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Archive for December 19th, 2011

Moderation Script (12/18/2011): 726 years of Celestial Music (Raga CDs of the Months)

Posted by ElJay Arem (IMC OnAir) on December 19, 2011


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CH – Raga CDs of the Months (12/12): Ragas in Indian Monsoon (Rainy Season Ragas)

Posted by ElJay Arem (IMC OnAir) on December 19, 2011

In our regular shows “Raga CDs of the Months” you can listen easily to some new examples of original Indian Classical Music interprated by renowned music maestros out of India. This radio show focuses onto Indian Monsoon Ragas, e.g. the rainy season ragas Megh, Megh Malhar, Miyan ki Malhar and Gaud Malhar , played on the Mohan Veena (Indian Slide guitar), the Sarode and by vocals.

Ragas in Indian Monsoon
M e g h – M a l h a r

Indian Ragas are played at certain times (day/night) or seasons (Ritu). The Ragas of the seasons and Monsoon (beginning of July till October) can be played at every day and night time.

date of broadcasting…
26th December 2011 – 10:00-11:00 p.m. CET (04:00 EST) @ Radio RaSA (CH)
(premiere: 2nd Oct 2007 (09:00 pm CET) @ Tide Radio)
broadcasting plan | streaming (Internet Radio & Mobile Radio) | podCast

 In Hindustani music, the North Indian classical style, the strongest expression of Raga compositions appears to the rain season. The range of the emotional expression from “majestic” (veer Rasa), “pathetic” (Karuna), joyful (Sringar) to “in isolation imprisoned” (Viraha-Sringar).

central Kolkata (India) after a monsoon rainsouth-west monsoon rain in Kerala - IndiaIndian Ocean Monsoon clouds over Howrah Bridge - KolkataMonsoon clouds over Lucknow - IndiaMonsoon in the Vindhya mountain range, central India

Indian Monsoon @ Wikipedia

In India the rain season (Megha – Barkha Ritu) lies between hot summer season (Bhairavi) and autumn (Pancham). With Monsoon time (Varsha Ritu) the post Monsoon (Sharad Ritu = autumn) is connected. Sharad Ritu begins at the full moon time in October (in 2007 on 10/10/).

The deep doing solidarity of the Indian population with nature is particularly expressed by the Monsoon ragas which can cover/express the whole nuances and shades of human emotions. – It’s characteristic for Indian culture to be inspired from the nature world does nature on it’s own reflect the Divine.

Indians associate the Monsoon with heavy, dark clouds, hoists (strong winds), rain, flash lightning and the ‘get together’ of lovers on thunderstorm evenings, a frequent motive in Bollywood scores. Particularly the characteristics of Monsoon is awarded for let be the loving most romantically.

In the time of post Monsoon – Sharad Ritu – dominate hunting melodies and singing with themes of cloud-imposed moons, cool nights, Krishna, loving and be-loved ones.

The term Malhar (Mallar or Malaar) is co-relating with the season of the rain. Malhar means “that one, which washes away the dirt”. For Indian Monsoon preferentially Raga s from the Malhar group are performed.

The Raga Malhar expresses the joy of the bloom time. It is a peacefully and refreshing Raga, with a seven (7) note scale, a complete Raga. Outside of the rain time the Malhar Ragas can be sung & played at the late evening hour or in early morning.

Over centuries Raga Megh was the main raga of the Malhar family. Later (and until today) Megh has been replaced of Raga Miyan ki Malhar.

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SHASHANK SUBRAMANYAM: Quality standards for the arts? (The Hindu)

Posted by ElJay Arem (IMC OnAir) on December 19, 2011

(re-print from The Hindu)
Audiences deserve a formal mechanism to grade artistes. Photo: V. Ganesan

Audiences deserve a formal mechanism to grade artistes. Photo: V. Ganesan

I often come across a lot of enthusiastic parents and children seeking my advice on various aspects of their musical journey. For a long time I have wanted to jot down my experiences as a student and performer since my childhood.

Unlike other professions such as Engineering, Medicine and so forth, the demand for south Indian music has been disappointingly low. It is a matter of concern that even highly talented musicians need to solicit opportunities from concert presenters. This trend has not changed in the last three decades. The reason is not so much the artiste or the concert organisers, but the limited number of people who patronise the art. Classical music is predominantly supported by a few communities and there are too few members belonging to these communities. Even these numbers are dwindling by the year.

Against this background, it takes much courage and determination on the part of the parents to encourage their children to pursue music as a profession. Many issues haunt them and students — right from the point of acquiring skills to finding a deserving place for their hard earned musical assets. Thanks to the intense shortage of performance slots and financially viable platforms, nepotism, favouritism, corruption and other unfair practices creep into the system.

A time has come when everyone involved in the system needs to wake up to the realities and reassure those who embark into this very uncertain and risky career.

Dance and music, once entirely patronised by temples and kings, evolved into professions with the creation of “sabhas” or music organisations. Those who loved the arts contributed money to enjoy these art forms.

It is now over a 100 years and perhaps time to review the working pattern of this system in relation to the democratic and constitutional status of many other professions administered by the State and Central governments.

I must mention at this point, the practices followed by most Western countries and other advanced nations.

A need for unions

Governments of developed countries have encouraged performers and composers from all art forms to form unions and set down rules and conditions for the conduct of performances. There is an urgent need in India for the formation of such artiste bodies so that every organisation is bound by rules and brings in absolute accountability and transparency in the conduct of professional events.

At present, the whole environment is rather chaotic, random and guided by no particular rule. Seldom have artistes agreed to come together to form unions and to conform to a degree of professionalism in India. If we could follow the west in such aspects related to the music field, it would project a just, clean and professional image of the arts and help eliminate exploitation to ensure a respectful livelihood for every artiste.

Art of any kind is a product of hard work even when it is a gift at birth. The generations to come, and particularly, the parents who support their children for extensive training, certainly deserve such a change. It would also prevent the rapid rise in the number of organisations which cannot boast of the minimum infrastructure necessary to conduct performances.

Merit be the winner

Mediocre talent is often promoted, unfairly at times, in the name of musical lineage, or because of ‘connections’. It isn’t uncommon to witness poorly-equipped musicians lacking a basic understanding of pitch and rhythm, patronised beyond what they deserve, while truly talented performers from other geographical locations have been ignored.

The numbers attending a performance is not quite indicative of the quality of the artiste. An ideal situation would be to have institutions or bodies that could evaluate performances with absolute sincerity and promote artistes in proportion to their talents.

In this context, we need to draw examples from the practices in the West wherein records and performances are evaluated and published in reputed magazines dedicated to various genres of music such as Rock, Pop, Folk, Country, Jazz and World. It is noteworthy that people attend performances of artistes and buy records of those whose works have been reviewed in such trend-setting magazines.

It is my dream to witness people from various communities and walks of life starting to appreciate this great form of art, making way for increasing the number of opportunities for aspiring artistes and thereby reducing the scope for unfair practices that exist now.

One may wonder why the number of specialised musicians is on the decline. The reason is not the paucity of talent in a given society.

The reasons are more to do with the limited venues, unscientific teaching methods, lack of financial support and consequent manipulation of the field by those at the helm of affairs. Moreover, the ready availability of enormous sponsorship funds has resulted in the mushrooming of organisations where many a time, the prime intention is anything but the propagation of good music.

It is time that the funding agencies did some introspection to ensure whether generously donated funds are reaching the deserving musicians.

The need of the hour is to establish organisations that can monitor and evaluate artistes and performances genuinely, and provide some sort of benchmark for sponsors and concert promoters to implement. This is bound to infuse confidence in parents and children wanting to pursue music professionally akin to other fields where possibilities of a dignified survival is assured.

All our efforts should be channelised towards making this sacred art form, and the industry, more transparent, fair to everyone and a scenario where organisers and artistes coexist with dignity, equality and mutual respect.

(The writer is a well known Carnatic flautist @ Facebook | official website)

(Source: December 19, 2011 | The Hindu – ARTS » MUSIC)

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CH – Raga CDs des Monats (12/12): Monsoonragas…

Posted by ElJay Arem (IMC OnAir) on December 19, 2011

Mit der Sendung am 2. Weihnachtsfeiertag gibt’s zum Thema “indischer Monsoon (Juli-Anfang Okt.)” die Regenragas Megh, Megh Malhar, Miyan Ki Malhar und Gaud Malhar auf der Mohan-Veena (indische Slide-Gitarre), der Sarod und im Gesang. Wie in all unseren Sendungen Raga CDs des Monats“ hören Sie Beispiele original indisch-klassischer Musik, gespielt von renommierten Musikmeistern Indiens. 

Ragas im indischen Monsoon
Megh – Malhar

Indischen Ragas werde zu bestimmten Tages- oder Jahreszeiten (Ritu) gespielt. Die Ragas der Jahreszeiten und des Monsoons können zu jeder Tages- und Nachtzeit gespielt werden.


26. Dez. 2011 – 22:00-23:00 CET (04:00 pm EST) @ Radio RaSA (CH)
(Premiere: 2. Oktober 2007 – 21:00 CET @ Tide Radio)
broadcasting plan | streaming (Internet Radio & Mobile Radio) | podCast

In der Hindustani-Musik, der nordindischen Klassik, finden sich die ausdrucksstärksten Ragakompositionen zur Regensaison wieder. Die Bandbreite des emotionalen Ausdrucks reicht von „majestätisch“ (veer rasa), pathetisch (karuna), freudvoll (Sringar), bis zu „in Einsamkeit gefangen“ (viraha – sringar).

Monsoon in the Vindhya mountain range, central IndiaMonsoon clouds over Lucknow - IndiaIndian Ocean Monsoon clouds over Howrah Bridge - Kolkatasouth-west monsoon rain in Kerala - Indiacentral Kolkata (India) after a monsoon rain
M o n s o o n @ Wikipedia

In Indien liegt die Regenzeit (Megha – Barkha Ritu) zwischen der heissen Sommersaison (Bhairavi) und dem eigentlichen Herbst (Pancham). Der Monsoonzeit (Varsha Ritu) folgt der Post-Monsoon (Sharad Ritu = Herbst). Sharad Ritu beginnt zur Vollmondzeit im Oktober (in 2007 am 10.10.).

Die tiefe Verbundenheit der indischen Bevölkerung mit der Natur drück sich besonders in den Monsoonragas aus, mit der sich Stimmungen und Emotionen des Menschen ausdrücken lassen. – Es ist kennzeichnend für die indische Kultur, sich zutiefst aus der Naturwelt inspirieren zu lassen, spiegelt die Natur selbst das Göttliche wieder.

Die Inder assoziieren den Monsoon mit schweren, dunklen Wolken, Winden, Regen, Blitzen, dem Treffen von Liebenden an Gewitterabenden, ein häufiges Motiv in Bollywoodfilmen. Man spricht dem Monsoon besonders die Eigenschaft zu, in der die Liebenden am Romantischsten sind.

In der post-monsoonen Zeit Sharad Ritu dominieren Jagdmelodien und Gesänge überwolkenverhangene Monde, kühle Nächte, Krishna, Liebende und Geliebte.

Der Begriff Malhar (Mallar oder Malaar) steht in Verbindung mit der Jahreszeit des Regens (rainy season). Malhar bedeutet in seinem Wortstamm „jenes, das den Schmutz wegwäscht“ (that which washes away the dirt). Zum indischen Monsoon werden daher bevorzugt Raga-s aus der Malhargruppe gespielt.

Der Raga Malhar drückt die Freude der Blütezeit aus. Er ist ein friedvoller und kühlender Raga, mit einer 7-stufigen Skala, ein vollständiger Raga. Ausserhalb der Regenzeit können die Malhar-Ragas zur späten Abendstunde oder dem frühen Morgen gesungen und gespielt werden.

Viele Jahrhunderte lang war Raga Megh der Hauptrage der Malhar-Familie. Er wurde später (und bis heute) abgelöst von Raga Miyan Ki Malhar.

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