Healthy Musicianship (lecture): Prevention, Cures & Challenges in Musician’s Medicine (by Prof. Dr. Eckart Altenmüller)

August 29 and 30 2013, the Conservatorium van Amsterdam hosted the international conference Managing your Talents – Interdisciplinary Research on the Performing Arts.

The conference programme was structured around four themes:

* Talent
* Excellence
* Practicing
* (Over)load

Friday, August 30, 14.45-15.30
Thematic Session 4: (over)load

Healthy Musicianship; Prevention, Cures and Challenges in Musician’s Medicine

Eckart Altenmüller (Hochschule für Musik, Theater und Medien, Hannover)

Performing music at a professional level is one of the most complex of human accomplishments. Societal pressures and the overall increasing level of expertise and performance technique require students to work hard and to develop skills which are not only related to playing, but also to emotional communication and self-management. It therefore is essential to teach future instrumental teachers and performing musicians on one side to recognize and prevent performance related injuries, on the other side to have sufficient drive and vitality to express emotions and joyfulness in making music.

In the lecture, I will present the program we have developed in Hannover. It aims at preventing injuries and provides skills which are necessary to improve self-management, emotional communication and knowledge about the meaning of music in our society.

page 19 from Lecture “Healthy musianship: prevention, cures and challenges in musician’s medicine” (Prof. Dr. Eckart Altenmüller. Hochschule für Musik, Theater und Medien, Hannover) – Download fully PDF from bottom.

The program includes information about the pathophysiology of injuries caused by instrumental playing and offers a prevention program including body-relaxation techniques, performance training and management of anxieties. Biological foundations of music making and music perception are taught. The main foci here are sensorimotor aspects of music playing, motor learning, musculoskeletal injuries, performance anxiety, hearing, protection of hearing, and central nervous auditory processing.

We offer small group seminars for instrumentalists in a “hands-on” format. The main aspects are movement sciences, motor learning, and efficiency in practicing.

With these courses we work on four major lines:

* Teaching the basics of music physiology and musicians’ medicine.
* Research into the physiological and neurobiological principles of professional music performance and music perception
* Research into the causes of occupational injuries in musicians.
* Prevention, diagnosis and treatment of such injuries.

Selected case studies and practical propositions are presented in the end of my lecture.

———————

Prof. Dr. Eckart Altenmüller

eckart altenmüller
Eckart Altenmüller is a full university professor and medical doctor, and has an active research and concert career. He graduated in Medicine and in Music at the University of Freiburg, where he obtained is concert diploma in the master classes of Aurèle Nicolèt and William Bennett. His clinical training was in the Department of Neurology in Freiburg and Tübingen as a neurologist and neurophysiologist. In 1994, he became Chair and Director of the Institute of Music Physiology and Musicians’ Medicine at Hannover University of Music and Drama, a position he has held for the past 19 years. In this role, he has continued his research into sensory-motor learning and movement disorders in musicians. Dr. Altenmüller is Member of the prestigious Göttingen Academy of Sciences since 2005 and President of the German Society for Music Physiology and Musician’s Medicine 2005-2011, Vice-President since then.

More information about Eckart Altenmüller:
* Eckart Altenmüller’s undefinedInstitut für Musikphysiologie und Musikermedizin

(Source: 08/2013 – Conservatorium Amsterdam)

Download Prof. Altenmüller’s fully presentation (39 pages)…

View this document on Scribd

—

Please find below the other presentations & keynote.

thematic session 1: talent
Musical Talent: Conceptualisation, Identification And Development
Susan Hallam (University of London)

This presentation begins with a consideration of how thinking about musical talent has changed over time. Evidence from research exploring recent conceptualisations of musical talent will be presented. The role of musical practice and engagement in musical activities will be discussed in relation to the development of musical expertise and will be linked to neuropsychological studies of the brain. Finally, the presentation will consider the crucial role of motivation in the nurturing and development of talent and the implications of this for its identification.

• View the presentation (PDF)

thematic session 2: excellence
Cognitive reserve, music, and sports
Erik Scherder (VU University, Amsterdam)

There is some interesting literature supporting the view that growing up in an enrichment environment contributes to a cognitive reserve. The higher the cognitive reserve, the more a person is able to withstand the consequences of aging and/or age-related neurodegenerative diseases. In an enriched environment, a person is constantly challenged, preferably both cognitively and physically, processing a variety of stimuli. Enriched environment at a young age, is particularly important for those brain areas that are still developing, e.g. the prefrontal cortex.

• View the presentation (PDF)

thematic session 3: practicing

Succesfull (self-)study: the role of cognitive and socio-emotional development
Mariëtte Huizinga (VU University, Amsterdam)

Why is it that some adolescents attend school virtually effortless, while others experience delay or even drop-out? Why is it that the one adolescent is perfectly able to balance his/her homework and social life, while others are not? Which factors are related to an adolescent’s ability to resist the attraction of the internet and social media?

• View the presentation (PDF)

thematic session4 : (over)load
Monitoring Overload in Athletes And Dancers
Jacques van Rossum (VU University, Amsterdam)

In dance, one has traditionally lived in a world coloured by pain (‘no pain, no gain’), where the seemingly unavoidable injuries are perceived by dancers to be caused by fatigue, overwork and ‘repetitive movements’. In recent years, however, scientific evidence suggests that smart practice is to be preferred over the traditionally hard and long hours of practice. This presentation describes (some of) the speaker’s experiences regarding the monitoring and prevention of overload in athletes and dancers.

• View the presentation (PDF)

keynote lecture
Tip of the Iceberg
Henkjan Honing (University of Amsterdam)

In this presentation I will argue that we all share a predisposition for music. Examples range from the ability of newborns to perceive the beat, infants impressive sensitivity to complex rhythms, to the unexpected musical expertise of ordinary listeners. The evidence will show that music is second nature to most human beings, both biologically and socially. However, if musical talent is indeed so wide spread as it seems, one could wonder whether we are the only species that are musical. Can birdsong, the song structure of humpback whales, a Thai elephant orchestra, or a gibbon duet be considered products of musical animals as well? It will lead to a discussion of whether successful musicians are (merely or consequently) the tip of the iceberg.

• View the presentation (PDF)

(Source: 08/2013 – Conservatorium Amsterdam)

Concert Series “MUSIC – HUMAN – MEDICINE” (@ University Clinic Hamburg-Eppendorf))

This slideshow requires JavaScript.

(Source: 2012-2013 – Universitätsklinikum Hamburg-Eppendorf (UKE) – Abtl. Unternehmenskommunikation (Dept. Corporate Communications))

StudioTalk No. 3 with Kala Ramnath: “Nada (Sound) – 66 notes on the Violin” (DE)

StudioTalk with Kala Ramnath (Violin – Hindustani)

Topic: “Nada (Sound) – 66 notes on the Violin“

dates of broadcasting (German Version)…

29th August 2013 – 09:00 p.m. CET (03:00 pm EST) @ radio multicult.fm
(premiere: 18th November 2008 – 09:00 pm (CET) @ TIDE Radio)

broadcasting plan | streaming (Internet Radio & Mobile Radio) | podCast

Amsterdam Conference: Managing your Talents – Interdisciplinary Research on the Performing Arts (29-30 Aug 2013)

August 29 and 30 2013, the Conservatorium van Amsterdam will host the international conference Managing your Talents – Interdisciplinary Research on the Performing Arts.

This conference makes for a unique gathering of people whose expertise will be called upon to achieve a new standard of educational excellence in the performing arts. It is a must-go for those who are involved with music, dance or theatre, and who seek to share their interest with researchers from a broad range of disciplines, such as performing arts pedagogy, medicine, neuropsychology, brain and cognition sciences, and human movement sciences.

The conference will mark a new partnership between De Theaterschool, Conservatorium van Amsterdam, the University of Amsterdam, and VU University. These four institutions aim to share their knowledge in the field of the artistic disciplines and the pedagogical, biomedical and cognitive sciences with a view to strengthen the education and guidance of performing artists. The development of a common research agenda is of vital importance to a sector in which extraordinary tasks have to be accomplished under the public gaze. Conservatories and dance academies, but also orchestras and theatre companies will benefit from this research.

The conference will serve as a first joint exploration. The programme is structured around four themes:

* Talent
* Excellence
* Practicing
* (Over)load

The main language during the conference will be English.

talent

In this session we will raise the question what talent is, when and how to spot it, and how to foster and develop it. We will collect relevant insights from diverse areas of inquiry and confront these with a number of case studies. The historical dimension will not be forgotten. In the arts, talent has long been indefinable. Paradoxically, this was seen as one of its defining characteristics. On the other hand, performing artists have to meet concrete criteria when they want to join an orchestra, ensemble or company; and the arts are buttressed by formal education. How has the need to compare and select artists for job positions and to formulate educational goals for art schools affected the notion of talent?

excellence

For performing complex tasks under great pressure, so as to offer critical audiences a unique experience, stage artists have no equals – except athletes. Knowledge of the ways in which to prepare the human body and mind for such great achievements may be beneficial to other sectors of society. However, in the arts this knowledge is only implicit, or just not available in an organized form. Researchers in the sports have been more successful in coming to grips with it; but then sporting achievements are often quantifiable. What does excellence mean in the performing arts? In this session we will speak about the relevance of sports research for the performing arts; but we will also consider what the latter may contribute to the emerging science of ‘peak performance’.

practicing

Practice is the complement of talent. One yields nothing without the other. But what do we practice, and how? Practicing methods often bear the stamp of tradition and experience – they are prescribed on the authority of the already successful. However, the relation between method and success is fuzzy. What do we know about the range and effects of particular forms of practicing behavior? In this session we will look for substantial information that may shed a light on training practices in different sectors of the performing arts.

(over)load

What performing artists do for a living makes great demands on their mental and physical condition. The art of performing is at the same time the art of staying healthy. There are many methods of prevention and therapies for recovery – so many, in fact, that it can be difficult to sort the wheat from the chaff. Although artists may find help and encouragement in these methods and therapies, their scientific underpinnings are not always transparent. This session revolves around two main questions: do performing art schools have sufficient in-house expertise to provide a coherent and effective resilience programme? And can the health sciences offer adequate answers to questions emerging from artistic practice?

———————-

bookmark: Healthy Musicianship; Prevention, Cures and Challenges in Musician’s Medicine (download from here)

Eckart Altenmüller (Hochschule für Musik, Theater und Medien, Hannover)

Performing music at a professional level is one of the most complex of human accomplishments. Societal pressures and the overall increasing level of expertise and performance technique require students to work hard and to develop skills which are not only related to playing, but also to emotional communication and self-management. It therefore is essential to teach future instrumental teachers and performing musicians on one side to recognize and prevent performance related injuries, on the other side to have sufficient drive and vitality to express emotions and joyfulness in making music.

In the lecture, I will present the program we have developed in Hannover. It aims at preventing injuries and provides skills which are necessary to improve self-management, emotional communication and knowledge about the meaning of music in our society.

Download fully Lecture from here: Healthy musicianship: prevention, cures and challenges in musician’s medicine (Prof. Dr. Eckart Altenmüller. Hochschule für Musik, Theater und Medien, Hannover)

The program includes information about the pathophysiology of injuries caused by instrumental playing and offers a prevention program including body-relaxation techniques, performance training and management of anxieties. Biological foundations of music making and music perception are taught. The main foci here are sensorimotor aspects of music playing, motor learning, musculoskeletal injuries, performance anxiety, hearing, protection of hearing, and central nervous auditory processing. We offer small group seminars for instrumentalists in a “hands-on” format. The main aspects are movement sciences, motor learning, and efficiency in practicing.

With these courses we work on four major lines:

* Teaching the basics of music physiology and musicians’ medicine.
* Research into the physiological and neurobiological principles of professional music performance and music perception
* Research into the causes of occupational injuries in musicians.
* Prevention, diagnosis and treatment of such injuries.

Selected case studies and practical propositions are presented in the end of my lecture.

Friday, August 30, 14.45-15.30
Thematic Session 4: (over)load

Prof. Dr. Eckart Altenmüller

eckart altenmüller
Eckart Altenmüller is a full university professor and medical doctor, and has an active research and concert career. He graduated in Medicine and in Music at the University of Freiburg, where he obtained is concert diploma in the master classes of Aurèle Nicolèt and William Bennett. His clinical training was in the Department of Neurology in Freiburg and Tübingen as a neurologist and neurophysiologist. In 1994, he became Chair and Director of the Institute of Music Physiology and Musicians’ Medicine at Hannover University of Music and Drama, a position he has held for the past 19 years. In this role, he has continued his research into sensory-motor learning and movement disorders in musicians. Dr. Altenmüller is Member of the prestigious Göttingen Academy of Sciences since 2005 and President of the German Society for Music Physiology and Musician’s Medicine 2005-2011, Vice-President since then.

More information about Eckart Altenmüller:
* Eckart Altenmüller’s undefinedInstitut für Musikphysiologie und Musikermedizin

———————-

Fully Programme…

Please find below the programme for the present. Updates will be posted here regularly.

thursday, august 29
09.00-09.45 Sign up at registration desk

10.00-10.15 Welcome

thematic session 1: talent
10.15-11.00 Susan Hallam (University of London)
Musical talent: conceptualisation, identification and development

11.00-11.45 Chris Visscher (RU Groningen)
No Goals, No Glory

12.00-12.30 Marjès Benoist (Sweelinck Academy, the young talents department of the Conservatorium van Amsterdam), with Aidan Mikdad (11 years old)

12.30-14.00 lunch

thematic session 2: excellence
14.00-14.45 Erik Scherder (VU University, Amsterdam)
Cognitive reserve, music, and sports

14.45-15.30 Roger Kneebone (Imperial College London)
Performing Surgery

15.45-16.15 Jan Kouwenhoven (speaker), Isabel Vaz (cello) en Jaap Kooi (piano)
Behind the Curtain: Audition Training at the Conservatory of Amsterdam

16.15-16.45 Tea break

keynote lecture
16:45-17:30 Henkjan Honing (University of Amsterdam)
Tip of the iceberg

17:30-17:45 Announcement: De Creatieve Geest Prijs 2014 (‘The Creative Mind Prize 2014’), an initiative of De Freek en Hella de Jonge Stichting

17.45-18.30 Drinks

From 18.30 Dinner

friday, august 30
10.00-10.15 Welcome

thematic session 3: practicing
10.15-11.00 Mariette Huizinga (VU University, Amsterdam)
Succesfull (self-)study: the role of cognitive and socio-emotional development

11.00-11.45 Julia Kursell (University of Amsterdam)
Measuring practice, 1890-1930

12.00-12.30 Christopher Powney (National Ballet Academy, Amsterdam), Ernst Meisner and The Junior Company.
Barre: a glimpse of dancers’ daily life

12.30-14.00 lunch

thematic session 4: (over)load
14.00-14.45 Jacques van Rossum (VU University, Amsterdam)
Monitoring overload in athletes and dancers

14.45-15.30 Eckart Altenmüller (Hochschule für Musik, Theater und Medien, Hannover)
Healthy musicianship: prevention, cures and challenges in musician’s medicine

15.45-16.15 Pauline Luth-Griffioen (International Dance Theatre)
Thoughts of a Dancer

16.15-16.45 Tea break

keynote lecture
16.45-17.45 Daniel Levitin (McGill University, Montréal)
Talent, practice, excellence, and the joy of music

(Source: 08/2013 – Conservatorium Amsterdam)

Hamburg: 5th INDIA WEEK 2013 – pre-programme (27th Aug, 5th Sept) …

More see… http://www.imcradio.net/indiaweekhamburg

(Facebook page | Facebook Event page 2013)

INDIA AND THE WORLD OF THE 21st CENTURY / RANGOLI – INDIAN METROPOLITAN FASHION

(programme booklet / vollständiges Programmheft (DE/ENG) – PDF Download)

Rhythms of India
Präsentiert »Bollywood Wedding«

Was verbinden wir mit einer indischen Hochzeit? Tanz, Farben, gutes Essen und eine Menge Spaß. Rhythms of India, eine etablierte Bollywood-Tanz-Company aus Hamburg, lädt Sie zu einer indischen Hochzeit à la Bollywood ein. Getanzt wird ein Musical, das die indische Kultur, die Farben des Holi-Festivals, den Glanz des Diwali-Festes und die Feierlichkeiten
einer indischen Hochzeit zeigt. Wenn Sie bei der Show mittanzen möchten, können Sie vor dem Auftritt an einem Workshop mit der Choreographin Rabia von Padberg teilnehmen. Dieses Event ist mehr als eine Vorführung zum Anschauen, es ist vielmehr eine Erfahrung für alle Sinne. Ein Ausschnitt aus ihrer Show zeigen Rhythms of India auf der igs 2013 in Hamburg.

Rhythms of India
Presents »Bollywood Wedding«

What comes to your mind when you think of an Indian wedding? Dance, colors, food and fun. Have you ever wished to join this trail of unlimited fun? Rhythms of India, a renowned Bollywood dance company, invites you to join an Indian wedding in Bollywood style. It is a musical, showing the Indian culture, colors of Holi, glitter of Diwali and the celebration of an Indian wedding. If you want to be a dancing guest and perform with us then you can join a workshop before the show with Rabia von Padberg. It’s not a show which you will see but an experience which you will cherish. We are playing a small trailer of this show at igs 2013 in Hamburg.

13.40 – 14.00 Uhr 25 /Aug.
igs internationale gartenschau hamburg
Bühne Ost
Am Inselpark 1 / 21109 Hamburg
http://www.bollywood-wedding.net / http://www.rhythms-of-india.de

—————————————

India and the World of the 21st Century

Bereits Ende August werden mit einem Pre-Event die Hamburger Indien-Aktivitäten im Rahmen der India Week 2013 eingeläutet: Der Erste Bürgermeister, Olaf Scholz, empfängt S.E. Staatsminister und Schriftsteller Dr. Shashi Tharoor im Hamburger Rathaus.
Tharoor wird im Rahmen eines gemeinsam mit der ZEIT-Stiftung Ebelin und Gerd Bucerius veranstalteten Senatsempfangs einen Vortrag mit dem Titel »India and the World of the 21st Century« halten und seine persönliche Einschätzung zur zukünftigen Entwicklung des indischen Subkontinents vornehmen.

India and the World of the 21st Century

Hamburg will start its India activities in 2013 with a special reception in the townhall: As a pre-event to the India Week Hamburg 2013, the First Mayor Olaf Scholz will welcome His Excellency, State Minister Dr. Shashi Tharoor in Hamburg.
The diplomat and minister will speak about the topic »India and the World of the 21st Century« and give his personal opinion concerning the future developments of the Indian subcontinent. The event is organized together with ZEIT-Stiftung Ebelin und Gerd Bucerius.

27 /Aug.
Senatskanzlei Hamburg, ZEIT-Stiftung
Rathaus / Rathausmarkt 1 / 20095 Hamburg
Kein öffentliches Event. Nur auf persönliche Einladung
No public event. By invitation only

GÖTTERN BEGEGNEN. EINE GETANZTE FÜHRUNG / BLUMEN – BÄUME – GÖTTERGÄRTEN & INDISCH MALEREI…

(programme booklet / vollständiges Programmheft (DE/ENG) – PDF Download)

Rangoli – Indian Metropolitan Fashion

Der Modedesigner Chandra Prakash gründete im Jahr 2012 sein eigenes ökologisches Modelabel COCCCON. Mit diesem möchte er sich mit seiner Philosophie der 3 Cs – CREATIVITY CAN CARE – dafür engagieren, zeitgenössisches Design in die ethische, biologische und nachhaltige Modeszene einzubringen. Nun präsentiert er exklusiv seine neue Kollektion »Rangoli« in der Etage Eins in der Hafencity.

Die Etage Eins ist eine Plattform für Fashion, die nachhaltig produziert ist – Freddy Mouchawrab als Gründer der Etage Eins legt Wert auf hochwertige und inovative Ware.

Am 6. September laden wir herzlich zu der Eröffnung mit dem Designer um 18 Uhr in die Etage Eins ein!

Rangoli – Indian Metropolitan Fashion

The fashion designer Chandra Prakash founded his own sustainable fashion label COCCCON in 2012. With his philosophy of the 3 Cs – CREATIVITY CAN CARE – he engages in bringing contemporary design into the ethical, biological and sustainable fashion scene. Now the designer presents his new collection »Rangoli« in Etage Eins in Hafencity.

Etage Eins is a platform for fashion that is sustainably produced – Freddy Mouchawrab, founder of Etage Eins, attaches great importance to high-quality and innovative goods.

We invite you to join the opening with the designer on 6 September at 6 pm in Etage Eins!

05-15 /Sept.
Mo-Fr: 10 – 19 Uhr
Sa: 10 – 18 Uhr
COCCCON – Chandra Prakash Jha
Etage Eins
Überseequartier / HafenCity
Überseeboulevard 2 / 20457 Hamburg

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Die besondere Führung!
Göttern begegnen. Eine getanzte Führung mit Gudrun Märtins

Die bekannte Odissi-Tänzerin Gudrun Märtins führt tanzend durch die diesjährigen Ausstellungen zu Indien! Vor jeder getanzten Station erläutert Gudrun Märtins die Besonderheiten der Szene wie kodifizierte Handhaltungen, Blickrichtungen oder Körperstellungen. Jede Handbewegung, jedes Stampfen mit dem Fuß und jede Blickrichtung sind aufgeladen mit Bedeutungen. Merken Sie selbst, wie Ihre Achtsamkeit für jedes Detail wächst!

Kosten: 18 € | 15 € ermäßigt (aus Platzgründen können nur 10 Personen an einer Führung teilnehmen).
Vorverkauf an der Museumskasse (bis jeweils zum Vortag des Führungstermins).
Auf Wunsch können gesonderte Termine für Gruppen bis zu 10 Personen vereinbart werden.
Durchführung bis zum 3.11.2013 möglich / Kosten: 220 €.

The Particular Guide!
Encounter Deities. Danced Tour with Gudrun Märtins

A unique guided tour is awaiting you! Gudrun Martins guides through this year’s exhibition n India by dancing. Before each dance station, Gudrun Martins introduces the
background and characteristics of the scene, such as codified hand positions, viewing directions or body postures.

Every hand gesture, footstep and line of sight is charged with complex meanings. Notice how your awareness for details will grow!

Costs: 18 € | 15 € reduced (For lack of space the number of participants is limited to 10 people).
Advance booking at the museum ticket desk (until the day before each tour).
On request, special events can be arranged for groups with up to 10 people.

Possible until 3 Nov 2013 / Costs: 220 €.
Museum für Völkerkunde Hamburg
Rothenbaumchaussee 64 / 20148 Hamburg
Info & Terminabsprache / Info & Appointments:
+49 40 428879 431 (Dr. J. Dombrowski)

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Blumen – Bäume – Göttergärten
Indische Malerei aus sechs Jahrhunderten

Ausstellung

Auf unzähligen Miniaturmalereien werden Blumen, Bäume und Gärten abgebildet. Mit ihrem überraschendem Reichtum an präzisen Details bieten solche Malereien vielfältige Einblicke in religiöse und kulturhistorische Bezüge von Pflanzen und Bäumen. Die Miniaturmalerei erhielt unter den Moghulkaisern im 16. Jahrhundert entscheidende Impulse und ist bis heute eine lebendige Tradition. Die hier ausgestellten Gemälde enstammen einer deutschen Privatsammlung, die 1976 ins Leben gerufen wurde.

Eintritt: nur Museumseintritt
Führungen
Samstag, 07.09.2013, 15.00 Uhr
Sonntag, 08.09.2013, 15.00 Uhr
Sonntag, 15.09.2013, 11.00 Uhr
Kosten: 3 € zzgl. Museumseintritt
Eine Voranmeldung ist nicht notwendig (keine Gruppen)

Flowers – Trees – Gardens of the Gods
Indian Paintings from six Centuries

Exhibition

Flowers, trees and gardens are key elements in traditional Indian painting. With their surprising wealth of precise detail, such paintings provide many insights into religious,
cultural and historical references to plants and trees. They gracefully portray the happiness that Indian people derive from flowers and gardens. In northern India, miniature painting is a centuries-old art form. The genre was strongly supported and promoted by Mughal emperors during the 16th century and remains a vibrant tradition to this day. The paintings exhibited here are from a private German collection begun in 1976.

Only Museum entrance fee
Guided Tour
Saturday, 7th September 2013, 15 pm
Sunday, 8th September 2013, 15 pm
Sunday, 15th September 2013, 11 am
Costs: 3 € plus museum admission
An appointment is not necessary (no groups)

CH – Raga CDs of the Months (08/13): 19 Generation Contract – 600 years in Dhrupad… A tribute to Ustad Rahim Fahimuddin Khan Dagar (1927-2011)

The promotion initiative IMC – India meets Classic  deviates from the regular program and presents on a specific occasion with the August radio show “Raga CDs of the Months” a tribute to the legendary Ustad Rahim Fahimuddin Khan Dagar.

Ustad Rahim Fahimuddin Khan Dagar: A colossal storehouse of music Photos: Bhai Baldeep Singh (Irtsa.net)

The great Dhrupad maestro Rahim F.K. Dagar died on 27 July 2011 at the hospital after a serious  and long illness within the circle of his family.

Rahim Khan Dagar Fahimuddin is the last great masters of the Dhrupad in the Dagar Vani  style in 19th generation (saying this by purpose even knowing that the lineage is alive with Ustad H. Sayeeduddin Dagar, Zia Fariduddin Dagar, the Rudra Veena player Bahauddin Mohiuddin Dagar (20th generation) and solist Faiyaz Wasifuddin Dagar). The family tree of the Dagar clan (see graph below) seamlessly goes back to the 16th century.

Swami (monk) Haridas Dagar was a Dhrupad singer of first generation. He lived at the time of Babar, the 1st Mogul emperor (1526…). Swami Haridas Dagar was also the teacher of Tansen, a professional musician at the Mogul court of Akbar (1542…). Tansen is considered by many Indians as the real founder of North Indian classical music (Hindustani), from which derived the raga form as known today.

dates of broadcasting…
26th August 2013 – 04:00 pm EST (10:00 pm CET) @ Radio RaSA (CH)
(premiere: 15th August 2011 – 11:00 pm CET @ Tide 96.0 FM)
broadcasting plan | streaming (Internet Radio & Mobile Radio) | podCast

We owe to many generations of the Dagar family by their commitment to the preservation and advancement of Dhrupad style, vocal and instrumental (mainly the Rudra Veena). In the 60th of 20th century the Dagars were giving this ancient vocal style of North Indian classical music a worldwide attraction also.

photo courtesy: Dhrupad.Info (f.l.t.r.: Ustad Zia Fariduddin Dagar( b1933), Ustad Nasir Zahiruddin Dagar(1932-1994), Ustad Rahim Fahimuddin Dagar(1927-2011), Ustad Nasir Aminuddin Dagar(1923-2000), Ustad Zia Mohiuddin Dagar (1929-1990), Ustad Nasir Faiyazuddin Dagar(1934-1989), Ustad Hussain Sayeeduddin Dagar(b1939))

The Senior Dagar brothers and Junior Dagar brothers were found on all big stages in the world. Rahim Khan Dagar Fahimuddin presented on concert tours in overseas the Dhrupad singing same in Germany and many other countries.

The Dagar Family Tree ( 2005, Source: India.Tilos.hu )

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• Art must go beyond market dictates: Ansari (imcradiodotnet.wordpress.com)
• Keeping Dhrupad Alive (tonbak.wordpress.com)
• Vice President Confers Sangeet Natak Akademi Fellowships and Akademi Awards 2010 (imcradiodotnet.wordpress.com)
• Dhrupad Maestro Ustad Rahim Fahimuddin Dagar passes away (imcradiodotnet.wordpress.com)
• Newsbullet.in: Ustad Rahim Fahimuddin Khan Dagar dies… (imcradiodotnet.wordpress.com)
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CH – Raga CDs des Monats (08/2013): Der 19-Generationenvertrag – 600 Jahre im Dhrupadgesang. – Eine Hommage an Ustad Rahim Fahimuddin Khan Dagar (1927-2011)

Abweichend von der regulären Programmplanung präsentiert die Förderinitiative IMC – India meets Classic aus gegebenem Anlass in der Augustsendung “Raga CDs des Monats” eine Hommage an den legendären Ustad Rahim Fahimuddin Khan Dagar.

Ustad Rahim Fahimuddin Khan Dagar: A colossal storehouse of music Photos: Bhai Baldeep Singh (Irtsa.net)

Der große Meister des Dhrupadgesangs, Rahim F.K. Dagar verstarb am 27. Juli 2011 im Krankenhaus nach schwerer und langer Krankheit im Kreise seiner Familie.

Rahim Fahimuddin Khan Dagar ist der letzte große Meister des Dhrupadgesangs im Dagar Vani Stile, in 19. Generation, wohlwissend, dass die Familientradition fortgesetzt wird mit Ustad H. Sayeeduddin Dagar, Zia Fariduddin Dagar, dem Rudra Veena-Spieler Bahauddin Mohiuddin Dagar (20. Generation) und Solisten Faiyaz Wasifuddin Dagar. Der Familienstammbau der Dagarfamilie geht nahtlos zurück bis in’s 16. Jahrhundert (siehe unten stehende Graphik).

Der Mönch (Swami) Haridas Dagar war ein Dhrupadsänger der ersten Generation. Er lebte zu Zeiten des Moghulherrschers Babar (1526…). Swami Haridas Dagar war auch Lehrer von Tansen, ein Berufsmusiker am Moghulhofe Akbars (1542…). Für viele Inder gilt Tansen als der eigentliche Begründer der nordindischen Klassik (Hindustani), aus der sich die uns heute bekannten Ragaformen herleiten.

S e n d e t e r m i n e …

26. August 2013 – 22:00 Uhr MESTZ @ Radio RaSA (CH)
(Premiere: 15. August 2011 – 23:00 Uhr @ Tide 96.0 FM)
broadcasting plan | streaming (Internet Radio & Mobile Radio) | podCast

Es ist der Dagar-Familie und ihrem über viele Generationen unerermüdlichen Engagement für den Erhalt und die Weiterentwicklung des Dhrupads zu verdanken, dass in den 60er Jahren des 20sten Jahrhunderts dieser älteste Gesangsstil der nordindischen Klassik auch weltweite Beachtung fand.

Bildquelle (photo courtesy): Dhrupad.Info (von links nach rechts: Ustad Zia Fariduddin Dagar( b1933), Ustad Nasir Zahiruddin Dagar(1932-1994), Ustad Rahim Fahimuddin Dagar(1927-2011), Ustad Nasir Aminuddin Dagar(1923-2000), Ustad Zia Mohiuddin Dagar (1929-1990), Ustad Nasir Faiyazuddin Dagar(1934-1989), Ustad Hussain Sayeeduddin Dagar(b1939))

Die Senior- und Junior-Dagarbrüder waren auf allen großen Bühnen der Welt anzutreffen. Rahim Fahimuddin Khan Dagar präsentierte auf seinen Konzertreisen in Übersee den Dhrupadgesang, wie auch in Deutschland und einer Vielzahl von europäischen Ländern.

The Dagar Family Tree ( 2005, Source: India.Tilos.hu )

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INDIA WEEK Hamburg 2013 – Introduction by politics…

More see… http://www.imcradio.net/indiaweekhamburg

(Facebook page | Facebook Event page 2013)

Introduction by 1st Major Olaf Scholz of Hanseatic City Hamburg and Ambaassador of India Sujatha Singh (Berlin)

(programme booklet / vollständiges Programmheft (DE/ENG) – PDF Download)

Hamburg und Indien
– Partner mit Perspektiven

Indien – viele Hamburgerinnen und Hamburger kennen das Land und verbinden mit ihm Bollywood und Hatha Yoga, Taj Mahal sowie Softwareindustrie und Textilimporte. Weniger bekannt ist das dynamische Wirtschaftswachstum, das ebenso zu Indien gehört wie die Jahrtausende alte Kultur. Der indische Subkontinent fasziniert heute mit einem ständigen Wechsel aus traditionsreicher Kultur und modernster Technologie. In den letzten Jahrzehnten hat sich Indien zu einem wichtigen Akteur auf dem Weltmarkt entwickelt.

Bei einem Besuch im Oktober 2012 konnte ich mich selbst davon überzeugen, welche Perspektiven und welches Wirtschaftspotenzial uns das Partnerland Indien zu bieten hat. Insbesondere in den Bereichen Hafen, Gesundheit und Erneuerbare Energien arbeitet unsere Stadt bereits eng mit indischen Partnern zusammen und beabsichtigt, diese Kooperationen weiter auszubauen. Mehr als 450 Hamburger Unternehmen beteiligen sich am Außenhandel mit Indien, rund 100 haben dort eine eigene Vertretung. Seit 2011 können sich Hamburger Investoren in der eigenen Hamburg Repräsentanz in Mumbai über Geschäftsmöglichkeiten in Indien informieren. Und auch in Neu Delhi gibt es norddeutsche Beratungsangebote. Aber der Kontakt funktioniert ebenso in die Gegenrichtung: 40 indische Unternehmen haben sich bereits in der Metropolregion Hamburg angesiedelt und etwa 3.250 Inderinnen und Inder leben hier und bereichern unsere hanseatische Kultur.

Die India Week Hamburg 2013 trägt dazu bei, das faszinierende Land mit all seinen Facetten vorzustellen. Das neuntägige Veranstaltungsprogramm beleuchtet wirtschaftliche und kulturelle Themen und bietet mit Podiumsdiskussionen, Lesungen, Konzerten sowie Tanz- und Kinoaufführungen Einblicke in die Tradition und Moderne der indischen Kultur und Gesellschaft. Ich lade Sie herzlich ein, vom 7. bis zum 15. September 2013 ein Stück Indien in Hamburg zu erleben!

Olaf Scholz (Erster Bürgermeister)

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Indien Entdecken
– Discover India

I am very glad to see that the Free and Hanseatic City of Hamburg is organising the 5th biennial India-eek from 7th-15th September 2013 in Hamburg under the theme »Indien Entdecken«.

The German verb »Entdecken« rightly describes the process of discovery that needs to be undertaken to discover India. India is undergoing a transition on multiple fronts – political, social, economical, sciences and technology and culturally. To understand each of these trends in each of these spheres requires a concentrated approach, which »Indien Entdecken« attempts to do.

The importance of Indo-German bilateral relations is evident from the recently concluded 2nd Indo-German intergovernmental consultations in Berlin from 11-12 April 2013, where Prime Minister of India, Dr. Manmohan Singh, who was accompanied by five Indian Cabinet Ministers met Chancellor Merkel. At the Consultations, Memorandums of Understanding in the area of Renewable Energy, Science & Technology and Human Resource and Development were signed.

Year 2012 saw the inauguration of Days of India in Germany with participation of India as a partner country at Hamburg Port Festival. The journey since then has witnessed various events conducted under various themes of Connecting Capabilities; Connecting Cultures; Connecting Minds; Connecting Ideas and has been a memorable one, with successful conclusion of the Days of India during our Prime Minister’s visit in April 2013. The ties between India and Germany and more particularly with the port city of Hamburg, continue to strengthen. In this age of interdependencies, I believe the only way forward is to pool our efforts for common causes, whose solutions can only be found if discussed in an open, participative, mutually reflective atmosphere, as provided by »Indien Entdecken«.

I want to convey my best wishes and congratulations to the Senate Chancellery and the industry associations for taking the initiative to organise the 5th India Week Hamburg in September 2013. I wish the celebrations all success.

Sujatha Singh (Ambassador of India, Berlin)

 

A – Raga CDs of the Months (08/13): Magic in Music – A Tribute to Bhimsen Joshi

Can you imagine India in 1933 ? – It was the year, when Gandhi stepped into hunger strike against caste discrimination. In the same year a small boy at the age of 11 years hit the road alone obsessed to find a music teacher. Bhimsen Gururaj Joshi was his name, member of a Brahmin family, son of a school teacher and the eldest with 15 siblings. Joshi’s mother died very early.

Bhimsen Joshi and his “Golden Voice” of 3 octaves should have a big influence onto North Indian classical music considerably till his death in January 2011. In the obituary of Indian Express one could read: “The voice of the  last Titan of North Indian Classics now remains always muted, but his melodies will always continue.” IMC OnAir’s new radio show “Magic in music” is a tribute to this exceptional artist, to Bhimsen Joshi (02/04/1922 – 01/24/2011).

dates of broadcasting …

25th August  2013 – 05:00 p.m. EST (11:00 pm CEST) @ Radio FRO (A) 
(premiere: 18th April 2011 – 10:00 pm CET (04:00 pm EST) @ Tide Radio)
broadcasting plan | streaming (Internet Radio & Mobile Radio) | podCast

The sportive car lover Bhimsen Joshi drove Mercedes

Joshi at the age of 14 years found his master (guru). He was Rambhau Kundgolkar. We know this actor and singer of North Indian Classics (Hindustani) rather common as Pandit Sawai Gandharva. He lived from 1886 to 1952. The greatest merit of Pandit Gandharva is the popularization of the vocal style in the tradition of Kirana Gharana. Saway Gandharva had pupils like Bhimsen Joshi and the famous female vocalist Gangubai Hangal. Herefore we refer to our radio show “Dr. Gangubai Hangal – Voice of Tradition“.

The majority of the singers of Hindustani traditionally belong to the Kirana Gharana. This music school was considerably created by Abdul Karim Khan and his cousin Abdul Wahid Khan and dominated till the 40th and 50th of last century. Abdul Karim and Abdul Wahid revolutionized the modern singing form of Khayal style. They added a slow tempo, Vilambit. So each note of a Raga scala, note for note can be defined by the singer in a performance.
Affected by the South Indian Classics (Carnatic) Abdul Karim Khan payed special attention to the ornamental art. The patterns are wavy and consist only of the note material of the Raga form itself (Sargam Taan). It is an attribute of vocals in Kirana Gharana style that the second note “Rishabh” is played/sung as “komal” which means neither diminished (flat) nor increased (major) and it’s intonation isn’t stressed (“soft corner”).

For his own artistic development Bhimsen Joshi had woven also style elements from other Gharanas (beside the Kirana Gharana) into his indiviual singing and interpretation style.

At the age of 31 years Bhimsen Joshi created the Sawai Gandharva Sangeet Mahotsav, in honours of his teacher Sawai Gandharva and as platform for the singing art of Kirana Gharana. Today the three days event is simply well-known as Sawai, which always takes place in December. It is one of the most important festivals, if not even that most important for Indian Classical music worldwide. Since 1953 the music festival Sawai Gandharva takes place annually in Pune and was led by Bhimseh Joshi himself for 49 years, until 2002. Today the Sawai is organized by Bhimsen’s son Shrinivas Joshi. For each new and upcoming generation of musicians of Indian Classics an invitation for the Sawai Gandharva is a guarantee for the beginning of a professional career.

Very late in the year 2008 Bhimsen Joshi received the “Jewel from India”, the Bharat Ratna. It is the highest civil order of India. The Bharat Ratna was assigned first time in the year 1954. With the Bharat Ratna artists, e.g. litterateurs and scientists are decorated for their social earnings/services. Beside Bhimsen Joshi received musicians the Bharat Ratna such as sitar legend Ravi Shankar (1999) or Lata Mangeshkar (2001) who is a female vocalist for Indian film (Bollywood).

Bharatratna Pandit Bhimsen Joshi Kaladalan (Pune, Vasantrao Bagul garden grounds, Sahakar Nagar): The music library, located on the ground floor, has 28 cubicles each of which is equipped with a computer and headphones. Music lovers can enjoy the music for which they will be charged. (Source: Sakaal Times (04/2011))

The inheritance of Bhimsen Joshi will not only live on in the form of memories and honors. With an inauguration celebration in February 2011 the city administration of Pune designated a new art center in appreciation of Pandit Bhimsen Joshi as “Bharatratna Pandit Bhimsen Joshi Kaladalan“… and the Federal State government presented a music scholarship for classical music in memories of the legend Bhimsen Joshi.

Bhimsen Joshi sung duets (Jugalbandi) with great vocal maestros like Pt. Jasraj, Ustad Rashid Khan or
with Dr. Balamurali Krishna (BMK) in two different languages (Joshi in Hindi and BMK in South Indian languages)…

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A – Raga CDs des Monats (08/13): Die Magie der Musik – eine Hommage an Bhimsen Joshi.

Stellen wir uns das Indien im Jahre 1933 vor. Es war die Zeit, als Gandhi in den Hungerstreik gegen die Diskriminierung niederer Kasten trat. Hier machte sich ein kleiner Junge aus einer Brahmanenfamilie im Alter von 11 Jahren alleine auf den Weg, um einen Musiklehrer zu finden. Bhimsen Gururaj Joshi war sein Name, Sohn von einem Schullehrer und und ältester Sproß mit 15 Geschwistern. Joshi’s Mutter starb sehr früh war.

Bhimsen Joshi sollte mit seiner “Goldenen Stimme” mit 3 Oktaven Umfang den Gesang der nordindischen Klassik massgeblich mitprägen, bis zu seine Ableben im Janur 2011. Im Nachruf von Indian Express war zu lesen: “Die Stimme des letzten Titan der nordindischen Klassik bleibt nun für immer stumm, aber seine Melodien werden immer fortbestehen.” Unsere heutige Sendung “Die Magie der Musik” ist eine Hommage an diesen Ausnahmekünstler, an Bimsen Joshi (04.02.1922 – 24.01.2011).

Sendetermine…

25. August 2013 – 23:00 Uhr  CET (05:00 pm EST) @ Radio FRO (A)
(Premiere: 18.04.2011 – 23:00 Uhr @ Tide Radio)
broadcasting plan | streaming (Internet Radio & Mobile Radio) | podCast

Der Autoliebhaber Bhimsen Joshi fuhr Mercedes

Seinen Meister (Guru) fand Joshi im Alter von 14 Jahren. Es war Rambhau Kundgolkar. Heute ist uns dieser Schauspieler und Sänger der nordindischen Klassik eher geläufig als Pandit Sawai Gandharva. Er lebte von 1886 bis 1952. Der herausragende Verdienst von Pandit Gandharva um die indische Klassik ist die Popularisierung eines Gesangsstiles, in der Tradition der Kirana Gharana. Neben Bhimsen Joshi gehörte zu den Schülern von Saway Gandharva die großartige Sängern Gangubai Hangal. Wir verweisen dazu auf die Sendung “Dr. Gangubai Hangal – Voice of Tradition“.

Die Mehrzahl der Sänger der nordindischen Klassik kommen aus der Tradition der Kirana Gharana. Sie wurde massgeblich von Abdul Karim Khan und seinem Cousin Abdul Wahid Khan bis in die 40er und 50er Jahre des letzten Jahrhunderts geprägt.
Abdul Karim und Abdul Wahid revolutionierten die moderne Gesangsform Khayal. Sie fügten ein langsames Tempi hinzu, Vilambit. So kann vom dem Sänger jede Note einer Ragaskala, Note für Note in einer Gesangsdarbietung beschrieben werden.
Beeinflusst von der südindischen Klassik, hat Abdul Karim Khan dem Einsatz einer  Ornamentik besonderem Augenmerk geschenkt. Die Muster sind wellenförmig und setzen sich aus dem Notenmaterial der Ragaform zusammen. Es ist ein Markenzeichen von Gesangsinterpretationen im Stile der Kirana Gharana, dass die zweite Note, Rishabh als “natürlich”, d.h. weder vermindert noch erhöht und auch nicht betont gespielt wird.

Neben der Kirana Gharana hatte Bhimsen Joshi in seiner eigenen künstlerischen Entwicklung auch Stilelemente aus anderen Gharanas in einen ihm ganz eigenen Gesangs- und Interpretationsstil eingeflochten.

Schon im Alter von nur 31 Jahren gründete Bhimsen Joshi das Sawai Gandharva Sangeet Mahotsav, zu Ehren seines Lehrers Sawai Gandharva und als Plattform für die Gesangskunst der Kirana Gharana. Heute ist der 3-tägige Event einfach bekannt als Sawai, er findet immer im Dezember statt. Es ist eines der wichtigsten Festivals, wenn nicht gar das Wichtigstes für die indisch-klassische Musik. Seit 1953 findet das Musikfestival Sawai Gandharva alljährlich in Pune statt und wurde von Bimseh Joshi selbst  49 Jahre lang geleitet, bis 2002. Heute organisiert sein Sohn Shrinivas Joshi das Festival. Für jeden Nachwuchsmusiker der indischen Klassik bedeutet eine Einladung zum Sawai Gandharva der Beginn einer professionellen Musikerkarriere.

Erst sehr spät, im Jahre 2008 erhielt Bhimsen Joshi den “Juwel von Indien”, den Bharat Ratna. Es ist der höchste Zivilorden Indiens. Er wurde das erste Mal im Jahre 1954 vergeben. Mit dem Bharat Ratna werden Künstler, Literaten und Wissenschaftler für ihre gesellschaftlichen Verdienste ausgezeichnet. Neben Bhimsen Joshi erhielten den Bharat Rathna Musiker wie die Sitarlegende Ravi Shankar  (1999) oder Lata Mangeshkar (2001), eine berühmte Sängerin des Indischen Films(Bollywood).

Bharatratna Pandit Bhimsen Joshi Kaladalan (Pune, Vasantrao Bagul garden grounds, Sahakar Nagar):  The music library, located on the ground floor, has 28 cubicles each of which is equipped with a computer and headphones. Music lovers can enjoy the music for which they will be charged. (Source: Sakaal Times (04/2011))

Mit einer Einweihungsfeier im Februar 2011 hat die Stadtverwaltung von Pune ein neues Kunstzentrum in Würdigung von Pandit Bhimsen Joshi benannt als “Bharatratna Pandit Bhimsen Joshi Kaladalan“… und die Landesregierung legte ein Musikstipendium für klassische Musik in Gedenken an die Legende Bhimsen Joshi auf.

Bhimsen Joshi sung duets (Jugalbandi) with great vocal maestros like Pt. Jasraj, Ustad Rashid Khan or
with Dr. Balamurali Krishna (BMK) in two different languages (Joshi in Hindi and BMK in South Indian languages)…

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