Sound: Christian Beusch, Shiju, José Sojen, Martin Witz
Editing: Loredana Cristelli
Music: Mafalda Arnauth, Giuseppe Laruccia, Ajit Singh
Production: Reck Filmproduktion
Rajas’ Journey (German Title: Rajas Reise)
by Karl Saurer
The film recounts the mysterious story of the Indian elephant Raja that journeyed through the forests of Kerala via Lisbon to Vienna in the year 1550. The reconnaissance trip made by Gandhi-activist P.V. Rajagopal on Raja’s route provokes surprising associations. The film reenacts the little elephant’s imprisonment, training and appearances at temple ceremonies – until he was ambushed as a status symbol by European rulers. It is a story of misappropriation that continues today.
Karl Saurer
Born in 1943 in Einsiedeln. Studied in Zurich, Munich, Cologne and Osnabrück. 1979 Receives MA in media, literature and psychology. Since 1970 works as film publicist in Switzerland and Germany. 1980-84 Works as lecturer in the Script Department and as staff member at DFFB (Deutschen Film- und Fernsehakademie Berlin). Lecturer at universities and film schools. Screenwriter and director of fiction and documentary films.
Born in 1947 in Calcutta, Pandit Swapan Chaudhuri received tabla training from early childhood. He was later trained in the Lucknow Gharana with Pandit Santosh Krishna Biswas and today is one of the best known tabla players of India. He is highly regarded both in solo performances as well as having accompanied some of India’s most distinguished musicians, including Ustad Ali Akbar Khan (1922-2009) and Pandit Ravi Shankar (1920-2012). Swapan Chaudhuri is currently the Director of Percussion at the Ali Akbar College of Music in San Rafael, California, and also teaches during the annual seminars of the Ali Akbar College of Music in Basel, Switzerland. (Source:Ali Akbar College of Music)
—
“…the controlled virtuosity of Swapan’s (Tabla) playing always implied that if he cared, nothing could stop him. What display he put on…!” —San Francisco Chronicle, USA
… with Rasid Khan (midth) and Hariharan (r.)
… with Pt.Jasraj (l.) and flute player Pt. Hariprasad Chaurasia (r.)
… with Bimsen Joshi (midth) and Ali Akbar Khan (r.)
… with Sitar maestro Shujaat Husain Khan, r. (photo credit: Ian Tong @ AllMusic.com)
Esteemed the world over for his purity of sound, depth of knowledge, rhythmic creativity, and dedication to teaching, Maestro Swapan Chaudhuri is considered one of the greatest living musicians and tabla virtuosos of our time. He continues to accompany all the eminent classical instrumental and vocal musicians of India in addition to collaborating with artists of every world music tradition and genre. His dedication to teaching tabla worldwide has brought him global recognition and defined him as a true master. He has made tabla more accessible, enabling this North Indian classical drum to take its rightful place as one of the most versatile and sought after instruments on the planet.
As a soloist, Swapan’s nuanced and lyrical ability to bring even the most complex and challenging compositions to life gives audiences a rare glimpse into the depth and majesty of tabla’s vast repertoire. Both his accompaniment and his recordings are prized for their clarity and improvisational beauty. Two records, Legacy (1997) and Passing on the Tradition (1998), were nominated for Grammy awards, on which Swapancollaborated with Asha Bhosle and Maestro Ali Akbar Khan.
Swapan is cherished and honored in his homeland of India, where in 2011 he was awarded a National Lifetime Achievement Award, the Bharat Ke Sangeet Ratna, by the Art & Cultural Trust of India. He is a recipient of the prestigious Sangeet Natak Academy Award (1997) from the Government of India. Internationally, Swapan is the recipient of the American Academy of Artists Award and is nominee to Percussive Arts Society Hall of Fame, distinctions reserved for only those musicians who have attained the highest level of artistry.
As Director of Percussion at the Ali Akbar College of Music for over 30 years and Department Chairperson / Senior Faculty of the World Music Program at the California Institute of the Arts for the past 20 years, Swapanji has taught tabla with an unmatched level of dedication. It is an extension of the kind of intensive and dedicated teaching that was bestowed upon him by his own legendary Guru, Acharya Santosh Krishna Biswas of the Lucknow Gharana (music school), whom Swapan learned with since the age of five in Kolkata, India. It was his early development as an accompanist to the great sarodist Maestro Ali Akbar Khan that led him to become the accompanist of choice for India’s greatest classical artists including Pandit Ravi Shankar, Ustad Vilayat Khan, the late Pandit Nikhil Banerjee, Ustad Amir Khan, Ustad Amjad Ali Khan, Pandit Bhimsen Joshi, Pandit Jasraj, L. Shankar, Dr. Balmurli Krishna, Pandit Birju Maharaj, Dr. L. Subramanium, Lakshmi Shankar, Pandit V.G. Jog, and many others. In 1981, Swapanji was invited to the United States by Maestro Ali Akbar Khan to serve as Director of Percussion at the Ali Akbar College of Music in San Rafael, California, where he continues to teach today.
Swapanji’s meteoric rise as a performer and teacher of Classical Indian music led to international musical collaborations with such renowned artists as Stevie Wonder, Mark O’Connor, John Handy, Larry Coryell, John Santos, the Lian Ensemble, the reputed Persian musicians Alizade and Kayhan Kalhor, the African drum master, Malenga, and the renowned guitarists, Vlatko Stefanovski and Miroslav Tadic.
He has been the featured artist at the San Francisco International Music Festival (2010 – 2012), the Los Angeles County Museum of Art exposition on the city of Lucknow (2011), the Darbar Music Festival in London (2008 – 2012), Global Encounters at Carnegie Hall (2007), and numerous international music festivals of cities including Sao Paolo, Rio de Janiero, Sydney, Tokyo, Toronto, Kuala Lampur, Stuttgart and Berlin. He has composed for several percussion ensembles, featuring up to 20 world percussionists, which have received tremendous appreciation from Western as well as Indian audiences.
He is associated with many American and European Universities as a visiting professor, and maintains a rigorous touring, teaching and recording schedule throughout the year.
… 1st I wish you a HAPPY HOLI ! – May your life go colourful ahead.
Its a funny coincidence that exactly on today and seven (7) years ago I started my first radio show for Indian Classics with the topic “Seasonal Ragas – Spring ragas” (see playlist: http://bit.ly/jU1GOw ).
Tks for all who walked on this uniquely path over last years alongside my activities and those of promotion initiative IMC – India meets Classic, which was founded in January 2005 – http://www.imcradio.net/about .
After single broadcastings in November/December in 2005 and a conceptual period of three months the test phase of regularly, monthly broadcasting started on 26th March 2006 at 03:00 pm CET (10:00 am EST / 07:30 pm Indian time) @ TIDE Radio in Hanseatic City Hamburg.
Since then more than 100 radio shows (uniquely topics) had been produced with more than 500 broadcasting hours onair (meanwhile in Austria, Switzerland and Germany via FM/cable and web radio) –http://www.imcradio.net/shortprofile .
On HOLI 2013 as the annually spring fest of India the promotion initiative IMC – India meets Classic starts its 8th year of independent media productions… a good sign I would say ! 🙂
Thank’s to all my listeners around the globe and to all artists of Indian music ! – Let us share our musical passion further on…
Warm greetings by heart ElJay A. from Hanseatic City Hamburg
(CEO/Founder/Chief Editor/Cultural Journalist)
The BRICS summit 2013 is scheduled to take place in Durban, South Africa on 26th and 27th March.
The BRICS grouping (Brazil, Russia, India, China and South Africa) helds annual summits since 2009, with member countries taking turns to host. Prior to South Africa’s admission, two BRIC summits were held, in 2009 and 2010.
The first five-member BRICS summit was held in 2011. The most recent summit took place in New Delhi, India, on March 29, 2012. (Wikipedia.org)
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South Africa will host the fifth BRICS Summit from 26 to 27 March 2013 at the Durban International Convention Centre (ICC). This will complete the first cycle of BRICS summits.
These summits are convened to seek common ground on areas of importance for these major economies. Talks represent spheres of political and entrepreneurial coordination, in which member countries have identified several business opportunities, economic complementarities and areas of cooperation.
English: The BRICS – Brazil, Russia, India, China and South Africa. Português: As Potências regionais. (Photo credit: Wikipedia)
BRICS is an acronym for the powerful grouping of the world’s leading emerging economies, namely Brazil, Russia, India, China and South Africa. The first BRIC Summit took place in Yekateringburg, Russia, where the elected leaders of the four countries formally declared the membership of the BRIC economic bloc. South Africa joined the bloc in 2010, resulting in BRICS.
The BRICS mechanism aims to achieve peace, security, development and cooperation. It also seeks to contribute significantly to the development of humanity and establish a more equitable and fair world.
Ministers and Deputy Ministers, Members of the media. Thank you for attending this media briefing ahead of the historic 5th BRICS Summit which is being held on South African soil for the first time. But before we discuss that important matter, … Continued
1. ITAR-TASS: Brics‘ relatively new phenomenon attracts increased global attention due to the optimistic predictions about its development, especially against the backdrop of global crisis developments in the world economy. What is Brics’ immediate and long-term significance for Russia? Is … Continued
Food security will be high on the agenda at the 5th BRICS (Brazil, Russia, India, China and South Africa) Summit in Durban next week, Agriculture, Forestry and Fisheries Minister Tina Joemat-Pettersson said during a roadshow on the summit in Nelspruit, … Continued
Yacoob Abba Omar When you are outside of government, it is very tempting make jokes about the various acronyms that fly around and the institutions they supposedly represent. Okay, we all know what the UN or the G20 is, but … Continued
Programme Director, Members of the Diplomatic Community, Consular Representatives from BRICS Member States Members of the Business Community and Captains of Industry, Members of the Academia and Think-Tanks, Members of the Media, Distinguished Guests, Ladies and Gentlemen, I want to …Continued
BRIC(S) is the only grouping whose name was coined by a Wall Street-based finance company in 2001, while predicting a shift in global economic power, away from the developed G7 countries towards the developing world. It was, however, the shared … Continued
A letter from Tswhane Pretoria News 26/02/2013 BRICS – Why South Africa’s Citizens Should Care By Millar Matola When South Africa plays host to the prestigious 5th BRICS Summit from 26 to 27 March in Durban, this will be a … Continued
Media Advisory 26 February 2013 The Minister of Agriculture, Forestry and Fisheries, Ms Tina Joemat-Pettersson, who also serves as a member of the Inter-Ministerial Committee on BRICS, will address the Northern Cape Province’s BRICS roadshow. The purpose of the roadshow … Continued
Programme Director, Minister Derek Hanekom (Science and Technology) Excellencies, Ambassadors of Brazil, India, and China Ambassador Matjila, (Director General in the Department of International Relations) Members of EXCO Gauteng, Executive Mayors Representatives of Business, Stakeholders, Members of Media, Ladies and … Continued
PRESS RELEASE North West Premier Thandi Modise is upbeat about the first BRICS (Brazil, Russia, India, China, South Africa) EXPO and International Trade and Tourism Conference that her province will be hosting. The four-day International Investor conference is scheduled to … Continued
The Bauhaus Dessau Foundation is a centre of research, teaching and experimental design. In addition to conserving, researching into and passing on the Bauhaus heritage the Foundation focuses on cities – their contradictions and cultural strength in the face of demographic developments, globalisation and the technological revolution.
Wednesday, 27th March until Sunday, 30st June 2013 Opening on Tuesday, 26th March, 7pm
The new exhibition of Bauhaus Dessau Foundation is telling the story of an extraordinary show in India. In 1922, works by Bauhaus artists like Paul Klee, Johannes Itten, or Wassily Kandinsky and were shown together with works of indian avant-garde artists in Calcutta. Both avant-gardes were united by the mutual search for intellectual reform and cultural emancipation. Ninety years later, Bauhaus Dessau Foundation shows a selection of European and Indian works, which were part of the exhibition in Calcutta in 1922. At the same time, documents, photographies, films and publications bring a transnational network between Berlin, Calcutta, London, Weimar and Vienna to life, which made the exhibition in calcutta possible and thus is an early example for a global art scene. More information
Raga Durga ist ein 5-Ton-Raga, audav – ein pentatonischer Raga, der zur späten Abenstunde gespielt wird. In der aufsteigenden wie absteigenden Skala dürfen von den 7 Hauptnoten nur fünf (5) verwendet werden (Sa Re Ma Pa Dha). Die 3. Stufe Ga und 7. Stufe Ni entfallen. Das entspricht in unserer westlichen Notenskala dem E und H. Alle anderen Hauptnoten werden als natürlich „suddha“, also weder erniedrigt noch erhöht gespielt. Die Modale Form von Raga Durga findet sich bei keinem anderen Raga in der nordindischen Klassik (Hindustani-Musik).
Raga Durga wird im Klassifikationsschema der nordindischen Klassik dem Bilawal Thaat zugeordnet. Raga Bilawal, einer der 10 Hauptragas, gilt in seiner Natur als männlich. Alle abgeleiteten Ragas, dazu auch Durga gehört, gilt als als weiblich, als Ragini.
Die Herkunft von Raga Durga ist nicht eindeutig. Wahrscheinlich ist Ende des späten 18. / frühen 19. Jahrhunderts entstanden. Es wird bisweilen die Meinung vertreten, dass sich Raga Durga aus dem südindischen Ragam „Suddha Saveri“ ableitet. Das gleiche Notenmaterial, allerdings mit anderen Ausgangsstufen, finden wir auch im Raga Malkauns oder Bhupali. Die 5-Tonskalen sind aber weltweit in vielen Musiksystemen, wie auch in der griechischen Pentatonik, vertreten. So dass wir als Herkunft für Raga Durga nur den Großraum Südasiens gesichert eingrenzen können.
Sendetermine…
25. März 2013 – 22:00 Uhr CET (05:00 pm EST) @ Radio RaSA (CH)
(Premiere: 21. Sept. 2010 – 21:00 Uhr CET @ Tide Radio) broadcasting plan | streaming (Internet Radio & Mobile Radio) | podCast
Bolo Durga mai-ki-jai (Glory be to Mother Durga) on 10th day Devi Durga returns to her husband in the Himalayas on the river
Ma Durga – Mutter Durga ist eine der höchsten weiblichen Gottheiten Indiens… zu Ehren von Durga feiert man in Indien und einigen Nachbarländern wie Bangladesh und Nepal ein mehrtägiges Fest (bis zu 10 Tagen). Die „Durga Puja“ das bedeutendste religiöse Fest im Hinduismus.
Oh Divine Mother Come to Me, I Want
To Become One With You (Refrain).
Oh Divine Mother Let Me Hear, The Whisper Of Your Gentle Voice (Refrain).
Oh Divine Mother Let Me See, The Love That
Reflects From Your Eyes (Refrain).
Oh Divine Mother Let Me Feel, The Joy That’s
Deep Within My Heart (Refrain).
Oh Divine Mother Let Me Know, How You
Protect And You Guide Me (Refrain).
Der jährliche Termin datiert sich nach dem hinduistischen Sonnen- und Mondkalender Chaitra. Es wird im 7. Monat Ashwin, in den ersten 9 Tagen gefeiert. Dabei spielt die Mondbewegung, Tithi eine entscheidende Rolle. Der Monat des Mondes besteht aus zwei Hälften, der ersten Vollmondphase und zweiten Neumondphase. Der erste Tag, Mahalaya fällt auf den Neumondtag und feiert die Rückkehr der verheirateten Tochter Durga zu ihrem Vater Himalaya.
Hindus mark the advent of winter with Navaratri which includes nights/days of fast and prayer to Durga, the Mother Goddess… [more]
10 Days with the Mother Goddess!
The festive season for Hindus begins with the fast of “Navaratri”, and ends with the festivities of “Dusshera” and “Vijayadashami.” Read about the different ways it is celebrated… [more]
Nava Durga: The Nine Appellations – The 9 Forms of The Mother Goddess
Nava – that also means ‘new’ – denotes ‘nine’ the number to which sages attach special significance. Hence, we have Nava-ratri (9 nights), Nava-patrika (9 leaves / herbs / plants), Nava-graha (9 planets), and Nava-Durga (9 appelletions).
Here’re the 9 manifestations of Goddess Durga. Each goddess has a different form and a special significance. Nava Durga, if worshipped with religious fervor, it is believed, lift the divine spirit in us and fill us with renewed happiness.
Raga Durga is a 5 note raga (audav) – a pentatonic late evening raga. In the ascending and descending scale only five of the seven (7) main notes can be used: Sa Re Ma Pa Dha. The 3rd pitch Ga and 7th pitch Ni are not played which corresponds to the E and B in Western notation. All notes of Raga Durga are natural (suddha), thus neither diminished nor augmented. The modal form of Raga Durga is existing singular in North Indian Classics (Hindustani music).
Raga Durga belongs in the classification system of Hindustani to Bilawal Thaat. Raga Bilawal, one of the 10 main ragas is in its nature seen as “male”. All derived ragas same Durga belongs to are considered as female, as Ragini-s.
The origin of Raga Durga is not clear. Probably it was created in the late 18th /early 19th century. There exist the opinion that Raga Durga is derived from the South Indian Ragam „Suddha Saveri“ (Carnatic music). We find the same material of notes however with other 1st pitch also in Raga Malkauns or Bhupali. The 5 tone scales exist worldwide in many music systems, e.g. Greek pentatonic. As origin for Raga Durga only the region of South Asia can be assumed securely.
dates of broadcasting…
25th March 2013 – 05:00 p.m. EST (10:00 pm CET) @ Radio RaSA (CH) (premiere: 21st Sept 2010 – 09:00 pm CET @ Tide Radio) broadcasting plan | streaming (Internet Radio & Mobile Radio) | podCast
Bolo Durga mai-ki-jai (Glory be to Mother Durga) on 10th day Devi Durga returns to her husband in the Himalayas on the river
Ma Durga – Mother Durga is one of the highest female divinities of India. In honours of Durga in different Indian Federal States and close neighbourhoods such as Bangladesh and Nepal the Durga Puja is celebrated of several days (up to 10 days). „The Durga Puja“ is the most important religious celebration in Hinduismus.
Oh Divine Mother Come to Me, I Want
To Become One With You (Refrain).
Oh Divine Mother Let Me Hear, The Whisper Of Your Gentle Voice (Refrain).
Oh Divine Mother Let Me See, The Love That
Reflects From Your Eyes (Refrain).
Oh Divine Mother Let Me Feel, The Joy That’s
Deep Within My Heart (Refrain).
Oh Divine Mother Let Me Know, How You
Protect And You Guide Me (Refrain).
The annual date is fixed after the Hindu sun and moon calendar Chaitra. Durga Puja is celebrated in the 7th month Ashwin, in the first 9 days. The moon movement (Tithi) plays a crucial role. The month of the moon consists of two halves, the first full moon phase and second new moon phase. Mahalaya, the first day of Durga Puja falls on the new moon day and celebrates the return of the married daughter Durga to her father Himalaya.
Hindus mark the advent of winter with Navaratri which includes nights/days of fast and prayer to Durga, the Mother Goddess… [more]
10 Days with the Mother Goddess!
The festive season for Hindus begins with the fast of “Navaratri”, and ends with the festivities of “Dusshera” and “Vijayadashami.” Read about the different ways it is celebrated… [more]
Nava Durga: The Nine Appellations – The 9 Forms of The Mother Goddess
Nava – that also means ‘new’ – denotes ‘nine’ the number to which sages attach special significance. Hence, we have Nava-ratri (9 nights), Nava-patrika (9 leaves / herbs / plants), Nava-graha (9 planets), and Nava-Durga (9 appelletions).
Here’re the 9 manifestations of Goddess Durga. Each goddess has a different form and a special significance. Nava Durga, if worshipped with religious fervor, it is believed, lift the divine spirit in us and fill us with renewed happiness.
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…
24th March 2013 – 06:00 pm EST (11:00 pm CET) @ Radio FRO (A) (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 Nihave 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
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“).
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*) Ma (Madhyama) is the basic sound of nature, beside Aum (OM) as the eternal sound of the infinite universe.
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…
24. März 2013 – 23:00 Uhr CET (06:00 pm EST) @ Radio FRO (A)
(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 Nientspechen 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 Fischreihers*
.
.
.
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
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.
IMC - India meets Classic presents ... 