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Archive for February 10th, 2013

CH – Raga CDs des Monats (02/13): die indischen Noten (Swaras) – Mutter Natur

Posted by ElJay Arem (IMC OnAir) on February 10, 2013

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

Die Sendung “Swara-s – die indische Noten & Mutter Natur” nimmt Bezug auf unser zurückliegendes Thema “Musik & Sprache“, in dem wir physiologische Aspekte des Hörens (Teil 1/2) und gleichsam die Soziologie der Musik im gesellschaftlichen Zusammenhang (Teil 2/2) akkustisch beleuchtet haben. Dabei stellten wir auch die Beziehung unserer westlichen Musikkultur zur indischen Klassik her.

Dafür hatten wir die spirituelle Dimension weitestgehend aussen vorgelassen, um der physikalischen Struktur von Musik Vorrang gegeben. (Hinweis: Sie finden die Sendung “Musik & Sprache” in unserem Online-Medienarchiv.)

Sendetermine…

11. Februar 2013  22:00 Uhr CET (04:00 pm EST) @ Radio RaSA (CH)
(Premiere: 18. Mai 2010 – 21:00 Uhr CET @ TIDE Radio)
broadcasting plan | streaming (Internet Radio & Mobile Radio) | podCast

Indische Ragas im Hören zu begreifen, geht nicht ohne Verständnis für den Hinduismus, zu dem sich im Schnitt etwas mehr als 80% aller Inder bekennen. In einer Erhebung der indischen Regierung im Jahre 2001 waren dies immerhin ca. 1,03 Mrd. Inder.
Die sieben (7) Hauptnoten, aus denen eine Ragaskala in der auf- und absteigenden Skale bestehen kann, leiten sich nach der hinduistischen Mythologie aus Tierstimmen und Vogelrufen ab. Es ist auch kennzeichnend für die enge Verbindung der indischen Künste, von Musik und Tanz mit dem Spirituellen.

Für die antiken Ragakompositionen bediente man sich der Naturklänge, nicht nur zur Interpretation der klanglichen Umgebung des Menschen, der sich anders als in unserer Moderne noch in die Natur eingebettet fühlte. – Auch dem Zuhörer ermöglichte diese Klangimitation gleichsam eine kritische Prüfung der sängerischen Qualitäten und der Instrumentalisten, ihrer Genaugikeit des Instrumentes oder der menschlichen Stimme.

Die sieben s.g. Swara-s, in der Kurzform Sa, Re, Ga, Ma*, Pa, Dha und Ni entspechen im Tonumfang der in der westlichen Musik bekannten Oktave, und dem von Guido von Arezzo im 11. Jhdt. entwickelten Verfahren zur Benennung der musikalischen Töne für das Singen: Do, Re, Mi, Fa, Sol, La und Si (s.g. Somalisation).

.
1. Sa

(Shadja)

2. Re

(Rhishaba)

3. Ga

(Gandhara)

4. Ma*
(Madhyama)
Schrei des Pfaus Muhen der Kuh nach ihrem Kalb o. der Chataka (vogelähnliches Tier) Meckern einer wilden Bergziege / Blöken eines Schafes Ruf des
Fischr
eihers*
 .   .  . 
5. Pa
(Panchama)
6. Dha
(Dhaivata)
7. Ni
(Nishada)
Lied der indischen
Nachtigall (o. des
Kuckuks = Kokila)
Quaken des Frosches im indischen Monsoon / Wiehern des Pferdes Trompeten des Elephantes
.
.
(Quellen: Wikipedia)
.

Die indischen Ragas der nord- und südindischen Klassik, die heute von den Musikmaestros instrumental oder im Gesang präsentiert werden, bestehen aus wenigstens 5, 6 oder 7 Hauptnoten (s. Ausnahme: Sendung “5 minus 1: Raga Malashree“).

______________________________

*) Ma (Madhyama) ist der Grundton der Natur, neben Aum (OM) als der ewige Klang des unendlichen Universums.

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CH – Raga CDs of the months (02/13): Indian Swara-s – Mother Nature.

Posted by ElJay Arem (IMC OnAir) on February 10, 2013

!! New Broadcasting Dates in 2013 – Programme Calendar as PDF Download  or iCal  !!

IMC OnAir’s broadcasting “Indian Swara-s – Indian notes & Mother nature” purchase to our latest shows “music & language” where physiological aspects of listening music (part 1 of 2) and the sociology of music (part 2 of 2) have been lit up accousticaly and related our Western music culture with Indian classics.

Hereby we focused as priority onto the physical structure of music without the spirital dimension (reference: you can find the show”music & language” in our online media archive.)

dates of broadcasting…

11th February 2013 – 04:00 pm EST (10:00 pm CET) @ Radio RaSA (CH)
(premiere: 18th May 2010 – 09:00 p.m. CET @ TIDE Radio)
broadcasting plan | streaming (Internet Radio & Mobile Radio) | podCast

Listening to Indian Ragas can only be understood by giving attention some aspects of Hinduism to which on average more than 80% of all Indians belong. In study of Indian government in the year 2001 nevertheless approx. 1.03 billion Indians had been counted.

In Hindu mythology the seven (7) main notes of which a fully Raga scale can consist in its ascending and descending form are derivated from animal sounds and bird tweets. It is characteristic for the close bondage of Indian arts, music and dance with spiritualism.

Nature sounds gave inspirations for the ancient Raga compositions, not only as an interpretation of the sound environment of humans, who still felt embedded totally into nature differently than in our modern times. – Also this sound imitation made it possible for the listeners to proof the artists by a critical examination of the vocal qualities and instrumental skills and their exactness.

The seven so called Swara-s, in short form Sa, Re, Ga, Ma*, Pa, Dha and Ni have the same tonal sound equivalent of the Western octaves and comply with Do, Re, Mi, Fa, Sol, La and Si developed by Guido of Arezzo in the 11th century for the designation of the musical tones for singing (so called somalisation).

.
1st Sa

(Shadja)

2nd Re

(Rhishaba)

3rd Ga

(Gandhara)

4th Ma*
(Madhyama)
howl of the
peacock
moo of the cow for her calf or the chataka (bird kind animal) the baa of a wild mountain goat or a sheep call of the
heron
*
 .  .  .
5th Pa
(Panchama)
6th Dha
(Dhaivata)
7th Ni
(Nishada)
singing of the Indian
nightingale (or kokila)
croak of the frog in Indian Monsoon /
horse
‘s wickering
trumpeting of
an elephant
.
(sources: Wikipedia)
.

.

The Ragas of North and South India which are presented today by the music maestros instrumentally or vocally consists of at least 5, 6 or 7 swara-s (see exception: broadcasting “5 minus 1: Raga Malashree“).

______________________________

*) Ma (Madhyama) is the basic sound of nature, beside Aum (OM) as the eternal sound of the infinite universe.

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The 55th GRAMMYs (10th Febr 2013): Sitarlegend Pt. Ravi Shankar awarded post-hum for the “Best World Music Album”

Posted by ElJay Arem (IMC OnAir) on February 10, 2013

Ravi Shankar was awarded post-hum for the “Best World Music Album” for ‘The Living Room Sessions Part 1’. His daughter Anoushka Shankar accepted the award in his behalf with respectfully joking, that its not bad to loose again owns dad as she was nominated, too in same category with her album “Traveller“. Congrats.

All nominees had been:
—————————————————-
Ravi-Shankar-Best-World-Music-Album-1The Living Room Sessions Part 1
Ravi Shankar
Label: East Meets West Music

Folila
Amadou & Mariam
Label: Because Music / Nonesuch

On A Gentle Island Breeze
Daniel Ho
Label: Wind Music Int’l Corp. & Daniel Ho Creations

Jabulani
Hugh Masekela
Label: Listen 2 Entertainmnet Group/Razor & Tie

Traveller
Anoushka Shankar
Label: Deutsche Grammophon/Universal

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The 55th GRAMMYs: 2013 SPECIAL MERIT AWARDS (9th Febr)

Posted by ElJay Arem (IMC OnAir) on February 10, 2013

Norah Jones and Anoushka Shankar accept the Lifetime Achievement Award on behalf of their father, the late Ravi Shankar, at the 2013 Special Merit Award Ceremony & Nominees Reception on Feb. 9 in Los Angeles.

Norah Jones: 00:00:00-00:26:15 | Anoushka Shankar: 00:28:13-02:58:21 (fully length: 03:02:13)

Norah-Jones-and-Anoushka-Shankar-2013-Special-Merit-Award-Ceremony

Photo credit: Michael Kovac/WireImage

(Source: 02/2013 – Grammy.com)

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The 55th GRAMMYs (02/10/2013): Lifetime Achievement Award for Ravi Shankar

Posted by ElJay Arem (IMC OnAir) on February 10, 2013

The (Web) broadcasting will start on 06:30 am on Monday Indian time = 02:00 am on Monday Central European Time = 05:00 pm Pacific Time on Sunday, 10th February 2013.

COMPOSER PHILIP GLASS PAYS TRIBUTE TO LEGENDARY SITAR PLAYER RAVI SHANKAR

(In addition to the GRAMMY Awards, The Recording Academy presents Special Merit Awards recognizing contributions of significance to the recording field, including the Lifetime Achievement Award, Trustees Award and Technical GRAMMY Award. In the days leading up to the 55th GRAMMY Awards, GRAMMY.com will present the tributes to the 2013 Special Merit Awards recipients.)

In the mid-’50s, while the academics, pundits and practitioners of “new music” were debating and legislating the future of their art, a young man from India arrived in the West and, unbidden and unannounced, set into motion a revolution in Western musical language that is today, more than 50 years later, still powerfully shaping our landscape. That young man was, of course, Ravi Shankar.

English: Ravi Shankar with Anoushka Shankar at...

English: Ravi Shankar with Anoushka Shankar at the World Sacred Music Festival in Fes, Morocco, in June 2005 (Photo credit: Wikipedia)

He was already famous in India as a leading master of the classical music world and foremost sitar player of the day. He soon became a close friend and collaborator of the great French flutist Jean-Pierre Rampal and the formidable violin virtuoso Yehudi Menuhin.

His appearance at the Monterey Pop Festival in 1967 would lead him to all manner of performances at other festivals as well. He had become a living pied piper of music with a huge following among young musicians, composers and theater/dance enthusiasts.

George Harrison with Ravi Shankar, 1967

George Harrison with Ravi Shankar, 1967 (Photo credit: Wikipedia)

In fact, Raviji (as he was affectionately known to students and friends alike) was well-known and adored not only by the rich and famous but by the young and passionate as well. In that regard, the Beatles qualified in all four categories. Not surprisingly, he had a long and close friendship with George Harrison and, along the way, made formidable waves in the worlds of popular and commercial music.

He was particularly drawn to young people — both musicians and music lovers. He was an indefatigable teacher. Lessons could begin anytime. On several occasions I saw him lay down the sitar and lecture his audience on the immorality of drug taking, smoking and drinking. These kinds of sermons were tolerated kindly enough by the young fans, who were sitting it out, waiting for that magnificent torrent of music to begin again. In those days, and to the end, he was treated as a superstar. Always gracious and kind, though occasionally not exactly on time, except in his music, when he would be impeccable.

English: Ravi Shankar performs in Delhi with h...

English: Ravi Shankar performs in Delhi with his daughter Anoushka in March 2009 (Photo credit: Wikipedia)

He is no longer with us but his legacy is all around us. Simply, today’s music world would not be what it is without him. His companions, students and friends are everywhere. His brilliance, enthusiasm and simple love for the life in which he was immersed remain as a wave of energy that continues to animate everything it touches.

I spoke to Raviji just a few days before he died. Sukanya, his wife and longtime companion, arranged the call for me, for which I will always be grateful. It wasn’t a long conversation, nor did it need to be. Things were said that had been said before but needed to be said one last time.

Passages (Ravi Shankar and Philip Glass album)

Seeing a great man die is like watching a sunset. For me, he was the greatest of the great and the best of the best. At that unbelievable and unknowable event, as with the last tender light of the evening, all the beauty and sadness, joy and terror of life at last come together. Even Death, at that moment, is briefly robbed of its finality.

(Philip Glass has been called one of the most influential composers of the 20th century. He has earned four GRAMMY and three Academy Award nominations. Glass collaborated with Ravi Shankar on the 1990 album Passages.)

The 55th Annual GRAMMY Awards will take place live on Sunday, Feb. 10 at Staples Center in Los Angeles and will be broadcast in high-definition TV and 5.1 surround sound on the CBS Television Network from 8–11:30 p.m. (ET/PT). The show also will be supported on radio worldwide via Dial Global, and covered online at GRAMMY.com and CBS.com, and on YouTube.

For GRAMMY coverage, updates and breaking news, visit The Recording Academy’s social networks on Twitter and Facebook.

(Source: 02/2013 – The 55th Grammys)

Philip Glass & Pt Ravi Shankar with Sri Kartik Seshadri on sitar

Ragas in Minor Scale! – Ravi Shankar & Philip Glass

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We like to remember the 12th anniversary of Hindustani vocalist Mogubai Kurdikar (07/15/1904 – 02/10/2001)

Posted by ElJay Arem (IMC OnAir) on February 10, 2013

Mogubai Kurdikar (Devanagari:मोगुबाई कुर्डीकर) (July 15, 1904 – February 10, 2001) was a renowned Hindustani classical music vocalist of the Jaipur-Atrauli gharana.

Mogubai Kurdikar

Mogubai Kurdikar

Mogu Kurdikar was born in a Gomantak Maratha Samaj community in the village of Kurdi in the then Portuguese Goa. When she was ten years old, her mother, Jayashreebāi, took her to the temple at Zambavli, and arranged for a wandering holyman to teach music to Mogu for a while. Later she took Mogu to a traveling theater company, the Chandreshwar Bhootnāth Sangeet Mandali, and the company took Mogu in as an actress.

While Mogu was with Chandreshwar Bhootnath Mandali, her mother died. A legend says that on her deathbed the mother told Mogu that her soul would not rest in peace until Mogu became a famous singer. The theater company soon went bankrupt, and the rival Sātārkar Stree Sangeet Mandali hired Mogu. She played commendably the parts such as of Kinkini in the play, Punyaprabhāv, and of the heroine Subhadrā in the play with the same name,Subhadrā. A conflict arose, however, between Mogu and one of the senior women in the theater company, who then expelled Mogu from the company. Mogu moved to Sāngli, and took some music lessons from Ināyat Khān of the Rāmpur-Sahaswan gharānā. For some reason, however, he too soon decided to terminate giving her further lessons.

Some rare  audio recordings (with credits to Rajan Parrikar Music Archive):

♫ Raga Savani Nat 

♫ Raga Sampoorna Malkauns 

♫ Raga Khambavati (Vande Mataram)

Alladiya Khan and the power struggle in Bombay

At this time, vocalist legend Gaansamrat Alladiya Khan Saheb was in Sangli for medical treatment, and on his way to and from his doctor’s, he walked by Mogu’s residence, where he would hear her practice what she had learnt from Inayat Khan. One day he stopped, introduced himself and offered to teach her. Young Mogu of course agreed, but despite Alladiya’s fame, she had not heard of him – it was not until some time later, when she observed dignitaries bow down to him, that she fully realised his standing.

After some eighteen months, Alladiya Khan moved to Bombay (now Mumbai), and Mogu followed. Thus begun a time of intrigue in Bombay’s high-society and classical music circles.

Mogubai with her daughter Kishori at the family temple in Goa (Photo credit: 'Winds of Fire' by Mário Cabral e Sá)

Mogubai with her daughter Kishori at the family temple in Goa (Photo credit: ‘Winds of Fire’ by Mário Cabral e Sá)

For Alladiya was supported in Bombay by wealthy patrons in exchange for music teaching, and they would not let him take other students. In desperation, Mogu turned to Bashir Khan of the Agra gharana, who agreed to teach her if she would perform the formal gandha-bandan (thread-tying) ceremony of guru-shishya discipleship with fellow Agra ustad Vilayat Hussein Khan. This came to happen, and Alladiya heard of it. He demanded that she stop the discipleship and instead go to his brother, Hyder Khan. But as the Agra ustads had a lot of clout, Mogu hesitated, and solicited a promise that Alladiya would teach her himself in the future if Hyder ever failed to do so. A deal was worked out, Hyder taught her for a while, but Alladiya’s rich and powerful students were putting a lot of pressure on him to put a stop to it, increasingly jealous of her progress. About 1930, Alladiya felt forced to persuade his brother to stop teaching and leave town, but came clean to the heartbroken Mogu about what had happened, essentially breaking his promise.

At this stage in her career, Mogu could likely have supported herself as a performer. But she chose not to. Not content with the prospect of being just another name on the scene, she wanted to become the best, the foremost representative of a tradition (as she has observed in Alladiya Khan). She gave birth to a daughter, Kishori, and kept practicing on her own, until one day Alladiya came back to her. They performed the gandha-bandan, and he now kept teaching her to the end of his life. She became one of the topmost singers in North India, even hailed as “the queen” by Alladiya in public. She received the Sangeet Natak Akademi Award in 1968 and the Sangeet Research Academy Award in 1980, and was decorated with the Padma Bhushan, India’s third highest civilian honour for service to the nation, in 1974.

Legacy

Mogubai trained students such as Kaushalya ManjeshwarPadma TalwalkarKamal TambeWamanrao DeshpandeSuhasini MulgaonkarBabanrao HaldankarArun Dravid, and her own daughter, Kishori Amonkar (in a rare instance both daughter and mother have been honored with the Padma Bhushan award for their musical contributions.) Some of Mogubai’s recordings have been reissued as a volume of RPG Music’s Vintage 78 RPM Recordings on CD series (CDNF150596).

(Source: 02/2013 – Wikipedia.org)

Raga Jayjaywanti…

+++

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A – Raga CDs des Monats (02/13): Grama – Musikskalen des antiken Indiens.

Posted by ElJay Arem (IMC OnAir) on February 10, 2013

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

Die Förderinitiative IMC – India meets Classic präsentiert im Februar die Sendung “Raga 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).

Sendetermine…

10. February 2013 – 23:00 Uhr CET (05:00 pm EST) @ Radio FRO (A)
(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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