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Archive for September, 2014

CH – Raga CDs of the Months (09/2014): Midday & Afternoon Ragas (part 1 and 2)

Posted by ElJay Arem (IMC OnAir) on September 21, 2014

part 1: Midday Ragas…

The Raag Sarang, a noon raga, is performed by Pandit Vishwa Mohan Bhatt on an Indian Guitar, which has been modificated by himself. The noon ragas within the Sarang family are clustered within the emotion system (rasas) as adbhuta (= amazement).

dates of broadcasting …

8th September 2014 – 04:00 pm EST (10:00 pm CET) @ Radio RaSA (CH)
broadcasting plan | streaming (Internet Radio & Mobile Radio) | podCast

Vishwa Mohan Bhatt on Indian Slide Guitar

Vishwa Mohan Bhatt on Indian Slide Guitar

Vishwa Mohan Bhatt as a Grammy Award Winner belongs the extra ordinary music maestros of India. He was disciple of Ravi Shankar, the biggest musician in Indian Classical Music (Hindustani Music) nowadays.

The sliding along the strings, the glissando, is typically for many different Indian instruments, e.g. Sarod or Sitar. They all are constructions with vibrating resonance strings, the same as the slide guitar designed by Mohan Bhatt, so called “Mohan Vina”.

Mohan Bhatt has meet the guitar in a curious way. In 1967 a German student left behind a Spanish guitar in the music school of his father Krishna Mohan Bhatt, a sitar maestro and one of the first three pupils with Ravi Shankar in 1949/50. Bhatt refitted the guitar, did experiments with the structure of this instrument and some left hand / right hand techniques. Least he modified it what we call today “Mohan Vina”. It’s a hybrid of the classical Spanish guitar and the sitar.

—-

part 2: Afternoon Ragas…

An instrumental raga interpretation and it’s basic material of notes, the shrutis (22 micro tones) target at imitating the human voice. Within the techniqual possibilities of an Indian instrument (e.g. Sitar, Sarod, Santoor, Tabla …) an Indian music maestro looks for the same modulations, the same ornamentics which are typical for the human voice.

In Indian Classical Music the voice is being treated as an instrument in the same way. – It is the fundamental instrument of Hindustani (North Indian) and Carnatic (South Indian) Music.

dates of broadcasting …

22nd September 2014 – 04:00 pm EST (10:00 pm CET) @ Radio RaSA (CH)
broadcasting plan | streaming (Internet Radio & Mobile Radio) | podCast

The vocal singing in India has progressed into different styles. Many forms of compositions define accurate scales of notes and their ornaments. Beside the Alap, a free narration and the most difficult form of improvisation till today exist vocal stiles, which can be dated back to the 13th century like Dhrupad, Dhamar, Tarana, Tappa, Thumri, Ghasel and Khyal.

On Easter the broadcasting shows of promotion initiative IMC – India meets Classic have their focus on the Khyal (vocal style of North Indian Classic), being performed by some of India’s legendary vocalists. It is the bel canto of Indian Classical Music, a brillant and gloriously embroidered stile of singing, loaded up with difficult vowels.

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CH – Raga CDs des Monats (09/14): Mittags- und Nachmittagsragas… (Teil 1 u. 2)

Posted by ElJay Arem (IMC OnAir) on September 21, 2014

Teil 1:  Mittagsragas…

Der Raag Sarang, ein Mittagsraga, wird gespielt von Pandit Vishwa Mohan Bhatt auf einer von ihm modifzierten Gitarre. Den Mittagsragas aus der Sarang-Familie wird der emotionale Gehalt Adbhuta (amazement) = Erstaunen zugeordnet.

Sendetermine…

8. September 2014 – 22:00-23:00 Uhr CEST (04:00 pm EST) @ Radio RaSA (CH)
broadcasting plan | streaming (Internet Radio & Mobile Radio) | podCast

Vishwa Mohan Bhatt

Vishwa Mohan Bhatt auf der Indischen Slidegitarre

Vishwa Mohan Bhatt gehört als Grammy Award-Gewinner zu den herausragenden Musikmeistern Indiens. Er war Schüler von Ravi Shankar, Indiens grösstem Musiker unserer Zeit.

Das Gleiten über die Saiten, das Glissando, ist vielen indischen Instrumenten gemeinsam, wie bei der Sarod oder Sitar. Sie alle besitzen mitschwingende Resonanzsaiten, und auch die Slide-Guitar von Mohan Bhatt, nach ihm benannt als “Mohan Vina.

Mohan Bhatt ist durch eine kuriose Geschichte auf die Gitarre gestossen. Im Jahre 1967 hinterliess ein deutscher Student eine spanische Gitarre in der Musikschule seines Vaters Krishna Mohan Bhatt, ein Sitarmeister und einer der ersten drei Schüler mit Ravi Shankar um 1949/50. Bhatt nahm sich der Gitarre an, experimentierte mit der Struktur des Instruments, mit links- und rechtshändigen Techniken. Und modifizierte es schliesslich zu der heute nach ihm benannten “Mohan Vina. Sie ist ein “Hybrid der klassischen spanischen Gitarre und einer Sitar.

Teil 2: Nachmittagsragas…

Eine instrumentale Ragainterpretation zielt mit dem zur Verfügung stehenden Notenmaterial, den Shruti-s (22 Mikrotöne), darauf ab, die menschliche Stimme zu imitieren.

Der Instrumentalmusiker sucht im Rahmen der technischen Möglichkeiten des Instruments die gleichen Modulationen, die gleichen Verzierungen nachzuahmen, wie sie der Stimme eigen sind. Gleichermaßen wird die menschliche Stimme in der indischen Musik wie ein Instrument gehandhabt. Sie wird als grundlegendes Instrument angesehen.

Sendetermine…

22. September 2014 – 22:00-23:00 Uhr CEST (04:00 pm EST) @ Radio RaSA (CH)
broadcasting plan | streaming (Internet Radio & Mobile Radio) | podCast

Die Gesangsstile Indiens sind unterschiedlich ausgeprägt, verschiedenste Kompositionsformen definieren eine eindeutig festgelegte Tonfolge und ihre Verzierungselemente.

Neben dem Alap, der ohne Wörter frei und erzählenden, aber auch schwierigsten Form der Improvisation, existieren noch heute Gesangsstile, die bis ins 13. Jahrhundert zurückreichen, wie Dhrupad, Dhamar, Tarana, Tappa, Thumri, Ghasel und Khyal, dem “bel canto der indischen Vokalmusik.

Die Ostersendungen der Förderinitiative IMC – India meets Classic präsentiert Beispiele von einigen der berühmtesten Sängern des Khyals – einem brillant und reich ausgeschmückten, mit schwierigen Vokalisen überladenen Gesangsstil der indischen Klassik.

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DE – Raga CDs des Monats (09/2014): Abend- & Nachtragas – Violine (Teil 1 und 2)

Posted by ElJay Arem (IMC OnAir) on September 20, 2014

Teil 1  von Abend- & Nachtragas mit Hörbeispielen der indischen Violine …

N. Rajam

N. Rajam on violin

Nach einem arbeitsreichen Tag wird im indischen Verständnis der späte Abend als die Zeit des “Lustig seins und der Fröhlichkeit verstanden. Diese Stimmung verkörpern die Ragagruppe von Kafi, Bageshri und Sindura Ragas. Die Abendragas wie Yaman, Shree, Marwa oder Purvi können Glückseligkeit und ein Gefühl der Lebendigkeit wecken.

Die Violine wurde erstmalig im kolonialen Indien des frühen neunzehnten Jahrhunderts eingeführt. Sie ist im südlichen Teil Indiens enthusiastisch aufgenommen worden und war bald ein integrierter Bestandteil der karnathischen, der südindischen Musik.

Obgleich das Instrument die Fähigkeit besitzt, jede Schattierung und Nuancierung der Gesangsmusik zu reproduzieren, gibt es weniger Vertreter im Norden als im Süden Indiens. Besonders aber die Frauen konnten sich auf der Violine in Indien etablieren, wie Kala Ramnath, Anupria oder Sunita, Tochter der Violinistin Minto Khaund oder Sangeeta Shankar, Kalas Cousine und Gingger, die Nichte von L. Shankar (Violine) und Tochter von Dr. L. Subramaniam (Violine), alles Vertreterinnen einer jüngeren Musikergeneration…

Sendetermine…

Teil 1: So. 21.09. 2014 – 15:02-16:00 Uhr CET (03:02 pm EST) @ radio multicult.fm (DE/Berlin)
Teil 2: So., 21.09.2014 – 16:02-17:00 Uhr CET (04:02 pm EST) @ radio multicult.fm (DE/Berlin)
(premiere: 23. Oktober 2006 / 27. November 2006 @ Tide 96.0 FM)
broadcasting plan | streaming (Internet Radio & Mobile Radio) | podCast

Teil 2 von Abend- & Nachtragas… mit Hörbeispielen auf der Violine u. Sitar

Teil 2, Abend- und Nachtragas ergänzt sich Teil 1. Hier stellte IMC – India meets Classic die Violine als westliches Instrument vor, das in die nordindische und südindische Musik Einzug fand … und präsentierte dafür Ragabeipiele, wie den Abendraga Yaman, die Nachtragas Rageshri und Durga oder den Raga Maru Behag, eine Mischung aus einem Abend- und Nachtraga.

Auch in Teil 2 beschaeftigt sich IMC – India meets Classic mit der Violine und ihrer herausragende Bedeutung in der indischen Klassik … Als Hörvergleich wird dem Klangbild der Violine die Interpretation von Abend- und Nachtragas auf der Sitar gegenübergestellt.

Der Sitarmeister Purbayan Chatterjee präsentiert mit der Violinisten Kala Ramnath in einem Jugal Bandi, dem indischen Duett, den Spätabendraga Bageshri, in einer Interpetation des rhythmisch-lebhaften und leichten Gesangsstils Tarana. Purbayans Lehrmeister und grosses Vorbild, Pandit Nikhil Bannerjee, wird als Solist den Spätabendraga Desh präsentieren, einer Aufnahme aus dem All India Radio Archiv.

Die Violine wurde im Ganzen im Nordteil Indiens, in der Hindustani-Musik kühler aufgenommen. Wie kein anderes Instrument aus dem Westen hat sich die Violine in der südindischen Musik etablieren können. Stilformen und Musikdarbietungen, die wir heute kennen, wurden in dem goldenen Zeitalter der südinsichen Klassik, zwischen 1750 und 1850 entwickelt (u.a. Kompositionen von Thygaraja, Dikshitar und Syama Sastri). In den Süden Indiens wurde die Violine von Baluswamy Dikshitar im frühen 19. Jahrhundert eingeführt.

Darum stellt IMC – India meets Classic in Teil 2 Violinisten als Vertreter der südindischen Musik vor. Dr. N. Rajam, der man den grössten Verdienst unter allen Violinistinnen Indiens für die indisch klassische Musik zusprechen kann, kombiniert die nordindische mit der südindischen Musik. Den Mitternachtsraga Malkauns auf ihrer CD RADIANT gibt es auch in der karnatischen Musik als Raga Hindolam. Sie gehören dem Bhairavi Thaat an, in der aufsteigenden wie absteigenden Skala jeweils aus 6 Noten bestehend: S – g – m – d – n – S.

Dr. N. Rajams Tochter, Sangeeta Shankar, hat mit ihrer Mutter Musikwerke aus beiden Traditoinen realisiert. IMC – India meets Classic präsentiert sie als Solistin mit dem Tablavirtuosen Ustad Zakir Hussain und Spät-Nacht-Raga Bageshree.

Kumaresh & Ganesh  (Source: Flickr | Sriram Bala - http://goo.gl/hClUwQ )

Kumaresh & Ganesh (Source: Flickr | Sriram Bala – http://goo.gl/hClUwQ )

Die Brüder und das Violin-Duett Ganesh & Kumaresh sind zwei der führenden Künstler der südindischen, karnatischen Musik. Ganesh and Kumaresh entwickelten das Violinspiel technisch zu einem kraftvollen Ausdruck und … präsentieren aus ihrer CD Sundaram (= Schönheit) die süd-indische Form “Ragam Tanam Pallavi, mit einer eigenen Komposition von Ganesh, die dem südindischen Abendraga Vasanta entspricht. Er ist einer der ältesten Ragas in Indien, der seit mehr als 1000 Jahre gepielt wird.- Typisch in der südindischen Vokal- und Instrumentalmusik begleiten anstatt der Tabla die Mridanga, die klassische Trommel Indiens und der Ghatam, ein gefässartiger Klangkörper aus Ton.

Hinweis: Dem Thema Fusion & Weltmusik, in der die indische Violine durch herausragende Künstler wie Dr. Lakshminarayana Shankar – bekannt als L. Shankar, seinen Bruder L. Subramaniam, in seiner Heimat betitelt als “The God of Indian Violin, “The Paganini of Indian Classical Music oder dessen Schüler S. Harikumar eine grosse Bedeutung erfährt, wird sich IMC – India meets Classic in einer seiner weiteren Sondersendungen gesondert widmen.

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DE – Raga CDs of the Months (09/2014): Evening & Night Ragas (part 1 and 2)

Posted by ElJay Arem (IMC OnAir) on September 20, 2014

part 1…

The Indian self understanding of >late evening< following a long working day is “be funny” and “joyfulness”. The raga group of kafi, bageshri and sindura ragas represent this mood. The evening ragas like yaman, shree, marwa and purvi can wake the emotions of prosperity and active live.

dates of broadcasting …

21st September 2014 – 9:00-10:00 am EST (3-4:00 pm CET) @ radio multicult.fm (DE/Berlin)
(premiere: 23rd October 2006 @ Tide 96.0 FM)
broadcasting plan | streaming (Internet Radio & Mobile Radio) | podCast

violinist L. Subramaniam during a concert in Chennai (2003 / Wikipedia)

violinist L. Subramaniam (concert in Chennai in 2003 / Wikipedia)

Evening and night ragas – part 1 with some audio examples of the Indian violine …

First time the violine was introduced in India at it’s times of the British colonialisms at the end of the 18th early 19th century. This western instrument was picked up in the southern part of India enthusiastically and soon became an integrative part of the Carnatic (South Indian) music.

The violin has the ability to reproduce every shadow nad nuance of the vocal music, however only some few representatives exist in the Northern part (Hindustani Music) less than in the Southern part of India. Especially the women established themselves as violin players like Kala Ramnath, Anupria or Sunita, daughter of the female violinist Minto Khaund or Sangeeta Shankar, Kala’s cousine and Gingger the niece of L. Shankar (violinist) and daughter of L. Subramaniam (violinist), all representatives of the younger music generation…

part 2…

Part 2 of “evening and night ragas” is completing part 1. In part 2 IMC – India meets Classic continues its path following the violin in India and its exceedengly importance for Indian Classical Music… In comparision with the violine the sound picture of evening and night ragas on the sitar is being opposed. Together with the violinist Kala Ramnath the sitar maestro Purbayan Chatterjee presents in a jugal bandi, the Indian form of a duet, the late evening raga Bageshri and here about an interpretation of the rhythmic lively and light vocal style Tarana. An All India Radio release presents Purbayans guru and great ideal Pandit Nikhil Bannerjee in a Sitar solo of the evening raga Desh.

dates of broadcasting …

21st September 2014 – 10:00-11:00 am EST (4-5:00 pm CET) @ radio multicult.fm (DE/Berlin)
(premiere: 27th November 2006 @ Tide 96.0 FM)
broadcasting plan | streaming (Internet Radio & Mobile Radio) | podCast

The violin has been accepted in the northern part of India at all, but in a smooth way. As no other instrument from the Western area the violin has established deeply in the South Indian Music style. Presentation forms and performances we know today had been developed in the golden age of the South Indian Classic between 1750 and 1850 (e.g. compositions of Thygaraja, Dikshitar and Syama Sastri). The violin was introduced into the South of India by Baluswamy Dikshitar in the early 19th century.

violinist Dr. N. Rajam (C) last.fm

violinist Dr. N. Rajam (C) last.fm

As representatives of the South Indian Music IMC – India meets Classic presents in part some violinists, e.g. Dr. N. Rajam. She has the biggest impact onto the Indian Classical Mucis of all female violinists in India … and combines the North Indian style with the South Indian form, too. On her CD RADIANT she presents the midnight raga Malkauns, which exists as Raga Hindolam in the Carnatic Music, too. Both belong to the Bhairavi Thaat System, the ascendenting and falling scales existe each of 6 notes (swaras): Sa – ga – ma – da – ni – Sa.

Dr. N. Rajams daugther, Sangeeta Shankar, did many different music art works of both traditions (Hindustani, Carnatic) together with her mother. IMC – India meets Classic presents Sangeeta as a solist together with the tabla virtuoso Ustad Zakir Hussain playing the late night raga Bageshree.

The brothers and violin duo Ganesh & Kumaresh are two of the leading artists of the South Indian Music (Carnatic). Ganesh and Kumaresh develope the violin play techniqually to a very expressive form … with their CD SUNDARAM (= beauty) they document the South Indian form Ragam Tanam Pallavi by an individual composition of Ganesh, which is according to the evening raga Vasanta in South India. Vasanta is one of the eldest Ragas in India, performed since more than 1000 years. Typically for the South Indian Vocal and Instrumental Music Ganesh and Kumaresh are being accompanied instead of the Tabla by the Mridanga, the traditional drum of India and the Ghatam, a vessel like sound body made of clay.

Reference: IMC – India meets Classic seperatelly will have in one of its next special features a deeper focus onto the Indian violin and its figure for fusion, jazz and world music and presents some extra ordinary violin players, e.g. Dr. Lakshminarayana Shankar, known as L. Shankar, his brother L. Subramaniam, titled in his home country as the “The God of Indian Violin, “The Paganini of Indian Classical Music or his pupil (Shishya) S. Harikumar and others …

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Mandoline Maestro U Shrinivas (Chennai) passed away this morning at the age of 45…

Posted by ElJay Arem (IMC OnAir) on September 19, 2014

Renowned musician Mandolin U Srinivas passes away at 45

Srinivas performing in Pune, January 2009 (Source: Wikipedia.org)

Srinivas performing in Pune, January 2009 (Source: Wikipedia.org)

Chennai: The renowned musician Mandolin U Srinivas passed away in Chennai on Friday morning. He was just 45 years old. U Srinivas was popularly known as Mandolin U Srinivas. Shrinivas played an electric mandolin and had collaborated with the world renowned musicians like John McLaughlin, Michael Nyman, and Michael Brook. He was awarded the Padma Shri in 1998 at a very young age of just 29. He was awarded the Sangeet Natak Akademi Award in 2010.

Shrinivas was born on February 28, 1969, in Palakol in Andhra Pradesh. At the age of six he picked up his father Satyanarayana’s mandolin. Upon realising the talent of his son, his father started teaching him. Soon, Satyanarayana’s guru, Rudraraju Subbaraju, realized the potential of U. Shrinivas and started teaching him. Since Rudraraju Subbaraju did not know how to play the mandolin he would just sing and U. Shrinivas would play it on the mandolin. His brother U. Rajesh is also an accomplished mandolin player.

U. Shrinivas made his first public Carnatic concert performance in 1978 in Gudivada, Andhra Pradesh, during the Thyagaraja Aradhana festival. Soon, he came to perform in the Madras Music Season in 1981 for the Indian Fine Arts Society. In 1983, he performed at the JazzFest Berlin where the audience requested him to do a repeat performance.

He continued touring the world-Australia, Southeast Asia and then Southwest Asia, followed by the United States and Canada.

(Source: Sep 19, 2014 at 10:40am IST- IBNLive)


 

Mandolin Shrinivas, the child prodigy, is no more

B. KOLAPPAN

Srinivas performing in Germany, 2001 (Source: Wikipedia.org)

Srinivas performing in Germany, 2001 (Source: Wikipedia.org)

U. Shrinivas, who cast a spell on audiences with his Western instrument, the mandolin, died here on Friday. He was only 45.

Mandolin Shrinivas, as he came to be known, had been ailing for a while. He reportedly was being treated for liver failure at the Apollo Hospital. He had lately received a liver transplant.

Born in Palakol in Andhra Pradesh, Shrinivas started playing the instrument used by his father Sathyanarayana. He quickly mastered it and his skills were further honed by his father’s guru Rudraraju Subburaju, who was a vocalist.

As Chennai is the capital of Carnatic Music, his family settled here and he was promoted by late mridhangam player P. Updendran and his uncle, late thavil maestro Valangaiman Shanmugasundaram.

As a child prodigy, a permanent smile on his face and with joy apparent while playing his instrument, he created waves in the Carnatic music world.

His concerts with the accompaniment of thavil captured the imagination of connoisseurs of Carnatic music. He instantly caught the attention of late Chief Minister M.G. Ramachandran, who declared him the musician of the Tamil Nadu Government when he was just 11 yeas old.

“After listening to him play in a temple, I recorded him for the Doordarshan. The audition test was attended by great musicians such as Emani Sankara Shastry. When we telecast the programme, we received a call from the then Chief Minister M.G. Ramachandran, requesting a copy of the recording and his address,” said Sampath Kumar, who worked for both the All India Radio and Doordharsan.

Humility personified

Srinivas, humility personified, always gratefully acknowledged the contribution made by others towards his career.

“I am still not able to understand how he was able to produce ghamakas in a Western instrument,” said Mr. Sampath kumar, who also produced a documentary on Shrinivas.

Recalling his association with MGR, Shrinivas once told The Hindu that since he did not have a telephone, the Chief Minister’s secretaries visited his house.

“The Chief Minister’s secretaries visited my house and wanted to know whether I could perform at a function. Since I had a concert on the same day, they gave me another date and the occasion — a felicitation function for actor Kamal Hassan for his role in the film ‘ Ek duje ke liye’ . Mr. MGR and our present Chief Minister Jayalalithaa listened to the entire concert,” Shrinivas told The Hindu.

At one concert, T.N. Seshagopalan, moved by his music, presented a gold ring to Shrinivas.

Shrinivas joins late N.C. Vasanthakokilam, Karukurichi Arunachalam and Needamangalam Shanmugavadivel, who left the world when they were in the 40s and at the peak of their career.

(Source: September 19, 2014 13:29 IST | The Hindu – News | National)

Relates News…

Concerts from “Parvathi”, Mysore with prodigy Vidwan U. Srinivas…


Fully Concert (Jazz in Vienna) with Shakti (John Mclaughlin, U Srinivas, Zakir Hussain, V Selvaganesh, Mahadevan)

+++

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DE – Raga CDs of the months (09/2014): Raga Time Cycle – The Ayurvedic Princips…

Posted by ElJay Arem (IMC OnAir) on September 17, 2014

IMC OnAir presents in Berlin (and worldwide as webradio) its regular show “Raga CDs of the Month” with the topic: “Raga Time Cycle – Ayurvedic princips… The three doshas: Vata, Pitta + Kapha dominance“.

dates of broadcasting…

18th September 2014 – 03:00 pm EST (09:00 pm CET) @ radio multicult.fm (DE)
(premiere: 28th May 2007 (09:00 pm) @ Tide 96. FM)
broadcasting plan | streaming (Internet Radio & Mobile Radio) | podCast

Raga Time Cycle - The Ayurvedic Princips

The word Ayur-Veda originates from Sanskrit, the old Indian language sciences. Ayurveda is translated in a modern understanding as “life science” (general common).

Ayurvedia pursued as empirical nature teaching and philosophy of human health, preventively, welfare-end and maintaining health care… and concentrates for it on all physical, menthal, emotional, spiritual and social aspects.

The characteristics of the Doshas (Vata, Kapha and Pitta) symbolize the physcial characteristics of the elements for our bodily functions. The princips of the three doshas cover the human as whole: body, senses, mind and soul.

As the element characteristics of food are favorable for harmony of the doshas, the environmental and social conditions can considerable contribute to the development of dosha dominances. Both seasons and prevailing weather conditions as well as day times let dominate one of the three doshas.

The Ayurvedic structure with it’s time cycle of 6×4 hours is similar to the Raga time cycle of 8×3 hours defined by the Indian musicologist V.N. Bhakthande…

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DE – Raga CDs des Monats (09/2014): Raga Zeitzyklus im ayurvedischen Verstaendnis…

Posted by ElJay Arem (IMC OnAir) on September 17, 2014

IMC OnAir praesentiert in Berlin (und weltweit als Webradio) das Thema „Raga CDs des Monats: Ragas und ihr Zeitzyklus im ayurvedischen Verstaendnis … Die 3 Doshas – Vata-, Pitta- & Kapha-Dominanz“.

Der Ayur-Veda. Das Wort Ayur-Veda stammt aus dem Sanskrit, der alten indischen Wissenschaftsprache. Ayurveda wird im heutigen Verstaendnis allgemeingebraeuchlich als Lebenswissenschaft Uebersetzt.

Ayurveda verfolgt als empirische Naturlehre und Philosphie die Gesunderhaltung des Menschen, praeventiv, heilend und pflegend… und konzentriert sich dafuer auf alle physischen, mentalen, emotionalen, spirituellen und sozialen Aspekte.

Sendetermine…

18. September 2014 – 21:00 Uhr CET (03:00 pm EST) @ radio multicult.fm (DE)
(Premiere: 28. Mai 2007 (21:00) @ Tide 96.0 FM)
broadcasting plan
| streaming (Internet Radio & Mobile Radio) | podCast

Die Eigenschaften der Doshas (Vata, Kapha und Pitta) symbolisieren fuer unsere Koerperfunktionen die physikalischen Eigenschaften der Elemente. Die Prinzipien der drei Doshas umfassen den ganzen Menschen: Koerper, Sinne, Verstand und Seele.

So wie die Elementeigenschaften von Lebensmittel fuer eine Harmonie der Doshas foerderlich sein koennen, tragen die Umgebungsbedingungen massgeblich zu der Auspraegung der Dosha-Dominanzen bei. Sowohl Jahreszeiten, vorherrschendes Wetter wie auch Tageszeiten, lassen eine der drei Doshas dominieren.

Raga Time Cycle - The Ayurvedic Princips

In unseren zurückliegenden Sendungen „Raga CDs des Monats” haben wir uns an dem Zeitzyklus von 8 x 3 Stunden des indischen Musikwissenschaftlers V. N. Bhakthande orientiert. Aehnlich strukturiert die ayurvedische Lehre einen Zeitzyklus von 6 x 4 Stunden.

Beginnend mit Vata, von 02:00 bis 06:00 Uhr, gefolgt von Kapha zwischen 06:00-10:00 Uhr und Pitta von 10:00 bis 14:00 Uhr. Ein Zyklus in gleicher Reihenfolge wiederholt sich von 14:00 Uhr bis 02:00 Uhr morgens.

Mit dem Hoerbeispiel von Raga Bhairavi, einem Fruehmorgenraga (Spielzeit zwischen 02:00 und 06:00 morgens), wird das Dosha Vata, das Bewegungsprinzip mit den Elementen Luft und Wind gestaerkt. Das ayurvedische Verstaendnis befUehrwortet ein Aufstehen vor 06:00 Uhr , um „Wachheit & Klarheit zu staerken. Raga Bhairavi befoerdert die Vata -Harmonisierung mit dem Stimmungsbild Frieden, Harmonie und Mitgefuehl. Das Vata -Dosha wiederholt sich fuer die Zeit von 14:00 bis 18:00 Uhr. Es ist die Zeit der „Kreativtaet & Kommunikation. DafUer eignet sich der Raga Bhimpalasi.

Der Morgenraga Raga Deshkar im Bilawal-Thaat steigert die Energien zur Morgenstunde, mit Raga Durga in der Abendzeit foerdert man zum Ausgleich der Kapha-Dominanz die Integration. Kapha bedeutet im ayurvedischen Verstaendnis die Zeit der Schwere und Traegheit, zwischen 06:00 Uhr und 10:00 Uhr morgens und von 18:00 bis 22:00 Uhr. Vor dem Zubettgehen empfielt sich daher leichtes Essen.

Zuletzt vervollstaendigt das dritte Dosha Pitta unseren Streifzug durch den ayurvedischen Zeitzyklus. Pitta, das ist die energievolle Zeit zwischen 10:00 und 14:00 Uhr, in der das Verdauungsfeuer am staerksten ist. Hier sollte die Hauptmalzeit des Tages eingenommen werden. Zwischen 22:00 Uhr und 02.00 Uhr morgens werden die Traeume verarbeitet. Raga Ahir Lalit foerdert zur Hochzeit des Tages die Freude. Raga Bageshwari verhilft zur Ruhe und Entspannung.

(Hinweis: Auf die Bedeutung der Rhythmik – Tala und des Tempos – Laya in der indischen Klassik gehen wir in einer gesonderten Sendung ein.)

Posted in DE (German), IMC OnAir - News | Leave a Comment »

9th Reeperbahn Festival (Hamburg) – Intern. meeting place for music & digital industries in Europe from 17th-20th Sept 2014

Posted by ElJay Arem (IMC OnAir) on September 17, 2014

Reperbahn-Festival-Banner-2014-468-60-ENG


The Reeperbahn Festival

Conference_1.resized… presents over 400 concerts featuring international newcomers performing indie, pop, rock, folk, singer-songwriter, electro, hip hop, soul, jazz, and contemporary. Concerts are held in clubs, bars, theatres, and other extraordinary venues on and around the Reeperbahn. It welcomes more than 3,000 media representatives and professionals from 35 countries who are active in the music and digital creative industries. Attendees meet and exchange ideas at the music & digital sessions, networking events, meetings, award ceremonies, and parties…. and it offers more than 70 music-related events in the fields of digital arts, fine arts and urban arts in a variety of unique St. Pauli locations.

International Talents, Trends and Trade

The Reeperbahn Festival is Germany’s largest club festival and is one of the three most important meeting places for the music and digital industries in Europe. Under the heading ‘Talents, Trends & Trade’ the festival offers around 600 wide-ranging events in more than 70 venues on and around Hamburg’s Reeperbahn – including concerts by international newcomers, an extensive arts programme, and a business platform and conference for companies and organisations. Over 30,000 visits are expected at the ninth edition of the Reeperbahn Festival. (Source: Official Website | About us)


Intern. Conferences, Panels & Workshop Programme…

  • THU 18th Sept 12:00 – 14:30 – 15:30 pm CET (Location: SUITE 716)
    CLASSICAL MUSIC IN THE DIGITAL MARKET
    NEW SUBSCRIPTIONS, OLD MASTERS: CHANCES + RISKS OF CATALOGUE POLICIES IN DIGITAL TIMES
    SESSIONS RECORDED MUSIC

The classical music market has been transformed by digitalization, just like all other sectors of the recorded music business. But classical music has its own specifics, its own audience, its own formats.

– How do labels adjust to the changed marketplace?
– How do digital plattforms and distribution channels suit the repertoire?
– Streaming, downloads, further marketing potentials: What is effective, what will the future look like, which are the strategies pursued? (Source)

  • THU 18th Sept 12:00 – 13:00 pm CET (Location: OPERETTENHAUS (STUDIO))
    NEWS GAMES
    SESSIONS GAMES / MEDIA

We read a text, listen to a radio report, and watch a television programme. So far, so good. Traditional media are linear. But computers, smartphones, and tablets are capable of more. These are input and output devices. They are interactive. And this is where newsgames come in.

Journalistic content is being not only consumed but turned into something that can be experienced. Games are perfect for making complex systems interactively explorable. Newsgames have been tested around the world during the last ten years or so. Marcus Bösch shows the best and worst examples – from Arte, the Guardian, the New York Times, etc. What works? What doesn’t work? And what’s the hidden potential?

Marcus Bösch guides us through the world of newsgames. In 2013, Bösch and his game studio published Germany’s first newsgame and in 2014 he organised Europe’s first Newsgames Hackathon. (Source)

  • THU 18.09. 13:30 – 14:30 UHR BOARD ROOM (Location: ARCOTEL ONYX LOBBY)
    SMART MUSIC MARKETING TO 4 BILLION NEW CUSTOMERS
    SESSIONS MARKETING / MOBILE

Since the introduction of the mobile phone this market has registered enormous growth rates. With the smartphone – and the incorporation of the internet into mobile phones – mobile providers are continuing to make staggering returns and profits.

Germany is among the top 14 countries (at number 11) with more than 100 million mobile customers; in Germany mobile penetration is at 138%. Topping the list are the densely populated countries of China (1.35 billion / 92.3%) and India (1.35 billion / 62.5%). The United States occupies third place, followed by countries such as Indonesia, Brazil, Russia, Vietnam, Pakistan, Nigeria, Bangladesh, the Philippines, and Mexico. All of them are countries that are not, or not yet, counted among the rich industrialized nations and therefore have so far not been the core target market for music marketing. This could change with the proliferation of smartphones – after all, this technology is catapulting customers in poorer countries from the analogue era directly into the digital world.

What are the consequences of this for marketing music? What are the trends and concrete activities for reaching and monetising this new target group of roughly 4 billion people? How important will the localization of content and communication strategies be? We’ll discuss these questions with an international team of music and mobile professionals (Source).

  • THU 18.09. 13:00 – 14:00 UHR (Location: SALON SCHMIDT)
    SYNCH ESSENTIALS
    EVERYTHING YOU ALWAYS WANTED TO KNOW ABOUT ADVERTISERS AND THE SYNCH BUSINESS
    SESSIONS PUBLISHING / SYNCH & BRANDS

A creative TV commercial is being produced. The campaign is planned around it. What is still missing though is the right music or the license for it. The spot goes live in 5 days. Now what?
How do advertisers find music? How do they handle music that is so important for the advertising message and its emotional appeal?
What exactly does the advertiser, the supervisor, the music pitcher need?

Only if the music supplier meets these needs, he can deliver exactly what is wanted. Reeperbahn Festival Conference asks the right questions and helps you to understand the customer’s needs and language:

* How do agencies, brand decision-makers, and producers of a spot make their music choices?
* What timings are observed?
* How can the label support the decision of the Music Music Supervisor, agencies, the brand?
* What can the label do when the brand and agency do not move?
* What cross-promotional values ​​can a label use as arguments to the brand, the sync partner (e.g. video, range)? (Source)

  • THU 18.09. 11:00 – 12:00 UHR (Location: SCHMIDT THEATER)
    THE CHAOS OF DIGITAL PAYMENT
    READING AND UNDERSTANDING YOUR ONLINE ACCOUNT STATEMENT
    SESSIONS PUBLISHING

It took a while for the cash to start flowing in. Finally, however, revenues from the sale of online music and licences are on the rise. At the same time, the days of straightforward and transparent account statements are past – because now there are columns of figures, a flood of data, inconsistencies in the calculation of rights of use, and questionable analyses of the actual utilisation of music in bits and bytes.

What’s left is an account statement based on good faith – that is, one based on information supplied by download providers and streaming services. We’ll discuss the chaos of digital payment – and hope to hear suggestions for improving transparency and probity in the digital music business (Source).

  • THU 18.09. 14:30 – 15:45 UHR (Location: SUITE 616)
    GVL – ARTISTS AND LABELS REAP THE BENEFITS (TIPS & TRICKS)
    SESSIONS RECORDED

The GVL (collecting society for neighbouring rights) represents more than 130,000 performing artists and over 34,000 labels worldwide in the exercising of their neighbouring rights. During the GVL workshop at the Reeperbahn Festival learn how you, too, can benefit from GVL and receive remuneration when your productions are played on the radio. The speakers will take participants through the GVL systems, demonstrate the basics in a hands-on approach, and share tips and tricks for the online portals TRISYS.GVL (labels) and ARTSYS.GVL (artists). – (Source)

  • THU 18.09. 15:30 – 18:00 UHR  (Location: SALON SCHMIDT)
    PRODUCT TANK: INNOVATION OF DIGITAL PRODUCTS
    HOW TO SETUP A CULTURE THAT FOSTERS INNOVATION IN THE DEVELOPMENT OF FAST-MOVING DIGITAL PRODUCT
    SESSIONS PROGRAMMING / STARTUP / DESIGN

Join us to meet other product people and people interested in digital products.

Since 2013 Product Tank Hamburg is the local chapter of an international event format that provides a platform for Hamburg’s growing product management scene. When curating the program the organizing team looks for a healthy mix of international speakers and local experts  (Source).

Talks:

15.30-16.30
Jeff Gothelf: ‘Building a culture of Innovation’

We are very proud to present Jeff Gothelf from New York City who is well-known for his game-changing book ‘Lean UX’ (O’Reilly) and is travelling the world as a consultant for Neo Interactive as well as a well-booked presenter on topics of collaboration and innovation.

16.30-16.45 Break

16.45-17.45
Daniel Neuberger: ‘A culture of innovation in practice or how to tame the culture beast’

Daniel was able to gather experience as a Product Manager at eCircle, FriendScout24 and OTTO. Ensuing stations as User Experience Design Lead at OTTO and Head Of Product Management for Immonet. Currently Daniel has the privilege to work as a consultant nationwide for ThoughtWorks in Germany.

17.45-18.00 Discussion

  • THU 18.09. 15:00 – 16:00 UHR  (Location: OPERETTENHAUS (STUDIO))
    THOMAS GOLUBIĆ: THE ART OF MUSIC SUPERVISION
    SESSIONS PUBLISHING / SYNCH & BRANDS

Thomas Golubić is probably the most influential and most successful music supervisor currently working in the American TV-series market – he’s behind the soundtracks for global hit series such as “Breaking Bad”, “Six Feet Under”, and “The Walking Dead”. At the Reeperbahn Festival, the Grammy nominee will talk about his career as a music supervisor, the TV and film industry, as well as his upcoming projects.

Golubić will be interviewed by Christoph Becker, Managing Director of Constantin Music, and who is second to noone in Germany when it comes to the Synch and Filmmusic business (Source).

  • THU 18.09. 16:00 – 17:00 UHR  (Location: BOARD ROOM (ARCOTEL ONYX LOBBY))
    TV & TRAILERS: HOW TO SYNC WITH THE US
    SESSIONS PUBLISHING / SYNCH & BRANDS

In Continental Europe TV series are generally equipped with musical blank licencing deals. The clearance is usually managed by the broadcasters and collecting societies. Especially in the United States things are fundamentally different: the huge TV series market has to license its music directly from the rights holders.

How is music placed in TV series and what is the difference between Europe, the UK and the U.S.? (Source).

  • THU 18.09. 13:45 – 14:45 UHR  (Location: OPERETTENHAUS (FOYER 1ST FLOOR))
    MUSIC MOVES EUROPE
    SESSIONS LIVE MUSIC / POLITICS / RECORDED MUSIC

There’s no doubt about it: music moves Europe. First and foremost, the major music festivals display impressive mobilisation potential because festivals such as Sziget, Tomorrowland, and Wacken Open Air attract Europe-wide audiences every year.

The cross-border successes of European artists such as Daft Punk, Stromae, or Mando Diao are also something to be proud of. And there’s no doubt that it’s primarily young Europeans who are interested in and enthusiastic about music. At the same time, however, enthusiasm for the European idea is in short supply, as the results of the last European elections demonstrate.

What potential does pop music along with its industry players and its protagonists on European stages offer in terms of revitalising the positive aspects of Europe? And what is needed for top pro-European politicians and administrators to discover and come to appreciate the benefits of “Music Moves Europe”? (Source).

  • THU 18.09. 14:45 – 15:45 UHR  (Location: BOARD ROOM (ARCOTEL ONYX LOBBY))
    THAT’S ENTERTAINMENT LAW!
    THE QUICK BRIEFING
    SESSIONS LEGAL / MEDIA / RECORDED MUSIC

Legal action at the Reeperbahn Festival Conference: The International Assosictaion Of Entertainment Lawyers (IAEL) presents a session about the most relevant current legal aspects of the entertainment world. Expect to be taken to an indeed entertaining court! Inspired by the idea of the infamously fast „Pecha Kucha“ format (invented to prevent „Death by PowerPoint), some if the IAEL’s finest will take the stand:
Susan Abramovitch (IAEL-Executive Member Canada) on “New Deals, New Ways, New Opportunities” (about the rapid changes of deal structures); Peter Marx (IAEL-Executive Member Belgium) asks “What About Europe?”(*) (concerning major judgments of the European Courts); Götz Schneider-Rothhaar ((IAEL-Executive Member Germany) presents “The Streaming Revolution“ (about Youtube marketing, aggregating and live broadcasting) and Wolf-D. Schoepe (IAEL-Executive Member Germany) speaks on “Blogs, Networks, Communities and Providers” (liabilities, risks and miscellaneous) – (Source).

  • THU 18.09. 10:30 – 11:30 UHR  (Location: SALON SCHMIDT)
    INTERNET OF THINGS – THE NEXT ONLINE WAVE AND HOW TO SURF IT
    SESSIONS MAKER / MARKETING / PROGRAMMING

According to Gartner the Internet Of Things is amongst the “Top 10 Strategic Technology Trends for 2014”. Where do we go from here? Is the current trend of adverstising agencies using it as means to gain attention to make their campaigns even more successful all there is? Can it be used to improve our quality of living for all of us? We’ll guide you with cases of both from around the world as well as with our clients’ work results, and have a little sneak peek at a product that’s cooking in our own product development kitchen. Beware: this talk potentially changes the way you look at the internet and the way you judge online campaigns and products (Source).

  • THU 18.09. 16:30 – 17:30 UHR  (Location: OPERETTENHAUS (FOYER 1ST FLOOR))
    THE DATA OF OTHERS
    THE CONTENT ECONOMY AND USER RIGHTS
    SESSIONS LEGAL / POLITICS / RECORDED MUSIC

Representatives from European collecting societies, concert-promoter and recording-industry associations, music authors, music publishers, and media companies will gather at the Reeperbahn Festival. They all share a keen interest in the question: how can the intellectual property of creative people in all sectors be protected effectively without unduly restricting the rights of the consumer? The “retention of data” is a key hot-button phrase in this discussion: is it necessary for enforcing laws aimed at protecting intellectual property, or is it an undue encroachment on the freedom of the internet? We’ll hear the positions of content providers and user advocates – as well as how policymakers, both at the national and European level, intend to regulate data collection. An update of the debate in the aftermath of the NSA scandal and the European elections (Source).

  • THU 18.09. 14:15 – 15:15 UHR  (Location: SALON SCHMIDT)
    THE FUTURE OF MUSIC MANAGEMENT
    WHAT KNOWLEDGE AND SKILLS DO TOMORROW’S MUSIC MANAGERS NEED?
    SESSIONS LIVE MUSIC / PUBLISHING / RECORDED MUSIC

Based on data from a brief introductory presentation, a leading researcher and two professionals working in international music management will discuss the following question with two instructors in the field: what knowledge and skills will music managers need in the future to meet the demands of the digital age? The differing perspectives of researchers and practitioners will also provide the basis for a consideration of the growing relevance and responsibility of education providers for music management (Source).

  • THU 18.09. 12:15 – 13:45 UHR  (Location: CLUB HAMBURG)
    ONLINE MARKETING CLINIC
    QUICK WINS AND MOST COMMON MISTAKES
    SESSIONS STARTUP

We’ll put your Online Marketing to the Acid Test

Most startups are facing a chicken/egg-problem: How do I acquire users, if I only have small change to spend on marketing; how do I convince investors to hand over the money, if my number of users is low? We want to help you solve at least the first part oft he question, so the second will solve itself. Using the example of Protonot we’ll take a look at how startups can use Online Marketing in an effective way to get known among the target group. In the second part of the slot you can come forward and take part. Together we’ll then ponder which could be the right ways and channels for you advertise on the web and in what ways you could up your game. We’ll look at your website, your product and your Online Marketing channels in “real time” – from SEO through SEA to display marketing and Social Media (Source).

  • FRI 19.09. 15:00 – 16:00 UHR  (Location: BOARD ROOM (ARCOTEL ONYX LOBBY))
    HOW TO TREAT YOUR MUSIC SUPERVISOR
    SESSIONS PUBLISHING / SYNCH & BRANDS

They are the sacred cows of the sync business: without them nothing works; they are the eye of the needle music has to go through to end up in a movie. So, how do music supervisors work? What are they looking for? What’s the best way to approach them? And what shouldn’t be done under any circumstances?

At the Reeperbahn Festival Conference, industry insider Sat Bisla asks top music supervisors working in the fields of TV, trailers, film, and games for their dos and don’ts (Source).

  • FRI 19.09. 13:00 – 14:00 UHR  (Location: SUITE 716)
    STARTUPS GOING GLOBAL
    HOW TO BUILD A SUCCESSFUL PLAYBOOK FOR INTERNATIONALISATION
    SESSIONS STARTUP

Internationalisation is part of the DNA of startups that are aiming for the enormous scale that a VC-backed venture requires. Starting your business in Europe comes with a fragmented initial domestic market offering loads of cultural differences and multiple languages to localise for. These are conceptional challenges for any startup team, that can be tackled with a set of capabilities that help building a competitive advantage during internationalisation (Source).

  • FRI 19.09. 13:45 – 14:45 UHR  (Location: SALON SCHMIDT)
    JOURNALISM REVOLUTION ON GERMANY’S DOORSTEP
    INNOVATIVE GERMAN MEDIA PROJECTS INTRODUCE THEMSELVES
    SESSIONS MEDIA / STARTUP

This year has shown that, when it comes to innovation, Germany can stop looking to the United States first – German journalism is on a par with the best! Young media makers are creating projects with great potential; publishers are investing in experiments; there’s no shortage of successful journalism crowdfunding projects.
Supported by VOCER Innovation Medialab, the Reeperbahn Festival is pleased to present these lightning talks, which introduce exciting entrepreneurs and their ideas. More presenters will be added (Source).

  • FRI 19.09. 14:15 – 15:15 UHR  (Location:  OPERETTENHAUS (STUDIO))
    DATA JOURNALISM ON MOBILE DEVICES
    HIGHLY COMPLEX, YET EXTREMELY HANDY
    SESSIONS MEDIA / MOBILE

If you want to succeed at online journalism you also have to think in mobile terms. For data-driven, interactive narrative formats this initially seems hard to do. Two experts show how complex data projects can be scaled to small screens: Vanessa Wormer, data journalist at the Heilbronner Stimme newspaper, designed an entire storytelling format mobile-first; Timo Grossenbacher, a frontend developer at the Swiss newspaper Tages-Anzeiger, is responsible for implementing data journalistic concepts – for all platforms. In this session they talk about their experiences and the lessons they’ve learned – and pass on some useful tips (Source).

  • Fri 19.09. 12:15 – 13:15 UHR  (Location: BOARD ROOM (ARCOTEL ONYX LOBBY))
    WELCHE MUSIK SPIELT IN BRÜSSEL? (Only German)

    GEISTIGES EIGENTUM IM EUROPÄISCHEN BINNENMARKT
    SESSIONS LEGAL / POLITICS / RECORDED MUSIC

In Brüssel ist die zwischen dem 05. Dezember 2013 und dem 05.März 2014 vorgenommene Öffentliche Konsultation über die Revision der Urheberrechtsgesetze in der EU ausgewertet worden. Was noch fehlt, ist die Abstimmung der Endfassung der entsprechenden EU-Position.
Während das Weißbuch der EU also noch auf sich warten lässt, liegen die Eingaben vor und können diskutiert werden.
Es geht um die Zukunft der gesetzlichen Grundlagen, auf denen mit Geistigem Eigentum in Europa wirtschaftlich gearbeitet werden kann, also um die Existenzgrundlage vieler kreativ Arbeitender.
Der europäische Binnenmarkt soll verlässlich und nachhaltig geregelt werden, die Aufgaben der Verwertungsgesellschaften stehen dabei genauso zur Diskussion, wie Fragen etwa nach der Privatkopie und den Haftungsprivilegien der Internet Service Provider.

Nicht zuletzt geht es um ein nachhaltig funktionierendes System, das beispielsweise weiterhin der immer größer werdenden Nachfragemacht der international agierenden Musiknutzer als gleichberechtigter Verhandlungspartner gegenüber stehen kann (Quelle).

  • FRI 19.09. 17:30 – 18:30 UHR (Location: BOARD ROOM (ARCOTEL ONYX LOBBY))
    WHAT´S UP WITH THE SWARM?
    KIDS, TEENS AND YOUNG ADULTS ON THEIR ONLINE HABITS
    SESSIONS MEDIA / MOBILE / RECORDED MUSIC

Proof of concept – what tomorrow’s users will really be doing on the Internet?

The digital world is spinning rapidly – and marketers, decision-makers, and businesspeople are, at times, being left behind, gasping for breath. Where are the new audiences emerging? What’s the Facebook of tomorrow? Can we still keep up with the digital natives? What do tomorrow’s users really want?

We’ll talk to four young internet users, aged 10 – 17, and ask them how they spend their time online, where they are particularly active, and how they consume content digitally. What gets them excited? What’s “old school”?

Will these users of the future confirm what we’ve heard in other panel discussions? Or is their view of the digital future very different from that of non-native experts? (Source)

  • FRI 19.09. 11:00 – 12:00 UHR (Location: OPERETTENHAUS (FOYER 1ST FLOOR))
    THE FUTURE OF MARKETING – PANEL
    SESSIONS MARKETING

Marketing and communications are in upheaval. The heydays of the 1980s, 1990s, and 2000s have passed. The communications sector is facing major changes. Only a minority still sees itself as well positioned for the future. Marketers are looking for new answers to key challenges such as today’s network society, digitisation, new working environments, and the post-growth economy. When it comes to confronting these challenges, there’s a lack of clarity as to what tasks will fall under marketing’s purview in the future, whether marketing is to remain organised as a separate department, how to hold together the various marketing disciplines inside companies, etc.

Marketing and communications need new structures, processes, and skills – and the unpleasant subject of “marketing organisation” is now beginning to be addressed. Dirk Bathen and Jörg Jelden will present the findings of the “MARKETINGORGANISATION DER ZUKUNFT” think tank and discuss these findings with marketing experts (Source).

Now available: new study carried out in cooperation with the Deutscher Marketing-Verband http://www.marketingorganisation-der-zukunft.de

  • SAT 20th Sept 15:00 – 17:00 pm CET (Location: BOARD ROOM (ARCOTEL ONYX LOBBY))
    LEADERSHIP IN THE DIGITAL AND SOCIAL AGE
    A CONSTANT BETA TEST

What makes a great leader? Are they the traits within a persons personality? Are they skills that can be learned? Or are they derived from a persons cultural beliefs? Just as successful founders have developed a convincing business case with some unfair advantage in regards to competitors, founders also need to develop a convincing leadership style.
In this workshop, we will discuss und test leadership styles for startups. You may develop your own leadership canvas that helps you to keep your business rocking. (Source)

  • SAT 20th Sept 15:00 – 16:00 pm CET (Location: SCHULMUSEUM)
    MAKER SHOW – FREIFUNK’S VISION
    DIGITAL ARTS

Freifunk’s vision is the proliferation of free networks, the democratisation of communication media, and the promotion of local social structures. By networking entire neighbourhoods, Freifunk wants to counteract the digital divide and build free, independent network structures.

In concrete terms, Freifunk’s aim is to set up and interlink open WLAN networks – thus making possible a free movement of data “through the air” throughout a city within the Freifunk network. Freifunk is an open, non-commercial, non-hierarchical initiative supporting free wireless networks. (Source)

  • SAT 20.09. 12:00 – 14:00 UHR (Location: SUITE 616)
    MUSIC MANAGEMENT – AN INTRODUCTION
    SESSIONS LIVE MUSIC / PUBLISHING / RECORDED MUSIC

This workshop provides an introduction to music management. Using current, real-life examples fundamentals of music management will be discussed. Participants will also have a chance to obtain advice regarding study opportunities in the field of music management (Source).

  • SAT 20.09. 14:00 – 15:00 UHR (Location: FOTOSTUDIO)
    PRESENTATION OF FIRST REGIONAL CROWDFUNDING PLATFORM “NORDSTARTER“
    SESSIONS LIVE MUSIC / STARTUP

In November 2011 the Hamburg Kreativ Gesellschaft launched its Crowdfunding platform Nordstarter in cooperation with Startnext, and thereby the first regional Crowdfunding platform worldwide. Since then, Nordstarter as a financial and marketing instrument supports the cultural and creative professionals of the Hanseatic City of Hamburg in realising their project ideas. Crowdfunding is a possibility to fund creative projects online, which at the same time is more than just a financial instrument. A crowdfunding platform can be used for public relations, market research or in the sense of prefinancing orders. Project leader Sina Greinert will present the platform. Afterwards Delia Gyger, filmproducer and one of the winners of the Nordstarter competition “Crowd for Shorts”, will report on her experiences how to implement a crowdfunding campaign on this regional platform (Source).

Speaker: Sina Greinert (Project Director Nordstarter, Hamburg Kreativ Gesellschaft, DE)
Experience/personal report: Delia Gyger (Filmproducer and Actress, DE)

  • SAT 20.09. 15:00 – 17:00 UHR (Location: FOTOSTUDIO)
    WORKSHOP “INTERNATIONALIZATION FOR CREATIVE INDUSTRIES”
    CAN WE BUILD UP A COMMON SUPPORT-NETWORK?
    SESSIONS MARKETING / POLITICS

Internationalization, especially for small enterprises, seems to be hard to conceive for many sectors in the creative industries. Despite the advantages of embracing globalisation and the risks of not doing so, many European SMEs still remain focused on their national markets.
How can European promoters of creative industries and other local organizations become ambassadors of internationalization for creative industries? Hamburg Kreativ Gesellschaft would like to commonly discuss the idea how to together establish a European network which is strategically working on this issue (Source).

Speaker: Egbert Rühl (CEO Hamburg Kreativ Gesellschaft) and Jenny Kornmacher (Project Director Hamburg Kreativ Gesellschaft)

Official Festival Trailer 2014…

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DE – Raga CDs des Monats (09/2014): RABINDRA SANGEET (Teil 1 und 2)

Posted by ElJay Arem (IMC OnAir) on September 14, 2014

Teil1: Rabindra Sangeet – Lieder von Tagore…

Als Rabindra Sangeet wird in Indien ein musikalisch-literarisches Konzept bezeichnet, das sich im 20. Jahrhundert als ein eigenständiges Genre etablierte. Darin ist die indisch klassische Musik eingebettet, gleichermassen die nordindische Klassik – Hindustani wie die Klassik Südindiens – die karnatische Musik.
Das Konzept wurde von dem indischen Universalgenie Rabindranath Tagore begründet. Im Englischen wird Rabindra Sangeet als „Tagore Songs“ – „Lieder von Tagore“ übersetzt.

200px-Tagore3

R. Tagore in Kolkata, c. 1915

Tagore’s Gesamtwerk umfasst aus einer etwa 60-jährigen Schaffenszeit bis zu seinem Tod im Jahre 1941 (7. Mai 1861 – 7. August 1941) mehr als 2200 Lieder, neben ca. 1000 Gedichten, zwei Dutzend Theaterstücken, Tanzdramen, acht Novellen, mehrere Ausgaben von Kurzgeschichten und vielfältige literarischen Werken mit sozialen, religiösen, politischen und erziehungswissenschaftlichen Essays und Beiträgen zu Filmwerken und als Maler.

Sendetermin…

15. September 2014 – 22:00-22:58 Uhr CET (4:00-4:58 pm EST) @ TIDE Radio (DE)
(Premiere:  16. März 2009 – 22:00 Uhr MESTZ @ Tide Radio)
broadcasting plan | streaming (Internet Radio & Mobile Radio) | podCast

Tagore war Würdenträger des Nobelpreises für Literatur und einziger Komponist zweiter Nationalhymnen, der von Indien („Jana Gana Mana“) und von Bangladesh („Amar Shonar Bangla“). Tagore wurde als erster Nicht-Europäer für sein Werk „Gitanjali“ mit Publikation im Jahre 1912 und 1913 in New York und London mit dem Nobelpreis für Literatur ausgezeichnet.

Gitanjali – in der Übersetzung „Ein Angebot an Liedern“ (Song Offerings) ist eine Sammlung von 103 englischen Gedichten. Ein Grossteil der Gedichte wurden von Rabindranath Tagore selbst übersetzt. Die frühe Ausgabe in bengalischer Sprache stammt aus dem Jahre 1910 (Git = Song + Anjoli = Offering).

Gitanjali, Vers 100:

Ever in my life have I sought thee with my songs. It was they who led me from door to door, and with them have I felt about me, searching and touching my world.

It was my songs that taught me all the lessons I ever learnt; they showed me secret paths, they brought before my sight many a star on the horizon of my heart.

They guided me all the day long to the mysteries of the country of pleasure and pain, and, at last, to what palace gate have they brought me in the evening at the end of my journey?

(PDF-Download | Source)

Die von Tagore begründete Universität Visva Bharati („Gemeinschaft der Welt mit Indien – Community of World with India) beherbergt eine Vielzahl von Instituten, u.a. das Sangit Bhavana (Institute of Dance, Drama and Music). Der erste Leiter war Dinendranath Tagore. Er lebte von 1882 bis 1935. Dinendranath  war der Neffe von Rabindranat Tagore – ein talentierter und herausragender Sänger in Baritonlage, der sich als künstlerischer Leiter von Rabindranath’s Theaterstücken und als Direkter der dramaturgischen Abteilung der Visva-Bharati Universität auszeichnete. Ihm sind mit Kenntnis der westlichen Notation die Niederschriften einer Vielzahl der Melodien von Rabindranath’s Kompositionen zu verdanken.

Die Abteilung „Musik“ (Music Board) der Visva-Bharati Universität, wurde drei Jahre nach dem Ableben von Tagore im Jahre 1944 errichtet. Heute ist sie mit der Ausrichtung von Tagore Festivals und mit Unterrichtsangeboten im Rabindra Sangeet in Kolkatta befasst.

Gandhi-TagoreTagore’s Erbe wird in Indien in Form von Tagore Festivals gefeiert, der alljährlichen Zeremonie von Kapipranam, Tagore’s Geburtstag am 07. Mai. Wallfahrten von Kolkatta nach Shantiniketan und feierliche Liederabende zu festlichen Anlässen sind in der bengalischen Kultur tief verwurzelt. Auch im Ausland wird der Geburtstag von Tagore gefeiert, mit dem jährlichen Tagore-Festival in Urbana (US-Bundesstaat Illinois). Dieses Festival konnte im Jahre 2008 sein 20-Jähriges Jubiläum feiern.

Mit dem Gedicht „Prosno“ in Bangla, der Muttersprache Tagores existiert eine der wenigen noch existierenden Aufnahmen. Sie ist nicht näher datiert. Tagore’s Stimme vermittelt uns die Klangästhetik und Metrik seiner Dichtkunst auf’s Trefflichste.

Teil 2: 150 Jahre Rabindranath Tagore – Pankaj Mullick, Rabindra Sangeet und der indische Film

Auf dem südindischen Subkontinent feiert man alljährlich den Geburtstag von Rabindranath Tagore: “Kabi Pranam – A tribute to Tagore“. Am 7. Mai erinnert man sich an eines der letzten Universalgenies des 20. Jahrhunderts. R. Tagore (1861-1941) war Dichter, Schriftsteller, Musiker, Maler, Verfasser von Tanzdramen, Verleger und Sozialreformer.

Uruguay Stamps - 150th Tagore Anniversary

Uruguay Stamps – 150th Tagore Anniversary

In 2011 feierte Bangladesh und Indien, besonders in West-Bengalen im großen Stile den 150sten Geburtstag von Tagore. Über ein ganzes Jahr wurde mit unzähligen Veranstaltungen an öffentlichen Plätzen, in Theatern, an Schulen aber auch in Buchläden unter den literarischen Freunden der Tagore-Werke erinnert.

Aus gegebenem Anlass des 150jährigen Jubiläums hat die Regierung in SriLanka und Uruguay den ersten indischen Nobelpreisträger für Literatur in Form eine Sonderbriefmarke gewürdigt. Tagore hatte Sri Lanka in den Jahren 1922, 1928 und 1934 besucht.

   
from left to right: Tagore as painter, Argentina Edition, Tagore’s PlayPost Office
(Source: All the stamps on this website with courtesy to Kumar Kamaleshan Nair (Trivandrum) – www.collectindianstamps.com )

Die Feierlichkeiten zum 150sten Geburtstag, die seit dem 7. Mai stattfinden, zeigen einmal mehr, dass der Geist von Tagore über alle Generationen hinweg, durch alle Bevölkerungsschichten hindurch lebendig ist. Der Daily Star, die auflagenstärkste, englischsprachige Tageszeitung in Bangladesh beschreibt Tagore zum 150sten Geburtstag treffend als einen “Internationalisten durch und durch“.

Sendetermin…
15. September 2014 – 23:00-23:58 Uhr CET (5:00-5:58 pm EST) @ TIDE Radio (DE)
(Premiere: 16.05.2013 – 23:00 Uhr @ Tide Radio)
broadcasting plan | streaming (Internet Radio & Mobile Radio) | podCast

In der Sendung “Rabindra Sangeet – eine Stimme für Alle!” haben wir Rabindranath Tagore bereits vorgestellt. Der Rabindra Sangeet ist ein Genre, das sich im 20. Jahrhundert etabliert hat.
Es ist ein musikalisch-literarisches Konzept, das von Rabindranath Tagore selbst begründet wurde. Seine Gedichte und Lieder hat Tagore in die indisch-klassische Musik eingebettet, gleichermassen in die nordindische (Hindustani) wie die südindische Klassik (Carnatic).

Pankaj Kumar Mullick war als Sänger, Schauspieler (Debut in Mukti, 1937), Komponist (als Musikdirektor, Dirigent/Arrangeur), Radiomacher und Filmproduzent  Indiens führender Interpret des Rabindra Sangeet.
Pankaj Mullick’s Interesse für den Rabindra Sangeet kam durch den Kontakt mit der Tagore-Familie zustande, zunächst durch die Begegnung mit Dinendranath Tagore, einem Großneffen von Tagore, Komponist und Musikarrangeur.
Als Rabindranath Tagore Pankaj Mullick’s Gesang erstmals zu Gehör bekam, so wird berichtet, umarmte Tagore ihn spontan und erlaubte Mullick, all seine Schriftwerke zu vertonen, die von Tagore selbst zu Lebzeiten nicht bewältigt werden sollten. Dies gewährte Tagore, der sich selbstbewusst als der bedeutendste Dichter Indiens verstand, keinem anderen. Mullick war auch der erste, der die Tabla, ein Percusssioninstrument der nordindischen Klassik, als Begleitinstrument für Tagore-Songs hinzunahm.

Rabindranth Tagore war 44 Jahre alt, als Pankaj Mullick am 10. Mai 1905 in Calcutta ein Junge das Licht der Welt erblickte. Er sollte in die Geschichte als berühmter Sänger, Schauspieler, unabhängiger Musikdirektor und Filmemacher eingehen. Pankaj Mullick lebte bis 1978 in Calcutta. Anders als viele seiner Kollegen zog es Mullick nicht nach Mumbai, Indiens Filmhauptstadt. Nur wenige Aufträge übernahm er für Mumbai-Produktionen, wie Zalzala im Jahre 1952, eine Verfilmung von Tagore’s Novelle Char Adhaya and Kastoori  unter der Leitung des Filmdirektors Gyan Mukherjee.
Pankaj Mullick war ein Pionier des indischen Films. Er führte zusammen mit dem Filmregisseur Nitin Bose (Dhhop Chhaon, 1935) den Playbackgesang ein, wie wir ihn noch heute in den Bollywood-Blockbustern kennen.

Wie zu jener Zeit für Filmschaffende und Playbacksänger üblich, wurde auch Pankaj Mullick umfassend in der indisch-klassischen Musik ausgebildet, im Dhrupad, dem ältesten Gesangsstil der nordindischen Klassik, oder im modernen Gesangstil, dem Khayal. Sein musikalisches Interesse erbte er von seinem Vater, der ein großes Interesse für die traditionellen Formen der Bengalischen Musik besass.

Bis ins hohe Alter war Mullick als Musikdirektor aktiv. Sein letzter Film war Janhabi Jamunia Bigolito Karuna im Jahre 1972. Ein Jahr später, wurde Pankaj Mullick im Alter von 68 Jahren von der indischen Regierung für sein Lebenswerk und seine Verdienste um das indische Kino ausgezeichnet. Mullick erhielt den bedeutendsten indischen Filmpreis, den Dadasaheb Phalke Award.

Posted in DE (German), IMC OnAir - News | Leave a Comment »

DE – Raga CDs of the Months (09/14): RABINDRA SANGEET (part 1 and 2)

Posted by ElJay Arem (IMC OnAir) on September 14, 2014

200px-Tagore3

R. Tagore in Kolkata, c. 1915

part 1… Rabindra Sangeet – A Voice for All

Rabindra Sangeet is in India a musical-literary concept, which has been established in the 20th century as an own genre. The Indian classical music is embedded in it, likewise the Northern Indian music – Hindustani – and the classical style of South India,  the carnatic music. The concept was created by India’s universal genius Rabindranath Tagore.

Tagore’s complete work covers a time period of 60 years till his death in 1941 (7th May 1861 – 7th August 1941) with approximately 1000 poems, two dozen plays, dance dramas, eight novellas, several expenditures of short stories and various literary works with social, religious, political and educational-scientific essays and contributions to film works and as painter.

date of broadcasting…

15th September 2014 – 4:00-4:58 pm EST (10:00-10:58 pm CET) @ TIDE Radio (DE)
(premiere: 16th March 2009 – 10:00 p.m. CET @ Radio TIDE)
broadcasting plan | streaming (Internet Radio & Mobile Radio) | podCast

Tagore is the single composer of two national anthems, that of India („Jana Gana Mana“) and of Bangladesh („Amar Shonar Bangla“) and a dignitary Nobel prize for literature he received in 1913. Tagore was distinguished as first non European for his work „Gitanjali“ which was published in the year 1912 in New York and 1913 in London.

Gitanjali– transliteral means „an offer of songs“ (song offerings | Git = song + Anjoli = offering) – is a collection of 103 English poems. The majority of the poems were translated by Rabindranath Tagore himself. The early edition in Bengali language originates back to the year 1910.

Gitanjali, verse 100:

Ever in my life have I sought thee with my songs. It was they who led me from door to door, and with them have I felt about me, searching and touching my world.

It was my songs that taught me all the lessons I ever learnt; they showed me secret paths, they brought before my sight many a star on the horizon of my heart.

They guided me all the day long to the mysteries of the country of pleasure and pain, and, at last, to what palace gate have they brought me in the evening at the end of my journey?

(PDF-Download | Source)

The University Visva Bharati founded by R. Tagore accommodates today a multiplicity of institutes, among the Sangit Bhavana (institutes of Dance, Drama and Music). The first director was Tagore’s nephew Dinendranath Tagore. He lived from 1882 to 1935. Dinendranath was a talented and outstanding singer with Bariton voice, who can be characterized as an art director of Rabindranath’s plays and manager of the  dramaturgical department of the Visva Bhar ati University. We owe Rabindranath’s compositions documented in written form to Dinendranath’s knowledge of Western music notation.

The music department (music board) of the Visva Bharati University was established three years after Tagore’s demise in the year 1944. Today it is concerned with Tagore festivals and with educational lessons for Rabindra Sangeet in Kolkatta.

Gandhi-TagoreTagore’s heritance is celebrated in India with many Tagore festivals as the annual ceremony of Kapipranam, Tagore’s birthday on 7th May. Pilgrimages from Kolkatta to Shantiniketan and solemn song evenings to festive causes are deeply rooted in the Bengal culture. Abroad the birthday of Tagore is celebrated, e.g. with the annual Tagore-Festival in Urbana (US Federal State Illinois). This festival celebrated it’s 20th anniversary in the year 2008.

With the poem „Prosno“ in Bangla, the native language of Tagore is still existing one of the very few recordings of Tagore’s voice. Tagore’s voice arrange the sound aesthetics and metric of his lyrics applicably. This documentary is note dated exactelly.

part 2: 150th anniversary of Rabindranath Tagore – Pankaj Mullick, Rabindra Sangeet and the Indian Film

The South Indian subcontinent celebrates annually the birthday of Rabindranath Tagore: “Kabi Pranam – A tribute to Tagore “. On 7th May we can remember on one of the last universal genius of the 20th century. R. Tagore (1861-1941) was poet, writer, musician, painter, author of dance dramas, publisher and social reformer …

Uruguay Stamps - 150th Tagore Anniversary

Uruguay Stamps – 150th Tagore Anniversary

In 2011 Bangladesh and India, particularly West Bengal celebrate heavily the 150th anniversary of Tagore. Over a whole year with innumerable events at public places, in theatres, schools, in book shops among the literary friends millions remind of Tagore’s (art) works.

From given cause of the 150th anniversary the government in SriLanka and Uruguay appreciated the first Indian Nobel Laureate for Literature with a special stamp edition. Tagore had visited Sri Lanka in the years 1922, 1928 and 1934.


from left to right: Tagore as painter, Argentina Edition, Tagore’s PlayPost Office
(Source: All the stamps on this website with courtesy to Kumar Kamaleshan Nair (Trivandrum) – www.collectindianstamps.com )

The ceremonies which take place since 7th May show once more that the spirit of Tagore is alive through over all generations and within all social classes. The “Daily  Star”, presently the biggest English-language daily newspaper in Bangladesh titles Tagore as “An internationalist through and through” appropriate to his global meaning.

dates of broadcasting …

15th September 2014 – 5:00-5:58 pm EST (11:00 – 11:58 pm CET) @ TIDE Radio (DE)
(premiere: 16th May 2011 – 11:00 pm CET (05:00 EST) @ TIDE Radio)
broadcasting plan | streaming (Internet Radio & Mobile Radio) | podCast

IMC – India meets Classic presented with it’s show “Rabindra Sangeet – A Voice for All!” the outstanding Rabindranath Tagore already. Rabindra Sangeet is a category which was established in the 20th century by Tagore himself.
It is a musical-literary concept where Tagore embedded equally poems and songs into Indian classical music, same North Indian (Hindustani) as South Indian classics (Carnatic).

Pankaj Kumar Mullick was as singers, actor (debut in the film Mukti, 1937), composer (as music director, conductor / arranger), radio maker and as a film producer. Mullick is India’s most prominent interpreter of Rabindra Sangeet.
Pankaj Mullick’s interest in Rabindra Sangeet came off by the contact with the Tagore family, first by meeting with Dinendranath Tagore, a grandnephew of Tagore, and himself composer and music arranger as later Mullick became on his own.
When Rabindranath Tagore heard Pankaj Mullick’s singing for the first time he embraced Mullick spontaneously as it is reported. And Tagore permitted Mullick to set all his writingsinto music which should not be mastered by Tagore himselve during life times. This granted Tagore uniquely only to Mullick instead Tagore self-confidently understood himself as the most important poet of India. Mullick was also first who added the Tabla as accompanying instrument. The Tabla is a percussion instrument (drum pair) of North Indian classics (Hindustani).

Rabindranth Tagore was 44 years old, when Pankaj Mullick was born on 10 May 1905 in Calcutta. Mullick should accede the world to make Indian history as famous singer, actor, independent music director and film producer. Pankaj Mullick lived until 1978 in Calcutta. Differently than many of his colleagues he did not move to Mumbai, India’s film capital. He followed only some few orders for Mumbai productions like Zalzala in the year 1952, a filming of Tagore’s novella Char Adhaya and Kastoori (with film director: Gyan Mukherjee).
Pankaj Mullick was a pioneer of Indian film. He introduced the Playback singing together with the film director Nitin Bose (Dhhop Chhaon, 1935), as we know it these days in the Bollywood blockbusters.

As it was very usual for Mullick’s time and as all film activists (actors, composers) and playback singers experienced, also Pankaj Mullick was trained comprehensively in Indian Classical music, e.g. in Dhrupad style, the oldest vocal form of North Indian classis or the Khayal, a more modern form. Mullick inherited his musical interest from his father, who demonstrated a large interest in the traditional forms of Bengali music.

Till in the high ages Mullick was active as a music director. His last film was Janhabi Jamunia Bigolito Karuna in the year 1972. One year later Pankaj Mullick was distinguished at the age of 68 by the Indian government for his lifework and his earnings for Indian cinema. Mullick received the most important Indian film prize, the Dadasaheb Phalke Award.

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