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Archive for April, 2012

short documentary: upcoming music scenario in Delhi…

Posted by ElJay Arem (IMC OnAir) on April 28, 2012

A short documentary on the upcoming music scenario in Delhi. How art and technology are constantly competing with each other with every passing day. The musicians here speak about art,music,technology and the digital culture. Officially releases in mid june. An initiative by Lights on films, New Delhi.


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26th April: World Intellectual Property (WIP) Day 2012

Posted by ElJay Arem (IMC OnAir) on April 26, 2012

Every year on April 26, World Intellectual Property Day celebrates innovation and creativity and how intellectual property fosters and encourages them.

How World IP Day began

To increase general understanding of what IP really means, WIPO member states chose April 26 – the day on which the WIPO Convention came into force in 1970 – as World IP Day.

Since then, IP Day offers an exciting chance each year to join with others around the globe, to highlight, discuss and demonstrate how the IP system contributes to the flourishing of music and the arts and to driving the technological innovation that helps shape our world.

WIP Day 2012…

In 2012 the World Intellectual Property Day focuses on Visionary Innovators – individuals whose ingenuity and artistry have broken molds, opened new horizons and made a lasting impact.

Behind every great innovation, either artistic or technological, is a human story – a tale in which new pathways open as a result of the curiosity, insight or determination of individuals.

The Wright Brothers’ boyhood fascination with flight leads to a flying machine and travel by air. Louis Pasteur’s inquisitive mind advances the science of disease prevention. Tu Youyou’s dogged analysis of herbal remedies results in a malaria treatment that saves millions of lives. Steve Jobs’ ambition to make digital technology simple and accessible to everyone gives rise to personal computing and – three decades on – a new paradigm for the delivery of entertainment.

The list of visionary innovators is long. It is a catalogue of human ingenuity and creativity. It includes the many artists, writers and musicians who changed the way we see and hear things: Rembrandt and Turner, Picasso and Kandinski, each reshaping our perceptions of light, shape and form; Chekhov and Tagore, Neruda and Mafouz, their writing giving new insights into the human experience; Charlie Parker and Miles Davis, Hendrix and Rostropovich – musicians who challenge the status-quo, and endure.

What you can do

Organize an event or activity for World IP Day

Download the official Visionary Innovators poster (28 MB PDF)

Browse IP Day activities, posters and photos on the world map (Google Maps)

Check in the archive the themes from previous years

visit WIPO @ Facebook

(Source: 04/2012 – WIPO (World Intellectual Property Organisation))

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CH – Raga CDs of the months (04/12): RAGAMALIKAS… Compositions in South Indian Classics

Posted by ElJay Arem (IMC OnAir) on April 22, 2012

Ragamalika means “Garland of Ragas” in it’s literary sense. It is a very popular composition form of South Indian Classics, the Carnatic music. The music system of Indian Classics exhibits thousands of raga scales and hundreds of rhythm circles, the tala-s. Many composers of the Indian classical period were concerned with this broad field and a created a multiplicity of so called ragamalika compositions.

The ragamalika-s are delightful compositions. A ragamalika consists of different raga-s; gentle and melodious flow of the music, from one raga to the next. The selection of the raga-s and their arrangement in a ragamalika composition are based simply on aesthetic considerations.

date of broadcasting…

23rd April 2012 – 10:00-10:58 p.m. MESTZ (04:00 p.m. EST) @ Radio RaSA (CH)
(premiere: 1st July 2008 – 09:00 pm MESTZ @ Tide Radio)
InternetStream (Internet Radio & Mobile Radio) | PodCast | Dates of Broadcasting

Muthuswami Dikshitar (1776 - 1834)

Muthuswami Dikshitar (1776 - 1834)

In the Middle Ages of India the musical form of the ragamalika-s was well-known as Raga Kadambakam. Kadamba is a garland, twisted from different flowers.

Ragamalika Chakravarti ! – The King of the Ragamalika. – So Ramaswami Dikshitarcould be called. This Indian composer lived from 1735 till 1817. R. Dikshitar made history as a proven expert in the composition of the longest Ragamalika-s. His texts (lyrics) of all his Ragamalika-s are in Telegu, the third biggest dravidic language of India, beside Hindi and Bengali.

The number of Ragas, which are used in an individual composition, can vary from two to 72. The longest composition consists of 108 Ragas, it’s the “Ashtottara Shata Raga Tala malika” of Muthuswami Dikshitar (1776-1834), son of Ramswami Dikshitar and member of the musical trinity of the South Indian Classsics (beside Tyagaraja and Syama Sastra).

Ramaswami Dikshitar’s ragamalika-s (selection)

  • The ragamalika `Samajagamana ninnu korinadira‘ consists of 20 ragas, in the rhythm structure “Ad(h)i Tala” (8 beats). It is dedicated to King Amarasimhan, who was a Marahtta regent of Tanjavur.
  • The ragamalika ‘Manasa Verutarula‘ consists of a set of 48 ragas, 8 beats (Ad(h)i Tala). It is dedicated to Lord Venkateswara, a shape form of the Hindu Goddess Vishnu. Venkateswara is the destroyer of the human sins.

Prasanna (electric guitar) performs 14 raga ragamalika kriti (part 1)



Prasanna (electric guitar) performs 14 raga ragamalika kriti (part 2)

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CH – Raga CDs des Monats (04/12): RAGAMALIKA… Kompositionen in der südindischen Klassik

Posted by ElJay Arem (IMC OnAir) on April 22, 2012

Ragamalika bedeutet im literarischen Sinne „Girlande von Ragas“. Es ist eine sehr populäre Kompositionsform der südindischen Musik, der karnatischen Musik.

Die Ragamalikas sind reizvolle Kompositionen, deren Teile sich aus verschiedenen Ragas zusammensetzen; ein sanftes und melodiöses Fliessen der Musik, von einem Raga zum nächsten. Die Auswahl der Ragas und ihre Anordnung in einer Ragamalika-Komposition, basiert einzig und allein auf ästhetischen Überlegungen.

Sendetermine…

23. April 2012 – 22:00-22:58 Uhr MESTZ (04:00 p.m. EST) @ Radio RaSA (CH)
(Premiere: 1. Juli 2008 – 21:00 Uhr @ Radio Tide)
InternetStream (Internet Radio & Mobile Radio) | PodCasting | Sendetermine

Im Mittelalter Indiens war die musikalische Form der Ragamalikas als Raga Kadambakam bekannt. Kadamba ist eine Girlande, geflochten aus verschiedenen Blumen.

Muthuswami Dikshitar (1776 - 1834)

Muthuswami Dikshitar (1776 - 1834)

Das System der karnatischen Musik weist tausende von Ragaskalen und hunderte von Rhythmikzirkel, den Tala-s auf. Viele Komponisten der indischen Klassik haben sich mit diesem weiten Feld befasst und eine Vielzahl von s.g. Ragamalikakompositionen geschaffen.

Der König der Ragamalika: „Ragamalika Chakravarti“ ! – So könnte Ramaswami Dikshitar genannt werden. Dieser indische Komponist lebte von 1735 bis 1817. R. Dikshitar geht in die Geschichte ein als ein ausgewiesener Könner in der Komposition der längsten Ragamalikas. Die Texte all seiner Ragamalikas verfasste er in Telegu, die drittgrösste dravidischen Sprache Indiens nach Hindi und Bengali.

Die Anzahl der Ragas, die in einem einzelnen Stück verwendet werden, kann von zwei bis 72, variieren. Die längste Komposition, die “Ashtottara Shata Raga-Tala malika“ von Muthuswami Dikshitar (1776-1834), Sohn von Ramswami Dikshitar und Mitglied des musikalischen Dreigestirns der südindischen Klasssik (neben Tyagaraja und Syama Sastra), besteht aus 108 Ragas.

Werke von Ramaswami Dikshitar (Auswahl)

  • Die Ragamalika ‘Samajagamana ninnu korinadira’ setzt sich aus 20 Ragas zusammen,
    in der Rhythmus-Struktur “Ad(h)i Tala” (8 Schläge). Sie ist dem König Amarasimhan gewidmet.
    Er war Marahtta-Regent von Tanjavur.
  • Die Ragamalika ‘Manasa Verutarula’ besteht aus einem Set von 48 Ragas, in einem
    8er-Beat (Ad(h)i Tala). Sie ist gewidmet Lord Venkateswara, eine Gestaltform des
    Hindugottes Vishnu. Venkateswara ist der Zerstörer der menschlichen Sünden.

Prasanna (electric guitar) performs 14 raga ragamalika kriti (part 1)



Prasanna (electric guitar) performs 14 raga ragamalika kriti (part 2)

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21st April 2012: World Record Store Day (WRSD)… Vinyl, Vinyl, Vinyl…

Posted by ElJay Arem (IMC OnAir) on April 21, 2012

The original idea for Record Store Day was conceived by Chris Brown, and was founded in 2007 by Eric Levin, Michael Kurtz, Carrie Colliton, Amy Dorfman, Don Van Cleave and Brian Poehner as a celebration of the unique culture surrounding over 700 independently owned record stores in the USA, and hundreds of similar stores internationally.

This is the one day that all of the independently owned record stores come together with artists to celebrate the art of music. Special vinyl and CD releases and various promotional products are made exclusively for the day and hundreds of artists in the United States and in various countries across the globe make special appearances and performances. Festivities include performances, cook-outs, body painting, meet & greets with artists, parades, djs spinning records and on and on.

Metallica officially kicked off Record Store Day at Rasputin Music in San Francisco on April 19, 2008 and Record Store Day is now celebrated the third Saturday every April.

(Source: 04/2012 – recordstoreday.com)

One of the WRSD Ambassadors 2011…

World Record Store Day 2011 – Live session…

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A – Raga CDs des Monats (04/12): NAVA RASA-S… die Stimmungsbilder der indischen Ragas

Posted by ElJay Arem (IMC OnAir) on April 20, 2012

Dem Begriff „Rasa“ wird in den darstellenden Künsten Indiens eine herausragende, aber im Vergleich zum Westen verschiedentlich gelagerte Bedeutung zugesprochen. Dem Tänzer, Schauspieler, Instrumentalisten oder Sänger fällt die Aufgabe zu, im Publikum bestimmte Emotionen, die Rasa-s zu erwecken. Sie wurden bereits im Mittelalter von Bharata Muni im Natyasastra beschrieben, eine theoretische Abhandlung über die Dramaturgie. Zu den hierin acht ( 8 ) beschriebenen emotionalen Grundtypen kam später als 9ter emotionaler Ausdruck Shantham hinzu.

Sachindra Nath Jha)
Bildtitel: HAASYA RAAS (Künstler: Sachindra Nath Jha)
– Ausstellung „Rasa Lea“
| Romain Rolland Gallery – Alliance Francaise (New Delhi, August 2006) –

Bis heute bestimmt die ursprünglich in Sanskrit verfasste Theorie der Rasas das ästhetische Selbstverständnis aller Tanz-, Theater und Musikdarbietungen..

Sendetermine…
22.04.2012 – 23:00-23:58 Uhr CET (05:00 pm EST) @ Radio FRO (A)
(Premiere: 4. März 2008 – 21:00 Uhr @ Tide 96.0 FM)
broadcasting plan | streaming (Internet Radio & Mobile Radio) | podCast

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Den Ragas der nordindischen (Hindustani) und südindischen Klassik (Carnatic), den Ragams werden gleichfalls die neun Stimmungsbilder zugeordnet, wie Viram (heroisch), Vishmaya (Erstaunen), Karuna (Trauer), Jugupsa (Furcht), Shantam (friedvoll), Bibhatsam (Neid), Hasyam (Komik), Roudra (Wut) oder Sringaram (Liebe).

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A – Raga CDs of the Months (04/12): NAVA RASA-S… the Moods of Indian Ragas

Posted by ElJay Arem (IMC OnAir) on April 19, 2012

In Indian performing arts the term “Rasa” occasionally is awarded to an outstanding meaning, in comparison to the Western world very differently. To the dancer, actor, instrumentalist or vocalist is given the task to ariuse in the audience some determined emotions, the Rasa-s. In the Middle Ages Bharata Muni described in his Natyasastra – a theoretical study for dramaturgy – eight types of emotions, later were completed by the 9th expression Shantham.

HAASYA RAAS (Artist: Sachindra Nath Jha)
painting: HAASYA RAAS (artist: Sachindra Nath Jha)
– exhebition „Rasa Lea“
| Romain Rolland Gallery – Alliance Francaise (New Delhi, August 2006) –

Originally written in Sanskrit until today the theory of rasa-s determines the aesthetic self understanding for dance, theatre and music performances.

date of broadcasting…
22nd April 2012 – 11:00-11:58 p.m. CET (05:00 pm EST) @ Radio FRO (A)
(premiere: 4th March 2008 – 09:00 pm CET @ Tide 96.0 FM)
broadcasting plan | streaming (Internet Radio & Mobile Radio) | podCast

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The nine emotions conveying a special atmosphere are assigned to the Ragas of North Indian Classics (Hindustani) and the Ragams of South Indian music (Carnatic): Viram (heroism), Vishmaya (astonishment), Karuna (mourning), Jugupsa (fear), Shantam (peaceful), Bibhatsam (envy), Hasyam (comic, laughing), Roudra (anger) and Sringaram (love).

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Moderationsskript zu Raga CDs des Monats (03-04/12): Sikh Sangeet – Gurbani Kirtan (Die Hauptragas in der Sikhmusik)… Teil 1 u. 2

Posted by ElJay Arem (IMC OnAir) on April 15, 2012




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Moderation Script (04/2012): Sikh Sangeet – Gurbani Kirtan, part 2 of 2 (Raga CDs of the Months)

Posted by ElJay Arem (IMC OnAir) on April 15, 2012

part 2 of 2… (premiere on 15th April 2012)

part 1 of 2… (premiere on 18th March 2012)

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DE – Raga CDs of the Months (04/12): Sikh Sangeet – Gurbani Kirtan (The Major Raags in Sikh Music)… part 1/2 and 2/2

Posted by ElJay Arem (IMC OnAir) on April 13, 2012

Sikh Sangeet – Gurbani Kirtan (sub title: The Main Ragas in Sikh Music)

Guru Nanak Dev ji (1469 - 1539) - Quelle: www.sikh-history.com

Guru Nanak Dev ji (1469 - 1539) - Quelle: http://www.sikh-history.com

 The Hindustani music from North India and South Indian (Carnatic) music is essentially the story of the Hinduism and Moghul emperors. The ancient scripts of Hinduism are the Vedas and can be dated back until around 1200 B.C. (e.g. Rigveda). The Moghuls were represented in Northern India from 1526 to 1858, among them Akbar as the most meaingful. Akbar reigned from 1556-1605.

The Indian classical music has contributed significantly to justify the Sikhism. As the founder of the Sikh doctrine is Guru Nanak Dev (15 April 1469 – September 22, 1539 in Talwandi (now in Pakistan)) as the first of ten (10) gurus. They all lived in the period from 1469 to 1708 and have dominated the Sikhism in various ways. Nanak Dev, the first Guru started as early in the 15th century to teach as an itinerant preacher the basic principles of Sikhism on his travels. With the findings from the various religions, who met him, from Hinduism, Jainism, Islam to Sufism Guru Nanak Dev put an independent doctrine of the unity of God, or rather of the divine..

dates of re-broadcasting (short version – 2x 58 minutes) …
part 2: 21st May 2012 – 05:00-06:00 p.m. EST (23:00-23:58 p.m. CET) @ Tide Radio (Hamburg)
part 1: 16th April 2012 – 05:00-06:00 p.m. EST (23:00-23:58 p.m. CET) @ Tide Radio (Hamburg)
broadcasting plan | streaming (Internet Radio & Mobile Radio) | podCast 

dates of premiere broadcasting (long version – 2x 116 minutes) …
part 2: 15th April 2012 – 09:00-11:00 a.m. EST (03:00-05:00 p.m. CET) @ radio multicult.fm (Berlin)
part 1: 23rd March 2012 – 03:00-05:00 p.m. EST (09:00-11:00 p.m. CET) @ radio multicult.fm (Berlin)

broadcasting plan | streaming (Internet Radio & Mobile Radio) | podCast

The teaching of Sikhism is a monotheistic. Guru Dev Nanank did not speak of a God, not as a personification of the divine rather than the unknown, indeterminable, formless … omnipresent, in the spiritual sense.

In 1678 the individual writings were summed up by the 10th teacher Guru Gobind Singh, – on the basis of the Adi Granth – as the final version of Guru Granth Sahib. In the holy book of Sikhism there are a total of 1430 pages (Ang) and a plurality of Shabads (hymns). There are texts that are assigned to a specific Raga form (see table).
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31 Ragas in Guru Granth Sahib
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No. | Name of Raga | Order No. | Page Range | Page Count
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1  |  Asa |  4  | 347 to 489  | 142
 |  Bairari |  13  | 719 to 721  | 2
3  |  Basant |  25  | 1168 to 1197  | 29
4  |  Bhairon |  24  | 1125 to 1168  | 43
5  |  Bihagara |  7  | 537 to 557  | 20
6  |  Bilaval |  16  | 795 to 859  | 64
7  |  Devagandhari |  6  | 527 to 537  | 10
8  |  Dhanasari |  10  | 660 to 696  | 36
9  |  Gauri |  3  | 151 to 347  | 196
10 |  Gond |  17  | 859 to 876  | 17
11 |  Gujari |  5  | 489 to 527  | 38
12 |  Jaijaivanti |  31  | 1352 to 1353  | 1
13 |  Jaitshree |  11  | 696 to 711  | 15
14 |  Kalyan |  29  | 1319 to 1327  | 8
15 |  Kahnra |  28  | 1294 to 1319  | 25
16 |  Kedara |  23  | 1118 to 1125  | 7
17 |  Maajh |  2  | 94 to 151  | 57
18 |  Malhar |  27  | 1254 to 1294  | 40
19 |  Mali Gaura |  20 984 to 989  | 5
20 |  Maru |  21  | 989 to 1107  | 118
21 |  Nat Narayan |  19  | 975 to 984  | 9
22 |  Prabhati |  30  | 1327 to 1352  | 25
23 |  Ramkali |  18  | 876 to 975  | 99
24 |  Sarang |  26  | 1197 to 1254  | 57
25 |  Shree |  1  | 14 to 94  | 80
26 |  Sorath |  9  | 595 to 660  | 65
27 |  Suhi |  15  | 728 to 795  | 67
28 |  Tilang |  14  | 721 to 728  | 7
29 |  Todi |  12  | 711 to 719  | 8
30 |  Tukhari |  22  | 1107 to 1118  | 11
31 |  Vadahans |  8  | 557 to 595  | 38
—————————————————————————–

The poetry of the first 10 teachers were also complemented by the Indian wisdoms of Kabir (1440-1518) or of the poet and saint Namdev (1270-1350) and others.

Sikh pilgrim at the Golden Temple (Harmandir Sahib) in Amritsar, India

Sikh pilgrim at the Golden Temple (Harmandir Sahib) in Amritsar, India

The verses of the Guru Granth Sahib are written in their own language, in Gurmukhi. It is derived from Punjabi and Hindi and had been widespread in the Middle Ages in North India. The Gurmuki script has its origin in a variety of languages. Today it is the official written language of the Indian federal state Punjab. Gurmuki was standardized by the second Guru Angad Dev. The vocal Gurmukhi language consists of the Gurbani words. The text of the Guru Granth Sahib is therefore referred to as Gurbanigurbani. Gurbani is literally “the spoken word of the Master, the Guru,” which gives the student and pupil’s full attention. The Sanskrit word “guru” is more than just a teacher. For a Sikh it means teacher + spiritual leader at the same time.
Unlike in Hinduism in which one must be born, everyone can commit to Sikhism. Here we come across the idea of reincarnation. The caste system is rejected as in the Indian Constitution. Worldwide, the numbers of Sikhs are estimated to something less than 30 million. The majority live in northern India, in Punjab, the border area between India and Pakistan. After the Great Migration has begun in the 19th century, the larger Sikh diasporas developed in Canada, East Africa, the Middle East, England, Australia and New Zealand.

When you enter a Sikh temple, the Guru Granth Sahib Tront in the center. Since 1708 it is the official book of Sikhism, in unchanged form. After entering the temple, a Sikh bows symbolically n front of the holy book to honor the teachers (gurus). The Sikh religious services and celebrations are open to everyone, regardless of its origin or religion.

About Guru Nanak Dev…

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