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playlists of IMC broadcasting: special I-III for India Music Week (N.Y.)

Posted by ElJay Arem (IMC OnAir) on October 13, 2013

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special I… Energy of the Sound – Raga Chikitsa:

– Healing Music – Nada Chikitsa (part 1/2)

  1. Shruti Sadolikar – Track 3: Raga Ahir Bhairav (15:25) – CD: Morning Ragas, Vol. 1 (1990/92, Living Media India Ltd./Music Today)

    Effect of Saptaswaras and Chakra Meditation

  2. Nisar Hussain Khan – Track 1: Rag Nat Bhairav (14:45) – CD: Nat Bhairav (2004, SaReGaMa)
  3. Bhimsen Joshi – Track 2: Raga Hindol Bahar ‘Koyaliya Bole’ (14:58) – CD: Basant Bahar, Vol. 2 (1995, Living Media India Ltd.)
  4. Shiv Kumar Sharma – Track 2: Raga Kedar (19:54) – CD: Soul Stirring Strings {Santoor Wadan} (1993/2006, Venus Records & Tapes Ltd.)

– Healing Music – Nada Chikitsa (part 2/2)

  1. Ustad Shamim Ahmed Khan – Track 7: Raga Chandrakauns (12:09) – CD: Sitar Maestro (1998, Navras Records)
  2. C.R. Vyas – Track 2: Raga Bhimpalasi (18:44) – CD: Sangeet Sartaj, Vol. 1 & 2 (1998, Music Today)
  3. Amjad Ali Khan – Track 2: Raga Brindabani Sarang – Vilambit Gat In Teental (18:39) – CD: Raga Bilaskhani Todi & Brindabani Sarang (1994, Navras Records)
  4. Hariprasad Chaurasia – Track 2: Raga Bageshwari (10:49) – CD: Maestro Of The Indian Flute  –  Introducing The Masters (2006/2008, SaReGaMa India Ltd.)

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special II… NADA – A Concept of Sound:

– Ahata – The external Sound (part 1/2)

  1. Mohammad Sharif Khan (Vichitra Veena) – Ustad Sharif Khan II – Track 1: Miyan Ki Todi (12:44) (1978, Pakistan)
  2. S.P. Balasubramanayam – Gaana Vidya song (04:38) – Kannada Film: Gaana Yogi Pachaksra Gawai (2001, Ananda Audio Video)Katyayana (c. 200 BCE)
  3. Dilip Kumar Roy – Track 1: Om Mano Budhyahnkar (3:30) – Om Mano Budhyahnkar (2004, SaReGaMa Ltd.)
  4. Unnikrishnan – Track 1: Shivaashtakam (Sanskrit) (5:11) – Shiva Stuthi (2005, Sruthilaya Audio Recording)
  5. Ustad Alla Rakha & Ustad Zakir Hussain – Track 1: Jugalbandi – Taal Chartaal-Ki-Sawari, 11 Mantras (26:04) – Together (1989, Music India / 2000, Magna Sound – Omni Music)
  6. Madurai Mani Iyer – Track 5: Meenakshi Memudam Purvikalyani Aadi Mdikshitar (25:06) – Palani Temple Concert (1962)
  7. Dr. Chitti Babu – Track 3: Nadaloludai (16:09) – A Tribute to Chitti Babu – Veena Vol. 1 (1999, SaReGaMa Ltd.)

– Anahata – The inner Sound (part 2/2)

  1. Amir Khan – Track 2: Raga Kalashri (15:43) – CD Maestro’s Choice – Amir Khan (2003, Living Media India Ltd.)
  2. Pandit Baldev Raj Verma – Track: Raag Shivranjini (final) (6:10)
  3. Kankana Banerjee – Track: Darbari (tarana, ektala) (3:37) – LP The Multi-Faceted Genious of Ameer Khusrao (1975, HMV)
  4. Swami Maheshwarananda – Mantra Chanting: SO HAM (23.12.2008, Swamiji.tv)
  5. Jagjit Singh – Track: Gayatri Mantra Chant (5:32) – CD Gayatri Mantra (2008, Big Music Inc.)
  6. Singh Bandhu – Track: Kalawati (4:28) – LP Kalawati (1980, HMV)
  7. Munir Khan – Track: Marwa (Vilambit) (10:16) – CD Maestro of Sarangi – Ustad Muni Khan (2007, DOM)
  8. Munir Khan – Track: Marwa (Drut) (12:07) – CD Maestro of Sarangi – Ustad Muni Khan (2007, DOM)

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special III… Music, Sound & Language:

– Structure of Music and Language (part 1/2)

  1. Zakir Hussain (Tabla Solo) & Mohammad Omar – CD Ustad Mohammad Omar: Virtuoso from Afghanistan (2002, Smithsonian Folkways Records)
  2. Shahid Parvez (Sitar) – Raga Deshkar – CD Maestros Choice (1992, Living Media)
    Busto di Pitagora. Copia romana di originale greco. Musei Capitolini, Roma.
  3. Aruna Sayeeram (vocal) – Raga Mohanam – CD The Jewels of Oothukkadu (2005, AVM Audio)
  4. Kaushiki Chakrabarty (vocal) – Raga Misra Mand (Thumri) – CD Pure (2004, Senseworld Music)
  5. Bhimsen Joshi (vocal) – Raga Shankara (Khyal) – In Celebration – Vol. 2 (2000, Navras Records)
  6. Sultan Khan (Sarangi) & Zakir Hussain (Tabla) – Raag Charukeshi (Alap & Gat) – CD Raag Charukeshi & Folk Tunes
  7. Padma Talwalkar (vocal) – Raga Durga (1998, Nimbus Records)
  8. Sayeeduddin Dagar (vocal) – Raga Bhairav (Dhrupad) – CD Lineage of Dhrupad (2004, Senseworld Music)

– Inter-Action… Communication and Music (part 2/2)

  1. Uday Bhawalkar (vocal) – Rag Malkauns (Dhrupad Composition)- CD Raga Shri – Raga Malkauns (1998, Nimbus Records)
  2. Santosh Nahar (violin) – Tappa In Raga Kafi (Addha Taal) – CD The Golden Bow (2002, SenseWorld Music)
  3. Enyet Khan (sitar) – Raga Bhupali – CD Prof. ENAYET KHAN – Centenary Tribute from Megaphone (2004, The Megaphone Company)
  4. Raghunath Seth (flute) – Raag Shuddh Sarang (Gat In Rupak Taal) – CD Pandit Raghunath Seth (1997, Navras Records)
  5. Meeta Pandit (vocal) – Raga Bilaskhani Todi  – CD Tansen (14 original compositions of the legend) (2006, Music Today)
  6. Pt. Jasraj (vocal) with Appa Jalgaonkar (Harmonium) – Raga Bageshwari  – CD Night Ragas – Volume 2 (994, Music Today)
  7. Ravi Shankar (Sitar) & London Symphony Orchestra (Conductor: Andre Previn) – Fourthmovement: Raga Manj Khamaj – CD Concerto For Sitar & Orchestra (original: 1998, 2005:Digital Remastering – EMI Classics)
  8. Dr. L. Subramaniam (violin) – Ragam Vasantapriya – Three Ragas for solo violin (Sarasvatipriya, Vasantapriya, Sivapriya) (1990, Nimbus Records)

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Live (stream) @ India Music Week (13th Oct): Vocalist Pushkar Lele (Hindustani) with Tabla & Harmonium.

Posted by ElJay Arem (IMC OnAir) on October 13, 2013

India Music Week (6th-13th Oct 2013)… http://www.imcradio.net/indiamusicweek | @Facebook

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live on stage: Pushkar Lele (Hindustani vocalist) with Tabla & Harmonium

IMW_logo-newartists: Pushkar Lele (vocal), Sanjay Deshpande (Tabla), Vyasmurti Katti (Harmonium).

date: Sunday October 13th, 5:00-7:00pm EST

venue: Chhandayan Center for Indian Music 4 West 43rd Street, Suite 618 – New York, NY 10036, United States
landmark: Between 5th & 6th Avenues

Buy in hall ticket here. –  Or watch this concert streamed LIVE online here. The price is $6.

(Rec.: The streaming starts 10 minutes before the concert and ends shortly after the concert ends. There will be no video outside of these times. But, access can be purchased anytime before or during the concert. – For support on the Pay per view purchasing system, please call 855-896-9300 or +33 177 126 888.)

Description: 

Pushkar-LeleBelonging to the tradition of Pt. Kumar Gandharva, Pushkar Lele (@Facebook) is today, one of India’s leading young and sought-after classical vocalists. A rigorous study of more than two decades with renowned and able Gurus like Pt. Gangadharbua Pimpalkhare (disciple of Pt. Vinayakbua Patwardhan) of the Gwalior gharana, Shri.Vijay Koparkar (disciple of Dr. Vasantrao Deshpande & Pt. Jitendra Abhisheki), Pt. Vijay Sardeshmukh and Pt. Satyasheel Deshpande (both, senior disciples of Pt. Kumar Gandharva) has enriched Pushkar with a rich fund of knowledge. He is a recipient of the Central Government scholarship for classical vocal music awarded by the Centre for Cultural Resources and Training (CCRT) as well as the scholarship from the Department of Culture, Government of India. He has featured on various TV Channels like E-TV (Marathi), Zee Marathi, Doordarshan (Sahyadri) and has been exclusively interviewed on Akashwani Sydney and Worldspace Radio. He is a regular performer on AIR (All India Radio).

Pushkar holds a Master’s Degree in Music from Lalit Kala Kendra (Centre for Performing Arts), University of Pune and is the recipient of numerous prestigious awards like Pandit Jasraj Gaurav Puraskaar, Pandit Vishnu Digambar Paluskar Award, Dr. Vasantrao Deshpande Yuva Kalakaar Puraskaar, ‘Sur Mani’, Gayanacharya Ramkrishnabua Vaze Puraskaar, Sudhir Phadke Yuvonmesh Puraskaar and Pt. Jitendra Abhisheki Smruti Yuva Puraskaar. Pushkar is also the recipient of the prestigious Sanatan Sangeet Puraskaar, whose past awardees include the likes of U.

A much sought after artiste, Pushkar performs regularly all over India and has performed on various prestigious music stages like the Pune Festival, Tansen Samaroha (Gwalior), NCPA (Mumbai), Nehru Centre (Mumbai), Kalidaas Festival (Nagpur), Bharat Bhavan (Bhopal), Kala Academy (Goa), Prayag Sangit Samiti (Allahabad), Pt. V. D.Paluskar Jayanti Sangeet Samaroha (New Delhi), Shriram Shankarlal Music Festival (New Delhi), Bhakti Utsav (New Delhi), Delhi International Arts Festival, ICCR (New Delhi). Internationally he’s been to USA, Australia, Belgium, Netherlands, Singapore and UAE for concert tours.

Apart from pure classical, he also presents Natyasangeet, Bhavgeet, Bhajan, Tappa, Thumri, Dadra, Hori and other semi-classical and folk forms with exceptional ease and expertise. Pushkar is the Founder-Director of ‘Gandhaar School of Music’ where students are trained in Hindustani Classical Vocal Music using a contemporary approach. He is also on the panel of Guru-s of Lalit Kala Kendra, University of Pune as well as Shadja.com, a virtual gurukul to teach classical music online. Pushkar has been featured as one of 35 Young Achievers from all over India, belonging to various fields by INDIA TODAY magazine and has many albums to his credit brought out by Alurkar Music House, Ninaad Creations, Dreams Entertainment…

(Source: 10/2013 – ARC – Archive of Contemporary Music |IndiaMusicWeek (IMW) + Chhandayan.com)

Pushkar Lele live in Mumbai…

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Live @ India Music Week (13th Oct): Deva Premal & Mitten (MantraFest)

Posted by ElJay Arem (IMC OnAir) on October 13, 2013

India Music Week (6th-13th Oct 2013)… http://www.imcradio.net/indiamusicweek | @Facebook

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live on stage: Deva Premal & Miten with Manose / special guests: The Guruganesha Band

IMW_logo-newon stage: Deva Premal & Miten, Manose, Maneesh de Moor, The Guruganesha Band

date: Oct 13, Sunday, 7pm CET

Set times:
7:00 PM Cello performance by Hans Christian
7:10 PM – 8:30 PM GuruGanesha Band
8:30 PM – 9:00 PM Intermission
9:00 PM – 11:00 PM Deva Premal & Miten with Manose Singh and Maneesh de Moor

venue: Macky Auditorium (Concert Hall)
University Ave and 17th Street Boulder, CO 80309 (see Map)

price: 30-70 US$ – Tickets here…

Get ready to experience the beauty and bliss of the world’s most sacred mantras! – MantraFest 2013 brings together two visionary musical ensembles: the amazing Deva Premal & Miten with Manose (and Maneesh de Moor) and The GuruGanesha Band.

Deva Premal and Miten are among the chief architects of the sacred chant phenomenon that has energized the yoga and meditation movement in recent years. The legendary GuruGanesha has put together a sizzling array of multi-cultural musicians, garnering rave reviews wherever they perform.

The tour, which kicks off this Fall 2013, will reach from Miami to Vancouver and Montreal to Phoenix

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Get ready to experience the beauty and bliss of the world’s most sacred mantras!

MantraFest 2013 brings together two visionary musical ensembles: the amazing Deva Premal & Miten with Manose (and Maneesh de Moor) and the GuruGanesha Band. Deva Premal and Miten are among the chief architects of the sacred chant phenomenon that has energized the yoga and meditation movement in recent years. The legendary GuruGanesha has put together a sizzling array of multi-cultural musicians, garnering rave reviews wherever they perform. The tour, which kicks off this Fall 2013, will reach from Miami to Vancouver and Montreal to Phoenix, is presented by Reed’s Culture Club Kombucha and produced by BrightStar Live Events.

Deva-Prem

(Source: 10/2013 – ARC – Archive of Contemporary Music |IndiaMusicWeek (IMW))

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Live (stream) @ India Music Week (12th Oct): Vocalist Ruchira Panda with Tabla & Harmonium…

Posted by ElJay Arem (IMC OnAir) on October 12, 2013

India Music Week (6th-13th Oct 2013)… http://www.imcradio.net/indiamusicweek | @Facebook

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live on stage: MS Ruchira Panda (vocal) with Dibyarka Chatterjee (Tabla) + Sri Anirban Chakrabarty (Harmonium)

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Date: Saturday October 12th – 07:30pm – 09:30pm
Location: Chhandayan Center for Indian Music (CCIM), 4 West 43rd Street, Suite 618
New York, NY 10036, United States
Landmark: Between 5th & 6th Avenues

Watch this concert streamed LIVE online here , The price is $6.

(The streaming starts 10 minutes before the concert and ends shortly after the concert ends. There will be no video outside of these times. But, access can be purchased anytime before or during the concert. For support on the Pay per view purchasing system, please call 855-896-9300 or +33 177 126 888)

Buy in hall ticket here.

Artist(s): Ms. Ruchira Panda (vocal), Dibyarka Chatterjee (Tabla) and Sri. Anirban Chakrabarty ( (Harmonium)

There will be a free pre-concert lecture by Dibyarka Chatterjee from 6 to 7 pm. The other two musicians of the concert may also join in session.

Description:

Ruchira_Panda_5_001_4

Ruchira, an outstanding vocalist groomed in the Kotali gharana has earned an enviable distinction amongst the younger musicians in the realm of Hindustani Classical Music. The competent upholder of this rich heritage was born in high traditional family of educationalists, arts and music. She had the privilege of being initiated to this parampara and went under the protégée of the great maestro musician Pandit Manas Chakraborty, her one and only Guru. The master mind of her guru noted the quality of her gifted and rare voice and creative capabilities. Being a perfectionist and trend setter his strict and vigilant guidance moulded her musical genius into a unique blend of highest order. Her gayaki speaks out for her keen interest in aesthetics, spiritual awareness and serenity which is seldom found in modern days. She carefully keeps up with the purity and nuances of the Kotali gharana aligning with the multifarious gayaki of her Guru and his predecessors. The flawless manner in which she brings out the texture of the ragas and taans shows that a rigorous training, hard, and sincere labour has gone into her making as a vocalist and culminated her craftsmanship to what it is- perfect and finished to every detail. Her cognition and remarkable ability to execute intricate combinations of notes in rare ragas, specially her delineation of innovative sargams and taans confirm her eagerness to reach out to wider and wider dimensions. Her voice, the crest of a class can execute a total feast of melody and classicism in khayal, thumri and other semi classical forms. Her music is not only perfect craftsmanship but a rare blend of immaculate precision and emotive imagination, which takes the listeners into a peaceful journey through the unseen and unheard marvels of a new world. She craves for perfection and attains it with ease, the more she attains bigger becomes her reach, richer she becomes newer becomes her dimension. To her, Music is not only an art to perform but a love to live with – it’s a voyage towards eternity that can only be realized by feeling one and the same with Music.

(Source: 10/2013 – ARC – Archive of Contemporary Music |IndiaMusicWeek (IMW))

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India Music Week (N.Y.): Indian Electronic Music on the European Continent (Essay)

Posted by ElJay Arem (IMC OnAir) on October 12, 2013

One of six essays by Indian sound enthusiast and radio host ElJay Arem, exploring Indian/European electronic musical crossfertilizations… _________________________________________________________________________________

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Indian Electronics on the European Continent (part 1 & 2)

Author: ElJay Arem (emusic [at] imcradio.net)

… we look about musical activities in the European community which we can assign to the genre of Indian electronic music. At present the European community consists of 27 countries with approx. 500 million humans and three further countries, who already applied for a full membership: Croatia, Turkey and Macedonia as former Yugoslavian republic.

ElJay-Arem-Six-Essays-about-Indian-Electronic-Music-2010_1

What makes Cologne so special – the starting point of our musical discovery journey – is that it has a world-wide meaning for electronic music as a whole. 1951 was decided by the director Hanns Hartmann of the North-West German broadcasting (nordwestdeutscher Rundfunk) to furnish a studio for electronic music…

Direct neighbour to Germany…

At Codarts three musicians became acquainted with each other, who published as trio Aesh their debut album of the same name in the year 2007. Aesh, that are Celine Wadier, trained in the oldest Indian vocal form, the Dhrupad, the Tabla player Heiko Dijker resident in Amsterdam we can found as programmer on the laptop and keyboards and Martijn Baaijens, likewise keyboard and on the Sarode…

City of Love… Ile-de-France…

The label Digital Bled represents the Portuguese Joao Pedro Veloso or just simply known as DJ Pedro. Pedro established himself in the suburbs of Paris in the 70’s. Already at the age of 11 years Pedro sucked the music of one of his neighbours, who was a trumpet player. One day he brought home a bandoneon to Pedro…

Portugal – Brazil (Sao Paulo)…

…a language relative of the Portuguese Pedro Veloso (Digital Bled) from Paris. Under the label Atman an artist from Brazil could establish himself in the scene of the Indian electronic music.

Fully length of article read as following PDF. – Let’s Vibe !

(Source: 10/2013 – IMW – India Music Week | Essays)

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Live @ India Music Week (12th Oct): Carnatic Vocalist M.S. Sheela with Violin + Mridangam

Posted by ElJay Arem (IMC OnAir) on October 12, 2013

India Music Week (6th-13th Oct 2013)… http://www.imcradio.net/indiamusicweek | @Facebook

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live on stage: Carnatic vocalist M.S. Sheela

IMW_logo-newon stage: M.S. Sheela (vocalist), Sri Mysore Srikanth (violin), Sri B. Sivaraman (Mridangam)
date: Oct 12, Saturday, 05:00 pm
tickes: free access
venue: SSVT (Sri Siva Vishnu Temple) Auditorium, Lanham

Smt. M.S.Sheela is a leading Carnatic classical vocalist who has made her mark in classical, light as well as devotional genres of music. She has the rare distinction of being a top rank artist of AIR and Doordarshan in both classical and light music. Sheela was initiated into music by her mother late Smt. M. N. Rathna, a popular musician of yesteryears. Strict and rigorous training under Sangeetha Kalanidhi Dr. R. K. Srikantan added luster to her musical prowess. She has a postgraduate degree in Music from Bangalore University, and is a gold medallist. M. S. Sheela has performed widely across the nation and abroad. She has been performing regularly on All India Radio and Doordarshan, and has featured on the Radio Sangeeth Sammelan, Trinity Festival, National Programmes and numerous special features. She has performed in USA, Canada, Australia, UK and the Middle East. M. S. Sheela has a large number of audio releases to her credit. She has been featured in ‘Srividyadarshana’ (compositions of Jayachamarajendra Wodeyar), ‘Ninada’ (compositions of Veene Sheshanna) and ‘Sadashiva Madhurya’ (compositions of Mysore Sadashiv Rao) series produced by All India Radio, Bangalore. Her renditions of Lalithasahasranama, Sharada Suprabhata, Venkateshwara Suprabhata, Soundarya Lahari etc are widely popular and in great demand. M. S. Sheela is the first woman artist from Karnataka who has a top rank in carnatic music. She is also the first top rank artist from the state in Sugama Sangeetha (light music). Also a trained Bharatanatyam Dancer, Sheela used to give dance performances till the early 90’s. M. S. Sheela has won several prestigious awards such as “Outstanding Senior Female Vocalist” by Madras Music Academy, “Rajyothsava Award” by Karnataka State Govt., “Best Female Playback Singer (1997-1998) from Karnataka State Film Chambers, and “Gaurava Puraskara” of Karnataka Sangeeta Nritya Academy. She is also an ‘Asthana Vidushi’ of Sri Jagadguru Shankaracharya Mahasamsthanam Dakshinamnaya Sri Sarada Peetham, Sringeri.

Sri. Mysore Srikanth is a senior disciple of Vidwan Sri. H.K. Narasimhamurthy of Mysore. He started learning violin at a very
young age and has undergone rigorous training for more than twenty years. Srikanth has been giving performances from his fifteenth year, and has been featured in all prestigious music sabhas & organizations in India and abroad. He has accompanied top artists like R.K.Srikantan, Dr.M.Balamuralikrishna,T.N.Seshagopalan ,T.V.Sankaranarayanan, O.S.Thiagarajan, Trichur Ramachandran, Hyderabad Brothers and Yesudas to name a few. He was adjudged the Best Violinist by Krishna Gana Sabha (1995), The Indian Fine Arts Society (2000, 2007, 2008) and the Music Academy (2002). Srikanth, graded artist of All India Radio & Doordarshan, performs regularly for AIR Doordarshan and other TV channels. He has recorded several commercial CDs & cassettes with many great artists.

Sri B. Sivaraman is a leading mridangam artist and a disciple of ‘Sangeetha Kalanidhi’ Dr. T.K. Murthy. Dr. T.K. Murthy follows the tradition of his renowned teacher and guru, Sri Tanjavur Vaidhyanatha Iyer. Sivaraman started performing in concerts at the age of 15. He came to limelight soon, when he got the unique opportunity to play along with his guru. He actively participated in the research work of ’72 Melakartha Talas’ and 108 Talas’ by Dr. T.K. Murthy. Sivaraman is a regular performer in leading Sabhas and music festivals. He is an ‘AGrade’ artist of All India Radio, Chennai. Sivaraman has been conferred various prestigious awards and prizes from music institutions and sabhas. He has traveled extensively all over India and United States. Sivaraman has played along with tabla maestro Ustad Zakir Hussain at San Jose, USA in 2007. He received the ‘Best Mridangist of the Year 2012’ award from Krishna Gana Sabha, Chennai.

more details & tickets here…PDF Download )

MSSheela-1

(Source: 10/2013 – ARC – Archive of Contemporary Music |IndiaMusicWeek (IMW))

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Live @ India Music Week (12th Oct): Carnatic Vocalist Smt. Bala Raidu (+ Violin/Mridangam)

Posted by ElJay Arem (IMC OnAir) on October 12, 2013

India Music Week (6th-13th Oct 2013)… http://www.imcradio.net/indiamusicweek | @Facebook

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live on stage: Carnatic vocalist Bala Raidu with Violin + Mridangam

IMW_logo-newon stage:
Smt. Bala Raidu (Andhra Pradesh), Sri A.R. Balaskandan (Violin), Shri Y.T. Shenturaan (Mridangam)

date: Oct 12, Saturday, 02:30pm
venue: Saraswati Hall
o rganizer: The Hindu Temple Society of North America

more details & tickets here… (PDF Download:  Music program Navaratri13 )

Samanta-Bala-Raidu-1

(Source: 10/2013 – ARC – Archive of Contemporary Music |IndiaMusicWeek (IMW))

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Live @ India Music Week (12th Oct): Pandita Tripti Mukherjee (vocalist) of Pandit Jasraj Institute

Posted by ElJay Arem (IMC OnAir) on October 12, 2013

India Music Week (6th-13th Oct 2013)… http://www.imcradio.net/indiamusicweek | @Facebook

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live on stage: Pandita Tripti Mukherjee (organized by Pandit Jasraj Institute for Music Research)

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stage: Ms. Tripti Mukherjee sings Indian Classical (Hindustani) Music

date:Oct 12, Saturday, 2pm (New York City)
tickets: $25, $40.
venue: Hunter College’s Ida Lang Auditorium, E.69th and Lexington, NYC

more details & tickets here…

Pandit-Jasraj-Institute-India-mUsic-week-12102013-1

(Source: 10/2013 – ARC – Archive of Contemporary Music |IndiaMusicWeek (IMW))

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Live (stream) @ India Music Week (11th Oct): Sitar player Veena Chandra

Posted by ElJay Arem (IMC OnAir) on October 11, 2013

India Music Week (6th-13th Oct 2013)… http://www.imcradio.net/indiamusicweek | @Facebook

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live on stage: Veena Chandra presented by Skidmore College Music Dept. (N.Y.)

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date: Oct 11, Friday, 8-10pm – free entry

venue: Arthur Zankel Music Center
Organizer: Skidmore College Music Dept., Saratoga Springs, NY

Live Stream here

Biography (Source: SonicBids)

Good vibrations: Veena Chandra (Photo Credit: Leif Zurmuhlen)

Sitarist Veena Chandra (Photo Credit: Leif Zurmuhlen) – Source: Music of the Spheres.

VEENA CHANDRA is an internationally renowned sitarist, composer, teacher and choreographer. She is the founder and director of the Dance and Music School of India in Latham, NY (celebrating 26 years) where she teaches Indian classical music. She has been a faculty member at Skidmore College since 1990, teaching sitar in the Music Department.

Born in Dehra Doon, Valley of the Himalaya Mountain Range, Veena was inspired to play music by her Father, her first Guru. He loved sitar so much that he named her Veena, after the precursor to the sitar, in hopes that she would learn music. He was 95 years old when he passed away in 2010 and his hopes have validated themselves many times over as evident by the international acclaim & respect given to Veena Chandra.

She continued learning sitar with Shri Satish Chandra, a disciple of Ravi Shankar. Being invited by Pt Ravi Shankar to his concerts she was inspired by his music. She earned master’s degrees in music (stood third all over India in MMUS.) and sociology and a bachelor’s degree in teaching. She has been in the international Who’s Who since 1997. Mrs. Chandra has taught at Agra, Dayalbagh universities and colleges in India teaching sitar and sociology. She has been performing and teaching sitar for the last 55 years. She continued her advance training under the late Ustad Vilayat Khan Saheb. Ustad Vilayat Khan Saheb very much enjoyed listening to her Sitar and grew very close to Veena and her son Devesh.

She is a recent recipient of a New York State Folk Art Grant 2003, and Artists Decentralization Grant and several SOS & Meet the Composer grants. Currently she does lecture-demonstrations and performances at numerous performance halls, music festivals, colleges, universities, & schools in the U.S. and India. She has received artist award as a composer through the Albany League of Arts in 2002. She has received several years of Community Arts Grants (2000, 2001, 2008, 2009, 2010, 2011, 2012) through The Arts Center, Troy and NYSCA. She has several CDs to her credit, including two very popular recordings with renowned Pandit Bikram Ghosh on tabla. Veena Chandra’s 2009-2010 India tour was in part sponsored by NYSCA and The Arts Center of the Capital Region.

Veena Chandra has a rare ability to communicate the beauty and complexity of North Indian Classical music to the western listener. She is noted for her skill and sensitivity in the meend (bending of wire) and her ability to produce vocal sounds on the sitar. She characterizes the music of the sitar and tabla as relaxing and reflective of instincts and emotions. She explains that there is a triangular relationship between the artist, the art and the audience. She blends herself into the art and presents herself to the audience through the music. The power in her music is vitalizing and healing to the body, clarifying to the mind, and food for the soul. Listening to her magnificent, heavenly music on the sitar will not leave you untouched.

Discography (Source: SonicBids)

Rag Hansdhwani: Veena Chandra: Sitar Devesh Chandra: Tabla
Rag Bhairavi: Veena Chandra: Sitar Devesh Chandra: Tabla
Rag Kirwani: Veena Chandra: Sitar Devesh Chandra: Tabla
Rag Jog: Veena Chandra: Sitar Devesh Chandra: Tabla
Rag Yaman & Rag Saraswati: Veena Chandra: Sitar Devesh Chandra: Tabla
Rag Shivranjani: Veena Chandra: Sitar Devesh Chandra: Tabla
Rag Jansammohini: Veena Chandra: Sitar Bikram Ghosh: Tabla
Rag Kaunsi Kanda: Veena Chandra Sitar Bikram Ghosh: Tabla
Live Radio Performances: WAMC/NPR, WRPI,WSPN
Live Television Performances: WRGB 6 CBS, SACC 16 PBS, Time Warner cable TV channel-9, Different Voices of Community MNN PBS

Links (Source: SonicBids)

Veena-Chandra

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Skidmore Music Department Showcase (Oct, 2010):
“Rag Yaman – Rajakhani Gat in TeenTal” by Veena Chandra

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Replay the recorded Live streaming on 11th Oct 2013 (Concert starts at 19:50 min)…
1st: Raga Hamsadwani (pentatonic raag: Sa, Re, Ga, Pa, Ni)… in 7 beat cycle + 16 beat cycle
2nd (from 43:00 min. on): late night Raga Bageshri (slow + fast tempo)

Replay

(Source: 10/2013 – ARC – Archive of Contemporary Music |IndiaMusicWeek (IMW))

Posted in India Music Week (2013), Live around the globe | Tagged: , , | Leave a Comment »

India Music Week (N.Y.): Traditional Music in India – Music Research (Essay)

Posted by ElJay Arem (IMC OnAir) on October 10, 2013

Rolf Killius

Rolf Killius

Rolf Killius is a researcher in ethnomusicology and anthropology of south Asian material culture and arts. He works in exhibition curating, academic research, music and sound production, film production editing, and the delivery of music and arts events especially related to India, Bangladesh and Pakistan.

As a researcher Rolf Kilius has worked for projects as follows:

  • As Curator and Media Producer for the Indian Music Experience (IME) at Brigade – India’s first experiential music museum in Bangalore. In this role he is responsible for researching, populating and curating the Indian musical instrument collection and creating all the media files for the Indian Musical Cultures area.
  • As South Asia consultant for the Musical Instrument Museum (MIM) – “the first truly global musical instrument museum” – in Phoenix, Arizona (USA), he has researched in India, Bangladesh and Pakistan. There he documented the making and performance of traditional musical instruments and dance.
  • As team leader of the Rathwa Adivasi research and documentation project of the Vacha Museum at the Adivasi Academy in Tejgadh (Gujarat).
  • Indian Strings & Dances exhibition and events at the Museum of Croydon, London (April – August 2009).
  • Utsavam – Music from India exhibition at the Horniman Museum, London (February – November 2008)
  • Music from India online sound project of the British Library Sound Archive, (from April 2009).
  • Rolf facilitated the documentation and construction of a Bhunga desert farm, from the Rann of Kutch in Gujarat, Western India on the premises of the anthropological Grassi Museum in Leipzig, Germany.
  • He researched and wrote the book Ritual Music and Hindu Rituals of Kerala, which was published by BR Rhythms in Delhi 2006.
  • In 1996/7 he spent 18 months in Kerala and parts of Northeast India, where he recorded and documented numerous ritual and folk music traditions. Since 1996 he has worked with the British Library Sound Archive on a project – TMI (Traditional Music in India) – to record, document and research folk, devotional and ritual music in India.

Contact Rolf Killius | Facebook | Official Website

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Rathwa Documentation and Research Project

A team from the Vacha Museum at the Adivasi Academy in Tejgadh (Gujarat) researched and documented parts of the music and dance culture of the Rathwa Adivasi people and related cultures.
The project was initiated by the Bhasha Research and Documentation Centre in Baroda, partly funded by the British Library Sound Archive, UK, (facilitated by World music Curator Janet Topp Farigon) and conducted by the exhibition curator and filmmaker Rolf Killius from London.

Rathwa and Related Communities

“God gave us birth and we are all the same” (Rathwa elder from village Gunata) after a recording session.

The Rathwa Adivasi community inhabit mainly the Vadodara and Panchmahal districts of Gujarat. The community is closely related to the Bhilala Adivasi in Madhya Pradesh. Their language, Rathvi, is regarded as a dialect of Gujarati.

Rathwa believe in ancestor spirits and various community gods, but also respect Hindu gods and goddesses. They live in exogamous clans and their food staple is maize, but increasingly rice as well. They offer their field and crafts products on the weekly haats (markets) in all bigger villages and towns of the two districts.Rathwa and related communities own a rich and diversified music and dance culture; most of the genres relate either to life-cycle or agricultural cycles. Special festivals are celebrated according to mainstream Hindu celebrations like Holi or Divali.

Pithora Painting

The ritualistic painting of pithora wall pictures – done in the main room of traditional Rathwa houses – stands at the core of their belief system. The details in the painting show ideas taking from the Rathwa creation myth as well as everyday life situations and objects.

The main part of the elaborate painting shows the marriage of the Rathwa’s most revered god Pithoro to Pithori. This is mostly depicted in the form of huge marriage processions modelled after a royal wedding (that is showing elephants, camel and horses). Pithoro or Baba Pithoro is supposed to protect the household and cattle. Often during a recovery after a serious illness of a family member a vow is taken, to paint a pithora painting and celebrate an elaborate ritual. Several lakhara (painters) paint while the badwa – the Rathwa priest – directs and later interprets the details on the wall painting. In this process the badwa falls in trance: Rathwa believe that in this moment god Pithoro enters his body and speaks to the community. After the ritual the family sacrifices a goat.

Rathwa Flute Players

Rathwa Flute Players

Rathwa Thambouro Players in Front of a Pithora Painting

Rathwa Thambouro Players in Front of a Pithora Painting

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Traditional Music in India – Music Research

Since November 2000 the British Library Sound Archive (BLSA) in London and Rolf Killius (partly with Jutta Winkler) have been working on a project – Traditional Music in India (TMI) – to record, document and research folk, devotional and ritual musics of India. The work is done with assistance from the Archives and Research Centre for Ethnomusicology (ARCE) in Delhi and with Indian researchers and musicians based in the project areas.

The work is mainly carried out in the following areas:

  • The kshetram (bigger temple) and kavu (smaller temple) art forms of Kerala
  • The musical genres on Majuli in upper Assam
  • Adivasi music in Bastar (Chattisgarh, central India)
  • The music of the Buddhist Monpa in the eastern Himalayas (Arunanchal Pradesh)
  • Musical genres of the Sora Adivasi in eastern India (Orissa, Andhra Pradesh)
  • Desert music from Banni in Kutch (Gujarat)
  • Baul minstrels from West Bengal
  • Devotional music in Orissa
  • Music of the Chakma people in eastern Mizoram (north east India)
  • Village minstrels of Andhra Pradesh
 Singers in Kutch

Singers in Kutch

Sotra Musicians in Assam

Sotra Musicians in Assam

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The Future of the Past’s Music

Rolf’s article The Future of the Past’s Music was first published in a booklet by “Sutton Subrang” for the ‘Sitar Festival’ on 5/6 May 2007 at the Bhavan, Indian Cultural Centre London (source).

How the Traditional Music in India (TMI) project came into being

Most people in this country are aware that there is more to Indian culture than Shilpa Shetty. Even the popular Bollywood film and music world has much more to offer than Shilpa. There is also the well-known north Indian Hindustani tradition of music and indeed there is the lesser known, but equally important south Indian music system, Karnatic music.

Before my first visit to India I equipped my ears with Ravi Shankar and Hariprasad Chaurasia. By visiting south India first I discovered Balamurali Krishna and L. Subramaniam instead. Furthermore the constant stream of radio and cassette players at virtually every teashop, temple, and private house providing ‘film music bore not much resemblance to Hindustani and Karnatic music.

Ten years later and after extended stays and travels – especially in rural India – I came across a nearly bewildering variety of elaborate music styles in every nook and corner of India; their sheer numbers seem to outdo the well-known Bollywood, Hindustani and Karnatik music genres. Listening for hours to the bhajans performed in a tiny temple in Tamil Nadu, the extended length of a panchavadyam performance in Kerala, the intoxicating songs of the Baul minstrels in West-Bengal, or the echo-songs of the Sora Adivasi [1] in the Eastern Ghats got me completely hooked and put me on a quest of the less known regional and rural music genres.

Good things start in Kerala

At the beginning of the 90ties I had a chance to listen to a panchavadyam (Kerala percussion orchestra) performance at the Guruvayur temple. While watching it I was so amazed that I promised myself: One day I will come back and study this wonderful music – and I came back in 1996, where I stayed for more than one year, studying, recording, and documenting, and later analysing the kshetram vadyam. Kshetram vadyam is the traditional percussion dominated temple music of central Kerala performed by professional musician communities. With my assistant, Jutta Winkler, and the help of the British Library Sound Archive in London we have recorded and documented about one hundred hours of traditional music on digital audio and visual media.

The objectives and results of Traditional Music in India

The official birth of Traditional Music in India (TMI) was in 2000, when Janet Topp Fargion, the curator of the World and Traditional Music Section within the British Library Sound Archive, and I, set up a research project “to record, document and research folk, devotional and ritual musics of India” (project concept 2000).

The project secured assistance from the Archives and Research Centre for Ethnomusicology (ARCE) in Delhi – especially in the person of its director, Shubha Chaudhari –and Indian researchers and musicians based in the project areas. The recordist’s have left copies of all recordings in the ARCE institute in Delhi.

Part of the project became the collection and documentation of more than 100 musical instruments for the Horniman Museum in London. The recordists and the keeper of the Horniman’s musical instruments collection, Margaret Birley, developed the idea to commission musical instruments to be made in the areas, where music and dance was recorded.

In November we started on the first 17 months tour to selected rural and mostly remote areas in India. Until February 2007 five more tours followed comprising a total research time of 3 ½ years.

The project concept from the year 2000 stated:

“Although Indian classical music styles, Hindustani and Karnatic, are well-documented and appreciated in India and all over the world, many of India’s traditional music styles have never been recorded, documented or analysed. The project…will concentrate on these important non-classical music styles.

Indian traditional music cultures are rich and diverse, and many can be traced back 3000 years. Nearly all world religions and numerous local cults and sects are prevalent in India, and are still dominant in the everyday lives of millions of people, especially in rural areas. Furthermore, about one third of the world’s aboriginal people, being of Dravidian, Indo-Aryan, Tibetan, Austro-Asiatic or Mongolid descent, live in India. The aboriginal people in India are called Adivasi. Due to rapid change within these communities on the Indian subcontinent, however, it is feared that within the near future many folk, devotional and ritual art forms will disappear.

The primary objective is to document and make accessible information in the form of recordings on musical traditions in India. Thus, the main aims of the project are:

    1. …to make high quality digital audio and visual recordings including vocal, instrumental, and dance-music styles,
    2. … to provide detailed documentation of the performers and cultural contexts within which musical activities take place, and
    3. … to make “special recordings” to be used for broader public dissemination and publication. Recordings will be deposited at the NSA (the British Library Sound Archive, RK) and the ARCE (Archive and Research where they will be preserved in perpetuity and made available for consultation. Documentation will be done on the NSA’s database which is due to become available on the Internet in January 2001.” (project concept 2000).

During the project it became apparent that the shear wealth of musical styles and musicians in India, sometimes hardly known outside their villages, makes it very difficult to do a comprehensive project. Very few areas in India, like parts the Western states of Punjab, Rajasthan, and Karnataka, are well-documented and researched. Little work has been done on the remote rural areas or the habitats of the Adivasi, the latter comprising around 7 % of the total population [2]. In many areas music and dance cultures could be regarded as ‘endangered’. The main reasons being the extremely fast changing socio-cultural structure and the traditionally high stratification in Indian society.

Therefore the TMI project has been concentrating on the oral culture of distinct communities living in some of the more remote rural areas, where music and dance still play an important part in everyday life.

Until date the TMI covers music and dance from communities of the areas as follows:

  • The kshetram (bigger temple) and kavu (smaller temple) art forms of Kerala
  • The musical genres on Majuli in upper Assam
  • Adivasi music in Bastar (Chattisgarh, central India)
  • The music of the Buddhist Monpa in the eastern Himalayas (Arunanchal Pradesh)
  • Musical genres of the Sora Adivasi in eastern India (Orissa, Andhra Pradesh)
  • Desert music from Banni in Kutch (Gujarat)
  • Baul minstrels from West Bengal
  • Devotional music in Orissa
  • Music of the Chakma people in eastern Mizoram (north east India)
  • Village minstrels of Andhra Pradesh
  • Many music styles are closely related to the popular and the well-known Hindustani and Karnatik systems; they even form their base and those styles are still getting influenced from the rural musics.

Within the TMI project we have recorded around 500 hours of documented digital media (audio and video) and collected over 100 musical instruments (commissioned by the Horniman Museum to the instruments’ makers). Though the result in itself is impressive, it is a beginning, but as the German say ‘steter Tropfen hölt den Stein’ (steady drops hollow the stone). Until today a few materials have been published in book-form or website, issued on CD or DVD, or shown in exhibitions (see references).

At the beginning of 2008 the London Horniman Museum plans to “hold a major exhibition showcasing a new collection of musical instruments from rural areas of India, and associated musical traditions.” (exhibition concept Horniman Museum)

The Future of Traditional Music in India

Instrument NeckThe TMI is more than just music and dance. It is about the people, who play, sing, and listen and dance. Music and dance is one important part of their ‘identity’, what links them to their tradition and helps them to cope with reality. Much more, it is not so much about ‘keeping up traditions’ but rather about fun, a way to enjoy life.

Interestingly there is a new awareness in ‘world music’ in the northern parts of the world, but also in India. Especially as the urban developing middle class’ interest in traditional handicrafts slowly shifts to other traditional arts, like music and dance.

The benefits of the world wide web enable more and more rural musicians and cultural activists to connect themselves with musicians and aficionados in other parts of the world, creating new possibilities to continue and revive their age-old trade.

More and more museums (like the Horniman’s musical instruments exhibition) and exhibition halls (in and outside India) ‘discover’ not only the traditional fine arts, but also the music and dance from rural India.

The Smithsonian Global Sound Project [3] has started to set up a website, where it makes traditional Indian music accessible.

The author of this article is also the co-founder of Kala Collective, which is “a group of individuals and organisations working within the field of South Asian Arts” (Kala Collective website).

It is the aim of the Kala Collective:

  • To create and work with projects, which contribute to the sustainability of individuals and communities in the UK, Europe, and South Asia;
  • To introduce South Asian arts to new audiences;
  • To create fresh opportunities for artists;
  • To adopt a participatory approach in all our areas of work;
  • To connect communities, generations and cultures;
  • To work in a way which is fair, inclusive, and sensitive to the aims and objectives of our partn ers.
  • These aims could be a guideline for further activities within the Traditional Music in India project. It is not just about recording and documenting, but about to exchange with and understand rural musicians, to create awareness of the situation of these artists, provide a way to link Indian musicians with each other and the outside world.

References

  • … and the Goddess loves music  (website)
  • Kala Collective (website)
  • 2006 – Ritual Music and Hindu Rituals of Kerala. New Delhi: BR Rhythms.
    Music in India exhibition concept, Horniman Museum (unpublished)
  • Perumanam Kuttan Marar and party
    1996 – Drummers from Heavan – Panchari Melam, the ritual percussion ensemble of Kerala. Leiden, Netherlands: PAN Records (recording, sleeve notes, and co-production by RK)
  • Pugatri Divagara Pooduval
    1998 – Ritual Percussion of Kerala: Vol. 2 Tayambaka. Genève, Switzerland: VDE-Gallo, Archives Internationales de Musique Populaire (recording and sleeve notes by RK)
  • Singh, Suresh K. (ed.)
    1972 – The Tribal Situation in India. Delhi: Motilal Banrsidass
  • Smithsonian Global Sound Project – http://www.smithsonianglobalsound.org/
  • Traditional Music in India Project concept (unpublished)

Various

  • 1997 – Percussions of Kerala, South India. Boulogne, France: Sunset-France (recording, sleeve notes, and co-production by RK)
  • 1998 – Ritual Percussion of Kerala: Vol. 1 Kshetram Vadyam. Genève, Switzerland: VDE-Gallo, Archives Internationales de Musique Populaire (recording and sleeve notes by RK)
  • 2002 – Tune in to the Sounds of Kerala. London, UK: Horniman Museum (recording, sleeve notes, and production by RK)
  • 2003 – Drumming and chanting in God’s own country – The temple music of Kerala in South India. London, UK: Topic Records / British Library Sound Archive (recording, sleeve notes, and co-production by RK)
  • 2003 – Sounds for Divine Ancestors: The Music of Nepal’s Tamu Shamans. London, UK: The AHRB Research Centre for Cross-Cultural Music and Dance Performance/SOAS. (Sleeve notes and mastering by RK)
  • 2006 – Voices for Humans, Ancestors and Gods – A musical Journey through India’s interior (East and North-East India). London, UK: Topic Records / British Library Sound Archive (recording, sleeve notes, and co-production by RK)
  • 2007 – Desert Sounds – The music of Banni in Kutch, Western India (forthcoming). Leipzig, Germany: Raumklang Records (recording, sleeve notes, and co-production by RK)

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[1] The term ‘Adivasi’ is commonly used for aboriginal people in India.
[2] See for instance Singh,1972 p. xiii
[3] See http://www.smithsonianglobalsound.org/

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Publications of Rolf Killius…

Audio Publications (CDs, recordings) of Rolf Killius…

  • Perumanam Kuttan Marar and party (CD)
    1996 – Drummers from Heavan – Panchari Melam, the ritual percussion ensemble of Kerala. Leiden, Netherlands: PAN Records, recording and notes by Rolf Killius
  • Pugatri Divagara Pooduval (CD)
    1998 – Ritual Percussion of Kerala: Vol. 2 Tayambaka. Genève: VDE-Gallo, Archives Internationales de Musique Populaire, recording and notes by Rolf KilliusVarious (CD)
  • 1997 – Percussions of Kerala, South India. Boulogne, France: Sunset-France, recording and notes by Rolf Killius
  • 2006 – Voices for Humans, Ancestors and Gods. London: Topic Records / British Library Sound Archive, recording and notes by Rolf Killius – http://www.songlines.co.uk/topoftheworld/top-of-the-world.php
  • 2003 – Sounds for Divine Ancestors-The Music of Nepal’s Tamu Shamans London: SOAS, notes by Rolf Killius
  • 2003 – Drumming and chanting in God’s own country – The temple music of Kerala in South India. London: Topic Records / British Library Sound Archive, recording and notes by Rolf Killius
  • 2002 – Tune in to the Sounds of Kerala. London: Horniman Museum, recording and notes by Rolf Killius
  • 1998 – Ritual Percussion of Kerala: Vol. 1Kshetram Vadyam. Genève: VDE-Gallo, Archives Internationales de Musique Populaire, recording and notes by Rolf Killius

(Source: 10/2013 – IMW – India Music Week: “Rolf Killius – Traditional Music Videos + Music”)

Posted in India Music Week (2013) | Tagged: , , | Leave a Comment »

 
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