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Archive for June, 2010

100 days to go: The Berlin Music Week Congress starts on Sept. 6

Posted by ElJay Arem (IMC OnAir) on June 28, 2010

all2gethernow joins forces with Popkomm and BerlinFestival

also see: BerlinMusicWeek 2010 (6th-12th Sept)

From 6th-11th of September 2010 the BERLIN MUSIC WEEK will gather creative and music industry forces to set the stage for a new annual international event. For the very first time, Popkomm (tradeshow and networking), BerlinFestival (live) and all2gethernow (congress) got together to utilize the unique capacities of Germanys vibrant capital to create a one of a kind series of events for the international music business and culture.

The BERLIN MUSIC WEEK Congress will be organized by all2gethernow, an initiative which was founded by members of the creative community in the summer of 2009 as a spontaneous reaction following last years sudden cancellation of Popkomm. The conference was organized in just 9 weeks and attracted more than 1000 visitors. The emphasis was placed on a modern and forward thinking music economy and culture. This year, up to 300 various workshops and sessions as well as 24 keynote speakers from around the world are scheduled for the BERLIN MUSIC WEEK Congress which will again discuss future business models and tackle the most pressing questions of the industry today. – Download the Flyer (PDF).

The a2n program is structured into a curated and an open part – seven theme tracks provide the grid: ROLES & IDENTITIES, BUSINESS MODELS, MARKETING & DISTRIBUTION, POLITICS & CULTURE, COPYRIGHT & LICENSING, MEDIA & TECHNOLOGY, ARTS & MAKING MUSIC.

Similar to last year, the a2n puts great emphasis on result-oriented, conclusive outcome and an in-depth documentation of results. Another key factor for a2n is substantial cooperation with related and innovative conventions both locally and internationally such as „ars electronica“, „Un-convention“ or „re:publica“.


6th-7th of September 2010: #a2n_camp @ Kulturbrauerei Berlin, Prenzlauer Berg camp The #a2n_camp will build on last year’s positive experiences and provide an open platform for conversations on a broad variety of topics. Artists, members of the industry, journalists, web providers, politicians or fans – all stakeholders are invited to participate, suggest topics and even organize their own sessions.

8th-9th of September 2010: #a2n_conference @ Flughafen Tempelhof conference Running simultaneously with Popkomm, a set of highly prolific speakers and keynotes are scheduled. The results of #a2n_camp will also be presented.

10th-11th of September 2010: #a2n_forum @ Flughafen Tempelhof forum Results of the #a2n_camp and #a2n_conference will be reflected on in discussions with performing artists of the BerlinFestival in panels.

Tickets: The #a2n_camp 2-day-Ticket for 30,- Euro (#a2n_camp @ Kulturbrauerei Berlin, Prenzlauer Berg) is available starting today: (

Reservation of an Early Bird Ticket (4-Day Combination Pass, is available until May 31st, 2010.

All interested parties can directly take part in the planning stages of the convention by attending the regularly organised „Townhall Meetings“ (next one scheduled for June 2nd, 2010) or by sending suggestions on topics or themes to

contact: all2gethernow e.V. Schönhauser Allee 6/7 10119 Berlin

For up to date press information of Berlin Music Week, go to:

(Source: 28th June 2010 –

Posted in Medias | 1 Comment »

World Music Day 2010 in India…

Posted by ElJay Arem (IMC OnAir) on June 22, 2010

VIJAYAWADA, June 22, 2010

The Hindu: Arts / Music | The Editor

A soulful tribute to Carnatic composers on the occasion of World Music Day

Violin maestro K. V. Reddy felicitated on the occasion

The rhythm was perfectly in sync with the mood that enveloped the precincts of Ghantasala Venkateswara Rao Government College of Music and Dance on Monday evening.

The impact of the mellifluous renditions by renowned performers was deep and emotional. Paying glowing tributes to some of the celebrated ‘vaggeyakaras’ (composers of Carnatic classical music), The Hindu Friday Review in association with Manyam’s Property and Wealth Management Systems Limited and Swara Jhari, a cultural organisation, doled out a musical-packed evening on the occasion of World Music Day. Rightly called ‘Yendaro Mahanubhavulu’, the show was a fitting homage to the music composers who left behind a treasure of ‘keerthanalu’ and ‘padaalu’ for generations to come.


The occasion was also appropriate to felicitate violin maestro K.V. Reddy. The former lecturer in the Government Music College said he was happy to be associated with a function organised by a newspaper that had a glorious past. “The Hindu Friday Review is my favourite. Besides politics and other general news, The Hindu gives much importance to cultural activities, which is a very healthy sign,” he said.

Leading the troupe that churned out selected renditions and had the listeners asking for more was Modumudi Sudhakar, a renowned musician, who has to his credit over 5,000 concerts performed across the country. A music producer in the All India Radio, Vijayawada, for the last two decades, Mr. Sudhakar sang ‘krithis’ with the meaning and musical beauty that perfectly matched with his mature expression.

PROUD MOMENT: Violinist K.V. Reddy responds to felicitation at a programme in the city on Monday. Swara Jhari president T.S. Ramachandra Rao (left) and Manyam group chairman M. Subramanyam are also seen. Photo: Ch. Vijaya Bhaskar

PROUD MOMENT: Violinist K.V. Reddy responds to felicitation at a programme in the city on Monday. Swara Jhari president T.S. Ramachandra Rao (left) and Manyam group chairman M. Subramanyam are also seen. (Photo: Ch. Vijaya Bhaskar - The Hindu)

Whether it was Annamayya’s ‘Yenthamaatramuna yevaru talachina…” Jayadeva’s ‘Nijagadasa yadunandane…” or Kshetrayya’s ‘Aligithe vaadaligithe…”, the renditions served as a spiritual sojourn that helped the listeners connect to their inner self. The vocalists rendered in all 13 compositions that had the audience glued to their seats.

Chairman of the Manyam Property and Wealth Management Systems Limited K.S. Subramanyam and The Hindu Regional General Manager K. Chandrasekaran spoke. Senior journalist C. Raghavachari and others were present.

(Source: 06/22/2010 – The Hindu)


Thématique 2010

« Musique au féminin » est le thème retenu pour la 29ème édition de la Fête de la Musique.

De la muse inspiratrice jusqu’aux héroïnes du répertoire lyrique et à leurs mythiques interprètes, sans oublier les grandes voix du jazz, les rockeuses et la jeune génération de la chanson française, mais aussi la nourrice et ses berceuses, le personnage de la chanteuse réaliste ou de la chanteuse des rues et leur répertoire entré au patrimoine… la « musique au féminin » suggère d’emblée une infinité de variations mais évoque aussi le chemin parcouru pour que les femmes, souvent « interdites » de musique, aient pu y conquérir leur place. Qu’elles soient compositeurs, chefs d’orchestre, instrumentistes ou DJ, beaucoup d’entre elles, par leur talent et leur volonté, peuvent en témoigner aujourd’hui.

C’est leur créativité, leurs combats, la vérité profonde de leurs répertoires qui seront mis à l’honneur le lundi 21 juin 2010.

(Source: Official Website – La Fête de la Musique)

Qawalli Reportage (Express Tribune – Pakistan)

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Moderation Script (06/2010): NYASA – Silence in Ragas (Raga CDs of the Months)

Posted by ElJay Arem (IMC OnAir) on June 15, 2010


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Raga CDs of the months (06/10): Nyasa – the silence in Ragas.

Posted by ElJay Arem (IMC OnAir) on June 8, 2010

For the Ragas of our time there exist a variety of combinations. The ascending and descending scales (arohana and avaroha) can exist of 5, 6 or 7 main notes (oudava, shadava or sampoorna).

In the Natya Sastra , which is the fundamental work by the sage Bharata Muni with more than 6000 Sutras defining the notation of the Raga modi which can be understood as the origin of the melodic structure of modern Ragas, the so called Jati-s. In all India the Jatis had been popular particularly for the singing.

The Natya Sastra classified the Jati-s in 18 groups, seven (7) as pure forms, from which 146 modified ragas can be defined… and eleven (11) hybrid forms with a multiplicity of variations.

date of broadcasting…
15th June 2010 – 09:00 p.m. (MESTZ)
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Almost at the same time the musical scripture “Dattilam” written by the (Muni) Dattila followed the Natya Sastra. It is dates approximately between the 4th century BC and 2nd century AC. The Dattilam described the Jati-s more exactly each with ten (10) characters from those the melodic structure of the contemporary ragas of North Indian Classics had developed.

For the ancient ragas the weighting of a note (swara) was described with the term Amsa. Amsa is in its function multivarious. Among others it is the note, with which the complete character of a raga is described, e.g. in form of a stabalizing element as Nyasa Swara.

In the arrangement of a raga which is subjected to a strict set of rules each phrasing has a starting point: with Graha the position of a note is described, more exactly: the note, with which a Raga exposition must be begin. Graha is the initial note and Nyasa the conclusion. The instrumentalist or vocalist returns at the end of a melodic phrasing to Nyasa as “melodic center” and “quiescent pole”.

Posted in ENG (English) | 1 Comment »

Raga CDs des Monats (06/10): Nyasa – die Stille der Ragas.

Posted by ElJay Arem (IMC OnAir) on June 8, 2010

Für die Ragas unserer Zeit gibt es unterschiedlichste Kombinationen von aufsteigenden und absteigenden Skalen: arohana und avaroha. Sie können aus 5, 6 oder 7 Hauptnoten (oudava, shadava o. sampoorna) bestehen.

Im Natya-Sastra, dem Grundlagenwerk des Weisen Bharata Muni mit mehr als 6000 Sutren wurde eine Notation für die Ragamodi definiert, die man als Ursprung der melodie-ähnlichen Struktur moderner Ragas verstehen kann, die s.g. Jati-s. Sie waren in ganz Indien besonders für den Gesang beliebt.

Das Natya-Sastra fasste die Jati-s in 18 Gruppen, sieben (7) reine Formen, aus denen man 146 modifzierte Ragas gestalten konnte… und elf (11) Hybridformen mit einer Vielzahl von Variationen.

15. Juni 2010 21:00 Uhr (MESTZ)
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Dem Natya-Sastra folgte nahezu zeitgleich die musikalische Schrift Dattilam des Weisen Muni Dattila. Die Entstehung des Dattilams datiert man ungefähr auf das 4. vor bis 2. Jahrhundert nach Christi Geburt. Im Dattilam wurden die Jati-s mit jeweils zehn (10) Charakteren genauer beschrieben, aus denen sich die melodische Struktur der zeitgenössischen Ragas der nordindischen Klassik entwickelte.

Die Gewichtung einer Note, einer Swara, wurde für die antiken Ragas mit dem Begriff Amsa umschrieben. Amsa ist in seiner Funktion vielfältig, u.a. ist es die Note, mit der der gesamtheitliche Charakter eines Ragas beschrieben wird, z.B. in Form eines Ruhepols, als Nyasa Swara.

In der Ausgestaltung eines Ragas, die einem strengen Regelwerk unterworfen ist, hat jede Phrasierung einen Ausgangpunkt: Graha ist die Anfangsnote und Nyasa der Abschluss. Mit Graha wird die Position einer Note beschrieben, genauer: die Note, mit der eine Ragaexposition begonnen werden muss. Der Instrumentalist oder Sänger kehrt am Ende einer melodischen Phrasierung zu Nyasa als “melodisches Zentrum” und “Ruhepol” zurück.

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