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Archive for the ‘ENG (English)’ Category

English text version (programme announcment) of the standard format Raga CDs of the months

A – Raga CDs of the Months (08/2016): Imdadkhani Gharana – The Great Masters from Etawah

Posted by ElJay Arem (IMC OnAir) on August 26, 2016

The term Gharana appeared different times in some of IMC OnAir’s former broadcastings. Gharana-s are a kind of music schools we can find in North and South India. Within Indian Classical music the Gharana-s are stylistic branches, interpretation forms of Ragas with characteristic ornamentics which are passed on from generation to generation, by a teacher (guru) to the pupil (shishya) in oral form.

Imdadkhani Gharana is one of the oldest schools of music of North Indian Classics (Hindustani music). It goes back to the musician and founder Imdad Khan (1848-1920) who played the Sitar and Surbahar (bass sitar). Imdad Kh. was born in Agra, his family moved to Etawa, a district in British-India close to the Yamuna river. Therefore Imdadkahni Gharani is well-known as Etawah Gharana. Today Etawah belongs to the Indian Federal State Uttar Pradesh.

dates of broadcasting…

28th August 2016 – 05:00 p.m. EST (11:00 pm CET) @ Radio FRO (A)
(premiere: 21st March 2011 – 11:00 pm CET @ Tide Radio)
broadcasting plan | streaming (Internet Radio & Mobile Radio) | podCast

Imdad Khan eminates from a famous family of musicians. The musical family tree of the Khan family can be retraced almost 400 years. We find the roots in the district Agra, in the North Indian Federal State Uttar Pradesh.

The Imdadkhani Gharana spread over Etawah to Kolkata (former Calcutta), Hyderabad, Indore and Mumbai nearby completely through  whole India. The historical roots of the Imdadkhani Gharana go back to the 16th century, equal the family tree of the Khan clan.  The Imdadkhani Gharana developed from the Gwalior Gharana. It is one of the oldest schools of music in which vocal styles of North Indian classics developed, like the Khayal.

In the tradition of the ImdadhKhani Gharana (or Etawah Gharana) it is characteristic for the Sitar play that singing technique is converted. Designated as: Gayaki ang. By a Sitar maestro it is intended to come  close as possible to the expression strength and variety of the human voice as the leading instrument of Indian Classics. Also all other instrumentalists, e.g. on the Indian flute (Bansuri), the Indian fiddle (Sarangi) or Sarode strive for the intonation of the human voice. But as no other Indian instrument on the Sitar is played the repertoir of classical singers with the Gayaki ang.

Same as Imdad Khan his son Enayat Khan (1895-1938) was one of the most important sitarists of the early 20th century. It was Enayat’s earnings that he made the Sitar music accessible and popular for a larger audience in the cultural capital of India, in Calcutta (Kolkata). Before the Sitar was heard predominantly in a small circle by music enthusiasts. Apart from popularisation Enayat Khan developed the architecture/design of the Sitar. The Indian Nobel prize winner for literature Rabindranath Tagore (1861-1941) ranked among the musical companions of Enayat Khan. He died at the age of only 43 years and left four children. Two sons, the Sitar player Vilayat Khan (1928-2004) and Surbahar maestro Imrat Khan (b. 1935) became famous musicians in the tradition of the ImdadKhani Gharana.

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CH – Raga CDs of the Months (08/2016): Ragas in Sufi Music.

Posted by ElJay Arem (IMC OnAir) on August 22, 2016

Ragas in Sufi Music
– Sufiana Kalam | Words of Sufi Sages

Schalal ad-Din Rumi (Wikipedia)

1207-1237: Schalal ad-Din Rumi (Wikipedia)

First scriptures about sufism and practices had been written in 1st centurey AD.  The golden era of sufism war between the 13th and 16th century. It had been it’s zenith.

In Western countries the sufism is associated with the dancing dervish (Turkish Mevlevi Order) going back to the Persian theologian, poet, advocate and sufi mystic Schalal ad-Din Rumi (1207-1273).
The dervishs put themselfs into ecstasy by their rotations. This ritual exercise is called dhikr, in commemoration of God. Its an intensive worship of Allah with  renunciation of the worldly.

Music herefore can be part of spiritual exercises. Sufi Rumi described already in the 13th century that music, dance and poetry are helpful for concentration on the divine and renewing the soul. With singing accompanied by instruments God is called. It is sung about the love for God and the prophet Mohammed.

dates of broadcasting…

22nd August 2016 – 04:00 pm EST (10:00 pm CET) @ Radio RaSA (CH)
(21st February 2011 – 11:00 pm (CET) @ TIDE Radio)
broadcasting plan | streaming (Internet Radio & Mobile Radio) | podCast

Etymologically sufismus probably has its roots in suf (wool) and safa (purity) . With the entrance into the sufi order a woolen robe is overhanded to a Sufi  within an initiation ritual.

Pure Sufis  turn away from an earthly life keeping free of any seductions and emotions like pride, arrogance, envy or wrong hopes for a long life. It’s the fight against the despotic ego to reach an-nafs al-safiya, which is the “pure soul” as the highest level, always beyond that of the prophet.  More important than self-abandonment is love. Living a life truthfully, the heart free of hate and reisting against culinary allurements. The love for God is the postulate for the reunion with God which is possible already this life. Sufism is the inner relationship between the loving one, the Sufi and the beloved God.

The Arabean, Islamic world and different cultures from South and East Europe had influenced each other ove rmany centuries alternately, e.g. between the 6th and 12th century in the muslim oriented Spain. In the modern Europe the term sufism was known lately in the 19th century. The Indian musician and mystic Hazrat Inayat Khan founded the International Sufi Order, in 1917 in London. At the end of the 20th century the sufi orders increasingly became accessable for non muslims. It is defined as a “universal  sufism” without any direct link to the Islam, where all religions are welcome.

In sufi music on the Indian sub continent the vocal in Qawwali style is an expressive form. In Arabean  Qaul means “expression of the prophet”. The Qawwali is established in Muslim regions like North and West Pakistan, Punjab, Hyderabad and same in Bangladesh and in Kashmir.

Amir Khusrow surrounded by young men. Miniature from a manuscript of Majlis Al-Usshak by Husayn Bayqarah (Wikipedia)

Amir Khusrow surrounded by young men. Miniature from a manuscript of Majlis Al-Usshak by Husayn Bayqarah (Wikipedia)

As Lyrical form of the Qawwali  mostly is used the Ghazal. The content expresses the emotional desire for the reunion with the divine and the joy at the love of God. The origin of the Qawwali is rooted in the 8th century, in the Persian area (nowadays: Afghanistan and Iran). The Qawwali form as we know it today matured in India in the late 13th century. The Sufi Amir Khusro Dehelvi linked both Persian and Indian music traditions. Amir Khusro belonged to the Chistiya Sufi Order.

Since the Turkish conquest in South Asia all over the Indian Sub continent established a multiplicity of  Sufi Orders, from Delhi to South India: Moinuddin Chishtiya, Nagshbandi, Suhrawardiyah and Qadiriyaah.

By modern medias the sufism experiences world wide interests, especially from non muslims. These days everybody can obtain an opinion about sufism by himself. The first scriptures  about sufism from the 1st century (‘Kashf al-Mahjub of Hujwiri ‘ and ‘Risala of Qushayri’) are available in English translations.

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DE – Raga CDs of the Months (08/2016): Malkauns – King of Ragas

Posted by ElJay Arem (IMC OnAir) on August 18, 2016

Raga mAlkauns (or Malkosh) is in North Indian Classical music (Hindustani) very popular with the audience and musicians. In the South of India Malkauns is well known as Ragam hindOLam (Carnatic Music). It is a 5 tone Raga with a 300 to 400 years old history and multivarious development.

dates of broadcasting…

18th August 2016 – 03:00 pm EST (09:00 pm CET) @ radio (DE)
(premiere: 5th February 2008 – 09:00 pm CET @ Tide Radio 96.0 FM (DE))
broadcasting plan | streaming (Internet Radio & Mobile Radio) | podCast

Malkauns is played to the late evening hour as midnight raga. The tendency of this majestic Raga is meditative and introverted, it’s modality is unique.
ascending and descending scales of Raga mAlkauns (Bhairavi Thaat):
audav-audav | ‘n S g m d n S’ – S’ n d n d m g m g S ‘n S
Raga CDs des Monats (02/08): Malkauns… King of Ragas
Ragam hindOLam (Melakartha system No. 20: naTabhairavi): S G2 M1 D1 N2 S – S N2 D1 M1 G2 S

Indian music maestros award to this Raga supernatural forces. By Malkauns even bad spirit can be driven out. The Indian Author V. Murthy who is living in Bangalore calls mAlkauns “king of the Ragas“, the title of our September show @ radio (Germany, Berlin) and worldwide as webradio.

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DE – Raga CDs of the Month (08/2016): ANGA – Location of a Raga (part 1 and 2)

Posted by ElJay Arem (IMC OnAir) on August 15, 2016

The promotion initiative IMC – India meets Classic presents its monthly radio programme (and worldwide as webradio) as every 3rd Monday @ TIDE Radio 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…

15th August 2016 – 04:00-05:58 pm EST (10:00-11:58 pm CET) @ TIDE Radio (DE, Hamburg)
21st August 2016 – 09:00-11:00 am EST (03:00-05:00 pm CET) @ radio (DE, Berlin)
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.

Raag Deepak, in Ragamala by Sahibdin 1605 (source:

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: .

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.
*) 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’. 

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A – Raga CDs of the Months (08/2016): 19 Generation Contract – 600 years in Dhrupad… A tribute to Ustad Rahim Fahimuddin Khan Dagar (1927-2011)

Posted by ElJay Arem (IMC OnAir) on August 14, 2016

IMC - India meets Classic presents... Raga CDs of the Months: 19 Generation contract - 600 years in DhrupadThe promotion initiative IMC – India meets Classic  presents with the August radio show “Raga CDs of the Months” @ Radio FRO (and worlwide as webradio) a tribute to the legendary Ustad Rahim Fahimuddin Khan Dagar.

Ustad Rahim Fahimuddin Khan Dagar: A colossal storehouse of music Photos: Bhai Baldeep Singh

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

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

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

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

dates of broadcasting…

14th August 2016 – 05:00 pm EST (11:00 pm CET) @ Radio FRO (A)
(premiere: 15th August 2011 – 11:00 pm CET @ Tide 96.0 FM)
broadcasting plan | streaming (Internet Radio & Mobile Radio) | podCast

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

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

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

The Dagar Family Tree ( 2005, Source: )

The Dagar Family Tree ( 2005, Source: )

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CH – Raga CDs of the Months (08/2016): Dr. Gangubai Hangal – Voice of Tradition (biography)

Posted by ElJay Arem (IMC OnAir) on August 8, 2016

“Voice of Tradition – Dr. Gangubai Hangal” (a biographic radio show)

Dr. Gangubai Gangubai (3/5/1913-7/21/2009) was a representative of North Indian Classics. This exceptional vocalist was “on air” in IMC OnAir’s radio show “Women in Indian Classics” (part 1) beside important female representatives of North and South India.

We like to dedicate in August our monthly radio show (every 2nd and 4th Monday) to Gangubai Hangal @ Radio RaSA (and worldwide as webradio), an outstanding artist who was called “Father of the Khayal” (mainly because of Gangubai’s androgynous voice).

dates of broadcasting…

8th August 2016 – 04:00 pm EST (10:00 pm CET) @ Radio RaSA (CH)
(premiere: 17th August 2010 – 09:00 pm CET @ TIDE Radio)
broadcasting plan | streaming (Internet Radio & Mobile Radio) | podCast

In the historical meaning we can see Gangubai as the most influential artist who helped women to the emancipation in Indian vocals. Beside four honorary doctorate Gangubai received in 1971 – at the age of 58 years – the Padma Bhushan, and lately in 2002 the Padma Vibhushan, the second highest civilian order of India. 2002 was also the year in which Gangubai was diagnosed of bone cancer she successfully overcame after three years treatment.

Gangubai was born 1913 in Karnataka, a South Indian Federal State. Gangubai originates from a simple family, whose earlier generations belonged to the Gangamats, the caste of agricultural boat people. In her early career Gangubai’s origin from this social milleu she was refused by the orthodox Brahmans. It wasn’t modern that a woman earns her living costs with arts. Although Gangubai’s father, Shri Nadgir and her husband, Shri Gururao Kaulgi likewise belonged to the caste of Brahmans in her family prevailed a consciousness that a woman is ‘Angavashtra’ (literally meaning: an additional article of clothing, which decorates subtle men as status symbol).

In 1928 the family of Gangubai moved 20 kilometres southeast, from Dharwad as the place of her birth to Hubli that time like today a commercial centre with approx. 1,5 million inhabitants. Hubli remained for Gangubai as the adopted home till her dying on 21st July 2009.

Sources (from left to right): with courtesy thank’s to, Vikas Zutshi (Blogspot),, (1st row);
Eric Parker (Flickr),, (2nd row)

Gangubai had at the age of 20 years in 1933 with a concert in Bombay (Mumbai) her artistic break-through. Relevant influence on the vocal qualities beside her musical talent had the strict training, which Gangubai received for 15 years from Pandit Rambhau Kundgolkar, in India known as Sawai Gandharv.

Sawai Gandharv, so reported Gangubai herself, taught her no more than four Ragas. But the training was very strict often practicing for hours monotonously single phrases. Her teacher followed the principle same how one should deal with money. Each note should be used as economically as possible. Gangubai remained always faithful to this rule during her 80 years long musician career. At the beginning she presented songs of light Indian classicals, Bhajans and Thumris. Later she focused completely to the Khayal, the modern singing style of North Indian classics. Khyal means “imagination”. This style developed from the Qawwali, from Sufi music with Muslim influence in the 17th century at the court of Mohammed Shah Rangile (1719-1748). The Khayal gives a musician free space for improvisation and possesses nevertheless a clear essential structure, either in the slow tempo, bada khyal or as chhota Khayl in a fast tempo.

Gangubai is well-known for she interpreted the Khayal in slow tempo, note for note which is the substantial characteristic of the Kirana Gharana, one of India’s music schools.

With her musical tools Gangubai could still give her last concert at the age of 93 on 12th March 2006. Although particularly from the loss of her daughter in 2004 she had to use a wheelchair and became in need of care for the last years of her impressive life.

On 17th May 2009, two months before their dying the “voice of the tradition” inaugurated the “Naryan Academy OF Hindustani Classical Music” in Hubli… and under the roof of the Hangal Music Foundation a national memorial award will honor artists with outstanding earnings/services for Indian Classical Music.

The Padmavibhushan Dr. Gangubai Hangal Memorial National Award will be assigned in 2010 to the outstanding singer Pandit Bhimsen Joshi (see right picture, 1st row). Bhimsen Joshi was introduced various times in IMC OnAir’s radio shows.

Khayal in Raag Bageshree (late night raga), quick tempo: Drut… see complete playlist.


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DE – Raga CDs of the Months (08/2016): JALTARANG – Waves of Sound

Posted by ElJay Arem (IMC OnAir) on August 4, 2016

Raga CDs of the Months

JALTARANG – Waves of Sound

JalTarang is the name of an antique, Indian instrument. JALTARANG is Hindi and means “waves in the water” (literate forms: Jal Tarang, JalTarang, Jal tarang or Jal Yantra).

dates of broaddasting…

4th August 2016 – 03:00 pm EST (09:00 pm CET) @ radio (DE)
(premiere: 1st January 2008 (09:00 pm) @ Tide 96.0 FM)
broadcasting plan | streaming (Internet Radio & Mobile Radio) | podCast

The JalTarang had been developed from percussion instruments like Gongs and Gamelans, those played in Java, in Myanmar (earlier Burma) and on Bali. JalTarang dips for the first time in the Middle Ages (17th century) as a term in the Sangeet Parij(a)at, a scientific research work about Indian music written by Ahobal.

The JALTARANG is a percussion instrument, which belongs to the group of the “self sounder“, so called idiophones. The spectrum of this instrument type reaches from the muzzle drum, clip ring to the Chinese bell play.

The Indian JalTarang uses sound bowls for it’s periodic resonance. Depending upon the level of the instrumentalist an ensemble of 15 to maximum 22 bowls is used being made of China porcelain.

The sound is produced by slim sticks made of bamboo hitten on the bowl’s edge shifting the porcelain body in oscillations. Different sizes of bowls are used and filled with water for the accurate tuning of the single tones.

Milind Tulankar on the JalTarang Dr. Ragini Trivedi - JalTarang workshop

Milind Tulankar on the JalTarang | Dr. Ragnin Trivedi (JalTarang workshop)

Nowadays the JalTarang is played very rarely in India. It almost became extinct. Although it’s elegantly, easily sound is of large popularity amongst the audience. Outstanding Jaltarang players are Seethalakshmi, in India simply known as Seetha (Doraiswamy), Dr. Ragini Trivedi and the Indian maestro Milind Tulankar.


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CH – Raga CDs of the months (07/2016): Indian Swara-s – Mother Nature.

Posted by ElJay Arem (IMC OnAir) on July 25, 2016

IMC OnAir’s broadcasting “Indian Swara-s – Indian notes & Mother nature” purchase to our latest shows “music & language” where physiological aspects of listening music (part 1 of 2) and the sociology of music (part 2 of 2) have been lit up accousticaly and related our Western music culture with Indian classics.

Hereby we focused as priority onto the physical structure of music without the spirital dimension (reference: you can find the show”music & language” in our online media archive.)

dates of broadcasting…

25th July 2016 – 04:00 pm EST (10:00 pm CET) @ Radio RaSA (CH)
(premiere: 18th May 2010 – 09:00 p.m. CET @ TIDE Radio)
broadcasting plan | streaming (Internet Radio & Mobile Radio) | podCast

Listening to Indian Ragas can only be understood by giving attention some aspects of Hinduism to which on average more than 80% of all Indians belong. In study of Indian government in the year 2001 nevertheless approx. 1.03 billion Indians had been counted.

In Hindu mythology the seven (7) main notes of which a fully Raga scale can consist in its ascending and descending form are derivated from animal sounds and bird tweets. It is characteristic for the close bondage of Indian arts, music and dance with spiritualism.

Nature sounds gave inspirations for the ancient Raga compositions, not only as an interpretation of the sound environment of humans, who still felt embedded totally into nature differently than in our modern times. – Also this sound imitation made it possible for the listeners to proof the artists by a critical examination of the vocal qualities and instrumental skills and their exactness.

The seven so called Swara-s, in short form Sa, Re, Ga, Ma*, Pa, Dha and Ni have the same tonal sound equivalent of the Western octaves and comply with Do, Re, Mi, Fa, Sol, La and Si developed by Guido of Arezzo in the 11th century for the designation of the musical tones for singing (so called somalisation).

1st Sa


2nd Re


3rd Ga


4th Ma*
howl of the
moo of the cow for her calf or the chataka (bird kind animal) the baa of a wild mountain goat or a sheep call of the
 .  .  .
5th Pa
6th Dha
7th Ni
singing of the Indian
nightingale (or kokila)
croak of the frog in Indian Monsoon /
‘s wickering
trumpeting of
an elephant
(sources: Wikipedia)


The Ragas of North and South India which are presented today by the music maestros instrumentally or vocally consists of at least 5, 6 or 7 swara-s (see exception: broadcasting “5 minus 1: Raga Malashree“).


*) Ma (Madhyama) is the basic sound of nature, beside Aum (OM) as the eternal sound of the infinite universe.

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A – Raga CDs of the Months (07/2016): Improvisation with(out) Rhythm – 4 Types in South Indian Classics (Carnatic)

Posted by ElJay Arem (IMC OnAir) on July 24, 2016

Manodharma – Improvisation with(out) rhythm.
Manodharma, Improvisation mit und ohne Rhythmus. - Die vier Improvisationstypen in der südindischen Klassik.
– The four types of improvisation in SoA ritualized ways. It is always useful for the improvisational forms to hark back to forms of composition. In South Indian Classics (Carnatic) there exist formats such as Kritis, Varnams, Tillanas or Pallavis.

is known in the Carnatic music as form of improvisation. In Manodharma Sangeet (the improvised song) exist four main forms. They appear with rhythmic accompaniment or without reference to a rhythm cycle, the Tala. Manodharma Sangeet from words in the figurative sense means “imaginative music“.

dates of broadcasting…

24th July 2016 – 05:00 pm EST (11:00 pm CET) @ Radio FRO (A)
(Premiere: 18th July 2011 – 11:00 pm CET @ Tide Radio)
broadcasting plan | streaming (Internet Radio & Mobile Radio) | podCast

For a student of Indian Classics the training begins with learning the pre-composed forms, Sangita Kalpita before (s)he approaches the form of free improvisation. For the advanced concert musician it is Niraval (or Neraval / Sahitya prastara). Niraval is the common presentation of improvisation. The most demanding form of improvisation in Carnatic music is Raga Alapana (also Vistara raga) or simply Alap.

As the Alapana serves as an introduction to a raga for the vocal form of improvisation same the intrumentalists themselves especially the Veena players use a kind of  preludes: Tana or Tanam. The family of Veenas (lutes) include the sitar, sarod and also the Rudra Veenas, a stringed instrument of North Indian classical music. About 200 years ago the Rudra Veena was the queen of all instruments of Indian classical music.

Nowadays the vocal virtuosos make use of Tanams in pre-composed forms, called Thanam Pallavi Ragam, so to speak a “composition within an improvisation” (or otherway round).



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DE – Raga CDs of the Months (07/2016): Ragas in Indian Monsoon (Rainy Season Ragas)

Posted by ElJay Arem (IMC OnAir) on July 21, 2016

In our regular shows “Raga CDs of the Months” you can listen easily to some new examples of original Indian Classical Music interprated by renowned music maestros out of India. This radio show focuses onto Indian Monsoon Ragas, e.g. the rainy season ragas Megh, Megh Malhar, Miyan ki Malhar and Gaud Malhar , played on the Mohan Veena (Indian Slide guitar), the Sarode and by vocals.

Ragas in Indian Monsoon
M e g h – M a l h a r

Indian Ragas are played at certain times (day/night) or seasons (Ritu). The Ragas of the seasons and Monsoon (beginning of June till end of August 2014) can be played at every day and night time.

dates of broadcasting…

21st July 2016 – 3:00-4:00 pm EST (09:00 pm CET) @ radio (DE)
(premiere: 2nd Oct 2007 (09:00 pm CET) @ Tide Radio)
broadcasting plan | streaming (Internet Radio & Mobile Radio) | podCast

In Hindustani music, the North Indian classical style, the strongest expression of Raga compositions appears to the rain season. The range of the emotional expression from “majestic” (veer Rasa), “pathetic” (Karuna), joyful (Sringar) to “in isolation imprisoned” (Viraha-Sringar).

central Kolkata (India) after a monsoon rainsouth-west monsoon rain in Kerala - IndiaIndian Ocean Monsoon clouds over Howrah Bridge - KolkataMonsoon clouds over Lucknow - IndiaMonsoon in the Vindhya mountain range, central India

Indian Monsoon @ Wikipedia

In India the rain season (Megha – Barkha Ritu) lies between hot summer season (Bhairavi) and autumn (Pancham). With Monsoon time (Varsha Ritu) the post Monsoon (Sharad Ritu = autumn) is connected. Sharad Ritu begins at the full moon time end of August (in 2014 on 23rd Aug).

The deep doing solidarity of the Indian population with nature is particularly expressed by the Monsoon ragas which can cover/express the whole nuances and shades of human emotions. – It’s characteristic for Indian culture to be inspired from the nature world does nature on it’s own reflect the Divine.

Indians associate the Monsoon with heavy, dark clouds, hoists (strong winds), rain, flash lightning and the ‘get together’ of lovers on thunderstorm evenings, a frequent motive in Bollywood scores. Particularly the characteristics of Monsoon is awarded for let be the loving most romantically.

In the time of post Monsoon – Sharad Ritu – dominate hunting melodies and singing with themes of cloud-imposed moons, cool nights, Krishna, loving and be-loved ones.

The term Malhar (Mallar or Malaar) is co-relating with the season of the rain. Malhar means “that one, which washes away the dirt”. For Indian Monsoon preferentially Raga s from the Malhar group are performed.

The Raga Malhar expresses the joy of the bloom time. It is a peacefully and refreshing Raga, with a seven (7) note scale, a complete Raga. Outside of the rain time the Malhar Ragas can be sung & played at the late evening hour or in early morning.

Over centuries Raga Megh was the main raga of the Malhar family. Later (and until today) Megh has been replaced of Raga Miyan ki Malhar.

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