…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
a very HAPPY & SUCCESSFULLY NEW YEAR 2013 !!!!!
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.
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.
… written by Dr M Lalitha and M Nandini (MS Academy of Global Music*) – www.lalithanandini.com
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:
Those who research, practise music theory
Performer musicians with a research degree (M Phil or Ph D)
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: Wikipedia.org)
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.
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 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 (Source: Wikipedia.org)
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 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: Wikipedia.org)
CONFERENCE SESSIONS :
December 16, 2012 to January 1, 2013 – DAILY FROM 8.00 A.M. TO 10.00 A.M.
AT THE KASTURI SRINIVASAN HALL
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: Wikipedia.org)
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.
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: Wikipedia.org)
This is a list of Naushad’s songs based on different raagas:
Ahir Bhairav:
aj hai pyar ka faisala sanam – lata – leader
Alahaiya-Bilawal:
dil mein chupake pyar ka – rafi – aan
Bageshri:
chah barbaad karegi – saigal – shah jahan
milke bichad gaye – amirbai – rattan
Bahar:
man ki been – lata, rafi – shabab (with a line in basant)
Bhairavi:
kya mil gaye bhagwan – noorjahan – anmol ghadi
aye dil tujhe kasam hai – lata – dulari
teer khate jayenge – lata -dewana
na toofan se – rafi – udan kha tola
haal e dil main lata – udan kha tola
dooba tara ummeedon ki sahara – lata – udan kha tola
kya rang-e-mehfil hain – lata – dil diya dard liya
allah bachaya naujawan – lata – mere mehboob
yaad mein teri jag – lata, rafi – mere mehboob
aai diwali – zohrabai – rattan
diya na bujhe re aj hamara – lata – son of India
zindabad ae mohabbat zindabad – rafi – mughal e azam
insaf ka mandir – rafi – amar
khamosh hain khewan – lata – amar
milte hain aankhen – samsad, talat – babul
lagan more man ki – lata – babul
huye hum jinke – rafi – deedar
dekhliya maine – rafi, lata – deedar
jadugar katil – asha – kohinoor
zara man ki kewadiyain khol – rafi- kohinoor
aanewalon ko ana hoga – rafi, lata – sohni mahiwal
tori jai jai kartaar – ustad amir khan – baiju bawra
Tareef e Meena Bazaar – couplet – taj mahal
Mumtaz Tuze Dekha – hariharan – taj mahal
hum kasam kaise – rafi – shabab
Rageshri:
shubhadina aayo rajadulara – bade gulam ali – mughal e azam
Shahana:
mehalon mein rehne waale – rafi – shabab
Sarang:
aja meri barbad – noorjahan – anmol ghadi
Shivranjani:
ishq ki dastaan – kavita, preeti uttam – taj mahal (yaman mixed)
gam diye mushkil – saigal – shehjahan
ye hi arman lekar – rafi – shababa
mera pyar bhi – mukesh, suman – saathi
dharti ko akash – mukesh, samsad – mela
Sindhu-bhairavi:
koyi mere dil mein – lata – andaz
Sohni:
prem jogan – bade gulam ali – mughal e azam
Suddha Sarang:
gayeja geet milan ke – mukesh – mela
dur koyi gaye – lata, samsad, rafi – baijubawra
Tilang:
Meri Kahani Bhulnevale – rafi – deedar
Yahi Arman Lekar Aaj Apne – rafi – shabab
Todi:
insaan bano – rafi – baiju bawra
Yaman/Kalyan/Yaman Kalyan:
dilruba Maine tere – rafi – dil diya dard liya
dil e betab ko – rafi, suman – palki
janewale se mulaqat na hone – lata – amar
tere husn ki – lata, rafi – leader
ai ishq zara jaag tujhe husn jagaye – rafi – mere mehboob
khuda nigehbaan ho tumharaa – lata – mughal e azam
mera jeevan sathi – talat – babul
nagri nagri – lata – mother india
kaun gali gayo – parveen – pakeezah
do sitaron ke – rafi, lata – kohinoor
dil tod ne wale – rafi, lata – son of india
khuda nigahban – lata – mughal e azam
Raagmala:
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)…
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.
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).
Sendetermine…
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.
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)
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.
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.
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: Wikipedia.org)
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