-traditions, the arts and the avant-garde, they joined together in a single circle on September 9 at a round-table gathering for the global information age.

dropping knowlege dropping knowledge - What’s your question?

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