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Archive for December, 2012

Happy New Year 2013 to all our listeners and musical friends !

Posted by ElJay Arem (IMC OnAir) on December 31, 2012

…to all our (Indian) friends and friends of India around the globe,
to the international community of listeners and music lovers,
to all the great vocal / instrumental musicians, composers and DJs,
to the passionate event organizers, booking agencies and music labels,
to analytical music scientists, profound teachers & pedagogues
and to our colleagues from press & medias



You can listen all shows worldwide as webradio.
… see programme calendar with all 160 broadcasting dates in 2013 here !

Posted in Culture (news), DE (German), DE (German), Economics (news), Education (news), ENG (English), ENG (English), IMC OnAir - News, Live around the globe, playlists, Politics (news), Religion (news), StudioTalks, Thought Experiment(s) | 1 Comment »

R.I.P. India’s Daughter – ZERO Acceptance of Rape ! – Justice & Safetyness for Women !

Posted by ElJay Arem (IMC OnAir) on December 29, 2012

The medical student, called Amanat died on 28th December 2012 at 04:30 pm local time in Singapore Hospital because of multi organ failure after she was gang-raped 12 days ago in a driving bus.

! Justice & Safetyness for Women !


NDTV is broadcasting live from Delhi, Mumbai, Bangalore, Lucknow about the protests on 29th December 2012.

Delhi Chief Minister Sheila Dikshit showed up this afternoon at the large protest in Delhi called in memory of the 23-year-old student who died in a Singapore hospital from the horrific injuries she incurred when she was gang-raped on a bus two weeks ago. However, as she lit a candle, the chief minister was surrounded by demonstrators and then taken away by her security.

The 23-year-old student who died in a hospital in Singapore today was flown on an air ambulance from Delhi three nights ago. Dr Yatin Mehta had accompanied her…

The 23-year-old student who was gang-raped on a Delhi bus has died in hospital in Singapore.

Related articles

Posted in Education (news), IMC OnAir - News, Medias, News from India, Politics (news), Video dataBase | 6 Comments »

Music & Research: The serious side to December Music Festival MARGAZHI

Posted by ElJay Arem (IMC OnAir) on December 29, 2012

by courtesy of M. Lalitha and M. Nandini


… written by Dr M Lalitha and M Nandini (MS Academy of Global Music*) –

The December music festival (15 December 2012 – 1 January 2013 by Madras Music Academy**) not only boasts of concerts by eminent musicians but also research papers presentations by reputed musicologists.

Research in music is as important as music performance. These musicologists focus on technical theory, history of music, research and musical theory along with current practises. Many sabhas hold conferences/ paper presentation in the morning where these musicologists present research papers. The Margazhi music festival is not just made up of music concerts but also research paper presentation by these eminent musicologists who have contributed their mite for the success of the Margazhi Music festival.

With respect to Carnatic music, musicologists can be classified broadly into:

  1. Those who research, practise music theory
  2. Performer musicians with a research degree (M Phil or Ph D)
  3. Performer musicians and non Ph Ds

Here’s a look at some current musicologists who have carved a niche for themselves …

Pappu Venugopala Rao (Source:

Pappu Venugopala Rao (Source:

Pappu Venugopala Rao is an eminent musicologist who has triple masters (one each in Telugu, English and Sanskrit literature), apart from a doctoral degree in Sanskrit and Telugu. He is also an All India Gold Medallist in Business Management. Author of several books and research papers in music, dance and philosophy, he wrote the script for the world’s first animated CD on the Ramayana. Pappu has written the English translation, with transliteration and commentary, on Rasamanjari, a work in Sanskrit by Bhanudatta that deals with the Nayika Nayaka classification. He is a much sought-after musicologist giving lectures all over the globe and chairs the morning sessions at the Music Academy.

Professor N Ramanathan is an authority on the treatise Sangita Ratnakara, written by Sharangadeva during the 13th century. He received a bachelor’s degree in violin from Sri Venkateswara University, Tirupati and his masters and Ph D, in musicology at the Banaras Hindu University, Varanasi. He was the Head of the Department of Indian Music, University of Madras, teaching and guiding many research students in their thirst for music. His book on the musical forms in the Sangita Ratnakara was published in 1999 and he has several other publications and research papers to his credit.

B M Sundaram, a native of Thanjavur, studied music and worked as an assistant under G Ramanathan, film music director, for two years. His work on the origin and evolution of nadaswaram and tavil obtained him the degree of the doctor of philosophy. Author of several books on music, his contributions include Palayazhi that deals with 3,600 raga scales with different arohana and avarohana, a work that deals with 1,400 talas, the Tala Sangraham and Mangala Isai Mannargal to name a few. A multi-linguist, B M Sundaram is equally at ease with different languages Tamil, Malayalam, Telugu, Marathi, Kannada, Gujarati and Urdu.

S Seetha holds the degree of M Litt and Ph D in music, from the University of Madras. She is also a vainika. She was the Professor and Head of the the Department of Indian Music, University of Madras, where she taught and guided many students. Her works include Tanjore as a seat of music during the 17th, 18th and 19th centuries and Ragalaksanamu of Sahaji besides several research articles and publications.

S A Kumari Durga is a renowned musicologist cum ethnomusicologist. She holds a doctorate in ethnomusicology from the Wesleyan University, USA and a did her post-doctoral research work at Yale University for the topic ‘A comparative study of Gregorian and Vedic chants and Tevaram hymns’. She began her formal training in music from her mother, Lalithabai and later under Tirukkodikaval Venkatarama Iyer and Madurai Mani Iyer. She also had her advanced training under T Viswanathan and Dr M Balamuralikrishna. She is equally well-versed in Hindustani classical music having had her training from Ustad Mohammed Munnawar of Delhi. An expert in voice culture, she did her masters in voice culture at the University of Madras. Her contributions include research on Vallala Yakshaganam and voice culture, among others.

M B Vedavalli trained initially under her sister M B Singamma in music and later came under the tutelage of Krishna Iyengar and M A Narasimhachari. She was the Head of the Department of Indian Music, University of madras. She has published many books including her doctoral dissertation ‘Mysore as a seat of music’, apart from presenting many significant papers in the field of musicology. Her magnam opus is the unfinished work of Prof P Sambamoorthy, the Dictionary of South Indian Music and Musicians, that she finished successfully which brought her encomiums.

S R Janakiraman is both a Carnatic vocalist cum musicologist. He started learning from Thanneerpalli Krishnamurthi and later under Tiger Varadachariar, Tiruppamburam Swaminatha Pillai and T Brinda. He was trained in musicology by Prof Sambamoorthy and P K Rajagopala Iyer. He was the head the Dept of Musicology at Sri Venkateswara College of Music, Tirupati and then Principal at the Teachers College of Music. He has written several books including Raga Lakshanas and Essentials of Musicology apart from many paper presentations.

(Source: 12/29/2012 – The Times Of India Chennai | Section: Chennai Times; Page: 40)
Related articles

*MS (Muthuswamy Subbulakshmi) Academy of Global Music is a systematic learning academy for research and studying the Carnatic, Western Classical and World Music in Chennai.
MS Academy of Global music has been started in Chennai to foster and propagate carnatic music and world Music. It offers a variety of courses and caters to the individual needs of those aspiring to study different genres of Music. Classes / Courses in theory and Practicals are being taught by reputed professionals.

**) Madras Music Academy is one of the earliest established Music Academies in South India. Before the concept of infrastructure was introduced to India in the early 1920s, it was a gathering for elite musicians simply called (and is still more commonly referred to as) Music Academy (Tamil: சங்கீத வித்வத் சபை,sangeetha vidhwadh sabaiIt plays an important role in encouraging and promoting primarily the Carnatic Music Indian art form. It played a vital role in the revival of the Indian classical dance form of Bharatnatyam in 1930s when it faced near extinction due to a negative connotation caused by conservative societal standards (Source:

Violin duo sisters Dr. M. Lalitha and M. Nandini


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Madras Music Academy: part 3/3 of 86th ANNUAL CONFERENCE AND CONCERTS (15th Dec 2012 – 1st Jan 2013)

Posted by ElJay Arem (IMC OnAir) on December 29, 2012



15th December 2012 to 1st January 2013

at the T.T.Krishnamachari Auditorium, The Music Academy Madras

86th Music Conference & Concerts: 28th December 2012 - Mysore M. Nagaraj & Mysore M. Manjunath (Violin Duet)  Sangita Kalanidhi UmayalpuramK. Sivaraman (Mridangam)  B. Shree Sundar Kumar (Kanjira)

86th Music Conference & Concerts: 28th December 2012 – Mysore M. Nagaraj & Mysore –  M. Manjunath (Violin Duet) , Sangita Kalanidhi Umayalpuram K. Sivaraman (Mridangam),  B. Shree Sundar Kumar (Kanjira)

Madras Music Academy is one of the earliest established Music Academies in South India. Before the concept of infrastructure was introduced to India in the early 1920s, it was a gathering for elite musicians simply called (and is still more commonly referred to as) Music Academy (Tamil: சங்கீத வித்வத் சபை,sangeetha vidhwadh sabai ).

It plays an important role in encouraging and promoting primarily the Carnatic Music Indian art form. It played a vital role in the revival of the Indian classical dance form of Bharatnatyam in 1930s when it faced near extinction due to a negative connotation caused by conservative societal standards. They also run a music school called the Teachers college of Carnatic Music which has many eminent musicians on its faculty. (Source:

December 16, 2012 to January 1, 2013 – DAILY FROM 8.00 A.M. TO 10.00 A.M.

Concerts: 15th – 21st Dec (part 1) | 22nd – 28th Dec ( part 2) | 29th Dec – 1st Jan (part 3)

29nd Decemeber 2012

9.15 a.m. – 11.45 a.m.

Sangita KalanidhiT.V. Sankaranarayanan (Vocal)
Nagai Muralidharan (Violin)
Trichy B. Harikumar (Mridangam)
Coimbatore V. Mohanram (Ghatam)

12 Noon – 1.30 p.m.

Ramakrishnan Murthy (Vocal)
Trivandrum N. Sampath (Violin)
B.C. Manjunath (Mrindagam)

1.45 p.m. – 3.45 p.m.

Salem R. Shriram (Vocal)
B.K. Raghu (Violin)
Rajna Swaminathan (Mridangam)
Tumkur Shashisankar (Ghatam)

4.15 p.m. – 6.45 p.m.

Bombay Jayashri (Vocal)
H.N. Bhaskar (Violin)
Patri Satishkumar (Mridangam)
V. Anirudh Atreya (Kanjira)

7.00 p.m. – 9.30 p.m.

S. Saketharaman (Vocal)
H.K. Venkatram (Violin)
V.V. Ramanamurthy (Mridangam)
N. Somayajulu (Ghatam)

30th Decemeber 2012

9.15 a.m. – 11.45 a.m.

Sangita Kalanidhi T.N. Seshagopalan (Vocal)
V.V. Ravi (Violin)
Sangita Kalanidhi T.K. Murthy (Mridangam)
A.S. Sankar (Ghatam)

12 Noon – 1.30 p.m.

Vidya Kalyanaraman (Vocal)
M. Rajeev (Violin)
B. Guru Raghavendran (Mridangam)

1.45 p.m. – 3.45 p.m.

V. Shankaranarayanan (Vocal)
Anayampatti G. Venkatasubramanian (Violin)
Erode Nagarajan (Mridangam)
B. Vengataramanan (Kanjira)

4.15 p.m. – 6.45 p.m.

Gayathri Girish (Vocal)
B.V. Raghavendra Rao (Violin)
Neyveli Skandasubramaniyam (Mridangam)
A.S. Krishnan (Moharsing)

7.00 p.m. – 9.30 p.m.

Madurai T.N.S. Krishna (Vocal)
Nagai R. Sriram (Violin)
Trichur C. Narendran (Mridangam)
C.P. Vyasavittala (Kanjira)

31st Decemeber 2012

9.15 a.m. – 11.45 a.m.

Radha Namboodiri (Vocal)
Shertallai R. Sivakumar (Violin)
Tiruvarur Vaidyanathan (Mridangam)
Pudukottai N. Ramachandran (Ghatam)

12 Noon – 1.30 p.m.

J.B. Sruti Sagar (Flute)
Parur M.S. Ananthakrishnan (Violin)
B. Srivatsan (Mridangam)

1.45 p.m. – 3.45 p.m.

Subha Ganesan (Vocal)
Vaikom Padma Krishnan (Violin)
Kottayam G. Santoshkumar (Mridangam)

4.15 p.m. – 6.45 p.m.

P. Unnikrishnan (Vocal)
Embar S. Kannan (Violin)
Bangalore Arjunkumar (Mridangam)
V. Suresh (Ghatam)

7.00 p.m. – 9.30 p.m.

Hindustani Concert 
M. Venkatesh Kumar and Party

1st January 2013

9.15 a.m. – 11.45 a.m.

S. Shashank (Flute)
B.U. Ganesh Prasad (Violin)
Bangalore Arjunkumar (Mridangam)
Bangalore N. Amrit (Kanjira)

3.45 p.m. – 4.45 p.m.

Thirumeignanam T.P.N. Ramanathan (Nadaswaram)
S. Govindan – Nadaswaram
Needamangalam A.K. Govindarajan (Tavil)
E.R. Manikandan (Tavil)

5.00 p.m.


7.00 p.m. – 9.30 p.m.

T.M. Krishna (Vocal)
R.K. Shriramkumar (Violin)
N. Manoj Siva (Mridangam)
V. Anirudh Athreya (Kanjira)


The Music Academy, Madras
New No. 168 (Old No. 306), T.T.K. Road, 
Chennai – 600 014 
Phone : +91-44-2811 2231 / +91-44-2811 5162 
Fax : +91-44-4235 9362 
email :
Web site:

Spirit of the Youth Festival 2011 – Madras Music Academy

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27th and 28th Dec 2012 (India): Arudra Darishanam Festival for the cosmic dancer Lord Nataraja

Posted by ElJay Arem (IMC OnAir) on December 27, 2012

ARUDRA DARISHANAM is a prominent festival conducted for the cosmic dancer ” LORD NATARAJA”. It is observed on the day when THIVADIRAI star and full moon “POORNIMA” coincides in the month of Margazhi. This Arudra Darishanam falls on 28/12/12.

The Arudra Darishanam Festival is celebrated in all shiva temples with Nataraja sannithi. But Arudra Darishanam is known for its celebrations that take place at CHIDAMBARAM. On 27/12/12 will be held  MAHARATHOTSAVAM of NATARAJAR and LAKSHARCHANAI. In Thillai Chidambaram, Maha Abhishekam will be done to Lord Nataraja and Goddess Sivakamasundari at Raja Sabhai in the early morning at around 3 am.

English: Shiva as the Lord of Dance - Sculpture of Shiva in copper alloy between - circa 950 and circa 1000  (Los Angeles County Museum of Art / source:

English: Shiva as the Lord of Dance – Sculpture of Shiva in copper alloy between – circa 950 and circa 1000 (Los Angeles County Museum of Art / source:

The MahaAbhishekam will be held for about 3-4 hours. Then special Thiruvabaranam (Sacred Jewels) Alankaram, Rahasiya Pujai will be done to Sri Natarajar. After Pancha Murthi Thiruveethi Ula, at around 12 pm Noon, Lord Natarajar and Goddess Sivakami will bless devotees with Aarudra Darisanam and enter Kanaka Sabhai (Golden Sabha). After all the special rituals KALI is given to the devotees as PRASADAM.

Story behind why Kali is given as Prasadham

A devotee named Sendanar had the habit of eating food after offerring it to Lord and then distribute among other devotees . Only the leftover he will eat.On the tiruvadirai day , due to constant bad weather he couldn’t get any essential items for preparring proper meal.He had no other option but to mix water with rice flour and prepare a mashed paste. Lord Shiva understood his predicament.He wanted the people to know how sincere his devotee was to him.He disguised himself as a siva devotee and enjoyed what was given to him as food.And as he stood for a while in the Nataraja Sanctrum,The Lord Showered the Kali all over the premises , in recognition of his deep devotion.Since the day the miracle happened Kali is the special offering to Lord Nataraja on Margazhi.

Legend Behind Arudhra darisanam…

Once when Mahaa Vishnu was lying down on the great Serpent Adhi sesha, Adhi sesha felt Mahaa Vishnu was quite heavy that time. He asked Mahaa Vishnu what was the reason. Mahaa Vishnu said that he was remembering and enjoying the Dance of Lord Shiva. The answer developed the desire in Adhi seesha to see the Great Dance of Lord Shiva. He asked Mahaa Vishnu how his desire could be fulfilled. Mahaa Vishnu asked him to go to Chidambaram and do “tapas”. Adhi seesha came to Chidambaram and prayed the Lord for a long time.

There was another muni and devotee of Lord Shiva in that place, called Viyaagra paadha. He prayed to God to get the legs of tiger, so that he can pluck flowers early in the morning to offer to the God, before any bee touches the flower. He was also praying God to see His Great Dance for a long time.Pleased with their prayer the God appeared on the Thiruvaadhirai day and danced in Chidambaram. The Nataraaja image of the Lord is prayed with great devotion this day. In Chidambaram and other temples it is celebrated as Arudraa dharshanam. In this festival abhisheeka (holy anointing) of Lord Nataraaja takes place early in the morning and then He comes around the town.
(Source: 27th Dec 2012 – Shri Gokulam)

Pooja ceremony by priests (Jan, 2012)…

Lord Nataraja Dance…

Dessert Dwellers – Shiva Nataraja

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Remembering the 93rd birthday of music director Naushad Ali (Dec 25, 1919 – May 5, 2006)

Posted by ElJay Arem (IMC OnAir) on December 25, 2012

English: Indian musician Naushad

English: Indian musician Naushad (Photo credit: Wikipedia)

Naushad Ali (Hindi: नौशाद अली, Urdu: نوشاد علی‎; December 25, 1919 – May 5, 2006) was an Indian musician. He was one of the foremost music directors for Bollywood films, and is particularly known for popularizing the use of classical music in films.

His first film as an independent music director was Prem Nagar in 1940. His first musical success film was Rattan(1944), following it up with 35 silver jubilee hits, 12 golden jubilee and 3 diamond jubilee mega successes. Naushad was conferred the Dadasaheb Phalke Award in 1982, and the Padma Bhushan in 1992. (Source:

This is a list of Naushad’s songs based on different raagas:

Ahir Bhairav:

  1. aj hai pyar ka faisala sanam – lata – leader


  1. dil mein chupake pyar ka – rafi – aan


  1. chah barbaad karegi – saigal – shah jahan
  2. milke bichad gaye – amirbai – rattan


  1. man ki been – lata, rafi – shabab (with a line in basant)


  1. kya mil gaye bhagwan – noorjahan – anmol ghadi
  2. aye dil tujhe kasam hai – lata – dulari
  3. teer khate jayenge – lata -dewana
  4. na toofan se – rafi – udan kha tola
  5. haal e dil main lata – udan kha tola
  6. dooba tara ummeedon ki sahara – lata – udan kha tola
  7. kya rang-e-mehfil hain – lata – dil diya dard liya
  8. allah bachaya naujawan – lata – mere mehboob
  9. yaad mein teri jag – lata, rafi – mere mehboob
  10. aai diwali – zohrabai – rattan
  11. diya na bujhe re aj hamara – lata – son of India
  12. zindabad ae mohabbat zindabad – rafi – mughal e azam
  13. insaf ka mandir – rafi – amar
  14. khamosh hain khewan – lata – amar
  15. milte hain aankhen – samsad, talat – babul
  16. lagan more man ki – lata – babul
  17. huye hum jinke – rafi – deedar
  18. dekhliya maine – rafi, lata – deedar
  19. jadugar katil – asha – kohinoor
  20. zara man ki kewadiyain khol – rafi- kohinoor
  21. aanewalon ko ana hoga – rafi, lata – sohni mahiwal
  22. chand chupa aur tare duba – mahendra – sohni mahiwal
  23. Tumhare Sang Main Bhi Chalungi – lata – sohni mahiwal
  24. mera bichda yaar mila de – lata, rafi – sohni mahiwal
  25. rat gazab ki aye – mahendra – sohni mahiwal
  26. dil hai pyar zara – sanu, sadhana – guddu
  27. dil kahe hardam ishq – suresh, aziz – guddu
  28. baat sabse karo pyar humse karo – sp bala – tere payal mere geet
  29. jab dil hi toot gaya – saigal – shah jahan
  30. tu ganga ki – rafi, lata – baiju bawra
  31. ayi sawan rut ayi – samsad – mela
  32. manzil ki dhun mein – mukesh – anokhi ada
  33. gaon tarane – samsad, lata, rafi – aan
  34. man mera ehsan – rafi – aan
  35. do hanson ka joda – lata – ganga jamuna
  36. main to payar se teri piya – lata – saathi
  37. mere jeevan saathi – lata – saathi
  38. husn-e-jana idhar aa – mukesh – saathi
  39. Tute Na Dil Tute Na – mukesh – andaz
  40. yeh zindegi ki mele – rafi- mela
  41. mere paas aao nazar to milao – lata – sanghursh


  1. aj mere man me – lata – aan
  2. tere sadke balam – lata – amar
  3. Manasa Nilayil, Yesudas – dhwani (Malayalam)
  4. afsana likh rahi hoon – uma – dard
  5. aj purani rahon se – rafi – aadmi


  1. mari ladli re – lata – andaz
  2. tere payar mein dildar – lata – mere mehboob
  3. tere payel mere geet – sp balasubranium – tere payel mere geet


  1. meri ladli hai – lata – andaz
  2. bachpan ki mohabbat – lata – baijubawra
  3. mere mehboob tujhe – rafi/lata – mere mehboob (most people think it is Jheenjhoti)

Brindavani Sarang:

  1. sawan ki badalo – zohrabai, karan – rattan
  2. jab tumhi chale – karan – rattan
  3. aja meri barbad – anmol ghadi
  4. tu mera chand – suraiya, shyam – dillagi
  5. jhule mein pawan – rafi, lata – baijubawra
  6. Saavan Aye Ya Na Aye – asha, rafi- dil diya dard liya ( some say its Suddha sarang)

Darbari Kanada:

  1. daiya re daiya laj mohe lage – asha, rafi – leader
  2. gujre hai aj ishk mein – rafi – dil diya dard liya
  3. kabhi dil dilse takrata – mukesh – anokhi ada
  4. mohabbat ki jhuti kahani – lata – mughal e azam
  5. o duniya ki rakhwale – rafi – baiju bawra
  6. duniya badal gayi – talat, samsad – babul
  7. hue hum jin ke – rafi – deedar
  8. darbari alap – ustad amir khan – baiju bawra
  9. bich bhainwan mein – suraiya – dard


  1. door koi gaaye – samsad, lata, rafi – baiju bawra
  2. kal rat zindagi se – rafi – palki


  1. aaj gaawat man mero – ustad amir khan, pandit d v paluskar – baiju bawra


  1. ajnabi thehero jara – hariharan, preeti uttam – taj mahal
  2. mere mehboob mein kya nahin – lata, asha – mere mehboob


  1. mere mehboob tujhe – rafi/lata – mere mehboob (most people think it is Jheenjhoti)


  1. mohe panghat pe – lata – mughal e azam
  2. jab rat ho aisi matwali – lata – mughal e azam (sometimes mistaken as jaijawanti)

Gaud Sarang:

  1. aaye na baalam waada kar ke – rafi – shabab

Gorakh Kalyan:

  1. dil ki kashti – lata – palki
  2. o balam tere pyar ke – rafi, asha – ram aur shyam

Gowda Sarang:

  1. mera salam le ja – lata – udan kha tola


  1. madhuban mein radhika nache re – rafi – kohinoor

Jaijaivanti :

  1. Zindagi Aaj Mere Nam Se Sharamati Ha – rafi – son of India
  2. mohabbat ki rahon mein – rafi – udan kha tola


  1. dil ko laga ke – uma – anokhi ada
  2. guzre hain aj – rafi – dil diya dard liya

Janasamohini/shubha kalyan:

  1. koi sagar dil ko – rafi – dil diya dard liya (some say its kalawati)
  2. mere mehboob tujhe – rafi/lata – mere mehboob (most people think it is Jheenjhoti)


  1. mere mehboob tujhe – rafi – mere mehboob
  2. mere mehboob tujhe – lata – mere mehboob


  1. o mere lal aja – lata – mother india

Kafi/Misra Kafi:

  1. gham diye mustaqil – saigal – shah jahan
  2. angdaye tera hain bahana – manju – rattan
  3. jhum jhum ke nacho – mukesh – andaz
  4. meri payari patang – samsad, uma – dillagi
  5. duniya badal gaye – samsad, talat – babul
  6. janewale teri khuda hafiz – lata – palki


  1. mohe bhool gaye – lata – baiju bawra


  1. uthaye ja unke sitam – lata – andaz
  2. bekas pe karam – lata – mughal e azam
  3. kal rat zindagi se – rafi – palki

Khamaj/Misra Khamaj:

  1. chunariya katati jay re – manna de – mother India
  2. dhal chuki sham e gham – lata, rafi – kohinoor
  3. kaun gali jayo shyam – parveen – pakeezah
  4. nain lad gay hain – rafi – ganga jamuna


  1. Ek Shahenshah Ne Banvaa Ke Hasin Tajmahal – lata, rafi – leader (shyam-lalit)


  1. Bachpan ki mohabbat – lata – baijubawra


  1. dukh bhar din – rafi, samsad, lata, manna – mother india
  2. o gadiwale gadi – rafi, samsad – mother india
  3. holi ayi re – samsad – mother india
  4. matwale jiya – lata, rafi, samsad, manna – mother india
  5. aj mere man mein – lata – aan
  6. aj khushi ki irade – rafi – aan
  7. udi udi chayi ghata – lata – amar
  8. tan rang lo – lata, rafi – kohonoor


  1. hum aj kahi dil – mukesh – andaz

Malkauns/ Malkaush/ Kaushik:

  1. man tarapat hari darshan – rafi – baiju bawra


  1. Bachpan Ki Mohabbat Ko – lata – baiju bawra
  2. Jo Me Jaanthi Bisarat – lata – shabab
  3. Phir teri kahaani yaad aayi – lata – dil diya dard liya
  4. Mar gaye hum jeete jee – lata – shabab
  5. Kal raat zindagi se mulaqat – rafi – palki
  6. duniya wale duniya sare – lata – guddu


  1. ai dil bekarar jhum – saigal – shah jahan
  2. challenge teer jab dil – lata, rafi – kohinoor
  3. hamare dil se na jana – lata – udan khatola
  4. na milta gam – lata – amar


  1. payaliya bawari – lata – saaz aur aawaz


  1. Ghanan Ghanan ghan garjo re – ustad amir khan – baiju bawra
  2. sawan aye ya na – rafi, asha – dil diya dard liya (brindabani sarang)

Megh malhar:

  1. dukh bhare din – asha, manna, rafi, samsad – mother India
  2. tan rang lo ji – lata, rafi – kohinoor

Misra desi:

  1. aye shahare lucknow – rafi – palki

Miya Malhar:

  1. apni zulfein – hariharan – taj mahal (slight use of jhinjhoti)


  1. daya kar he giridhar – ustad amir khan – shabab


  1. der ki basti – lata – palki

Nayaki kanada:

  1. Chala Diye Deke Gam – lata – son of India (some say its Bilaskhani todi)
  2. mehlon mein – rafi – shabab


  1. Aaj Ki Raat Mere Dil Ki Salami Le Le- rafi – ram aur shaym
  2. Awaz De Kahan Hain – noorzahan, surendra – anmol ghadi
  3. mere bachapan ki – noorjahan – anmol ghadi
  4. tere nainon ne – suraiya – anmol ghadi
  5. jawan hain mohabbat – noorjahan – anmol ghadi
  6. rimjhim barse – zohrabai, amirbai – rattan
  7. Bata De Sakhi Kaun Gali Gayo Shyam – parveen sultana – pakeezah
  8. Dil Todnewale – lata, rafi – son of India
  9. Do Sitaron Ka Zamin – lata, rafi – kohinoor
  10. Javaan Hai Muhabbat – noorzahan – anmol ghadi
  11. Koi Pyara Ki Dekhe Jadugari – lata, rafi – kohinoor
  12. O Dur Ke Musaphir Hamko – rafi – udan khatola (some identify it as raaga Durga)
  13. Suhani Raat Dhal Chuki – rafi – dulari
  14. Tod Diya Dil Mera Tune Ai Bewafa – lata – andaz
  15. Tora Man Bada Papi Sanvariya Re – asha – ganga jamuna
  16. duniya mein hum – lata – mother india
  17. tasveer banata hoon – rafi – deewana
  18. na main bhagwan – rafi – mother india
  19. kisne mujhe pukara – rafi, suman – saz aur awaz
  20. chod babul ka ghar – samsad – babul


  1. Chandan Ka Palna Resham Ki Dori – hemant, lata – shabab
  2. Dhoondho Dhoondho Re Saajna – lata – ganga jamuna
  3. Hai Hai Rasiya Tu Bada Bedardi – asha – dil diya dard liya
  4. Jhule Mein Pavan Ki Ayi Bahar – lata, rafi – baiju bawra
  5. Mera Pyar Bhi Tu Hai – mukesh, suman – saathi
  6. More Sainya Ji Utarenge Paar – lata – udan khatola
  7. na maanu na maanu – lata – ganga jamuna
  8. pi ke ghar aaj pyari dulhaniya – samsad – mother India
  9. gunghat nahin – lata – mother india
  10. chehre se apne aj – rafi – palki
  11. aankhiya mila ke – zohrabai – rattan
  12. main bhanwara tuhe phool – mukesh, samsad- mela
  13. le ja meri duaein – lata – deedar
  14. bachpan ke din – lata, samsad – deedar
  15. dil ki halat – rafi, asha – dharam kanta
  16. humise muhabbat – rafi – leader


  1. jis rat ki khwab – rafi – habba khatun
  2. anuraga lola gathri – yesudas, s janaki – dhwani (malayalam)
  3. saaz ho tum Awaz hoon main – rafi – saaz aur Awaz (patdeep and Madhuvanti mixed)


  1. yeh kaun mujhe yaad – ajay chatterjee – taj mahal (puriya kalyan mixed)
  2. pyar kiya to darna – lata – mughal e azam (pilu + megh + sarang + sahana + bahar + darbari + other ragas)

Puriya Dhanashree:

  1. tori jai jai kartaar – ustad amir khan – baiju bawra
  2. Tareef e Meena Bazaar – couplet – taj mahal
  3. Mumtaz Tuze Dekha – hariharan – taj mahal
  4. hum kasam kaise – rafi – shabab


  1. shubhadina aayo rajadulara – bade gulam ali – mughal e azam


  1. mehalon mein rehne waale – rafi – shabab


  1. aja meri barbad – noorjahan – anmol ghadi


  1. ishq ki dastaan – kavita, preeti uttam – taj mahal (yaman mixed)
  2. gam diye mushkil – saigal – shehjahan
  3. ye hi arman lekar – rafi – shababa
  4. mera pyar bhi – mukesh, suman – saathi
  5. dharti ko akash – mukesh, samsad – mela


  1. koyi mere dil mein – lata – andaz


  1. prem jogan – bade gulam ali – mughal e azam

Suddha Sarang:

  1. gayeja geet milan ke – mukesh – mela
  2. dur koyi gaye – lata, samsad, rafi – baijubawra


  1. Meri Kahani Bhulnevale – rafi – deedar
  2. Yahi Arman Lekar Aaj Apne – rafi – shabab


  1. insaan bano – rafi – baiju bawra

Yaman/Kalyan/Yaman Kalyan:

  1. dilruba Maine tere – rafi – dil diya dard liya
  2. dil e betab ko – rafi, suman – palki
  3. janewale se mulaqat na hone – lata – amar
  4. tere husn ki – lata, rafi – leader
  5. ai ishq zara jaag tujhe husn jagaye – rafi – mere mehboob
  6. khuda nigehbaan ho tumharaa – lata – mughal e azam
  7. mera jeevan sathi – talat – babul
  8. nagri nagri – lata – mother india
  9. kaun gali gayo – parveen – pakeezah
  10. do sitaron ke – rafi, lata – kohinoor
  11. dil tod ne wale – rafi, lata – son of india
  12. khuda nigahban – lata – mughal e azam


piu piu re karat, room jhoom badariya barse, ajab tori prabhu, he ri he main kaise – rafi – baiju bawra – traditional bandishes in four ragas (lalit, gaur malhar, puriya, bageshri)

Naushad Ali…. remembering on his death anniversary…

Rattan (Hindi: रतन) by Naushad Ali (released in 1944)…

MELA (1950) with music by Naushad Ali…


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Remembering the 88th birthday of Mohammed Rafi (Dec 24, 1924 – July 31, 1980)

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

Mohammed Rafi (Source:

Mohammed Rafi (Source:

Mohammad Rafi (December 24, 1924 – July 31, 1980) was an Indian recording artist who is considered by many to be one of the greatest Indian playback singers of the Hindi film industry. In his lifetime, he was awarded theNational Film Award, Best National Singer Award and six Filmfare Awards. In 1967, he was honoured with thePadma Shri award by the Government of India. In 2000, the Stardust magazine named him the “Best Singer of the Millenium.” His singing career spanned about 35 years. Rafi is noted for his ability to sing songs of different moods and varieties: They ranged from classical numbers to patriotic songs, sad lamentations to highly romantic numbers, qawwalis to ghazals and bhajans. He is best known for romantic and duet songs and, as a playback singer, his ability to mould his voice to the persona of the actor lip-synching the song.

Rafi is primarily noted for his songs in Hindi-Urdu, over which he had a strong command. He sang in other Indian languages including AssameseKonkaniBhojpuriOriyaPunjabiBengaliMarathiSindhiKannadaGujarati,Telugu, Maghi, and Maithili. He also recorded a few songs in EnglishPersianSpanish and Dutch. From available figures, Rafi sang 4,516 Hindi film songs, 112 non-Hindi film songs, and 328 private (non-film) songs from 1945 to 1980. (Source:

Related articles

Mohammed Ravi life…

Shahid Rafi, Mohd. Rafi’s youngest son, talks about his father


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CH – Raga CDs des Monats (12/12): Grama – Musikskalen des antiken Indiens.

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

!! Neue Sendetermine ab 2013 – Neuer Programmkalender als Download  o. iCal  !!

Die Förderinitiative IMC – India meets Classic präsentiert am Heiligen Abend “CDs des Monats: Grama – Musikskalen des antiken Indiens”.

– Ragamala (Miniaturmalerei) –
Die Legende besagt, dass Tansen
mit dem Raga Deepak Feuer entzündete.



Das antike Raga-Ragini System (16. Jahrhundert) bestand aus 132 Ragaskalen, mit 6 männlichen Ragas:
Bhairav, Deepak, Malkauns, Hindol, Shree und Megh.
Jedem männl. Raga werden 5 weibliche Ragas (Ragini-s) zugeordnet.
Jede Raga-Ragini Gruppe besitzt 8 Kinder (raga Putras (Jungen) and raga Vadhus (Mädchen)).
Indische Rajput Miniaturmalerei (Mewar style) – Wasserzeichnung mit reinem Gold auf Baumwolle (Quelle: © Art of Legend India)

Die sieben Hauptnoten (oder Swars) der uns heute bekannten Ragaskalen in der indischen Klassik Nord- und Südindiens sind Sa (Shadaja), Re (Rishabh), Ga (Gandhara), Ma (Madhyama), Pa (Pancham), Dha (Dhaivat)und Ni (Nishad).


24. Dezember 2012 – 22:00 Uhr CET (04:00 pm EST) @ Radio RaSA (CH)
(Premiere: 16ter Februar 2010 – 21:00 Uhr CET @ Tide Radio)
broadcasting plan | streaming (Internet Radio & Mobile Radio) | podCast

Shadaja, Madhyama und Gandhar Gramas

Ihren Ursprung und die mikrotonale Struktur (22 shruti-s) der Ragas kann man zurückdatieren auf die ersten Schriftwerke des antike Indiens und das vedische Zeitalter (500-600 v. Christi Geburt).

Im Natya Sastra, einer musikalischen Abhandlung zu den darstellenden Künsten (Theater, Tanz und Musik) , das von dem Weisen und indischen Musikwissenschaftler Bharata Muni geschrieben wurde, finden wir erste Hinweise auf zwei Skalentypen (grama-s), auf denen noch heute alle Ragas beruhen: Shadja Grama u. Madhyama Grama.

Die sieben Hauptnoten (oder Swars) der uns heute bekannten Ragaskalen in der indischen Klassik Nord- und Südindiens sind Sa (Shadaja), Re (Rishabh), Ga (Gandhara), Ma (Madhyama), Pa (Pancham), Dha (Dhaivat)und Ni (Nishad).

Extended Helmholtz-Ellis Ji Pitch Notation *

Die Entstehung des Natya Sastra wird datiert auf ca. 200 v. Chr. – 200 n. Chr.  Angesichts seiner Bedeutung für die darstellenden Künste Indiens bis in unsere Zeit wird es als das 5. Vedische Buch angesehen (Veda im Sanskrit bedeutet ‘Wissen’). Bharata Muni nahm in seiner Arbeit bezug auf die Ghandarvaveda, eine Abhandlung über Musik, Tanz und das Theater und Bestandteil der Upaveda, ein technisches Manual der Samaveda. Diese Sammlung von Hymnen ist das 2. Buch der Hindu Skripte und gehört zu den ersten vier vedischen Büchern. 75 der Melodien (samagana) in der Samaveda leiten sich aus der Rigveda ab, gleichfalls eine Kollektion von Hymnen, die von Priestern der vedischen Religion zur Lobpreisung der Gottheiten gesungen wurden.  Die Entstehung der  Rigveda wird zwischen 1700 und 1100 vor Christi Geburt datiert.
*) Notation in ‘The Extended Helmholtz-Ellis Ji Pitch Notation’ (Wolfang v. Schweinitz – 16.02.2007) /
microtonal accidentals designed by Marc Sabat & Wolfgang von Schweinitz (2004/2005) / Just Intonation (JI) of Indian Scales (@ Wikipedia)

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CH – Raga CDs of the Months (12/12): Grama – Music Scales of the Ancient India

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

!! New Broadcasting Dates in 2013 – See the new Broadcasting Calendar here !!

The promotion initiative IMC – India meets Classic presents on Christmas Eve “Raga CD of the Months: Grama – music scales of the ancient India“.

– Ragamala painting –
the legend says sung by Tansen
Raga Deepak created fire.




.The ancient Raga-Ragini system (16th century) existed of 132 raga scales, with six male Ragas:
Bhairav, Deepak, Malkauns, Hindol, Shree and Megh.
Each male raga is linked with 5 female ragas (Ragini-s).
Each Raga-Ragini group has eight children (raga Putras (boys) and raga Vadhus (girls)).

Indian Rajput Miniature art painting (Mewar style) – Water color with Pure gold on cotton canvass (picture source: © Art of Legend India)

The seven main notes (or Swars) that are well-known today for the Raga scales in Indian classics of North and South India are: Sa (Shadaja), Re (Rishabh), Ga (Gandhara), Ma (Madhyama), Pa (Pancham), Dha (Dhaivat) and Ni (Nishad).

dates of broadcasting…

24th December 2012 – 04:00 pm EST (10:00 pm CET) @ Radio RaSA (CH)
(premiere: 16th February 2010 – 09:00 p.m. CET @ Tide Radio)
broadcasting plan | streaming (Internet Radio & Mobile Radio) | podCast

Shadaja, Madhyama and Gandhar Gramas

The origin of the Ragas and it’s microtonal structure (22 shruti-s) can be dated back to the scripts of the ancient India and the Vedas (600-500 BC).

In the Natya Sastra, a musical treatise about the performing arts (theatres, dance and music) written by the Indian musicologist and sage Bharata Muni we find first references with two basic types of scales (grama-s) to which all Ragas of today can be referenced: Shadja Grama and Madhyama Grama.

Die sieben Hauptnoten (oder Swars) der uns heute bekannten Ragaskalen in der indischen Klassik Nord- und Südindiens sind Sa (Shadaja), Re (Rishabh), Ga (Gandhara), Ma (Madhyama), Pa (Pancham), Dha (Dhaivat)und Ni (Nishad).

Extended Helmholtz-Ellis Ji Pitch Notation *

The accomplishment of the Natya Sastra is dated approximately between 200 BC and 200 AC. By its fundamental treatise of performing Indian arts till nowadays it is called the 5th Vedic book (Veda in Sanskrit means ‘knowledge’). Bharata Muni referred herefore to the Ghandarvaveda, a treatise about music, dance and theatre as part of the Upaveda, the technical manual of the Samaveda. This collection of hymnes is the 2nd book of the Hindu scripts and part of the 1st 4 Vedic books. 75 of the melodies (samagana) in the Samaveda derivate from the Rigveda, same a collection of hymnes sung by the priests of Vedic religion for praising different deities. The Rigveda is dated aproximately between 1700-1100 BC.

*) Notation in ‘The Extended Helmholtz-Ellis Ji Pitch Notation’ (Wolfang v. Schweinitz – 16.02.2007) /
microtonal accidentals designed by Marc Sabat & Wolfgang von Schweinitz (2004/2005) / Just Intonation (JI) of Indian Scales (@ Wikipedia)

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New Delhi: Sangeet Natak Akademi Fellowships and Awards 2012 (announcement)

Posted by ElJay Arem (IMC OnAir) on December 23, 2012

Sangeet Natak Akademi announces for 2012…

Sangeet Natak Akademi Puraskar (Akademi Award) is an award given by the Sangeet Natak Akademi, India’s National Academy of Music, Dance & Drama. It is the highest Indian recognition given to practicing artists. The award consists since 2003 of Rs. 50,000, a citation, an angavastram (a shawl), and atamrapatra (a brass plaque). The awards are given in the categories of music, dance, theatre, other traditional arts and puppetry, and for contribution/scholarship in performing arts. (Source:


Who are the candidates ????

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