IMC – India meets Classic presents … the single all years radio programme for Indian (Music) Culture … monthly on air since April 2005

IMC – India meets Classic + Indian E-music:

Welcome to the Blog site of IMC OnAir – IMCRadio.Net, a broadcasting show on radio (cable/antenne + internet/mobile radio + podcast) as the single all years programme for Indian (Music) Culture in the whole German language area – with both German and international formats in English language.

During the phase of development and onging maintenance of this new blog, don’t hesitate to follow our webpages in traditional form:

IMC ONAir, two language website (English / German) …
– standard format “Raga CDs of the Months” (DE)
– special feature “From India to Europe … Festivalreport” (DE)
– special feature “StudioTalk” (DE/ENG)

promotion initiative IMC – India meets Classic (German site) …

TablaGroup Hamburg (German download site)

Indian Classical Music (ICM) …

The origins of Indian classical music can be found from the oldest of scriptures, part of the Hindu tradition, the Vedas. Samaveda, one of the four Vedas, describes music at length. Indian classical music has its origins as a meditation tool for attaining self realization. All different forms of these melodies (Ragas) are believed to affect various “chakras” (energy centers, or “moods”) in the path of the “Kundalini”. [read full text…]

Carnatic – karṇāṭaka sangītam (South Indian Classic)

Carnatic music, also known as karṇāṭaka sangītam is one of the two styles of Indian classical music, the other being Hindustani music. The present form of Carnatic music is based on historical developments that can be traced to the 15th – 16th centuries CE and thereafter. From the ancient Sanskrit works available, and the several epigraphical inscriptional evidences, the history of classical musical traditions can be traced back to about 2500 years. [read full text…]

Hindustani (North Indian Classical Music)…

Hindustani Classical Music is an Indian classical music tradition that took shape in Northern India in 13th and 14th centuries AD from existing religious, folk, and theatrical performance practices. The origins of Hindustani classical music, the classical music of India, can be found from the oldest of scriptures, part of the Hindu tradition, the Vedas. Samaveda, one of the four Vedas, describes music at length. The Indian classical music has its origin as a meditation tool to attain self realization. [read full text…]

DE – Raga CDs of the Month (03/2023): ANGA – Location of a Raga (part 1 and 2)

The promotion initiative IMC – India meets Classic presents its monthly radio programme (and worldwide as webradio) as every 3rd Monday @ TIDE.radio 96.0 FM with the topic: “ANGA – Location of a Raga“.

In one of our previous programs, we dealt with the ornamentation of the ragas, ” Alankaras – 10 Types of Raga Ornaments “. The Alankara-s are the core for the development and beauty of a raga. While in modern classical music of the West is the ornament of the decorate the melody line, an Indian music maestro will improvise on the ornaments of a raga. It is a  steady flow of the music bending the swara-s (notes) together. This kind of glissando is known as Meend (Alankara type). The oldest written documents with description of 33-s Alankara are being dated back to 100-200 years BC, such as the Natya Shastra of sage Bharata. In the 17th century describes the Sangeet Parijat (written by Ahobal) 63 and 68 types of Alankaras. Until as recently (100-150 years back) it became Shabdalankar as the latest Alankara classification.

dates of broadcasting…

20th March 2023 – 05:00-06:58 pm EST (09:00-10:58 pm CET) @ TIDE Radio (DE, Hamburg)
broadcasting plan | streaming (Internet Radio & Mobile Radio) | podCast

 Other classification criteria for the identification of raga-s are the so called Pakad-s. The term Pakad describes the identification of a Raga scale. Pakad should not be confused with the German concept of music leitmotif (guiding motif) or (melodic) phrasing.

Raag Deepak, in Ragamala by Sahibdin 1605 (source: wikipedia.org)

The Pakad-s describe patterns and salient features of each Raga form. This grammar is used in Indian classical music of North and South India not for the technical execution, it is much more an aesthetic description, like a Raga performance always has focus onto a singular emotional expression (rasa). You should refer to IMC’s former radio show “Nava Rasa-s – the 9 moods of the ragas” in our media archive: www.imcradio.net/onlinearchive .

The parameters of Pakad-s include the  term Anga. Functionally Anga is the “location of a raga”. In the translation Anga means: A portion of a whole. In Indian classical music with reference to the octave of main seven (7) notes the principal notes are divided into two segments = two Angas. There is the deeper segment of a lower tetrachord* (= poorvanga) … and an overlying tetrachord (= uttaranga) in the higher octave, each with three small musical intervals.
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*) In general a tetrachord is of four (4) notes. This term derives from the Greek. The meaning of the word tetrachord means just: four (4) strings … (Rec.: In relation to the ancient Greece harp-like instruments). The interstices of a tetrachord are formed by three intervals. In a Ragaskala these are for the deeper tetrachord from the first four main grades: Sa-Re, Re-Gha and Gha-Ma. In the Western notiation it matches: the first and 2nd pitch: C-D, the 2nd-3rd and 3rd-4th pitch: D-E and E-F. The overlying, second tetrachord begins on the 5th pitch: Pa-Dha, Dha-Ni and Ni-Sa’ accordingly: G-A, A-B, B-C’.