Hindustani classical music Research Papers (original) (raw)

I had studied various books to learn little about Hindustani classical music but this one is the most suitable for beginners. The book can make better understanding to learn the basics of Hindustani classical music.

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- Music, Musicology, Hindustani classical music

A fundamental purpose of this study was to test whether theories and principles of music cognition and perception derived using western music can be applied to other styles of music, in this case, Carnātic music. Previous investigations showed that listeners use culture-specific and low-level sensory cues to comprehend familiar music, whereas they relied mainly on sensory cues and schematic knowledge gained from listening to music of their own culture to understand unfamiliar music. Research also shows that listeners hold mental representations of the hierarchical ordering of notes in musical scales of one’s culture which they readily access when listening to familiar and unfamiliar melodies. The existence of such representations has been demonstrated in real time using behavioral and neuroimaging techniques. The goals of the present study were to 1) behaviorally track listeners’ responses to two types of modulation as they developed over time in Carnātic music and 2) identify the various cues that listeners, familiar and unfamiliar with the music, utilized in order to perceive the modulations. The purpose of Experiment 1 was to obtain baseline profiles of four rāgams (modes) and compare these against profiles of modulating excerpts containing the same rāgams in Experiment 2. Carnātic and western music teachers heard brief Carnātic excerpts in one ear while in the other ear they heard a continuously sounded probe-tone. The probe-tone was one of the twelve chromatic notes of an octave. Participants judged continuously how well the probe-tone fitted with the melody. Results showed that western teachers’ responses matched those of the Indians on rāgams that had structures similar to the western scales but differed considerably when the rāgams were unfamiliar. Also, there were differences in the two groups’ responses to modulations. These discrepancies were primarily due to the influence of culture. The findings supported previous research and identified three types of cues: 1) culture-specific cues, which included theoretical knowledge of the rāgams and familiarity with the excerpts in the study, employed by Indian teachers, 2) basic psychophysical cues of duration and frequency of note occurrence employed by both Indian and western participants, and 3) transference of schematic knowledge of western music by western participants.

- by Rachna Raman
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- Psychology of Music, Music Psychology, Cross-Cultural Psychology, Music Cognition

The term Ragavarnika is derived from two different categories, i.e. Raga from Ragamala paintings that depict Indian classical musical modes, and Varnika from Varnika Bhanga, which is one of the six canons of the principle of Indian paintings that focuses on the applications of the colours based on the emotions represented by the subject. "Raga" derives from the Sanskrit word "Ranj", meaning something that is coloured, dyed, or glowing, or can make one feel or be passionate; hence Raga in music means the colour of mind i.e. emotions (Rasa). The combination of elements corresponding with that of music and colour sequences developed the art of Ragavarnika. Among numerous themes and various stylization adapted by the miniature painting

- by Aarti Iyer
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- Anthropology, Ethnomusicology, Indian ancient history, Sanskrit Literature

Two very widely used terms, 'musicians' and the 'musicians' statuses', are commonly applied labels across the music fraternity, where Hindustani Raga Music [HRM] is no exception. In HRM, there are no objectively laid definitions of these two expressions. In different music cultures, musicians' statuses were seen from the societal, economic, and based on the roles played in music production and rendering. The intra-status, a musicians' relative position within the same group, is not clearly defined. The formal texts of HRM also do not categorically define a musician. In India, Afghanistan, and Pakistan, people use the words vAggeyakAr, kalAvant, mirAsI, kasbi, AtAi, zauqI, and others, but these terms do not categorize musicians within the periphery of a specific musician's close circuit; these words do not point to intra-status. The current investigation used the DELPHI method to find some objective answers to defining musicians and their intrastatus. The HRM Experts from different parts of the world with an average HRM association of 39.11 years joined this investigation. The research exercise systematically generated an objective definition of HRM musician and suggested methods for defining HRM musicians' statuses.

Two very widely used terms, ‘musicians’ and the ‘musicians’ statuses’, are commonly applied labels across the music fraternity, where Hindustani Raga Music [HRM] is no exception. In HRM, there are no objectively laid definitions of these two expressions. In different music cultures, musicians’ statuses were seen from the societal, economic, and based on the roles played in music production and rendering. The intra-status, a musicians’ relative position within the same group, is not clearly defined. The formal texts of HRM also do not categorically define a musician. In India, Afghanistan, and Pakistan, people use the words vAggeyakAr, kalAvant, mirAsI, kasbi, AtAi, zauqI, and others, but these terms do not categorize musicians within the periphery of a specific musician’s close circuit; these words do not point to intra-status. The current investigation used the DELPHI method to find some objective answers to defining musicians and their intra-status. The HRM Experts from different ...

- by Sanjoy Bandopadhyay
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- Indian Music, Systematic Musicology, Indian Classical Music, Musician

Owing to its historical process and musical features, Indian classical music is divided into two styles: South Indian classical (Karnataka) music and North Indian classical (Hindustani) music. The main difference between the two is that the former style has strong Hindu characteristics whereas the latter, influenced by Islamic music during the medieval period, shows a strong tendency toward improvisation. The social organization of Hindustani music is characterized by the gharānā, a musical community that consists of the master-disciple institution as well as its musical style and knowledge. 1) Plate 1-1 Afghan rabāb and sarod (front view) Plate 1-2 Afghan rabāb and sarod (side view)

During his decade-long (1952–62) tenure as minister of Information and Broadcasting, B. V. Keskar spearheaded ambitious reforms to the national radio network, All India Radio. Keskar filled broadcasting hours with classical music programming, inviting musicians trained at renowned academies to perform and record. This essay argues that in the wake of independence, Keskar and his supporters sought to orchestrate a soundscape for the Indian nation through the medium of radio. In their attempts to train the ears of radio audiences and forge citizen-listeners, they also refined the meaning of citizenship in auditory terms. Administrators and broadcasters at AIR, however, assumed that citizen-listeners would be docile. Radio listeners proved the opposite. They protested against AIR’s music broadcasts by writing to magazine and newspaper editorials and by tuning their dials to foreign radio stations, whose broadcasts better suited their musical tastes.

- by Isabel Huacuja Alonso
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- Radio, Hindi/Urdu, Hindi Cinema, Hindustani classical music

This dissertation views the protracted Kashmir Conflict as a maladaptive outcome of sociocultural changes, and gives a commentary on the various "stresses" (i.e. external pressures) and "strains" (internal fissures) that have operated on the Kashmiri society over centuries to bring about the changes. These changes facilitated more complex and newer forms of stresses and strains to keep the conflict situation alive and thereby resulting in further disintegration of the socio-cultural scenario of Kashmir. Apart from political changes, changes and disintegration of Kashmiri culture is reflected in the changing or extinctive music, poetry, literature and philosophies of Kashmir. Representation of conflicting identities also acts as an indicator in explaining the various shifts in Kashmiri culture.

This book seeks to understand the complex history of the harmonium in North India, analyse the apparent conflict between musical theory and practice, and describe how the instrument is used in musical practice. Is the harmonium an instrument suitable for Indian music? Can it live up to the requirements of Indian music? These questions pervade the whole book, at the end of which, they appear in a whole new light.

- by Birgit Abels
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- Indian Music, North Indian Music, Hindustani classical music

Formula derived for finding nodal point on a string and nodal points derived for subjective Indian Classical Music Instrument Sitar. Harmonics and their equivalent Indian notes derived on the subjective Sitar along with their measurements.
Artificial harmonics defined and derived for the first string of subjective Sitar. Not all harmonics are musically utilitarian, musically useful overtones described. Use of harmonics to tune the Sitar and to define placement of frets explained. Reason for sympathetic harmonic resonance explained.

- by Siddharth S . Shukla
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- Music, Music Education, Musicology, Music Technology

The PhD dissertation investigates the so-defined ‘intermediate sphere’ of Hindustani music as characterised by a variety of heterogeneous forms and focuses on texts as a privileged ground for observation. The research is based on an interdisciplinary approach drawing from multiple domains within the main Indological field, including literary studies, ethnomusicology, and linguistics. I integrated this outlook with extended participant observation, being myself a student of Hindustani music within the traditional guru-śiṣya-paramparā (master-disciple knowledge transmission) system with proponents of the Banāras gharānā (music school). The dissertation outlines the ‘intermediate’ and ‘semi-classical’ music genres of Hindustani music as a result of constant interaction between complex dimensions: vernacular and Sanskritic tradition, bhakti and courtly literature, art and folk music. Furthermore, special attention has been devoted to the implications of applying the terminology and concepts drawn from Western categories of thoughts to the Indian milieu, informed by multi-layered interlocking contexts. Three among intermediate, ṭhumrī-related forms–namely caitī, kajrī, and jhūlā–have been studied in their origins, idiosyncrasies, and within their performative settings. Song texts featuring different idioms–such as Hindi, Bhojpuri, Braj bhāṣā, Awadhi, and Sādhukkarī bhāṣā—have been translated and analysed from structural, linguistic, and stylistic points of view. Imagery, motifs, intra-textual and contextual references have been examined as enactments of interweaving aspects embracing, among others, literary, social, ritual, and religious meanings. Elements related to bhakti and courtly models have been considered in the influences they exerted on formal features, contents, and performative contexts. The dissertation is completed with reference tools—such as a table of the main characters and key motifs of the genres analysed, a chart of synonymic expressions found in the texts, and a glossary of technical terms. This work aims at shedding light on music forms rather neglected by scholarly attention by suggesting new interpretative and critical perspectives. Musical expressions reveal some fundamental cultural and social dynamics and are paradigmatic of the fluidity of certain categories and conceptualisations in the Indic context.

- by Erika Caranti
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- Hindi Literature, Hindi, Hindustani music, Social Dynamics

One of the oldest dictionary of Hindustani and English language.

We used Toiviainen and Krumhansl's (2003) concurrent probe-tone technique to track Indian and Western musicians' tonal-hierarchy profiles through modulations in Carnātic (South Indian classical) music. Changes of mode (rāgam) are particularly interesting in Carnātic music because of the large number of modes (more than 300) in its tonal system. We first had musicians generate profiles to establish a baseline for each of four rāgams in isolation. Then we obtained dynamic profiles of two modulating excerpts, each of which incorporated two of the four baseline rāgams. The two excerpts used the two techniques of modulation in Carnātic music: grahabēdham (analogous to a Western shift from C major to A minor), and rāgamālikā (analogous to a shift from C major to C minor). We assessed listeners' tracking of the modulations by plotting the correlations of their response profiles with the baseline profiles. In general, the correlation to the original rāgam declined and the correlation to the new rāgam increased with the modulation, and then followed the reverse pattern when the original rāgam returned. Westerners' responses matched those of the Indians on rāgams with structures similar to Western scales, but differed when rāgams were less familiar, and surprisingly, they registered the shifts more strongly than Indian musicians. These findings converged with previous research in identifying three types of cues: 1) culture-specific cues—schematic and veridical knowledge—employed by Indians, 2) tone-distribution cues—duration and frequency of note occurrence—employed by both Indians and Westerners, and 3) transference of schematic knowledge of Western music by Western participants.

- by Rachna Raman
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- Psychology of Music, Music Psychology, Cross-Cultural Psychology, Music Cognition

The melodic structure of any rāga is best expressed through the khayāl genre of Hindustani Classical Music. Performance of khayāl provides scope to the vocalist to establish a mood centred on particular emotions through a rāga melody and a bandish. The audiences who partake in experiencing khayāl performance feel the methodical application of different ingredients of rāga melody by vocalists, indulging in tasting the rasas evoked in the senses. Rigorous studies have been undertaken by musicians and scholars of classical music from the perspective of notational systems, empirical analysis of rāgas and socio-cultural interpretation of the emergence of different genres but critical engagement in analysing aesthetics of North Indian music has been rare. This paper explores causes of arousal of rasa experiences in connoisseurs of khayāl. The methodology is to understand the relation between rāgas and rasas and the connection of bandishes of khayāl with rasas. It attempts to understand the attributes of a rasika or a connoisseur under the framework of rasa theory by discussing a rasika’s journey of assimilation into khayāl’s aesthetics.

- by Barnashree Khasnobis
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- Music, Culture, Music Aesthetics, Indian Culture

This essay is a collection of some anecdotes of North Indian Hindustani Classical music. It has the music stories from life of Omkar nath Thakur, Hafiz Ali Khan, Bundu Khan, Siddheshwari Devi, Allauddin Khan, Alladiya Khan, sharad Chandrta Arolkar, Sadarang and others. It focuses mostly the defeat of the accompanying artistes who were egotistic hypocrites because of their false pretensions.

- by Ramkrishna Das
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- Music, Music History, Musicology, Indian Music

The raga is said to be the soul of Hindustani music. Each raga in Hindustani music is associated with particular or a variety of emotional experiences. In this paper, we took a neurocognitive physics approach to quantitatively evaluate the emotions induced by two sets of Hindustani raga music. The study reports the change in the complexity of EEG brain rhythms while they listen to Hindustani music (instrumental) of contrast emotions. The two set of raga clips chosen for our analysis are Chayanat (romantic/joy) and Darbari Kannada (sad/ pathos) on the first day while Bahar (romantic/joy) and Mian ki Malhar (sad/ pathos) on the second day. 20 subjects voluntarily participated in the EEG study, who were made to listen to 2 min 'alaap' section of each raga. Detrended fluctuation analysis (DFA) was used to determine the complexity of neuronal oscillations in 5 electrodes, when the subjects listened to clips of contrast emotions. Alpha and theta brain rhythms were extracted from each of these electrodes and power spectral density (PSD) evaluated to estimate the alpha and theta power in all these electrodes. The results show that the complexity of brain rhythm varies significantly when the emotion of music changes from happy to sad.

- by Shankha Sanyal
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- Psychology, Neurology, Music Cognition, Hindustani classical music

This thesis is based on seven years’ work as a student of the master sarodist, Ali Akbar Khan. Its primary aim is to present a point of view and a method for understanding North Indian classical music. While any of the separate chapters may be of interest to the specialist, all of them taken together will form an introduction to North Indian music for the beginner.
The material here places North Indian classical music in the broader context of Indian philosophy and aesthetics; examines the system of ragas; provides a detailed analysis of performance practice with example; and describes the training of Indian musicians, which contrasts significantly with that of training in the West.

We examined differences between musicians’ and nonmusicians’ perception of modulations as they unfolded in time in Carnātic music using Toiviainen and Krumhansl’s (2003) concurrent probe-tone technique. Previous investigations showed that with culturally familiar music listeners use culture-specific and psychophysical cues, whereas with music from another culture they rely more on psychophysical cues and schematic knowledge imported from their own culture. We compared baseline profiles of four rāgams (modes) with profiles of modulating excerpts containing the same rāgams. Indian musicians’ tonal hierarchy profiles tracked the modulations in and out of the new rāgam. Western musicians’ profiles tended to match those of Indian musicians, indicating their employment of psychophysical cues as well as western schematic cues. Indian and western nonmusicians’ profiles did not reflect the modulations. Indian nonmusicians’ inability to identify modulations in melodies from their own culture suggests that musical training, irrespective of culture, facilitated performance on the continuous probe-tone task.

- by Rachna Raman
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- Psychology of Music, Music Psychology, Cross-Cultural Psychology, Music Cognition

- by PRAGYA PYASI
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- Indian Music, Systematic Musicology, Indian Classical Music, Musician

The study was aimed at (1) identifying cues that help listeners perceive tonality changes, (2) investigating if cues learnt from one culture help toward understanding music across cultures, and (3) understanding if musical training is advantageous for cross-cultural perception. Carnātic music has two kinds of tonality shifts: the popular rāgamālikā (shifts of rāgam, retaining tonal center; e.g., C to C minor), and the controversial grahabēdham (shifts of rāgam and tonal center; e.g., C to A minor). Stimuli consisted of songs containing 45 rāgamālikā and 46 grahabēdham shifts. South Indian and American teachers and students were further divided by age (older or younger than 60 yr), and served in either the rāgamālikā or grahabēdham condition. Participants indicated the point at which a modulation occurred which we measured in terms of accuracy and latency. Results showed that Indians were more accurate and faster with rāgamālikās while westerners performed better with grahabēdhams. Cues could explain performance differences between nationalities: Indians performed better than westerners with rāgamālikās presumably because of their familiarity with it; westerners, on the other hand, performed better with grahabēdhams because they were probably able to apply cues from their culture to a type of modulation that was familiar to them. Indians and westerners had similar hit rates with grahabēdhams. Increased caution toward the less familiar grahabēdhams for Indians could explain their slower response time compared to rāgamālikās. Musical training was advantageous to teachers across both conditions and ages: they had more hits and fewer errors than students. This could be attributed to an enhanced representation for systems of pitches and modalities.

- by Rachna Raman
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- Psychology of Music, Music Psychology, Cross-Cultural Psychology, Music Cognition

- by PRAGYA PYASI
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- Indian Music, Systematic Musicology, Indian Classical Music, Musician

- by Ranjan Sengupta
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- Music Cognition, Hindustani classical music, Fractals and Chaos

- by Shankha Sanyal and +1
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- Music Cognition, Hindustani classical music, Fractals and Chaos

We examined the differences between musicians’ and nonmusicians’ perception of tonality in familiar and unfamiliar melodies. Previous investigations show that: (a) with familiar music listeners use culture-specific and psychophysical cues, whereas with unfamiliar music they use psychophysical cues and schematic knowledge imported from their own culture; (b) listeners access their mental representations of the hierarchy of notes in musical scales of their culture when listening to familiar and unfamiliar melodies. Indian and western musicians and nonmusicians rated brief South Indian classical excerpts in four modes (rāgams) using Toiviainen and Krumhansl’s (2003) concurrent probe-tone technique. Indian and western musicians’ responses were similar on rāgams resembling western modes but differed with rāgams unfamiliar to westerners. Our findings supported previous research and identified three types of cues that musicians used: 1) culture-specific cues—theoretical knowledge of the rāgams and familiarity with the excerpts in the study—employed by Indian musicians, 2) psychophysical cues—note duration and frequency of note occurrence—employed by all musicians, and 3) transference of western schematic knowledge by western musicians. Nonmusicians’ responses differed from the musicians’; their partial use of these cues suggests that musical training facilitated performance on the binaural probe-tone task and in applying these cues.

- by Rachna Raman
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- Psychology of Music, Music Psychology, Cross-Cultural Psychology, Music Cognition

India, like America, is a country that nourishes creative individuality. Just as Americans have been inspired by the archetype of the Cowboy, who wanders the open spaces in search of a dream, so Indians are inspired by the Yogi, who wanders inner spaces in search of realization. The essential difference between the two cultures is that Americans demand freedom from rules, and India is a country with lots of rules—that everybody breaks. Indians praise obedience to tradition, but when push comes to shove, it is always the inner voice of intuition that wins out—an intuition that, at its best, inspires each individual to preserve the essence of the tradition as he or she changes it.

- by Teed Rockwell
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- Music, Music Education, Musicology, Ethnomusicology

In previous investigations, Western listeners were quicker to respond to wrong notes in familiar melodies that were out‐of‐key (vs. in‐key) and 2 (vs. 1) semitones away from the original note (APCAM, 2008). Here we examined responses of South Indian classical (Carnātic) music teachers, students, and aficionados to wrong notes in familiar Carnātic and Western melodies. Carnātic music provides a fertile ground for studying phenomena associated with key membership, given the
complexity of its tonal system, which employs around 350 distinct modes. We chose 6 Carnātic and 6 Western melodies on the basis of Carnātic listeners’ high familiarity ratings. Each melody was presented approximately 8 times—since some of the Carnātic melodies were not amenable to all conditions—during 2 blocks of 48 randomly‐ordered trials, with a different wrong note each time, defined by key membership, interval size, and direction (up or down from the original note).
Participants responded as quickly as possible to the wrong note by pressing a key. In general, teachers recognized wrong notes faster than students, who were faster than aficionados. All groups were faster and more accurate with Western than Carnātic melodies, reflecting the complexity of the Carnātic system. Carnātic listeners’ response times followed qualitatively the same pattern with both types of melodies, a pattern similar to the earlier Western results: out‐of‐key notes and notes more distant from the original notes were easier to notice. Data on accuracy followed generally the same pattern, but also suggested that 1‐semitone in‐key alterations in the Carnātic melodies are often perceived as permissible deviations rather than “wrong.” Control groups of Western listeners with three levels of musical training also responded to the 6 Western melodies in a qualitatively similar manner to the Carnātic listeners.

- by Rachna Raman
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- Psychology of Music, Music Psychology, Cross-Cultural Psychology, Music Cognition

Musicians and listeners hear many aspects of contemporary North Indian classical vocal music as gendered: genres, improvisational techniques and even certain ornaments evoke gendered connotations. However, analytical work on this music has failed to take gender into account, so the relationship between gender and musical sound remains unexamined. In this article, I explore how issues of gender might come to bear on the close analysis of North Indian classical vocal music. First, I present an overview of the gendered musical landscape of the tradition. I then draw upon work by Judith Butler in order to theorise this in terms of what I call ‘sonic performativity’: I argue that North Indian classical musicians perform gender sonically and that this influences the subtlest nuances of musical style. Finally, I demonstrate ways in which considerations of gender inform the stylistic decisions of one singer, detailing how she negotiates gendered musical norms.

- by Chloe Alaghband-Zadeh
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- Gender Studies, Ethnomusicology, Indian Music, Performativity

Article about Mukund Lath, the prominent cultural historian.

- by Kanad Sinha
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- Indian Philosophy, History of music, Hindustani classical music

Jazznytt-Den indiske tradisjonen er veldig sterk og streng. Det å trekke inn andre instrumenter og musikere som står utenfor tradisjonen er ugle-sett blant enkelte. Men man kan ikke stenge hele verden ute, musikere reiser og spiller overalt. På et tidspunkt sto jeg overfor dilemmaet å spille klassisk indisk musikk i motsetning til det å spille klassisk vestlig musikk i et orkester. Det å finne et helt eget uttrykk var det mest interessante for meg, sier Harpreet Bansal. Jazznytt møter Harpreet Bansal på Café Nazar på Sagene, bare noen hundre meter fra der hun ble født inn i en indisk familie i 1980. Familien flyttet raskt til nabobydelen Torshov, der hun vokste opp med sin far som første guru og viktig pådriver for at det var musikk hun satset på. Familien kommer fra Punjab og det er dermed den klassiske nor-dindiske/hindustanske tradisjonen hun hører til. Både den sørindiske og nordindiske tradisjo-nen er bygd på raga, som er melodien, og tala, som er rytmen. Den største forskjellen ligger i kultu-relle faktorer, som innflytelse fra islam og sufisme i nord, som dannet en form for synkretisme fra 1200-tallet og utover. Men Bansal er skolert i både klassisk vestlig og klassisk indisk musikk. Hvordan kombinerer du kunnskapen og ferdighetene fra de henholdsvis komponerte og improviserte musikkformene?-Man tenker veldig vokalt, uansett hvilket instrument man spiller i den klassiske indiske tradisjonen. Det å puste er viktig og før man laerer å spille et instrument laerer man også å synge. Men jeg har erfaring fra flere musikalske uttrykk, og det gode håndverket har jeg tatt med fra vestlig klassisk musikk. Bansal har jobbet i mange musikalske kon-stellasjoner med folk som Bugge Wesseltoft, Javid Afsari Rad og Nils-Olav Johansen. Hun er nå ute med det Wesseltoft-produserte albumet Samaya på Jazzlands nye label OK World, hvor hun viser fram flere av sine prosjekter, blant annet Bansal Band. Fiolinen har en lang historie i India, i likhet med enkelte andre vestlige instrumenter som ble importert av britene. Javid Afsari Rad på santur, Adrian Fiskum Myhr på kontrabass, Andreas Brat-lie på tabla og Vojtech Prochazka på harmonium er også med i Bansal Band. Det viser seg at det ikke alltid er like lett å fastslå hvor på verdenskar-tet musikkinstrumentene de spiller hører hjemme. Santuren er for eksempel opprinnelig persisk, men har også lang historie i India. Harmonium er et ganske obskurt instrument i europeisk sammenheng, importert til India på 1800-tallet. I moderne tid brukes nesten uteluk-kende harmonium i India og Pakistan, med Andy Warhol-chanteusen Nico som et saertilfelle. Fio-linen ble importert flere århundrer før det igjen, men er mest utbredt i Sør-India. Er ikke det at en med foreldre med bakgrunn fra Nord-India som Bansal, som spiller fiolin, etnisk norske Bratlie som spiller tabla og tsjekkeren Prochazka som spiller harmonium med på å utfordre stereotypier?-Grunnideen min er at uansett hvor man kommer fra så kan man gå i dybden på en tradi-sjon. Utdanningen min fra klassisk vestlig musikk bekrefter dette. Likevel kommer jeg fra en veldig sterk tradisjon, den indiske, som er en veldig viktig del av min identitet. Men vi er alle flermusikalske, vi er alle inspirert av forskjellige typer musikk, og musikk reiser rundt uansett. På 60-tallet hentet psykedeliske popband som The Beatles mye essens fra klassisk indisk musikk, og flere av låtene deres var ren raga. Klas-sisk indisk musikk har også kastet tunge skygger over avantgarde-musikk. Den skoledannende Ustad Abdul Wahid Khans elev Pandit

- by Endre Dalen
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- Indian Classical Music, Hindustani music, Hindustani classical music, Raga Music

Following a cross-disciplinary approach, we will explore two different musical improvisation cultures, one issuing from the jazz tradition in the United States, the other from Northern Indian classical named Hindustani music. At the crossroads of ethnomusicology, anthropology, and cognitive linguistics, this trans-cultural study stems from an ethnographic project lead within the New York free improvisation scene, carried out through the analysis of interviews and listening sessions following studio and public performance recordings (Cance & Cloiseau, 2015 ; Pras, in revision). In January 2015, two of the most active musicians taking part in the ethnographic study, Jim Black, (drums), and Mickaël Attias (saxophone), improvised for the first time with two Indian masters, Subhajyoti Guha (tabla), and Sougata Roy Choudhurym (sarod), both accustomed to improvising in musical contexts outside the Hindustani tradition. The gatherings mainly aim at bringing under scrutiny how these outstanding improvisers adapt to a totally novel situation.
Suivant une approche multidisciplinaire, nous explorons la rencontre de deux scènes d’improvisation musicale, l’une issue de la tradition du jazz aux États-Unis et l’autre de la musique classique au Nord de l’Inde dite musique Hindustani. À l’intersection des disciplines de l’ethnomusicologie, de l’anthropologie et de la linguistique cognitive, cette étude transculturelle découle d’un travail ethnographique au sein de la scène d’improvisation libre new-yorkaise réalisé à partir d’analyses d’entretiens et de séances d’écoute suite à des enregistrements en concert et en studio (Cance & Cloiseau, 2015 ; Pras, en révision). En janvier 2015 au Bengale, deux des musiciens qui ont activement participé à cette ethnographie, le batteur Jim Black et le saxophoniste Michaël Attias, ont improvisé pour la première fois avec deux maîtres indiens, le joueur de tablas Subhajyoti Guha et le joueur de sarod Sougata Roy Choudhurym, tout deux habitués à improviser dans des contextes musicaux qui sortent du cadre de la tradition Hindustani. Ces rencontres visent principalement à examiner l’adaptation de ces improvisateurs exceptionnels à une situation à laquelle ils n’ont jamais été confrontés auparavant.

- by Amandine Pras and +1
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- Languages and Linguistics, Cross-Cultural Studies, Jazz Studies, India

Raag bhup is a very prominent and common raag of Hindustani music of India. People think it a simple raag but it is not so, unless one gets proper training from a qualified master. This essay gives and elaborate and exhaustive idea of the... more

- by Ramkrishna Das
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- Music, Music Education, Music History, Musicology

http://epaper.sakaaltimes.com/SakaalTimes/4Jul2014/Normal/index.htm
"First time, to the best of my knowledge, the birth of Prabandha (Dhrupad) from Chanda (Sama Gana) is being explored on a public platform. The Pdt. Bhimsen Joshi Chair has invited me to present my thoughts on the singing of Dhrupad and Sama Veda. This I shall do with real examples in vocalization of the two ancient Indian intangible heritages; I shall sing both the forms and demonstrate their relationships.
Please do come to listen sharp at 11.00 a.m. on July 3 (the day after tomorrow) at the Pdt Bhimsen Joshi Chair chamber on University of Pune campus near the Vice Chancellor's office.
This programme is only by invitation, but do get your friends.
Thanks very much "