Music Essay The promotion initiative IMC - India meets Classics and its media production IMC OnAir

(IMCRadio.Net) enjoyed that the great fusion and Rock Jazz guitarist John McLaughlin followed the invitation for a unique BackStageTalk in May 2008. The production goes back to the 1st pre plannings during Johns Hamburg visit in July 2007 with Remember Shakti and together with Zakir Hussain (Tabla) for a Dalai Lama charity concert. The 58 minutes special Miles from India being broadcasted on 2nd January 2010 documents the fully talk. (Rec.: The 28 minutes TV special was broadcasted on 7th July 2008 - 08:30 pm (MEST) and shows an extract.) The BackStage Talk refers to Johns project in India Floating Point which was released in April 2008 and his composition of the titel song for the double CD Miles from India with world premiere in NewYork on 9th May 2008. Johns time schedule of his European Concert tour 2008 with his formation 4th dimension since 9th May on the road required to set the interview beside Johns concert on 28th May 2008 in the culture and communication centre FABRIK (Hamburg-Altona), Germanys most famous hot spot (since 1971) for unique concerts in (Rock) Jazz, Blues, Fusion, Cross over and World Music.

screen

splashs

out

of

the

TV

production

documenting the John McLaughlin Backstage Talk

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IMC presents ... Raga CDs of the months: Mangala Snaanam - Mangala Isai

subtitle: Holy bath - Holy music... No Indian wedding without the Nadhaswaram.
broadcasting: Tuesday, 19th January @ 09:00 - 09:58 p.m. (METZ)

...Under all the different Indian instruments we meet up the Nadhaswaram. It is world-wide the loudest, non metallic acoustical instrument, comparable with the volume of a trumpet. This wind instrument belongs to the group of the aerophones and is played mainly in South India (see Carnatic music). The Mukhavina is the much smaller version (10 cm) used for folk music. In North Indian Classical music (Hindustani) exists the relative of the Nadhaswaram, the Shehnai. In India the Nadhaswaram or Nagaswaram is counted as an auspicious wind instrument Mangala Vadya. Hardly any other instrument in Indian classics is in its character so close to the human voice. An important role for the origin of the Nadhaswaram plays the Tiruvarur district in the South Indian Federal State Tamil-Nadu. Over many centuries Tiruvarur was a cultural center. The ancient city Tiruvarur is famous for the Sri Tyagaraja Tempel. From Tiruvarur the tradition has its seed that two Nadhaswarm players are accompanied by two percussionists on the Thavil (barrel drum). Thavil and Nadhaswaram are substantial components of the traditional celebrations and ceremonies in South India. With its impressing volume the Nadhaswaram usually is played out of doors.

The holy music (Mangala Isai) has great importance in Hindu temples and for further areas of Indian life. A colourful potpourrie of Indian music, traditional forms, folk music up to contemporary styles we find at an Indian Wedding ceremony.

Nadhaswaram Duo accompanied by 2 Thavil players - Source: Wikipedia (ENG): Mambalam M. K. S. Siva & Sri K. Durga Prasad (Nadhaswaram), Sri P. Arulanandan & Sri V. M. Palanivel (Thavil)

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of

the

months:

Grama-s...

subtitle: music scales of the ancient India.

broadcasting: Tuesday, 16th February @ 09:00 - 09:58 p.m. (METZ)

The seven main notes (or Swars) that are well-known today for the Raga scales in Indian classics of North and South India are: Sa (Shadaja), Re (Rishabh), Ga (Gandhara), Ma (Madhyama), Pa (Pancham), Dha (Dhaivat) and Ni (Nishad).

Shadaja, Madhyama and Gandhar Gramas

The origin of the Ragas and its microtonal structure (22 shruti-s) can be dated back to the scripts of the ancient India and the Vedas (600-500 BC). In the Natya Sastra, a musical treatise about the performing arts (theatres, dance and music) written by the Indian musicologist and sage Bharata Muni we find first references with two basic types of scales (grama-s) to which all Ragas of today can be referenced: Shadja Grama and Madhyama Grama....

Extended Helmholtz-Ellis Ji Pitch Notation *

The accomplishment of the Natya Sastra is dated approximately between 200 BC and 200 AC. By its fundamental treatise of performing Indian arts till nowadays it is called the 5th Vedic book (Veda in Sanskrit means knowledge). Bharata Muni referred herefore to the Ghandarvaveda, a treatise about music, dance and theatre as part of the Upaveda, the technical manual of the Samaveda. This collection of hymnes is the 2nd book of the Hindu scripts and part of the 1st 4 Vedic books. 75 of the melodies (samagana) in the Samaveda derivate from the Rigveda, same a collection of hymnes sung by the priests of Vedic religion for praising different deities. The Rigveda is dated aproximately between 1700-1100 BC. ___________________________ *) Notation in The Extended Helmholtz-Ellis Ji Pitch Notation (Wolfang v. Schweinitz 16.02.2007) / microtonal accidentals designed by Marc Sabat &

Wolfgang von Schweinitz (2004/2005) / Just Intonation (JI) of Indian Scales (@ Wikipedia)

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IMC presents ... Raga CDs of the months: Music & Language. broadcasting: part 1 - Tuesday, 16th March @ 09:00 - 09:58 p.m. (METZ) part 2 - Tuesday, 20th April @ 09:00 - 09:58 p.m. (METZ)

The relationship between music and language, between sounds and the spoken word or vocals is a very special one. The grammarians of Sanskrit, the ancient Indian science language regard music and language as divergent aspects of one and the same phenomena.

With Indian classial music (Hindustani, Carnatic) there is a multiplicity in common under the topic to music and language , which is the bases of the occidental harmonics, dated back to the founder of the mathematical analysis of music by Pythagoras of Samos who had evidenced empirically the harmonic intervals approximately written before 500 B.C. . Music seems to be reflected far less vaguely in us than it had been granted so far. Rather our perceptions of sounds are defined very exactly by outlined possibilities and borders. The audiomental system has greater importance than one had assumed recently.

Busto Copia

di

Pitagora. di

romana

originale greco. Musei Capitolini, (Source: (ENG)) Roma. Wikipedia

As shown by recent studies the perception of music and music making incorporate nearby almost all regions of the brain. The widespread acceptance that music is processed in the right brain hemisphere and language in the left had completely been wrong. The current research shows that language and music are assimilated almost identically. The profound emotional content of music, from felicity to sadness affects particularly stimulating our brain and also produces frequently physically intensively perceptible reactions to the listener. Music settles visibly in our life, in brain activities which are measurable nowadays and made vividly visible with modern medical imaging techniques e.g. (functional) magnetic resonance tomography (MRT) or Magnetoencephalography (MEG), see picture below.

Stefan Koelsch: Nature Neuroscience 7(3), 2004: Music, Language and Meaning: Brain Signatures of Semantic Processing (short paper (pdf: German | English))
In part 1 of 2 IMC India meets Classic presents the structure of music & language . The following broadcasting (part 2) will bring light up the social psychological meaning of music for individual and community interaction processes influenced by the nature of music as communication form.

Note: IMC OnAirs radio show music and language in two parts (2x 58 min.)
represents a fundamental introduction regarding the multiplicity of sciences involved (music ethnology, anthropology, language and social sciences, neuro sciences, psychology, computer sciences (artificial intelligence) among others).

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broadcasting in 2010 at prime time: each 3rd Tuesday @ 09:00 p.m. (METZ) since 1st August 2007: 24 h x 7 d as Internet-Radio - 1:1 real time worldwide ! New - Every 1st Tuesday: Indian E-music - New !

IMC presents ... Raga CDs of the months: Indian Swara-s broadcasting: Tuesday, 18th May @ 09:00 09:58 p.m. (METZ)

IMC OnAir's new broadcasting "Indian Swara-s - Indian notes & Mother nature" purchase to our latest shows "music & language" in March and April where physiological aspects of listening music (part of 1) and the sociology of music (part 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 archive.) 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). 1. Sa (Shadja) howl of the peacock

2. Re (Rhishaba) - moo of the cow for her calf or the chataka (bird kind animal) 3. Ga (Gandhara) - the baa of a wild mountain goat or a sheep 4. 5. Pa Ma (Madhyama) singing of the call Indian of the (or heron* kokila) (Panchama) nightingale

6. Dha (Dhaivata) - croak of the frog in Indian Monsoon / horse's wickering 7. Ni (Nishada) - trumpeting ofan elephant 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" on 21st December 2009). ______________________________ *) Ma (Madhyama) is the basic sound of nature, beside Aum (OM) as the eternal sound of the infinite universe.

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IMC presents ... Raga CDs of the Months: Nyasa - Silence in Ragas broadcasting: Tuesday, 15th June @ 09:00 09:58 p.m. (METZ)

For the Ragas of our time there exist a variety of combinations. The ascending and descending scales (arohana and avaroha) can exist of 5, 6 or 7 main notes. In the Natya Sastra , which is the fundamental work by the sage Bharata Muni with more than 6000 Sutras defining the notation of the Raga modi which can be understood as the origin of the melodic structure of modern Ragas, the so called Jati-s. In all India the Jatis had been popular particularly for the singing. The Natya Sastra classified the Jati-s in 18 groups, seven (7) as pure forms, from which 146 modified ragas can be defined and eleven (11) hybrid forms with a multiplicity of variations.

Almost at the same time the musical scripture "Dattilam" written by the (Muni) Dattila followed the Natya Sastra. It is dates approximately between the 4th century BC and 2nd century AC. The Dattilam described the Jati-s more exactly each with ten (10) characters from those the melodic structure of the contemporary ragas of North Indian Classics had developed. For the ancient ragas the weighting of a note (swara) was described with the term Amsa. Amsa is in its function multivarious. Among others it is the note, with which the complete character of a raga is described, e.g. in form of a stabalizing element as Nyasa Swara. In the arrangement of a raga which is subjected to a strict set of rules each phrasing has a starting point: with Graha the position of a note is described, more exactly: the note, with which a Raga exposition must be begin. Graha is the initial note and Nyasa the conclusion. The instrumentalist or vocalist returns at the end of a melodic phrasing to Nyasa as "melodic center" and "quiescent pole".

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IMC

presents

...

Raga

CDs

of

the

Months

(07/10):

summerbreak (repetition: Jugalbandi - Duet in Indian Classics (10/2009)) broadcasting: Tuesday, 20th July @ 09:00 -09:58 p.m. (METZ)

IMC

presents

...

Raga

CDs

of

the

Months:

Voice of Tradition - Dr. Gangubai Hangal. broadcasting: Tuesday, 17th August @ 09:00 09:58 p.m. (METZ)

Dr. Gangubai Gangubai is a representative of North Indian Classics. This exceptional vocalist was on air beside important female representatives of North and South India in IMC OnAirs radio show Women in Indian Classics (part 1). The 1st anniversary day on 21st July during the annual summer break of IMC OnAir gives us some reason we like to dedicate in August a whole radio show to this outstanding artist who was called Father of the Khayal (mainly because of Gangubais androgynous voice). 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 Gangubais origin from this social milleu she was refused by the orthodox Brahmans. It wasnt modern that a woman earns her living costs with arts. Although Gangubais 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 thanks Vikas to Zutshi indiasummary.com,

(Blogspot), Wikipedia.org, (1st row); Eric Parker (Flickr), Hinduonnet.com, cbc.ca/daylife.com/Guardian.co.uk (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 Indias 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 OnAirs radio shows.

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Raga

CDs

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the

Months:

Ma Durga (Mother Durga) - Patiency & Freedom of Fear broadcasting: Tuesday, 21st September @ 09:00 - 09:58 p.m. (METZ)

Raga Durga is a 5 note raga (audav) - a pentatonic late evening raga. In the ascending and descending scale only five of the seven (7) main notes can be used: Sa Re Ma Pa Dha. The 3rd pitch Ga and 7th pitch Ni are not played which corresponds to the E and B in Western notation. All notes of Raga Durga are

natural (suddha), thus neither diminished nor augmented. The modal form of Raga Durga is existing singular in North Indian Classics (Hindustani music). Raga Durga belongs in the classification system of Hindustani to Bilawal Thaat. Raga Bilawal, one of the 10 main ragas is in its nature seen as female. All derived ragas same Durga belongs to are considered as female, as Ragini-s. The origin of Raga Durga is not clear. Probably it was created in the late 18th /early 19th century. There exist the opinion that Raga Durga is derived from the South Indian Ragam Suddha Saveri (Carnatic music). We find the same material of notes however with other 1st pitch also in Raga Malkauns or Bhupali. The 5 tone scales exist worldwide in many music systems, e.g. Greek pentatonic. As origin for Raga Durga only the region of South Asia can be assumed securely. Ma Durga - Mother Durga is one of the highest female divinities of India. In honours of Durga in different Indian Federal States and close neighbourhoods such as Bangladesh and Nepal the Durga Puja is celebrated of several days (up to 10 days). The Durga Puja is the most important religious celebration in Hinduismus.

Oh To Oh Of Oh Oh Deep Oh

Divine Become Divine Your Divine Divine Divine

Mother One Mother Mother From Mother Within Mother Let

Come With Me Me Your Me My Let Me Let Gentle Let

to Hear,

Me, You The The Eyes The Heart Know, Joy Voice

Want (Refrain). Whisper (Refrain). That

See, Feel,

Love

Reflects

(Refrain). Thats (Refrain). How You

Protect And You Guide Me (Refrain).

The annual date is fixed after the Hindu sun and moon calendar Chaitra. Durga Puja is celebrated in the 7th month Ashwin, in the first 9 days. The moon movement (Tithi) plays a crucial role. The month of the moon consists of two halves, the first full moon phase and second new moon phase. Mahalaya, the

first day of Durga Puja falls on the new moon day and celebrates the return of the married daughter Durga to her father Himalaya.

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IMC presents ... Raga CDs of the Months: CHANDRA - Moon Ragas broadcasting: Tuesday, 19th October @ 09:00 - 09:58 p.m. (METZ)

Humans in a multiplicity of cultures (Western, Eastern and Asian) award the moon mystic strength. The satellite circles the earth in 29,53 days from full moon to full moon at an averaged distance of 384.401 km. The gravitation of the moon and sun explain the tides ( ebb and flood). Vedas, Hinduism

Already in the Vedas (Sanskrit: vda, "knowledge"), in the pre-Christian time of India the moon was referenced to the daily and week calendar. In the Vedas the moon was the divinity Soma, the sap. The moon is thus ruler over all plants and the vegetation. Also

Chandra metmuseum.org)

(Source:

Soma determines itself over 'Monday,' like it is reflected in the Nava Graha-s (nine planets) : seven (7) main planets + two (2) shaddow planets (decreasing and increasing moon), see below Indian Astrology'. In the Hindu self understanding the moon is a planet (Graha) and a divinity as well: Chandra. Chandra means "shining". We find this word for moon in the old scholar language Sanskrit, in Hindu and national languages of different Indian Federal States (Ref.: Beside Chandra exist further names: "master of the night" = Rajanipati; "That, who illuminates the night" = Kshuparaka or "the bright shining drop" = Indu (see below Melakarta system).) In Hindu mythology the moon personifies same positive as negative characteristics. The Queen of Moon can be as well the Demon of the Moon. Chandra, the moon, is represented in figurative paintings and sculptures as a beautiful four-armed young man. Chandra drives a chariot nightly over the sky, pulled by 10 white horses or an antelope. (Note: In some exposures Chandra is illustrated also with a hare as Chandra is the patron saint of all hares.) Indian Astrology Nine Planets (Nava Graha-s) The vedic Astrology, the ancient Astrology of India interpreted the moon regarding the human body as brain and intellect. The moon is emotion, abilty of perception, gentleness, imaginative power, queen and mother. In the Panchangam, the almanac of Hindu Astrology the year is divided into 12 months. The moon movement (Tithi) plays a crucial role (moon calendar "Chaitra "). The month of the moon consists of two halves: the first full moon phase and second new moon phase. The brightly waxing moon is regarded as benedictional and the covered, waning moon is malicious, harmful. Beside the moon as one of the seven (7) main planets exist two divinities for the waxing and waning moon, so called shadow planets: Rahu symbolizes the waxing and Ketu the waning moon. Rahu & Ketu are demons of large power (see IMC radio show: "Ragas for Nine Planets (Nava Graha-s)").

6 Seasons The time cycle of Indian Ragas or reference to seasons (e.g. spring ragas, monsoon ragas) have direct influence on the human consciousness and its emotional sensation. In Indian classical music one defines six (6) seasonal references, the so called rithu-s. Every rithu refers to one time period which is linked with a special event. Everyone of the six (6) rithu - takes two (2) sun months The exact beginning of a rithu is calculated from 30 degrees of sun movement with reference point to the equinoxes (day and night) and the summer and winter solstices - in relation to the earth rotation and inclination of the earth. The season Varsha is assigned to the planet moon and sun. If sun & moon are located in the zodiac signs of Gemini and Cancer it is rainy season in India (Monsoon: 20th May - 20th July). In the Hindu moon calendar Chaitra these are Yeshta and Ashaadha. The first day "Mahalaya" of the Durga feast, which is the most important ceremony for Hindus, falls on the new moon day and celebrates the return of the married daughter Durga to her father Himalaya (see IMC radio show: "Mother Durga - Ma Durga"). Also the number of Chakras (body, spirit and soul) are twelve. The six lower Chakras are activated by the six seasons. The chakra Manipura is being activated by the bright moon light in the season Sarad Rithu. Manipura is mentioned as the third primary chakra (behind the solar plexus), also named as "the seat of the jewels". The second chakra Svadhishthana is in relationship with the element water and the moon. Svadhishthana is being activated by moon and monsoon ragas like Raga Megh (see IMC broadcasting: "Ragas in the Indian Monsoon (rainy season ragas)"). Ragas of North Indian Classics (Hindustani)

The mood of the moon and its special atmosphere is recflected in the late evening raga Chandrakosh (or Chandrakauns). Kauns marks this moon raga in the ascending and descending scale as 5 note raga (pentatonic scale). Chandrakauns existed in its old form till the 19th and early 20th century as a popular Raga for recured melody forms, the Lahara-s (or known as 'naghma-s'). This moon raga also was selected as an accompanying form for Tabla solos and for dance performances of Kathak (North Indian dance).

old (left) and new (right) scala form of raga Chandrakauns (source: chandrakantha.com)
The Sarode legend Ali Akbar Khan died at the age of 87 years, on 18 June 2009. This exceptional musician of North Indian Classics created the moon raga Chandranandan. It can be counted as one of the outstanding compositions of Ali Akbar Khan. Chandranandan is a mix of four traditional Ragas: Malkoush, Chandrakauns, Nandakoush and Kaushi Kanada. (see IMC radio show: "Tradition & Modernity - A Tribute to Ali Akbar Khan".)

Another variant of a moon ragas is ChandraDhwani. A blend between the moon raga Chandrakauns and night raga Kaushik Dhwani. Both are 5 notes ragas (pentatonic). For Kaushik Dhwani the 2nd pitch Re (Rishabh) and 5th pitch Pa (Pancham) are omitted. All notes are played as "suddha" (natural).

Chakra (source:

Svadhisthana

www.namaste.it)
South Melakarta system Same as in Indian Astrology in South Indian Classics (Carnatic) there exist 12 groups (chakras) with each six Ragams. Altogether exist 72 Ragams in the the classification system of Carnatic music, called Melakarta system (see diagram). Ragams are the South Indian form equivalent to the North Indian Ragas. The first group is Indu, beside Chandra a second name for moon. There is only one moon, therefore Indu is the first group, the first Chakra in the Melakarta system. The color red (similar to Chakra Svadhisthana) is assigned to this Melakarta Chakra. Singing of these moon ragas makes the heart feels relieved. We feel the gentleness and pleasant effect of the full moon. The following diagram shows all 72 Ragams: 1st till 6th Melakarta Ragams (Kanakangi, Ratnangi, Ganamurti, Vanaspati, Manavati and Tanarupi) of the 1st Chakra Indu (source: allcarnaticmusic.com)... Indian Classics (Carnatic) Ragams of

Elements of Nature

The element of the moon is water (see above: six seasons - varsha ritu). The moon regulates the months of rain (monsoon) and the water for the harvests while Mercur prevails over the period of

polished

moon

stones

(source: www.t-fleece.com)
growth and ripeness of fruit and Jupiter over the frosty months, in which leaves fall and the cold season begins. Chandra's influence appears also in the food. The moon determines the structure of the rice. In emotional colours the moon is understood as white, metal-silver. In India it is represented by pearls and moon stone which belongs to the group of the

feldspars. The moon stone is a mineral variety of the Orthoklas. As genuine gem stone one finds it however very rarely as Cabochon - nearly translucent with tender-bluish gloss. The moon stone's typical country of origin lies in direct neighborhood to India, on Sri Lanka.

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ICM

presents

...

Raga

CDs

of

the

Months:

KALPITA

SANGITA

... compositional forms in Indian Classical Music. broadcasting: Tuesday, 16th November @ 09:00 - 09:58 p.m. (METZ)

The promotion initiative IMC India meets Classic has presented so fare Indian Classical Music in its monthly radio broadcastings on the basis of raga scales.

SURDAS (sage/componist) SHYAM MANOHAR &

For North Indian Classics (Hindustani music) the Ragas are classified according to the Thaat system with 10 parent scales. The Carnatic music (South Indian Classics) exist 72 ragams of the Melakarta system.

Raga scales arent melody forms, in the sense of composed music pieces notefor-note with fixed keys (major and minor) or exact defined modulations (dynamics) for each bar by written notations.

Ragas are to be understood as more than a complex sete of rules. Ragas are a framework, in it the interpreter freely can move vocally or instrumentally. Ragas are monophon (without

Jayadevas Gita Govinda

chords). The micro-tonal structure (shruti-s) and complex rhythm system (Taala) guarantee an extremely ornamental art. Raga performances are multifaceted. A compositional understanding as in Western classical music does not exist in

Indian Classics. But the term composition is used also in Indian Manodharma Sangita means the creative music. music. The term Kalpita Sangita defines the recitative music while

Amir

Kushro
Kalpita Sangita is an interpretation form which applies to

(componist)

existing compositions: original compositions or creations of other composers. A composer is called Vaggeyakara. On the other hand Manodharma Sangita is created by a vocalist or instrumentalist ex tempore spontaneously, a kind of improvisational style as known in Jazz, on the basis of the modal structure of Indian raga scales.

The radio broadcasting in November Raga CDs of the Months is occupied with the compositional concept of Kalpita Sangita. Sources of pictures (paintings):
o

SURDAS & SHYAM MANOHAR (Lihto/Print) - Artist: Vasudeo H.Pandya, Print: 14 x 20 (Picture & Published by : S.S.BRIJBASI & SONS, MATHURA (U.P.) (Printed around 70 years Back.) Jayadevas Gita Govinda (Bahsoli painting of Radha and Krishna in Discussion, (An illustration from Gita Govinda) Gouache on paper, circa 1730 AD) Amir Khusro and Hazrat Nizam-ud-Awaliya (Hyderabad, circa 1750-70 A.D., National Museum, New Delhi)

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IMC presents ... Raga CDs of the Months: Studies in Indian Classics part 1: Gharana-s - Bani-s (family traditions) broadcasting: Tuesday, 21st December @ 09:00 - 09:58 p.m. (METZ)

The promotion initiative IMC - India meets Classic will present in it's last broadcasting of 2010 the new topic "Studies of Indian classical music" (part 1 and following). Beside original music from India this radio show will answer the

substantial question for all those who are interested to study Indian music: "How to choose a teacher (Guru)?". - The pro and cons of different methods of teaching will be lit up in this series considering the characteristics of instrumental play and Indian vocal styles. At the latest since the musical discovery journeys of Menuhin and Coltrane the broader interest in studying Indian Classical music grew in the West. It is unbroken until today. The violin virtuoso Sir Yehudi Menuhin visited India in 1952 for the first time. Later Menuhin took lessons from the legendary sitar player Ravi Shankar. The modal concept of Indian Ragas is reflected also in the music of the jazz saxophonists John Coltrane. Coltrane's composition "India" (from the jazz album "Live at the Village Vanguard") originates from the year 1961, in which he met Ravi Shankar. Coltrane studied Indian religion and philosophy apart from Indian classics. For the approach to the musical training the new radio show orientates with two western terms. As there would be: music schools and music sciences. In that more than 2000 years old system of Indian classical music of North and South India we find the similar term Gharana. The Gharana-s are less a kind of music schools in the Western sense. Gharana is a name for the heritage of a musical tradition which is overhanded mostly in oral form over many generations from teacher (guru) to pupil (shishya). Gharana is derived from the Hindu word "Ghar", i.e. family or house. There exist Gharana-s for singing, instrumental play, the Indian percussion instrument Tabla, for Indian dance and some wind and string instruments. In view of more than 30 existing Gharana-s we are limiting part 1 of our topic "Studies of Indian classical music" to the oldest singing form of the North Indian classical music: the Dhrupad.

The oldest music school for Dhrupad is the Dagar Gharana. It's name refers directly to the Dagar Family (see below ) which determines the development of the Dhrupad style until today, unbroken since more than 20 generations.

Grandsons of Zakiruddin Khan and Allabande Zia Khan The Dagar b1933),
The term Gharana is not even as old as the family traditions. The social meaning of the Gharana-s became of relevance for the stylistic idendity of an artist in instrumental play or vocal lately in the midth of 19th century. The Gharana-s of the Dhrupad style have a pre-history. All Gharana-s are attributed only to four lineages, the so called Bani-s (or Vani-s).

Brothers ( from left to right): Ustad Fariduddin Nasir Dagar( Ustad Zahiruddin

Dagar(1932-1994), Ustad Rahim Fahimuddin Dagar(b 1927), Ustad Nasir Aminuddin Dagar(1923Nasir 2000), Ustad Zia Mohiuddin Dagar (1929-1990), Faiyazuddin Ustad Dagar(b1939). Hussain Ustad Dagar(1934-1989), Sayeeduddin

Bani means "word", it is derived from the Sanskrit "Vani", i.e. "voice". The Banis are style concepts. The four Dhrupad Bani-s had been constituted by four outstanding musicians at the court of the mughal emperor Akbar (1542-1605). There are: Gaudhari Vani or named as Gohar or Gauri Vani in the tradition of the famous court musician Tansen, Khandari Vani of Samokhana Simbha (Naubad Khan), Nauhari Vani in the tradition of Shrichanda and Dangari or Dagar Vani of Vrija Chanda. If one looks further back in the music history of India one discovers in the 7th century a link to the Bani-s. The four Bani-s of the Dhrupad had developed from seven in the core five (5) singing styles, the Geeti-s. These Geeti-s are: Suddha, Bhinna, Gauri, Vegswara and Sadharani. Gaudi Geeti is not far more in use.

The Dagar Gharana The Dagar family's contribution to the perpetuation and enrichment of this art, while preserving its original purity, has been so precious, and the fact that the history of this family can be traced back for 20 generations without a break is so unique, that the family can be said to represent a microcosm of the history of Indian classical music. Dhrupad reached its apogee in the 16th century, during the reign of the Moghul emperor Akbar. At that time there were four Schools of Dhrupad, representing this art in all its diversity. Brij Chand Rajput was of Dagar lineage, so the school of Dhrupad that he headed was called Dagar Vani. The other three Vanis, Khandar, Nauvahar and Gobarhar. respectively, almost disappeared in the course of time, and only in the Dagar Vani has the pure tradition of Dhrupad

been maintained and brought down to our day. Until the 16th century the Dagars were Brahmins, but circumstances constrained their ancestor, Baba Gopal Das Pandey, to embrace Islam , and he came to be known as Baba Imam Khan Dagar . One of his two sons, Ustad Behram Khan Dagar, was the most famous and learned musician of his time, in the 18th and 19th centuries. During the 125 years of life that God granted him, he applied himself to the acquisition of a thorough knowledge of the Sanskrit sacred texts. He devoted the greater part of his life to the rigorous analysis of these texts in order to translate the formal musical rules into a pragmatic teaching method. He distilled the style of singing, the gayaki, to a degree of purity and clarity never known before, elaborating the alap and rendering singable the technical forms. (Source: The Dagar Tradition - www.dagardvani.org)