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Archive for December, 2014

R.I.P. … Tabla teacher Ustad Mohammad Hanif Khan Mirajkar ( ✞ 29th Dec 2014)

Posted by ElJay Arem (IMC OnAir) on December 29, 2014

Tabla maestro Ustad Mohammad Hanif Khan Mirajkar is no more… he demised on 29th Dec 2014 as being informed by his son Nawaz Mirajkar couple of hours ago.


Ustad Mohammad Mirajkar was born in 1938 into a family of musicians. He was the son and disciple of Tabla maestro Ustad Mehboob Khan Mirajkar (born in 1868 in Pune).

Source: Musical event Taal Samparnam 75th Birthday of Ustad Mohammad Hanif Khan Mirajkar (13th Dec 2012)

Source: Musical event Taal Samparnam – 75th Birthday of Ustad Mohammad Hanif Khan Mirajkar (13th Dec 2012)

He had learned tabla from his elder brother, Late Ustad Abdul Khan Mirajkar, too. He had also the opportunity to study under the maestro Ustad Jahangir Khan from Benares, under whose tutelage he learnt many rare tabla compositions.

Ustad Mohammad Hanif Khan became a full time tabla teacher in 1986. He was a recipient of numerous awards, the most recent being “Laya Vadya Ratna” by Temple Of Fine Arts International in year 2002 in Malaysia, “Kala Shree” from “Sangeet Sadhana” in Pune in 2000, “Rajiu Gandhi Puraskar” in 1997 and “Gaurav Padak” from Pune Corporation in 1994.

Nawaz Mirajkar on Tabla...

Nawaz Mirajkar on Tabla…

Ustad Mohammad Hanif Khan was trained in the Lucknow gharānā (known as Purab Gharana), but having extensive knowledge in all the Gharanas he had a unique teaching style evident among his students. His senior students came from all over India, e.g. Dr. Rajendra Durkar and Nitin Kulkarni. He had also taught Prakash Kandaswamy Vickneshwaran Rainakrishnan and his son Nawaz Mirajkar who are now Tabla teachers at Temple of Fine Arts International. (Source: www.nawaztabla.com )

Our condolences go to Nawaz Mirajkar and his family, close friends and musical fans. May Ustad Mohammad Hanif Khan Mirajkar rest in peace… unluckily we cannot present any video material beside the performances of Mohammad Mirajkar’s son.

Nawaz Mirajkar with students from the Temple of Fine Arts (Singapore)…

Ustad Usman Khan (Sitar) & Nawaz Mirajkar (Tabla)…

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A – Raga CDs des Monats (12/2014): Abend- & Nachtragas – Violine/Sitar (Teil 2 von 2) …

Posted by ElJay Arem (IMC OnAir) on December 28, 2014

Abend- & Nachtragas (Teil 2) – mit Hörbeispielen auf der Violine u. Sitar …

Teil 2, Abend- und Nachtragas ergänzt sich zur zurückliegenden Sendung (v. 14.12.2014 auf Radio FRO). In Teil 1 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.

Sendetermine…

28. Dezember 2014 – 23:00-23:58 Uhr CET (05:00 pm EST) @ Radio FRO (A)
(Premiere: 27. November 2006 @ Tide 96.0 FM)
broadcasting plan | streaming (Internet Radio & Mobile Radio) | podCast

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.

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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A – Raga CDs of the Months (12/2014): Evening & Night Ragas – Violin/Sitar (part 2 of 2)

Posted by ElJay Arem (IMC OnAir) on December 28, 2014

Part 2 of “evening and night ragas” is completing the last broadcasting show on 28th December 2014.

In part 1 (broadcasted on 14th Dec 2014 @ Radio FRO) the promotion initiative IMC – India meets Classic presented the violin as a Western instrument, which found its way into the North Indian (Hindustani) and South Indian Music (Carnatic) … and herefore some raga examples, e.g. the evening raga Yaman, the night ragas Rageshri and Durga and the raga Maru Behag, a mixture of an evening and night raga.

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 …

28th December 2014 – 05:00 pm EST (11:00 EST) @ Radio FRO (A)
(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.

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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Jugalbandi (Sitar + Sarode duet): Ustad Ali Akbar Khan (1922-2009) & Pandit Nikhil Banerjee (1931-1986)

Posted by ElJay Arem (IMC OnAir) on December 25, 2014

autobiography “Apnader Sebay, Swarasamrat : Ali Akbar Khan er Atmajeebani”

Tks to Bhaskar Mukerjee for sharing this pic on Xmas holiday…

It shows f.l.t.r.: Ustad Ali Akbar Khan (1922-2009) on Sarod, Prof. Dr. Sisirkana Dharchowdhury on Violin (Rec.: Sisirkana was pupil of AAK from 1956 on), Dhyanesh Khan (Tanpura) and Pandit Nikhil Banerjee (1931-1986) on Sitar @ Ali Akbar College Of Music (Kolkata).

Later in 1967 Ali Akbar Khan moved to USA and established the AACM in Berkley having moved one year later to San Rafael (Northern of San Francisco/California).

(Image Source from the autobiography "Apnader Sebay, Swarasamrat : Ali Akbar Khan er Atmajeebani" edited by Anindya Bandyopadhyay, publisher: Thema)

(Image Source from the autobiography “Apnader Sebay, Swarasamrat : Ali Akbar Khan er Atmajeebani” edited by Anindya Bandyopadhyay, publisher: Thema)

Hardcover autobiography "Apnader Sebay, Swarasamrat : Ali Akbar Khan er Atmajeebani"

Hardcover autobiography “Apnader Sebay, Swarasamrat : Ali Akbar Khan er Atmajeebani”

 

Titel: “Apnader Sebay, Swarasamrat : Ali Akbar Khan er Atmajeebani” (Hardcover)
author: Anindya Bandyopadhyay
publisher: Thema
language : Bengali
page : 152
size : 180 x 240 mm
ISBN : 978-93-81703-01-4
prize: 300 Rs. plus shipping costs
.
The autobiography of Ustad Ali Akbar Khan, as told to Anindya Bandyopadhyay with a long introduction and discography… and details of film credits, ragas composed and played by Sarod legend Ali Akbar Khan, the curriculum of Ali Akbar College of Music, bibliography, list of awards and genealogy; and a collection of rare archival photographs (44 rare b/w).

Ali Akbar Khan & Nikhil Banerjee – Raga Chandranandan (part 1 of 2)…

Ali Akbar Khan & Nikhil Banerjee – Raga Chandranandan (part 2 of 2)…

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Merry Xmas to all our listeners and musical friends !

Posted by ElJay Arem (IMC OnAir) on December 23, 2014

FB-Group-Indian-Classicas-15000-members-Xmas-2014-mit-Logo-560-178

We wish our listeners, musical friends, artists, music directors, composers,
technical crews of our radio stations (Radio Rasa/CH, Radio Fro/A, radio multicult.fm/DE + Tide Radio/DE) and all >15,000 group members of Indian Classical
a very musically MERRY X-Mas & Happy New Year 2015 !

Posted in Broadcasting Calendar, Culture (news), Economics (news), Education (news), FestivalReport, Health Care, Health Care (news), IMC OnAir - News, Indian Classical Music, Live around the globe, Music Paedagogic Work, News from India, Politics (news), Raga CDs of the months, Religion (news), StudioTalks, Thought Experiment(s) | Leave a Comment »

Historical Document: Rare recordings with Ustd. Bade Ghulam Ali Khan

Posted by ElJay Arem (IMC OnAir) on December 23, 2014

Rare Interview + recordings with Ustad Bade Ghulam Ali Khan (1902–1968) sahab.

Hindustani classical vocalist Bade Ghulam Ali Khan (2 April 1902 – 25 April 1968) from the Patiala Gharana (source: www.ustadbadeghulamalikhanmusicgharana.com )

Hindustani classical vocalist Bade Ghulam Ali Khan (2 April 1902 – 25 April 1968) from Patiala Gharana (source: www.ustadbadeghulamalikhanmusicgharana.com )

Outstanding performances by the great Maestro, that people have usually not heard. This is one of the many raga renditions generously provided for the greater good of music by the living grandsons of Ustad Bade Ghulam Ali Khan sahab, namely, Ustad Mazhar Ali Khan,  Jawaad Ali Khan (Kasur Patiala Gharana) and Ustad Naqqi Ali Khan (son of late Karamat Ali Khan, elder son of Bade Ghulam Ali Khan).

(Digitally Remastered using noise reduction protocols and analog DW Fearn EQ – Compressors by Siddhant Bhatia, SoulTrax® Productions)

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CH – Raga CDs of the Months (12/2014-01/2015): 1000 x RAGAM (part 1 of 2)

Posted by ElJay Arem (IMC OnAir) on December 22, 2014

The main topic of IMC OnAir’s broadcasted in Switzerland (Radio RaSA and worldwide as webradio) for the last show in December 2014 and first show of the new year 2015 is: “1000 x RAGAM – the relationship between North and South Indian Classics“.

dates of broadcasting…

part 1:  Monday, 22nd Dec 2014 – 04:00 pm EST (10:00 pm CET) @ Radio RaSA (CH)
part 2:  Monday, 12th Jan 2015 – 04:00 pm EST (10:00 pm CET) @ Radio RaSA (CH)
(premiere broadcasting:  28th May 2007 / 5th June 2007 @ Tide 96.0 FM)
broadcasting plan | streaming (Internet Radio & Mobile Radio) | podCast

With the past broadcastings (since start on 27th March 2006) IMC OnAir presented Indian Ragas as the basic form of North Indian Classic, the Hindustani music. Following a 24 hours time cyclus Indian ragas are played and listened at certain daily and night times or seasons allocated in the Thaat system of Vishnu Narayan Bhaktande, an Indian music scientist of the 19th century (1860-1936).

From ten main raga-s are derived all other raga forms, the females (ragini-s) and their sons (putra-s). For a comparison with the thaat system IMC OnAir’s radio show „1000 x RAGAMs“ will constrict onto the wide spread raga concept of South India, the >Melakarta system<.

The North Indian ragas are relocated in the South Indian Classic namely as ragam-s. The raga-s of North India (short form: raag-s) and the ragam-s of the South have many things in common. – And there are specifique developments which let exist these two music styles into our current times independently. – As a hypothetical factor for analysis of music theory exist substantial criterias going on to stage performance and instruments, used typically for the South Indian raga form by artists and composers.

Music-maestros-1000xRagam-part-1-and-2-2007-2

In our show “1000xRAGAM” (part 1 and 2) you can listen to examples of South Indian ragas, so called RAGAM-S on Indian and Western instruments, e.g. Veena, Nadaswaram, Mridangam and Ghatam (percussion), in Vocal style, e.g. kriti-s and the Violin.

  • Prof. K. Swaminathan (Veena) – Bhaavanjali and temple singing Geethanjali from Tamil Nadu, presented by Smt. MS Subbulakshmi and Kaavyanjali by Sri Muruganar.
  • Sudha Ragunathan (Vocals) – Ragam Varali of Papanasam Sivan’s VIRUTHAM KAAVAAVAA, Embar Kannan (Violin) and Skanda Subramanian (Mridangam).
  • Kiranavali Vidyasankar (Vocals) – Kriti: ‘Sri Matrubhutham’ – Matrubhuteswaraswamy, Misra Chapu Talam (composer: Muthuswamy Dikshitar) – Smt. Padma Shankar (Violin) and K.S. Nagarajan (Mridangam)
  • Sri Umayalpuram K. Sivaraman (Mridangam) – Rasika Ranjani Sabha (Trichy 1996 – live) – Sri Semmangudi Srinivasa Iyer (Vocals) and Sri Nagai Mulideran (Violin)
  • Sri Siva Vishnu temple (“live” recording of 2006): Raj(a)na Swaminathan (female Mridangam player) and the brothers Kasim & Babu (Nadaswaram duet), grandchild of the famous Nadaswaram player Sheikh Chinna Maulana Shahib

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CH – Raga CDs des Monats (12/2014-01/2015): 1000 x RAGAM (T1 v. 2)

Posted by ElJay Arem (IMC OnAir) on December 22, 2014

Der Themenschwerpunkt in der Schweiz mit der letzten Sendung im Dezember 2014 u. ersten Januar-Sendung im neuen Jahr 2015 ist: “1000 x RAGAM – die Beziehung zwischen der nord- und suedindischen Klassik“.

Wie in allen Sendungen „Raga-CDs des Monats” hoeren Sie Beispiele original indisch-klassischer Musik, gespielt von den renomiertesten Musikmeistern Indiens.

date of broadcasting:

Teil 1:  Montag, 22. Dez. 2014 – 22:00-22:58 Uhr CET (04:00 pm EST) @ Radio RaSA (CH)
Teil 2:  Montag, 12. Jan 2015 – 22:00-22:58 Uhr CET (04:00 pm EST) @ Radio RaSA (CH)
(Premiere:  28. Mai & 5. Juni 2007 @ Tide 96.0 FM)
broadcasting plan | streaming (Internet Radio & Mobile Radio) | podCast

In den zurueckliegenden Sendungen (seit Sendestart am 27. Maerz 2006) hat IMC OnAir die indischen Ragas als die Grundform der nordindischen Klassik, der Hindustani-Musik vorgestellt. Im 24-Stunden-Zeitzyklus werden die Ragas zu bestimmten Tages- und Nachtzeiten, oder Jahreszeiten gespielt. Ihrer Zuordnung liegt das Thaatsystem zugrunde. – Von Vishnu Narayan Bhaktande, dem indischen Musikwissenschaftler des 19. Jahrhunderts (1860-1936).

Es sind 10 Hauptragas, aus denen alle anderen Ragaformen, die Ragini-s, die weibliche Form und ihre Soehne, die Putra-s abgeleitet werden koennen. Fuer einen Vergleich mit dem Thaatsystem wollen wir uns heute auf das in Suedindien weit verbreitete Ragakonzept, das „Melakarta-System” beschraenken.

Die Ragas finden sich in der suedindischen Klassik wieder … und werden dort als RAGAM bezeichnet. Die Ragas Nordindiens, oder Raags und die RAGAMS des Suedens haben viele Gemeinsamkeiten.

Es gibt auch besondere Auspraegungen, die bis in unsere heutige Zeit diese beiden Musikstile eigenstaendig bestehen lassen. – Im musiktheoretischen Ansatz existieren wesentliche Unterscheidungsmerkmale, auch im konzertanten Auffuehrungsstil bis hin zu den Instrumenten, die typischerweise in der suedindischen Ragaform, dem RAGAM von den Kuenstlern und den Komponisten verwendet werden.

Sie hoeren dazu Beispiele der suedindischen Ragas, den RAGAMS auf der Veena, dem Mridangam, im Gesangsstil Kriti, auf dem Nadaswaram und der Violine.

Music-maestros-1000xRagam-part-1-and-2-2007-2

  • Prof. K. Swaminathan (Veena) – Bhaavanjali und mit dem Tempelgesang Geethanjali aus Tamil Nadu von Smt. MS Subbulakshmi und einem Kaavyanjali von Sri Muruganar.
  • Sudha Ragunathan (Vokalistin) – Ragam Varali mit Papanasam Sivan’s VIRUTHAM KAAVAAVAA, Embar Kannan auf der Violine, das Mridangam spielt Skanda Subramanian.
  • Kiranavali Vidyasankar (Vokalistin) – Kriti: ‘Sri Matrubhutham’ – Matrubhuteswaraswamy, Misra Chapu Talam (Komponist: Muthuswamy Dikshitar) mit dem Violinisten Padma Sankar und K.S. Nagarajan auf dem Mridangam
  • Sri Umayalpuram K. Sivaraman (Mridangam) – Rasika Ranjani Sabha, Trichy 1996 (live), mit Sri Semmangudi Srinivasa Iyer: (Vokalist), Sri Nagai Mulideran (Violine)
  • Rajna (Mridangam-Spielerin) mit dem Nadaswaram-Duett Kasim & Babu, Brueder und Enkel des beruehmten Nadaswaram-Spielers Sheikh Chinna Maulana Sahib (Live-Aufnahme aus 2006, Sri Siva Vishnu Tempel)

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R.I.P. … female Sarodian Vidushi Zareen Daruwala (born 1946) is no more…

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

Just received the sad news from Mumbai by Kishor Merchant. Our condolences go to the family, close friends and musical fans. R.I.P. 

close up picture from INT concert (Tks to Nikhil N Mehta for sharing)

close up picture from INT concert (Tks to Nikhil N Mehta for sharing)

<pVidushi Zareen Daruwala was born in 1946. She was a child prodigy and a celebrated sarod player of India.

Zarin Daruwala on CD Cover "Ornate Strings Sarod" with Ragas: Malkauns, Kafi, Gavti and Bhairavi  (EMI - RPG CLASSICAL / CDNF 150046)

Zarin Daruwala on CD Cover “Ornate Strings Sarod” with Ragas: Malkauns, Kafi, Gavti and Bhairavi (EMI – RPG CLASSICAL / CDNF 150046)

One of the very few female Sarod players represented on highest level theHindustani vocal styleAgra Gharana.

She was trained by several eminent musicians like Pandit Haripad Ghosh, Pandit Bhishamdev Vedi, Khayal vocalist Pandit Laxman Prasad Jasperware (doyen of Jaipur & Goswami Gharana) , violinist Pandit V.G. Jog (1922-2004) and Pandit Shrikrishna Narayan Ratanjankar (1900-1974) of Agra Gharana.

She became Zareen Sharma after she married the famous sitarist Pandit Ashok Sharma (youngest son of Bhagatram, the famous Husnalal-Bhagatram film music duo).

As a musician of the top order she received several honours including Sangeet Natak Academy Award and Dada Saheb Phalke Award.


Video: Raag ChandraNandan by Sarodian Vidushi Zareen Daruwala…

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DE – Raga CDs of the Months (12/2014): NADA – A concept of Sound (part 1 + 2)

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

NADA – A concept of Sound
– Part 1: Ahata – The external sound.

In Sanskrit means “Big sound”: Maha Nada. It teaches us the healing effect of the ragas. The complex set of rules for Ragas aim at only one aspect: to create one particular sound (nada). Our show of tonight deals with this external sound – ahata nada – as part one.

In an earlier broadcasting with the show “Nava Rasa-s, the nine moods of Indian Ragas” we experienced that the concept of beauty does not occur. The emotional frame is limited to love, laughter, pity, anger, courage, fear, terror, wonder and serenity.

dates of broadcasting…

part 1:  21st Dec 2014 – 03:00 pm CET (o9:00 am EST) @ radio multicult.fm (DE/Berlin)
broadcasting plan | streaming (Internet Radio & Mobile Radio) | podCast

Katyayana (c. 200 BCE)

Katyayana (c. 200 BCE)

In Sanskrit, there exists the term Shabda (= sound or speech). Katyayana, the mathematician, Vedic priests and Sanskrit grammarian of the 3rd Century (BC), describes  Shabda as “speech of eternal validity“. The sound in the human language thus contains both the causal principle, which is subtly placed in sound and expressing the true meaning in the sense of the word (speech).

Om (or Aum) is the syllable that is inherent in the human body as the first vibration and resonance of the non-dualistic universe. Here about Bhartrhari , a writer from 5th century described Shabda as the “inner sound“. Shabda is a unifying insight, identical with Brahman, the supreme consciousness. With Brahman a higher reality can be experienced. Shabda exists and resonates in every living being. It is a kind of fundamental tone in the world. This inner sound, Anahata nada, may be listened from a human with the “inner ear”. With sound yoga (= Nada yoga) and listening to ragas as the external sound – Ahata Nada – one can come closer to this “inner sound”.

As 2nd part of the show “Nada – A concept of Sound” we will speak about “Anahata Nada – The path from outer to inner sound“.

NADA – A concept of Sound
– Part 2: Anahata Nada – The inner (unstruck) Sound.

As part two our show today deals with the internal (unstruck) soundanahata nada.

Ragas not gloss over our sense of hearing, unlike in the visual arts. It’s about the experience of a higher reality and the truth, the genuine = Niranjana (the pure).

dates of broadcasting…

part 2:  21st Dec 2014 – 04:00 pm CET (1o:00 am EST) @ radio multicult.fm (DE/Berlin)
broadcasting plan | streaming (Internet Radio & Mobile Radio) | podCast

In Indian arts, e.g. music, dance and theater the acteurs are aware that the sense for harmony is determined by the individual imagination and subtle perception of the viewer/listener. In the sound of the music only from the whole of matter, mind, emotions and life itself the creative element is visible. By the harmony of music the original is visible, and our human nature becomes visible, to. Harmony is perfection, a unit of truthful, unclouded perception by the perceiver. It is the Indian (or even Asian) understanding of self-realization. To experience this primary and the creativity of the universe in which God dwells, it is necessary an intellectual/menthal training.

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