One of India’s leading percussive instruments, the tabla has, through the process of providing accompaniment, played a vital role in shaping the presentation of Hindustani vocal music, instrumental music and Kathak dance. Although traditionally the tabla players were expected to take on the role of merely providing a rhythmic accompaniment to all types of music and dance, in recent times the tabla players have had scope to play a more active and creative role, thus lending a new dimension to the aesthetics of the overall presentation. As a result, today, the tabla player is recognized as an integral part of a performance.
In this regard, the contribution made by Zakir Hussain, the internationally renowned tabla maestro, is indeed unique. His trend-setting work across the world with numerous artistes from diverse traditions such Indian classical, semi-classical and light music, Jazz, World music etc., has given a new direction and meaning to the art of rhythmic accompaniment, going beyond the vocabulary and expressions conventionally used in the Indian classical music.
In this musical performance, the inimitable master along with his father’s disciples Aditya Kalyanpur and Navin Sharma, will present solo pieces as well as perform with a gamut of practitioners of classical and semi-classical music.
Die Ragas und Ragams der nord- und südindischen Klassik können in der aufsteigenden und absteigenden Skala verschiedenste Kombinationen aufweisen. In unserer Zeit präsentieren die indischen Musik-Maestros, Sänger wie Instrumentalisten dem Publikum und Zuhörer wenige hunderte Ragas aus Tausenden von Kombinationsmöglichkeiten. Etabliert haben sich die 5-Ton- (Andav), 6-Ton- (Sadava) oder 7-Ton-Ragas (Sapta).
In Indien trifft man unter Musikwissenschaftlern wie Musizierenden auf die Meinung, dass Ragas mit wenigstens fünf Noten (Audav / Sanskrit = fünf (5)) gespielt werden müssten. Die November-Sendung von IMC – India meets Classic tritt auf Radio RaSA und weltweit als Internet-Radio mit seltenen Tondokumenten den Beweis an, dass dem nicht so ist.
S e n d e t e r m i n e …
26. November 2012 – 22:00 Uhr CET (04:00 pm EST) @ Radio RaSA (CH) (Premiere: 21. Dezember 2009 (22:00) – Tide Radio) broadcasting plan | streaming (Internet Radio & Mobile Radio) | podCast
Der Titel „Fünf minus 1“ lässt erahnen, dass es in der indischen Klassik auch 4-Ton-Ragas geben muss. Der antike Raga Malashree oder Malshree ist ein Vertreter dieser Kategorie; ein Raga der nordindischen Klassik, der Hindustani-Musik. Sein phonetisch gleichlautender Namensvetter Malasri ist sogar ein 3-Ton-Raga.
Raga Malasri-Skala auf dem Grundton C :C E G C | Sa – Ga – Pa – Sa’ ( 1 3 5 ) Raga Malashree zusätzl. mit 7. StufeNi (1 3 5 7)
Raga MalaShree besitzt regulär vier (4) Noten, Svarantara. Es werden die 1., 3., 5. und 7. Stufe gespielt: Sa – Ga – Pa und Ni. Eine Art Dur-Dreiklang mit einer erweiterten 7. Stufe, im Jazz ein Major seven (maj 7).
Der Name Malashri findet sich in Indien auch als Mädchenname wieder. Ursprünglich stammt Malashri aus dem Sanskrit und bedeutet „wunderbare Girlande“.
Ragamala Malereien aus Rajasthan (Indien): Malasri Ragini – 3. Ehefrau des männl. Ragas Bhairava (Morgenraga)
Eine „Girlande von Ragas“ motivisch und namentlich illustriert finden wir in der indischen Miniaturmalerei, den Ragamalas. Die besondere Kompositionsform der Raga-Girlanden, der Ragamalas haben wir in einer unserer früheren Sendungen vorgestellt.
____________________________________________
Raga Malasri (3 notes) and Malshree (4 notes):
the selected key note is C the scale has 3 (Malasri) or 4 (Malshree) notes plus the octave
the scale is ascending
the default scale keynote is C
scale on C(see displayed graphically) :C E G (B) C
scale intervals in semitone or half steps from key note : 0 4 7 (11) 12
note to note interval :M3 m3 P4 (Malasri) or M3 (Malshree)
The Ragas and Ragams of North and South Indian Classics can exhibit most diverse combinations in the ascending and descending scale. In our time the Indian music maestros, vocalists and instrumentalists present some few hundred Ragas from thousands of combinations to the audience and listeners. The 5 notes (Andav), 6 notes (Sadava) or 7 notes Ragas (Sapta) are established.
In India one meets the opinion among musicologists and musicians as facts that Ragas with at least five notes (Audav/Sanskrit = five (5)) have to be played. The November show of IMC – India meets Classic will start @ Radio RaSA (and worldwide as Internet radio) the proof with rare audio documents that it is not like that.
dates of broadcasting…
26th November 2012 – 04:00 pm EST (10:00 pm CET) @ Radio RaSA (CH)
(premiere: 21st December 2009 (04:00 pm EST) @ Tide Radio) broadcasting plan | streaming (Internet Radio & Mobile Radio) | podCast
Our topic „five minus 1″ lets suspect that there must exist 4 notes ragas in Indian Classics also. The ancient Raga Malashree or Malshree is the representative of this category, a Raga of North Indian Classics, the Hindustani music. Its phonetically identical namesake Malasri is even a 3 note Raga.
Raga Malasri scala on key note C :C E G C | Sa – Ga – Pa – Sa’ ( 1 3 5 ) Raga Malashree plus 7th pitchNi(1 3 5 7)
Raga MalaShree regularly possesses four (4) notes, Svarantara (popular type). The 1st, 3rd, 5th and 7th pitch is played: SA – Ga – Pa and Ni. It is a kind of major triad with an extended 7th pitch, in Jazz a major seven (maj 7).
The name Malashri appears in India also as maiden name. Malashri originates from Sanskrit and means „marvelous garland “.
Ragamala paintings from Rajasthan (India): Malasri Ragini – 3rd wife of male Raga Bhairava (morning raga)
The „Garland of Ragas“ is illustsrated by motives and a kind of story telling in the Indian miniature painting, the Ragamala-s. IMC – India meets Classic presented the special composition form in one of it’s former shows.
____________________________________________
Raga Malasri (3 notes) and Malshree (4 notes):
the selected key note is C the scale has 3 (Malasri) or 4 (Malshree) notes plus the octave
the scale is ascending
the default scale keynote is C
scale on C(see displayed graphically) :C E G (B) C
scale intervals in semitone or half steps from key note : 0 4 7 (11) 12
note to note interval :M3 m3 P4 (Malasri) or M3 (Malshree)
IMC OnAir’s monthly radio show in November 2012 – being broadcasted in Austria (@ Radio FRO) and worldwide as webradio – are concerning with part 2/2 of Alankar-s. The Alankara-s can be grouped in four main types (with 10 different characters).
The Indian term Alankar or Alankara originates from Sanskrit, the old science language of India. The meaning is various: decoration (jewelry), literary embellishment or decoration. As Sabda Alankara it designates as ornaments by sound, decorative use of sound or use of decorating words. The last classification in Indian Classics before approx. 100-150 years was known also as Shabdalankar.
dates of broadcasting…
part 2 – 25th Nov 2012 – 05:00 pm EST (11:00 p.m. CET) @ Radio FRO (A) part 1 – 11th Nov 2012 – 05:00 pm EST (11:00 p.m. CET) @ Radio Fro (A) (premiere: 17th August/21st Sept 2009 (10:00 pm CET) @ TIDE Radio) broadcasting plan | streaming (Internet Radio & Mobile Radio) | podCast
Compared with the earlier classification Shabdalankar, in that the Indian schools of music (Gharana-s) exhibited substantial differences. In our current times it is reduced as common clustering to the treatment of the Indian notes, the swara-s. There is:
1. Asthai Alankar – the return to the initial note,
2. Arohi Alankar – a note sequence in the ascending scale,
3. Amrohi Alankar – a note sequence in the descending scale and
4. Sanchari Alankar as a combination of type 1-3.
In the baroque area of Western classics the ornaments served mainly for the decoration of melody lines. Vocalists improvised with the ornaments like we know it till this day from the Irish music tradition. Indian notes are “not static”, here briefly played Staccato notes (in Italian staccare means “tears off”) or single notes played “stand alone” are not audible.
4 examples of Alankara-s (Source: Sitar Technique in Nibaddh Forms (written by Stephen Slawek, 1987))
The Swara-s are located in constant connection to each other. Each note is linked with the previous one and following. Such ”grace notes“ – Kan-Swara-s – are the basis for each form of ornaments, the Alankara-s. They are the core for the development and beauty of Ragas.
The earliest reference to this term can be found in the Natyashastra with 33 Alankars, an elementar work to the visual arts of acient India written by the sage “Bharata”. It is dated between 200 BC and 200 AC. Further important treatises for the classification of the Alankars are the Sangeet Ratnakar of Sharangdev in 13th century and the Sangeet Parijat of Ahobal in 17th Century, in which 63 and 68 types of Alankars are described.
IMC OnAir’s monatliche Sendung im November @ Radio FRO (Österreich) befassen sich mit den zehn wesentlichen Alankar-s. Die Alankara-s können in ihrem Charakter in vier Haupttypen (m. 10 Charakteren) gruppiert werden.
Der indische Begriff Alankar oder Alankara stammt aus dem Sanskrit, der alten Wisschenschaftssprache Indiens. Die Bedeutung ist vielfältig: Schmuck (jewelry),literarische Ausschmückung oder Dekoration. Als Sabda-Alankara wird die Ornamentierung durch Klang, der dekorative Gebrauch von Klang oder von schmückenden Wörtern bezeichnet. Die letzte vor ca. 100-150 Jahren geordnete Klassifizierung in der indischen Klassik war auch als Shabdalankar bekannt.
S e n d e t e r m i n e …
Teil 2 – 25. November 2012 – 23:00 Uhr METZ (05:00 pm EST) @ Radio FRO (A)
Teil 1 – 11. November 2012 – 23:00 Uhr METZ (05:00 pm EST) @ Radio FRO (A) (Premiere: 17. August/21. Sept. 2009 – 22:00 Uhr @ TIDE Radio) broadcasting plan | streaming (Internet Radio & Mobile Radio) | podCast
Im Vergleich zu der früheren Klassifizierung Shabdalankar, in der die indischen Musikschulen, die Gharana-s erhebliche Unterschiede aufwiesen, reduziert sich die in unserer heutigen Zeit gebräuchliche Clusterung (10 Charaktere) auf die Behandlung der Noten, der swara-s. Es sind:
1. Asthai Alankar – die Rückkehr zur Anfangsnote,
2. Arohi Alankar – eine Notensequenz in der aufsteigenden Skala,
3. Amrohi Alankar – eine Notensequenz in der absteigenden Skala und
4. Sanchari Alankar als eine Kombination der Typen 1-3.
In der barocken Zeit der westlichen Klassik diente die Ornamentik zur Ausschmückung der Melodielinien. Der Gesangsinterpret improvisierte mit der Ornamentierung, wie wir es noch heute in der irischen Musiktradition wiederfinden. Die indischen Noten sind “nicht statisch”; kürzer gespielte Staccato-Noten (im Italienischen bedeutet staccare “abreißen”) oder einzelne für sich gespielte Noten sind nicht hörbar.
4 examples of Alankara-s (Source: Sitar Technique in Nibaddh Forms (written by Stephen Slawek, 1987))
Die Swara-s stehen in ständiger Verbindung zueinander. Jede Note ist verknüpft mit der Vorherigen und Nachfolgenden. Solche Vorschlagsnoten (“grace notes“) – Kan-Swara-s – sind die Grundlage für jede Form der Ornamentik, den Alankara-s. Die Alankara-s sind der Kern für die Entfaltung und Schönheit eines Ragas.
Der früheste Bezug zu diesem Begriff findet sich mit 33 Alankars in dem Natyashastra, ein Grundlagenwerk des Weisen “Bharata” zu den darstellenden Künsten des antiken Indiens. Die Schrift wird zwischen 200 vor Christus und etwas 100 nach Christi Geburt datiert. Weitere bedeutende Abhandlungen zur Klassifizierung der Alankars sind das Sangeet Ratnakarvon Sharangdev im 13. Jahrhundert und das Sangeet Parijatvon Ahobal im 17. Jahrhundert, in denen 63 bzw. 68 Typen von Alankars beschrieben werden.
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…
15th November 2012 – 03:00-03:58 p.m. EST (09:00 p.m. CET) @ radio multicult.fm (DE) (premiere: 1st July 2008 – 09:00 pm MESTZ @ Tide Radio) InternetStream (Internet Radio & Mobile Radio) | PodCast | Dates of Broadcasting
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.
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…
15. November 2012 – 21:00-21:58 Uhr METZ (03:00 p.m. EST) @ radio multicult.fm (DE) (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)
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.
… soon it’s time and we look forward to celcebrate Diwali with you! Keeping you safe while we ask that you definitely contact Mr. Kaufmann or Mr. Sen to preorder cards. Thank you!
Cultural Programme: Indian Dance, Bhangra (Folk music/dance from Punjab) and others.
Indian Food: delivered by Restaurant Badshah
date: 17th November 2012
beginning: 05:00 pm CET (opening/entry: 04:30 pm)
venue: Gemeindehaus Schloßstraße 78, HH-Wandsbek
(close to U-station Wandsbek Markt, No parking possibility)
Prices: (including Indian food)
– Adults: 20,00 EURO
– DIG Members: 15,00 EURO
– Children (6-12 years) 8.00 EURO
– Students: 15.00 EURO (valid student ID)
Here the direct contact datas for cards and pre-orders/ ticket reservations:
Dr. Hans Kaufmann
Tel.: 040 / 656 47 17
E-Mail: kaufmann.hans@gmx.de
Tapan Sen
Tel.: 040 / 58 28 92
E-Mail: tksen@hotmail.de
The heroes in this programme try to see the best in everything: A boy (12 year old Arjun) works in a rubbish dump and finds a camera; an octupus friend turns out to be brain tumour; sugar isn’t always something to look forward to; football isn’t just about winning; and some children aren’t scared of the dark at all, but maybe they don’t have a choice…
Screening…
14.11.2012, 10:00 h, Filmtheater am Friedrichshain – Cinema 2
17.11.2012, 11:00 h, Filmtheater am Friedrichshain – Cinema 2
Trailer…
About the festival….
From its humble beginnings as a children’s film section at interfilm’s International Short Film Festival Berlin in 2000, KUKI’s growing success led to its eventual emancipation in 2008 when KUKI celebrated its first edition as a festival in its own right. Known for its exceptional programming the International Short Film Festival for Children and Youth Berlin is dedicated to presenting fabulous and unusual films that young people would otherwise rarely get a chance to see.
From the approximately 800 short films entered to the festival from all over the world, we assemble programmes bursting with entertaining and imaginative films. Carefully selected to suit audiences of varying age groups, the films are organised into programmes for children aged 4+, 6+, 8+ 10+
, 12+ and 14+. Each film is screened in its original version and professional actors provide live German voice-overs when required.
The KUKI Festival comprises 3 competition programmes for children and 2 competition programme for youth, the tremendously popular and lively kindergarten screening for 4-6 year olds (with presenters and live-music), short documentaries, foreign language programmes (for ages 14+) in English, Spanish, and French as well as an environmental programme that highlights a different focus each year.
New highlights at this year’s festival include a retrospective of shorts made by children at the annual screenwriting and filmmaking workshop organised by our friends at Kinder Machen Kurzfilm! and a fabulous family screening of unforgettable Russian animation from Big Cartoon Festival Moscow! And in order to properly celebrate the 100th anniversary of Russian animation, we’ll also be holding afternoon animation workshops for children with young Russian and local animators, free of charge!
After every screening the audience is encouraged to participate in open discussions and question and answer sessions with filmmakers.
Winners of the Best Film for Children are selected by a jury of children and the Best Film for Youth is an audience competition.
The KUKI Festival takes place in the same week as the International Short Film Festival Berlin and is therefore a hub of networking opportunities for filmmakers from all over the world.
Boasting an enthusiastic audience of approximately 4,000 (predominantly young people aged between 4 and 17 years of age), the KUKI festival week starts with a celebratory Opening Matinee, continues with a week full of diverse screenings and traditionally ends with a free family programme, loads of popcorn and a colourful Closing Party!
KUKI brings together films from all over the world in a way rarely seen in Germany or any where else. In a programme predominately aimed at school groups we’ll be showing three foreign language programmes in English, Spanish and French (each for ages 14 +), a documentary programme (for ages 10+) and short films addressing environmental issues (for ages 8+). Beyond that the weekend schedule includes six competition programmes for various age groups ( 6+, 8+, 10+, 12+ and 14 +).
In addition we will also hold a retrospective of the hugely popular films made by our partner initiative, “Kinder machen Kurzfilm!” (“Kids make Shorts”) and are thrilled to announce our very first guest programme from another festival, a collection of contemporary Russian animated films from Big Cartoon Festival Moscow.
And for all those who can’t get enough of KUKI, we are also holding a children’s animation workshop every weekday afternoon during the festival, free of charge – in the specially constructed ‘Trick-Truck’, sponsored by ‘zapf’.
Click here to register for school screenings and all weekend screenings can be booked at the Filmtheater am Friedrichshain cinema 2 weeks before the festival.
Each screening is approx. 60 – 80 minutes long. All films are shown in their original versions and when necessary, given a live German voice-over by professional actors. The foreign language programmes will be shown in their original versions with subtitles in the same language. In addition we also offer study material to accompany each of the school programmes, providing information on individual films, filmmakers and production backgrounds as well as suggestions for class project work. Dialogue lists for films shown in foreign language programmes are made available to teachers and students to work with in class.
……
.
.
IMC - India meets Classic presents ... 