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Archive for June, 2012

CH – Raga CDs of the Months (06/12): Microtones in Hindustani Sangeet – the Microtonal Structure of Indian Ragas.

Posted by ElJay Arem (IMC OnAir) on June 24, 2012

IMC OnAir – IMCRadio.Net of the promotion initiativeIMC – India meets Classic” presents for its radio show in June the topic “Microtones in Hindustani Sangeet – the microtonal Structure of Indian Ragas“.

The micro-tonal (interval) structure existed in the medieval Western music and in the age of Baroque till the 18th century – and disappeared after the mathematical discoveries in music by the Swiss physicist and mathematician Leonhard Euler (1707-1783). In 1739 Euler wrote his “tentamen novae theoriae musicae“.

The Indian classical music is connected closest with the term of “micro tones” for more than 2000 years. First Sanskrit text with designation of micro-tonal intervals is the Natya Sastra of Bharata Muni, dated 200 B.C. – 200 A.C..
Bharata describes a Raga not as scale, but as a “tonal colouring”, which affects the heart and human mind. The meaning of the notes is assigned by eight (8) defined emotions (expression of moods). “Santa” = peaceful was added later by AbhinavaGupta as the 9th emotion (rasa). We refer in addition to our broadcasting “Nava Rasa-s – the nine moods of Indian Raga-s”.

date of broadcasting…

 25th June 2012 – 04:00 pm EST (10:00 p.m. MEST) @ Radio RaSA (CH)
(premiere: 4th November 2008 – 09:00 pm CET @ Tide Radio)
InternetStream (Web & Mobile Radio) | PodCasting | broadcasting plan

The microtones have a relevant influence onto the development of Indian instruments for centuries. For the artistic arrangement of a raga in it’s modal form (see Jazz) consciously sound acoustic phenomena are used by consonances and dissonances for offering the listener a referencial level, the tonica as basic tone (1st pitch) on which a raga scale in it’s ascending and descending form is developed. We lit up the sound characteristics of Indian music in our broadcasting “Indian Drones“.
Within a firmly given tonal framework of three (3) octaves the interpreter of a raga  – vocalist same as instrumentalist – arranges this modus (Jati) by a specific ornamentic, Alankar.

The alankars fulfill the structural and aesthetic requirements by two maintypes: Varnalankar – four (4) forms of the note arrangement and Shabdalankar, a classification of singing and playing techniques for the melodic and rhythmic arrangement. The Sangeet Ratnakar of Sharangdev and Ahobal’s Sangeet Parijat – musical treatises of the 13th and 17th century – designate 63 and 68 alankars. This high number of ornamental elements is symptomatic for the complexity of Indian Ragas.

An ascending or descending raga scale can consist of 5, 6 or 7 main notes within an octave. There are thousands of combinations of the ascending and descending scales.

The entire Raga grammar develops on the micro-tonal intervals. The Hindustani and Carnatic Sangeet are based on the concept of “Raga Sangeet“. – Sangeet means “singing together” or “singing with instrumental accompany“. Colloquially one may understand with the terms “Raga music – Raga Sangeet“, “classical music of Northern India” (Hindustani Sangeet) and “classical music of South India” (Carnatic Sangeet).

The main notes of the North Indian Ragas (Hindustani) correspond to the 72 Ragams of the Carnatic Sangeet. Since the 19th century the Ragams are defined in details with their derivatives in the so called Melakarta system. The North Indian Classics (Hindustani) is described inaccurately in the so called Thaat system, with 10 main raga-s (male) and their derivatives, the ragini-s (female).

For the conception of the micro-tonal structure we can orientate us in the Western music system which is named “equal temperament” with a series of equal steps (equal frequency ratios). Visible on the piano keyboard, the octave is divided into twelve half-tone steps, with seven (7) main and (5) half tone steps.
The seven (7) main notes, Sapta Swaras, we regain equally in the raga scales, the Moorchana-s. Five (5) of these seven main notes can be played up to twice increased and up to triple degraded, with exception of the fixed 1st (Sa) and 5th (Pa) pitch.

22 shruti-s in an octave (ascending scale: S (Shadja) – S’ (Tara Shadja))

Altogether 22 so called shruti-s, a kind of “natural scale” of micro-tonal structure with frequency steps smaller than the half-tone steps are still perceptibly and distinguishable for the human ear. Shruti means in Sanskrit: “that which is heard“.


In the November show we present examples on the Santoor, the Sitar and Sarangi, the Indian Fiddel, on the Sarode, the Indian flute Bansuri, the Harmonium and the violin and in the vocal style of Hindustani Khayal and Thumri (Indian Light Classics).

Special developments of micro-tonal structures as exist in the Dhrupad, the oldest vocal style in North Indian Classics IMC OnAir – IMCRadio.Net will treat in details by another broadcasting.

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The Tribune: India, EU to begin talks on free trade agreement (06/24/2012)

Posted by ElJay Arem (IMC OnAir) on June 24, 2012

by Ashok Tuteja (Tribune News Service)

(New Delhi, June 24) – Their is still a big question mark on whether the much-anticipated Free Trade Agreement (FTA) between India and the European Union (EU) will fructify this year. India and the EU will hold talks on Tuesday in Brussels to resolve differences over the pact that is expected to give a major boost to bilateral trade between the two sides.

Commerce and Industry Minister Anand Sharma will hold substantive discussions with EU Trade Commissioner Karel De Gucht to explore the possibility of signing the accord as early as possible, according to Joao Cravinho, EU Ambassador to India. The two sides would also review the progress made in the talks under way since 2007. The India-EU summit in February this year had set a deadline of the year-end for concluding the pact.

Asked if the accord could come through this year, Cravinho was quite evasive, saying ”both sides will need to make a trade off…I think it is within grasp.”

Indications are that Sharma and Gucht would deliberate on issues like opening of services sector, which still remain unresolved.

Cravinho expressed his disappointment over what he called New Delhi increasing protectionism by raising already high tariff on car import, erratic cotton exports policy and insisting on higher domestic content by foreign telecom manufacture in India.

“The EU is committed as a whole to trade liberalisation. However, there are some protectionist measures like the rising car tariffs in India, the country’s back and forth policy on cotton exports and the domestic content requirement in manufacturing of telecom equipment which need to be resolved,” he said.

As part of the bilateral investment and trade agreement, the EU has been pitching for opening up automobiles, wines and spirits as part of the free trade agreement that is being negotiated between India and EU. However, the two sides are yet to arrive at a consensus on these critical issues as Indian automobile industry feels that this would hurt the domestic manufacturers.

India has, traditionally, kept automobiles in the negative list under free trade agreements with other countries like Japan, Malaysia, Korea, ASEAN and Singapore. The EU, meanwhile, is reluctant to open up movement of professionals from India to the EU under Mode 4 to ensure job creation for its own people. Besides, the grouping has also been raising non-trade issues like human rights, child labour and environment during the ongoing negotiations for a broad based agreement.

According to Cravinho, the European Commission has also mandated that the objective of the negotiation should be to push for a single investor treaty with India, instead of several bilateral investor treaties that India currently has with some EU nations. The European Commission has already indicated to India that it was now looking at a single investor treaty.

“This was not part of the investment agreement when we started in 2007. However, the mandate for a single investor treaty has widened the investment negotiations,” he said, adding that though this will take several years before it comes into practice. This seems to be the fallout of the Indian government’s recent move to retrospectively tax overseas transactions involving Indian assets in the Vodafone tax case.

India and the EU have been negotiating the FTA for the past five years. It was initially expected to be concluded in 2011. But differences on the level of opening of the market have hampered the progress on the negotiations. However, the two partners are now working at concluding a deal by the end of 2012. The EU as an economic bloc is India’s largest trade partner.

The objectives

  • India and European Union will resume talks in Brussels on Free Trade Agreement (FTA) to resolve differences over the pact that is expected to give a major boost to bilateral trade between the two sides
  • The two sides will review the progress made in the negotiations under way since 2007
  • They will explore the possibility of signing the accord as early as possible
  • Will also deliberate on issues like opening of services sector, which still remain unresolved
  • The India-EU summit in February this year had set a deadline of the year-end for concluding the pact

Single investor treaty

The European Commission has also mandated that the objective of the negotiation should be to push for a single investor treaty with India instead of several bilateral investor treaties that India currently has with some EU nations. The Commission has already indicated to India that it was now looking at a single investor treaty.

(Source: 06/24/2012 – The Tribune | Tribune News Service)

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CH – Raga CDs des Monats (06/12): Mikrotöne im Hindustani Sangeet. – Die mikrotonale Struktur indischer Ragas.

Posted by ElJay Arem (IMC OnAir) on June 24, 2012

Die Förderinitiative “IMC – India meets Classic” präsentiert in seiner Junesendung das Thema “Mikrotöne im Hindustani Sangeet – die mikrotonale Struktur indischer Ragas“.

Die mikrotonale (Intervall-)Struktur war in der mittelalterlichen Musik des Westens und im Zeitalter des Barocks, bis in’s 18. Jahrhundert hinein präsent. – Und verschwand erst nach den mathematischen Entdeckungen in der Musik durch den Schweizer Physiker und Mathematiker Leonhard Euler (1707-1783). Im Jahre 1739 verfasste Euler das “Tentamen novae theoriae musicae“.

Die indisch klassische Musik ist mit dem Begriff “Mikrotöne” seit mehr als 2000 Jahren auf’s Engste verbunden. Der erste im Sanskrit verfasste Text mit Benennung von mikrotonalen Intervallen ist das Natya Sastra von Bharata Muni, datiert zwischen 200 Jahre vor und etwa 200 Jahre nach Christi Geburt.
Bharata beschreibt einen Raga nicht als Skala, sondern als “tonale Färbung”, die das Herz und den Verstand des Menschen berührt. Hier kommt die Bedeutung der Noten mit Zuweisung von 8 definierten Stimmungen zum Ausdruck. “Santa“, d.h. friedfertig wurde später von AbhinavaGupta hinzugefügt. Wir verweisen dazu auf unsere Sendung “Nava Rasa-s – die neun Stimmungsbilder der indischen Ragas“.


25. Juni 2012 – 22:00 Uhr MESTZ (04:00 pm EST) @ Radio RaSA (CH)
(Premiere: 4. November 2008 – 21:00 MESTZ @ Tide Radio)
InternetStream (Web & Mobile Radio) | PodCasting | broadcasting plan

Die Mikrotöne haben seit Jahrhunderten einen massgeblichen Einfluss auf die Entwicklung indischer Instrumente. Zur künstlerischen Ausgestaltung eines Ragas in seiner modalen Form (vgl. Jazz) werden bewusst klangakkustische Phänomene von Konsonanzen und Dissonanzen eingesetzt, um für den Zuhörer die Referenzebene, die Tonika als Grundton verständlich zu machen, auf die eine Ragaskala in ihrer aufsteigenden und absteigenden Form (Modus) aufbaut. Die Ursache für die Klangcharakteristik der indischen Musik haben wir in unserer Sendung “indische Dronen” ein wenig beleuchtet.
In einem fest vorgegebenen tonalen Rahmen – innerhalb eines Tonumfangs von drei (3) Oktaven – bewegt sich der Interpret eines Ragas, Vokalist oder Instrumentalist… und gestaltet diesen Modus (Jati) durch eine Ornamentik, Alankar.

Alankars erfüllen in zwei Ausprägungen die strukturellen und ästhetischen Anforderungen: Varnalankar – das sind vier (4) Formen des Notenarrangements und Shabdalankar, eine Klassifizierung von Gesangs- und Spieltechniken für die melodische und rhythmische Gestaltung. Das Sangeet Ratnakar von Sharangdev und Ahobal’s Sangeet Parijat – es sind musikalische Abhandlungen aus dem 13. und 17. Jahrhundert – benennen 63 bzw. 68 Alankars. Diese hohe Zahl ornamentischer Elemente ist sympthomatisch für die Komplexität indischer Ragas.

Eine aufsteigende oder absteigende Ragaskala kann innerhalb einer Oktave aus 5, 6 oder 7 Hauptnoten bestehen. Es gibt tausende von Kombinationen der aufsteigenden und absteigenden Skala.
Die Hauptnoten der nordindischen Ragas korrespondieren mit den Ragams des Carnatic Sangeet, den 72 Ragams der südindischen Klassik. Die Ragams sind mit ihren Ableitungen im Melakarta-System seit dem 19. Jahrhundert auf’s Genaueste definiert. Dagegen bildet sich die nordindische Klassik (Hindustani) nur ungenau in dem s.g. Thaat-Sytem ab, mit 10 Hauptraga-s (männl. Typus) und ihren Ableitungen, den Ragini-s (weibl. Typus).

Die gesamte Raga-Grammatik baut auf die mikrotonalen Intervalle auf. Dem Hindustani und Carnatic Sangeet liegt das Konzept von “Raga Sangeet” zugrunde. – Sangeet bedeutet “gemeinsam singen” oder “Gesang mit instrumentaler Begleitung”. Umgangssprachlich darf man mit diesem Termini “Ragamusik – Raga Sangeet”, und die “Musik der nordindischen und südindischen Klassik – Hindustani und Carnatic Sangeet” verstehen.

Für die Vorstellung der miktrotonalen Struktur können wir uns der westlichen Musik, der gleichstufigen, gleichtemperierten Stimmung bedienen. Wie es sich auf der Klaviertastatur abbildet, teilt man den Oktavraum in zwölf Halbton-Schritte ein, mit 7 Haupt- und 5 Halbtonschritten.
Die sieben (7) Hauptnoten, Sapta Swaras, finden wir gleichermassen in den Ragaskalen wieder, den Moorchana-s. Fünf (5) dieser sieben (7) Hauptnoten können bis zu 3x erniedrigt und 2x erhöht gespielt werden, mit Ausnahme der 1. (Sa) und 5. Stufe (Pa).

22 Shruti-s in einer Oktave (aufsteigende Skala: S (Shadja) – S’ (Tara Shadja))

Insgesamt ergeben sich 22 s.g. Shruti-s, eine “natürliche Skala” in einer mikrotonalen Struktur mit Frequenzabständen geringer als die uns bekannten Halbtonschritte, für das menschliche Ohr aber noch wahrnehmbar und unterscheidbar. Shruti bedeutet im Sanskrit: “das was man hört” (that which is heard).


In der Novembersendung hören Sie Beispiele auf dem Santoor, der Sitar und Sarangi, der indischen Fiddel, auf der Sarode, der indischen Flöte Bansuri, dem Harmonium und der Violine und in den indischen Gesangsstilen Khayal und Thumri.

Auf spezielle Ausprägungen mikrotonaler Strukturen wie im Dhrupadgesang, dem ältesten Gesangsstile in der indischen Klassik, wollen wir in einer eigenen Sendung näher eingehen.

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A – Raga CDs of the months (06/12): RAGAS & SAX… Indian Saxophonists

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

Out of the series “Ragas on Western Instruments” the promotion initiative IMC – India meets Classic presents in June 2012 @ Radio FRO (Linz, Austria) and worldwide as webradio the topic Ragas & Indian saxophone players.

In our shows of the past already two instruments of the West were presented, which have found a firm place in (South) Indian Classics: the Harmonium as accompaning instrument and the Violin. This bowed instrument is a component of each performance of the South Indian Classical music (Carnatic). The violin is established as solo main instrument in the North Indian Classical music (Hindustani).

Originally the saxophone was dedicated for symphonic orchestras. It was invented of the Belgian Adolphe Sax in the year 1840 and patented in France.

date of broadcasting…

24th June 2012 – 05:00 pm EST (11:00-11:58 p.m. CET) @ Radio FRO (A)
(premiere: 5th August 2008 – 09:00 pm CET @ Tide Radio 96.0 FM)
broadcasting plan | streaming (Internet Radio & Mobile Radio) | podCast

With the arising of Jazz music the triumphant advance of this instrument began in its most different remarks: as Alto, Tenor, Soprano, Baritone or Bass saxophone

With the implementation of African, Eastern and also Indian influences the Jazz Avantguardist John Coltrane expressed his spiritual attitude in his quartet.


IndoJazz as new genre was justified of the Indian composer John Mayer with the Quintett IndoJazzFusions in the 60’s (20th century). This formation considerably had a major influence onto the establishment of the saxophone in India.

f.l.t.r.: Dr. Kadri Gopalnath, Rudresh Mahanthappa, Prasant Radhakrishnan

Dr. Kadri Gopalnath.Rudresh Mahanthappa.Prasant Radhakrishnan

Particularly the concerts of Prasant Radhakrishnan in India with compositions in a slow tempo and a controlled demonstration of the ornaments of Indian Ragas (e.g. gamaka-s) have contributed that the image of the saxophone in India has changed as a loud and fast instrument, which is suitable at best to practise technical exercises.

The connection between Jazz and Indian Classical music, the interpretation of raga scales on an instrument which is typical for Jazz, lies in the modal structure. To cite the German music journalists and producer Joachim Ernst Berendt (1922-2000), internationally known as ‘Jazz Pope‘:

What all these musicians play – the Asian like the Western – differ of the traditional European music by the fact that it is ‘modal’. This means: it is not based on the constantly changing Accordgerists, which is dominating our occidental music, more it is set up on a scale, a ‘mode’ – finally on only one chord… Want to say: It is much more calmly, very less nervous…

[Book Source: “Die Welt ist Klang – Nada Brahma” (vollst.: Die Landschaft des Bewusstsein”), 1988 ]

Our listening examples: Indian Jazz musician Rudresh Mahanthappa (sax) together with Dr. Kadri Gopalnath (sax) in the Dakshina Ensemble, Dr. Kadri Gopalnath & Pravin Godkhindi (Bansuri – Indian bamboo flute), Prasant Radhakrishnan (sax), the Indian composer John Mayer (violin), John Coltrane (sax), Charlie Mariano (sax) & Indian singer/composer R.A. Ramamani (founder of JazzYatra).

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A – Raga CDs des Monats (06/12): RAGAS & SAX… indische Saxophonisten

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

Aus der Reihe “Ragas auf westlichen Instrumenten” praesentiert die Foerderinitiative IMC – India meets Classic die Sendung Ragas & indische Saxophonisten auf Radio FRO (Linz, Oberösterreich) und weltweit als Webradio.

In den zurueckliegenden Sendungen wurden bereits zwei Instrumente des Westens ausfuehrlicher vorgestellt, die in der (sued-)indischen Klassik einen festen Platz gefunden haben: das Harmonium als Begleitinstrument und die Violine. Dieses Streichinstrument ist Bestandteil jeder Performance der suedindischen Klassik (Carnatic); als Solo-/ Hauptinstrument hat es sich besonders in der nordindischen Klassik (Hindustani) etablieren koennen.

Das Saxophon war urspruenglich fuer den Einsatz in Sinfonieorchestern gedacht. Es wurde von dem Belgier Adolphe Sax im Jahre 1840 erfunden und in Frankreich patentiert.


24. Juni 2012 – 23:00 Uhr MEST (05:00 pm EST) @ Radio FRO (A)
(Premiere: 5. August 2008 – 21:00-21:58 Uhr MEST @ Tide Radio 96.0)
broadcasting plan | streaming (Internet Radio & Mobile Radio) | podCast

Mit dem Aufkommen des Jazz begann der eigentliche Siegeszug dieses Instrumentes in seinen unterschiedlichsten Ausfuehrungen: als Alt-, Tenor-, Sopran-, Bariton- oder gar Bass-Saxophon. Mit der Aufnahme von afrikanischen, orientalischen und auch indischen Einfluessen kommt die spirituelle Haltung des Jazz-Avantgardisten John Coltrane’s in seinem Quartett zum Ausdruck.


IndoJazz, von dem indischen Komponisten John Mayer mit dem Quintett IndoJazzFusions in den 60er Jahren (20. Jahrhundert) begruendet, hatte massgeblich auf die Etablierung des Saxophons in Indien Einfluss.

v.l.n.r.: Dr. Kadri Gopalnath, Rudresh Mahanthappa, Prasant Radhakrishnan

Dr. Kadri Gopalnath.Rudresh Mahanthappa.Prasant Radhakrishnan

Besonders die Konzerte von Prasant Radhakrishnan in Indien mit Kompositionen im langsamen Tempo u. einer kontrollierten Ausfuehrung der Ornamentik indischer Ragas (s.g. Gamaka-s) haben dazu beigetragen, dass sich das Image des Saxophon als ein lautes u. schnelles Instrument, das bestenfalls dazu geeignet ist, technische UEbungen zu absolvieren, veraendert hat.

Die Verbindung zwischen Jazz und indischer Klassik, die Interpretation von Ragaskalen auf einem fuer den Jazz typischen Instrument, liegt in der modalen Struktur. Dazu der deutschen Musikjournalisten und -produzenten Joachim Ernst Berendt, international als Jazzpapst bekannt:

Das, was all diese Musiker spielen – die asiatischen wie die westlichen – unterscheidet sich von der traditionellen europaeischen Musik dadurch, dass es “modal” ist. Das heisst, es basiert nicht auf den staendig wechselnden Akkordgeriisten, die unserer abendlaendischen Musik unterliegen, sondern auf einer Skala, einer “mode” – letztendlich auf einem einzigen Akkord – will sagen: Es ist sehr viel ruhiger, sehr viel weniger “nervoes”…

[ Quelle: Buch “Die Welt ist Klang – Nada Brahma” (vollst.: Die Landschaft des Bewusstsein”), 1988 ]


Unsere Hoerbeispiele: indischer Jazzmusiker Rudresh Mahanthappa (Sax), zusammen mit Dr. Kadri Gopalnath (Sax) im Dakshina Ensemble, Dr. Kadri Gopalnath & Pravin Godkhindi (Bansuri – indische Bambusfloete), Prasant Radhakrishnan (Sax), der indische Komponist John Mayer (Violine), John Coltrane (Sax), Charlie Mariano (Sax) & indische Saengerin / Komponisten R.A. Ramamani (Gruenderin von Jazz Yatra).

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DE – Raga CDs of the months (06/12): Raga Time Cycle – The Ayurvedic Princips…

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

On “World Music Day 2012” (Fete de la Musique) IMC OnAir presents in Berlin (and worldwide as webradio) its regular show “Raga CDs of the Month” with the topic: “Raga Time Cycle – Ayurvedic princips… The three doshas: Vata, Pitta + Kapha dominance“.

date of broadcasting…

21st June 2012 – 03:00 pm EST (09:00 pm METZ) @ radio (DE)
(premiere: 28th May 2007 / 7th August 2007 (09:00 pm) @ Tide 96. FM)
broadcasting plan | streaming (Internet Radio & Mobile Radio) | podCast

Raga Time Cycle - The Ayurvedic Princips

The word Ayur-Veda originates from Sanskrit, the old Indian language sciences. Ayurveda is translated in a modern understanding as “life science” (general common).

Ayurvedia pursued as empirical nature teaching and philosophy of human health, preventively, welfare-end and maintaining health care… and concentrates for it on all physical, menthal, emotional, spiritual and social aspects.

The characteristics of the Doshas (Vata, Kapha and Pitta) symbolize the physcial characteristics of the elements for our bodily functions. The princips of the three doshas cover the human as whole: body, senses, mind and soul.

As the element characteristics of food are favorable for harmony of the doshas, the environmental and social conditions can considerable contribute to the development of dosha dominances. Both seasons and prevailing weather conditions as well as day times let dominate one of the three doshas.

The Ayurvedic structure with it’s time cycle of 6×4 hours is similar to the Raga time cycle of 8×3 hours defined by the Indian musicologist V.N. Bhakthande…

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DE – Raga CDs des Monats (06/12): Raga Zeitzyklus im ayurvedischen Verstaendnis…

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

IMC OnAir praesentiert am “World Music Day 2012” (Fete de la musique) in Berlin (und weltweit als Webradio) das Thema „Raga CDs des Monats: Ragas und ihr Zeitzyklus im ayurvedischen Verstaendnis … Die 3 Doshas – Vata-, Pitta- & Kapha-Dominanz“.

Der Ayur-Veda. Das Wort Ayur-Veda stammt aus dem Sanskrit, der alten indischen Wissenschaftsprache. Ayurveda wird im heutigen Verstaendnis allgemeingebraeuchlich als Lebenswissenschaft Uebersetzt.

Ayurveda verfolgt als empirische Naturlehre und Philosphie die Gesunderhaltung des Menschen, praeventiv, heilend und pflegend… und konzentriert sich dafuer auf alle physischen, mentalen, emotionalen, spirituellen und sozialen Aspekte.

21. Juni 2012 – 21:00 Uhr METZ (03:00 pm EST) @ radio (DE)
(Premiere: 28. Mai / 7. August 2007 (21:00) @ Tide 96.0 FM)
broadcasting plan
| streaming (Internet Radio & Mobile Radio) | podCast

Die Eigenschaften der Doshas (Vata, Kapha und Pitta) symbolisieren fuer unsere Koerperfunktionen die physikalischen Eigenschaften der Elemente. Die Prinzipien der drei Doshas umfassen den ganzen Menschen: Koerper, Sinne, Verstand und Seele.

So wie die Elementeigenschaften von Lebensmittel fuer eine Harmonie der Doshas foerderlich sein koennen, tragen die Umgebungsbedingungen massgeblich zu der Auspraegung der Dosha-Dominanzen bei. Sowohl Jahreszeiten, vorherrschendes Wetter wie auch Tageszeiten, lassen eine der drei Doshas dominieren.

Raga Time Cycle - The Ayurvedic Princips

In unseren zurückliegenden Sendungen „Raga CDs des Monats” haben wir uns an dem Zeitzyklus von 8 x 3 Stunden des indischen Musikwissenschaftlers V. N. Bhakthande orientiert. Aehnlich strukturiert die ayurvedische Lehre einen Zeitzyklus von 6 x 4 Stunden.

Beginnend mit Vata, von 02:00 bis 06:00 Uhr, gefolgt von Kapha zwischen 06:00-10:00 Uhr und Pitta von 10:00 bis 14:00 Uhr. Ein Zyklus in gleicher Reihenfolge wiederholt sich von 14:00 Uhr bis 02:00 Uhr morgens.

Mit dem Hoerbeispiel von Raga Bhairavi, einem Fruehmorgenraga (Spielzeit zwischen 02:00 und 06:00 morgens), wird das Dosha Vata, das Bewegungsprinzip mit den Elementen Luft und Wind gestaerkt. Das ayurvedische Verstaendnis befUehrwortet ein Aufstehen vor 06:00 Uhr , um „Wachheit & Klarheit zu staerken. Raga Bhairavi befoerdert die Vata -Harmonisierung mit dem Stimmungsbild Frieden, Harmonie und Mitgefuehl. Das Vata -Dosha wiederholt sich fuer die Zeit von 14:00 bis 18:00 Uhr. Es ist die Zeit der „Kreativtaet & Kommunikation. DafUer eignet sich der Raga Bhimpalasi.

Der Morgenraga Raga Deshkar im Bilawal-Thaat steigert die Energien zur Morgenstunde, mit Raga Durga in der Abendzeit foerdert man zum Ausgleich der Kapha-Dominanz die Integration. Kapha bedeutet im ayurvedischen Verstaendnis die Zeit der Schwere und Traegheit, zwischen 06:00 Uhr und 10:00 Uhr morgens und von 18:00 bis 22:00 Uhr. Vor dem Zubettgehen empfielt sich daher leichtes Essen.

Zuletzt vervollstaendigt das dritte Dosha Pitta unseren Streifzug durch den ayurvedischen Zeitzyklus. Pitta, das ist die energievolle Zeit zwischen 10:00 und 14:00 Uhr, in der das Verdauungsfeuer am staerksten ist. Hier sollte die Hauptmalzeit des Tages eingenommen werden. Zwischen 22:00 Uhr und 02.00 Uhr morgens werden die Traeume verarbeitet. Raga Ahir Lalit foerdert zur Hochzeit des Tages die Freude. Raga Bageshwari verhilft zur Ruhe und Entspannung.

(Hinweis: Auf die Bedeutung der Rhythmik – Tala und des Tempos – Laya in der indischen Klassik gehen wir in einer gesonderten Sendung ein.)

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Fête de la Musique – The European & Worldwide Music Day 2012

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

Fête de la Musique

Fête de la Musique (Photo credit: r1_lita)

The Fête de la Musique, also known as World Music Day, is a music festival taking place on June 21.World Music Day is a day on which the world celebrates the magical gift of music.

The idea of the World Music Day was conceptualized first in France in 1976 by American musician Joel Cohen who proposed an all-night music celebration to mark the beginning of the summer solstice. The idea was taken up by French Music and Dance director Maurice Fleuret for Minister of Culture Jack Lang in 1981 and first took place in 1982 in Paris.

Since then, it has become a worldwide phenomenon with over 32 countries worldwide having their own celebrations in their own way, regardless of the season.

Français : Musique municipale de Limeray - Fêt...

Français : Musique municipale de Limeray – Fête de la musique 2005 au Buisson – Limeray – Indre-et-Loire – France (Photo credit: Wikipedia)

Its purpose is to promote music in two ways:

Amateur and professional musicians are encouraged to perform in the streets. The slogan Faites de la musique (Make music), a homophone of Fête de la Musique, is used to promote this goal.

Many free concerts are organized, making all genres of music accessible to the public. Two of the caveats to being sanctioned by the official Fête de la Musique organization in Paris are that all concerts must be free to the public, and all performers donate their time for free. In 2011, the festival utilized online booking site Gigmaven to organize its performers.

Despite there being a large tolerance about the performance of music by the general public of amateurs in public areas after usual hours, the noise restrictions still apply, and can cause some establishments to be forbidden to open and broadcast music out of their doors without prior authorization. So the prefectures of police in France can still forbid them to install any audio hardware in the street. (Source:

Locations and References see


Jedes Jahr zum Sommeranfang am 21. Juni erklingt die Fête de la Musique – ­ das Fest der Musik – the European & Worldwide Music Day. Was 1982 mit der Idee des damaligen französischen Kulturministers Jack Lang, ein paar Stromanschlüssen und viel musikalischem Idealismus in Paris begann, hat sich längst zu einem globalen und populären Ereignis entwickelt.

Inzwischen verbindet Fête de la Musique die Menschen in mehr als 340 Städten weltweit, davon 60 in Europa und 22 in Deutschland (s. Berlin-Programm). Zu hören gibt es Musik aller Stilrichtungen, für das Publikum gratis, dank all der Musiker, Bands, Orchester, Chöre, Solisten und DJs, die an diesem Tag ohne Honorar auftreten. (Quelle:

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Tagorean treasure “Vandana” unveiled

Posted by ElJay Arem (IMC OnAir) on June 17, 2012

(Kolkata, June 17, 2012) – India Green Reality Pvt. Ltd. (IGR), a company that provides real quality constructions and deluxe living spaces, today unraveled a book named – “VANDANA” on the occasion of 151st birth anniversary of Kaviguru Rabindranath Tagore, a Renaissance man, who was not only a Nobel laureate poet, writer, philosopher but also the ambassador of Indian culture to the rest of the world. The event that took place at Science City Auditorium was witnessed by many well known and prominent artists, philosophers, writers, theorists and intellectuals like Dadasaheb Phalke Award Winner Actor Soumitra Chattopadhyay, Actresses like Raima Sen and Riya Sen, Bollywood playback singer Kunal Ganjawala, Singer June Banerjee and many others who were not only reputed but also profound in their respective fields.

Actor Soumitra Chatterjee unveiled the book “VANDANA“, a book that enumerates the rare collection of Stamps (published by various countries), some of the write-ups that are mainly drawn from the lane of views by distinguished and legendary personalities, some exceptional and extraordinary photographs that are only one its kind along with an unpublished letter by Kaviguru himself to Late Amiyo Bagchi, lyricist of yesteryear about the play Raktokarobi written by Tagore himself. It also contains many diary pages full of heartfelt tributes to Tagore by the eminent personalities of India, from different fields of art and culture. ‘Vandana’ is an archive of such unrevealed treasures. This book is a sort of asset to the readers or followers of Kaviguru that can be treasured and cherished lifelong. One can revive the thoughts and beliefs of Tagore who upholds universal humanistic values. This book was published in order to pay tribute and homage to this great man who has reshaped his region’s literature and music.

Mr. Amitava Samanta, Director, India Green Reality Pvt. Ltd. said on the occasion, “We have started our business here with the objective of inter mixing the culture of Bengalees with their work and to be acquainted with the literary works of Kaviguru Rabindranath Tagore as it is believed that a Bengali cannot exist without Rabindranath. In fact, the names of the bungalows of Greenland – the eco village project are inspired by the legendary works of Kaviguru like ‘Sandhyaraag’, ‘Bolaka’, ‘Sesher Kobita’, ‘Rudrabina’, ‘Pushpanjali’ etc.”

Mr. Arijit Maitra, a freelance journalist, a philatelist and an ardent lover of Rabindranath, added, “I have gone to the ultimate extent to procure the valuables from every possible source and I am glad to reach them out to all Tagore admirers. About forty to forty-five well known and established writers, authors, poets and personalities from different fields have contributed immensely to compile this book.”

Mr. Avijit Dhara, Operation Head, India Green Reality Pvt. Ltd., said on the occasion, “This is not only a collector’s book, this is the book on which we can feel proud to be an Indian as well as Bengali With due respect to everyone we must say that whatever we know about Tagore that is not enough and this gathering of knowledge about Him will never end even we complete the journey of life”.

The grand occasion was followed by an evening of splendid and magnificent musical compositions and recitation by Smt. Bratati Bandhopadhyay and Shri Pratyush Bandhopadhyay with Rabindrasangeet by Smt. Sraboni Sen. The occasion also witnessed a grandeur dance performance by actress Soumili Biswas that mesmerized the evening.


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DE – Raga CDs of the Month (06/2012): From Hawaii to South Asia – The Indian Classical Guitar (short version)

Posted by ElJay Arem (IMC OnAir) on June 17, 2012

The promotion initiative IMC – India meets Classic presents the show “Raga CDs of the Month” with the new topic “From Hawaii to South Asia – The Indian Classical Guitar“.

With the IMC programme in recent years (2006-2012) for Indian classical music we experienced instruments that come from the West ( see ). Like the violin in the South Indian classical music, the hand-operated harmonium as an accompanying instrument and successor of the Sarangi (Indian fiddle) or the saxophone, as we know it from Jazz and the mandolin, a double-string instrument from Italy.
There are many reasons that explain the arrival of Western instruments in the collective of traditional Indian wind, string and percussion instruments. There existed the military orchestras of the British Empire, French missionaries in the 19th century, the chapels of the Maharajas or film scores from Mumbai as the Bollywood capital. The sound of these new instruments inspired musicians to experiment. With structural changes and special playing techniques they adapted to the particular interpretations and Indian style of Ragas and Ragams (North and South Indian classics).

date of broadcasting…

18th June 2012 – 05:00 p.m. EST (11:00 pm MESTZ) @ TIDE Radio (DE)
(Premiere: 25th May 2012 – 09:00 -11:00 pm CET @ radio
InternetStream (Web & Mobile Radio) | PodCasting | broadcasting plan

The so called slide bar defines the height of the guitar tone by sliding on the free-swinging strings a lot more using a piece of iron, rather than to shorten or to extend by tapping the frets (on the guitar keyboard). Beside their own creations of slide bars there are various forms, materials and colours on the market. Until the 80s manufacturers experimented with new materials. Glas or pyrex, inorganic cobalt oxid, bone or porcelain can produce different timbres of sound.

different models of Indian Classical Guitars (Slide guitars) …

(from let to right: Hansa Veena, Chaturangi, Shankar Guitar, Mohan Veena, Swar Veena)

History conveys that in 1931 a young Hawaiians came to India with his guitar in the luggage. Tau Moe was his name. The importance of Tau Moe for the Indian slide guitar made him well known in India, more as in his homeland. First musicians in Indian West Bengal played songs on the Hawaiian guitar, performing compositions from the repertoire of the first Indian Nobel laureate Tagore Rabindranat (Rec.: With these lyrics and melodies of Tagore a separate vocal genre developed as ‘Rabindra Sangeet’).

In addition to introducing the Hawaiian guitar and playing techniques of by Tao Moe there exist another version of narration. It is said that Gabriel Davion introduced in India to play the guitar with a steel bar. Gabriel Davion was a sailor of Indian descent. He was allegedly abducted by Portuguese sailors in 1876 to Hawaii. Gabriel Davion had oriented himself probably to the slide technique of the Vichitra Vina and Gotuvadyam, two Indian instruments (lutes). Since the 11th century the slide technique is known in India.

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