DR. M. LALITHA PRESENTS `MUSICAL INSTRUMENTS IN DIVINITY’ – A SERIES OF THEMATIC MULTIMEDIA PRESENTATION

About the Event

DR. M. LALITHA PRESENTS `MUSICAL INSTRUMENTS IN DIVINITY’ – A SERIES OF THEMATIC MULTIMEDIA PRESENTATION

Under the Production Grant, supported by the Ministry of Culture, Govt of India, Violinist Dr M Lalitha Senior Violinist, Musician & Fulbright Fellow, (of the Duo M. Nandini), will be presenting a series of episodes on `Musical Instruments in Divinity’- a thematic Multimedia presentation featuring different instruments each month. This month as part of the fourth episode on Thursday July 24th 2014 the instruments to be featured will be `Mridangam and Mridanga or the Khol’ at the Raga Sudha Hall, Mylapore from 6.30 PM. Sri. S. Santhanagopal, Branch Head, Printer & Publisher, The Times of India Group, Chennai, will be the Chief Guest while Mridangam Maestro Guruvayur Sri. Durai will be the Guest of Honor. Special Performances by Dr. M. Lalitha and M Nandini – Violin accompanied by Sri K. R. Ganesh – Mridangam and Nama SanKirtan by the Gaudiya Vaishnava Societies of Bengal by Samrta Krishna Das – Vocal, Sadachar Das – Kartan & Vocal accompanied by Jayanandahari Das on the Mridanga / Khol of Hare Krishna Movement, Chennai.

Dr M Lalitha will deal about the History, evolution of the instrument, Mythological, Sculptural evidences, its usage in temple rituals, similarities in global musical cultures, references in Literature and in musical compositions.

http://www.sabhash.com/music/events/7740/violinist-dr-m-lalitha-presents-musical-instruments-in-divinity.html

Violin in Global Styles with Special Focus on its Usage in South Indian Classical Music

Violin in Global Styles with Special Focus on its Usage in South Indian Classical Music

M.Lalitha

Violin is known as the King of Instruments and is used in many world music traditions. In South Indian Classical Music traditions, the Violin is an accompaniment to Vocal and to instruments like flute, mandolin. Violin is also a primary Solo instrument and in dance it occupies the role of an accompanist. Carnatic Music is written for singing and the instrument is required to produce the music as it is sung. With regard to the Posture of holding the violin the sitting posture is adopted or designed so to have a secured feeling especially while playing the gamaka-s or the ornaments which is the pivotal aspect of Carnatic Music.

Keywords – Violin, World Music, South Indian Classical Music, Carnatic, gamakas.

Violin is known as the King of the Instruments and is seen in many world music traditions. Violin, Fiddle, Vitula, Keman, Viulu, Hegedu, Violine, Vayalin (in Tamil) is used in the traditional music of Egypt, Turkey, Ireland, Norway, Sweden, Folk music traditions of USA, Albania, Armenia, Russia, Hungary, Moldova, Canada, gypsy music, Jazz music and in the classical music traditions from Europe, India, Morocco, North Africa, the Middle-East and Central Asia. The violin is regarded as a very expressive instrument, next to the human voice.

VIOLIN IN WESTERN CLASSICAL TRADITION

In Western classical Music the violin occupies the centre stage as a Solo instrument and as part of the orchestra. `Compositions especially for the violin have been composed’, (Menuhin:1997). In an orchestra the Violins are predominant with two sections, the first and the second violins where the first violin usually renders the melody while the second violin plays the harmony, serving as an accompaniment to the first violins.

VIOLIN IN ALGERIAN MUSIC

Algerian Music is identical with rai that is a form of folk music having its origins in Oran, Algeria from Bedouin shepherds mixed with French, African, Spanish and Arabic Musical forms. Traditional Maqam-s are also played. `Improvisations find a place and this music is microtonal in nature’, M’Kachiche:2011. Inspired by vocal traditions of Arab Andalusian music the Chaabi which is the traditional music of Algeria features a distinctive mournful, Arabic/Berber vocals set against an orchestral setup with violins, mandolins, piano and percussion.

HARDANGER FIDDLE FROM THE NORWEGIAN TRADITION.

The Hardanger Fiddle is an instrument `Very special to Norway and is a national instrument of Norway’, (Tellefson: 1997) `Before 1850s this instrument was played in venues, villages and not in concerts and only for the past 150 years this instrument is played in concerts. It’s a solo instrument. The Hardanger Fiddle is used mostly in folk, dance and is used in ceremonies’. (Maurseth:2011).

VIOLIN IN THE RUSSIAN GYPSY STYLE

The gypsy music came from Egypt to Europe and gypsies took music from each place they travelled. `In Russia, Violins are not that important and only guitars and singing is more predominant’, (Erdenko and Bessonov:2011). In Russia the violins accompanied for singing and for dance, but now it is played as a Solo instrument too with groups like Lyoko focussing on it.

VIOLIN IN POPULAR MUSIC

The violins became a vital part of popular music especially for dance music during the 1920s and early 1930. The violin is also used in mainstream pop apart from disco/dance music. The Indian, Arabic, Turkish and Pakistani pop music uses the violins in both solo and as part of the ensemble. In Jazz `Violin emerged as a Solo instrument during the first decades of the 20th century and now it is an indispensible par t of the Jazz Fusion’, (Graphelli:1992). `In Jazz music, the Violin has the job of improvising using chord progressions and scales’, (Ponty:2008).

AMERICAN COUNTRY VIOLIN MUSIC STYLES

`There are different styles of American Music designed by 400 yrs of European and African American culture, Native American, Traces of Gypsy and middle eastern touches are also met with’ (O’Connor:2011). In Jazz- ragtime, improvisations are part of it including Syncopations.

VIOLIN IN CARNATIC MUSIC OR THE SOUTH INDIAN CLASSICAL MUSIC

Carnatic Music is written for singing and the instrument is required to produce the music as it is sung. Secondly, it is handed down from generation to generation through oral tradition and is not played by seeing into the notations. The notations here do not provide full information as to how the music should be rendered i.e., all the intricate nuances are not written down and the notation is a mere skeleton. The individuals are supposed to memorise all the compositions. Thirdly Carnatic Music is raga based and gives ample scope for manodharma sangita and individuals add their own imagination.

POSTURE OF HOLDING THE VIOLIN

`It is seen that normally all the artistes assume a sitting posture with the right foot stretched in front and the left foot tucked under the right thigh. The back of the violin body, especially the upper part rests on the left side of the chest. The scroll of the violin rests on the heel of the right foot. The sitting posture is adopted or designed so to have a secured feeling especially while playing the gamaka-s or the ornaments’. (2005: 115-117).

HOLDING OF THE BOW

The right-hand fingers hold the stick portion of the bow near the frog. The thumb of the right-hand goes inside and is curved. It is placed near the frog, whereas the other right-hand fingers namely the index finger, the second finger, the ring finger and the little finger are placed above the stick portion of the bow.

USAGE IN SOUTH INDIAN MUSIC TRADITION.

In Harikatha which is religious discourse, narrating stories from epics and purana-s, combined with musical compositions, the Harikatha Bhagavatars have a violin or Harmonium and a Tabla or Mridangam as accompaniments.

VIOLIN IN HARIKATHA

Here in this clip, a Harikatha performance by Sri Dhulipala Siva Rama Krishna Sarma Garu in Yadagirigutta who after narrating an episode, sings the verses like a viruttam, which is free of rhythm and the violin accompanies accordingly. Again the Harikatha Bhagavathar gives discourse and sings a song for which the Violinist accompanies. In between the passages the violinist also improvises. Here in this clip the Harikatha Bhagavathar stands, to his left is seated the Violinist and to his right are the percussion instruments Mridangam and Kanjira. Sometimes the violin also plays solo the same phrase as sung by the Harikatha bhagavathar or improvises in a gap.

VIOLIN IN CARNATIC MUSIC

In Carnatic Music the violin is used as an accompaniment to the Main vocalist. The violins play an important role while accompanying the main artiste. Carnatic music has two branches the kalpita which is pre composed music and the manodharma sangita which is improvisation by raga alapana, kalpana svaras, niravel, tanam etc. During the manodharma section the role of the violin is to render `both the ideas of the main artistes and the violinists’, (Ramadas:2012). While following the main artiste the violins should accompany without hindering the main artiste.

VIOLIN ACCOMPANIMENT TO A SONG DURING A CONCERT FOR A DASAR PADAM

In this M S Subbulakshmi sings the Dasar padam, jagadodharana in the Raga Kapi. Here the violin accompanies the singer and the song. Sometimes in between, the violinist just renders only the open strings.

VIOLIN ACCOMPANIMENT TO A RAGA ALAPANA

(In this singer Semmangudi Srinivasa Iyer sings the Raga alapana for Kalyani)

During the raga alapana the violin accompanies the main vocalist and mostly repeats the ending phrase of the main singer and sometimes repeats the entire phrase or even renders his own. `While accompanying the violinist should make an attempt to repeat at least a few phrases sung by the main artistes during alapana’, (Ramadas:2012).

It is though customary to repeat whatever the singer has sung. Sometimes the violinist just renders the open strings without playing any notes. After the singer has completed the alapana, then the Violinist renders the same raga. `As an accompanist one should render the raga in a crisp format, bringing the entire gamut of the raga within a very short duration’, (Hemalatha:2012). The duration is very important while rendering the raga alapana `if the main artiste sings a raga alapana for 10 minutes, the dharma for the accompaniment is to play for 6 – 7 minutes of duration and not to exceed the main artistes’, (Ramadas:2012).

VIOLIN ACCOMPANIMENT DURING THE NIRAVEL

During the Niravel when the vocalist sings, the violin accompanies important phrases or just plainly renders the open strings and after the main vocalist has completed, the violinist tries to repeat the phrase and also improvises on his own.

VIOLIN DURING THE KALPANA SVARAS

During the Kalpana svara when the vocalist sings the violinist either listens with rapt attention or just plays the open strings sometimes renders the phrase the sung by the vocalist in a low manner, after the vocalist finishes the violinist renders the kalpana svara-s, which is improvisatory with tala / rhythm. The violinist sometimes tries to play the same phrase as sung by the vocalist but along with their own too.

VIOLIN ACCOMPANYING THE MAIN FLAUTIST.

In Carnatic concerts, the violins also accompany the Main instrumental concerts like flute, Mandolin and so on.

In this case the accompanying style of the Violinist is similar to the style of accompanying a vocalist.

VIOLIN AS A SOLO INSTRUMENT

Apart from accompanying the violins are also Solo instruments playing in the traditional concert set up with Mridangam and / or Kanjira / Ghatam / Morsing. `The Violin in Carnatic Music is as important solo instrument where the capacities and capabilities of the instrument are exploited too apart from bring the singing style while playing which is an important aspect of Carnatic Music’, (Nandini:2012).

Here while one Violinist renders the raga alapana, the second violinist accompanies the ending phrase and sometimes there is a pause or just open string sounding. The Kriti is rendered by the two in unison and sometimes one playing on an octave below after which the Kalpana svara-s are rendered. Here during the rendering the Kalpana svara-s both improvises on the spot. While one renders the kalpana svara-s, the other just listens and there is no accompaniment when one is rendering the kalpana svara-s.

VIOLIN IN DANCE

http://www.youtube.com/watch?v=TfP88FD2zPY – 2.28

In Bharatanatyam dance recitals the violins don the role of an accompanist following the main singer. During the song the violinist accompanies the vocalist, during the short alapana sung by the vocalist, the violinist just accompanies. Sometimes the violinist just plays the lines sung by the vocalist in between the song. The violinist also plays either raga alapana or kriti-s during interludes or in between the recitals. Sometimes during the dance recital depending upon the scene or the mood, the violinist improvises to bring the emotion enacted by the dancer. This supports in bringing the necessary effect.

VIOLIN IN TAMIL FILM – (Film Rajaparvai – Violin solo) till 2.45

The violin is also a principal instrument for Tamil South Indian Film music where is it used in between the songs or during the background as part of the orchestra. Sometimes Solo parts are also given.

Here the heroine goes to the hero’s concert who is a Violinist in this film. The violin starts off with a raga alapana in raga Pantuvarali in slow phase and then goes into the melody where it plays followed by the Vina which renders the same phrase. Then the orchestra consisting of flute and Mridangam joins. Here in between the Violin renders the solo followed by the Western Orchestra, it moves on from Karnatic to Western style.

http://www.youtube.com/watch?v=d9o2LoCvsz8 (Enakku 20 Unakku 18 – violin in between the song) 1.33

Here after theme of the song which is pallavi there is an interlude before going on the second section, in this the violins plays the interludes. Starts off with a trill in Western style, then renders solo followed by the string section of the orchestra and percussion with modulation or shifting of scales in between.

VIOLIN IN THE BACKGROUND SCORE OF TAMIL FILMS

The violin is used in the background depending on the mood of the scene. Here the hero slaps the heroine (childless couple and he wants to adopt the child which the heroine refuses) and apologises to her. In that he presents her with a painting and leaves to his room, here the violins in an orchestra plays the mood.

VIOLIN IN FUSION MUSIC

In Fusion music combing Indian and World music elements, the violins have a different role to play solo and to complement the other instruments apart from bringing the different moods or rasa-s depending upon the composition and style. Here the violin plays the composition along with different Western instruments and then goes on to improvise. While the other instruments improvise, the violin plays the harmony or accompanies the phrasings.

CONCLUSION

Violin is a versatile instrument finds its place in different global music cultures. Different postures, tunings are adopted in various global musical styles in Violin playing and the techniques also differ according to the repertoire, the style of music played while the bow hold tends to remain mostly the same in most of the styles, barring a few traditions. In Carnatic music traditions it assumes various roles from accompaniment to solo in various genres like harikatha, music dance, film and fusion. The violinist accompanies the various musical forms. During the rendition of a composition, the role of the violinist is just to accompany the song, while playing the improvisatory sections like the alapana, kalpana svara-s, the violin just accompanies either the ending phrase or plays the open strings plainly. During Kalpana svara-s, while the Main artiste is rendering, the violinist just absorbs and doesn’t render accompaniment rather waits for his turn. Normally the Violinist tries to play the same phrase as performed by the main artiste in combination with his own phrase, which is a very big challenge. During Solo or Duet concerts, the violins assume the role of a Main instrument where the capacities and capabilities of the instrument can be exploited. While accompanying the violinist just accompanies whatever the Main artiste renders. The role of violin in Carnatic music is to bring the Vocal effect and the Violin should sound like singing or the Gayaki style. During dance recitals, the violins have an additional role of filling up the gaps during interludes and also sometimes play in between the scene to enhance the mood that is brought out by the violinist in the violin. In the films, the Violins are either used as a solo instrument or as an accompaniment or in the orchestra as part of the String section. The violins play for background thus bringing up the mood of the scene on the instrument apart from playing interludes / sections in between a song. Here the violins do not just accompany the singer as is done in Carnatic music. In Fusion the Violin apart from being solo instrument also accompanies, performs the background melody or harmony too.

Biblioghraphy

Lalitha, M. Violin Techniques in Western and South Indian Classical Music – A Comparative Study. New Delhi: Sundeep Prakshan, 2005.
INTERVIEWS / LECTURES
Erdenko, Sergey and Vladimir Bessonov. Interview by Lalitha Muthuswamy. Personal interview. Mumbai, January 9, 2011.
Graphelli, Stephane. Interview by Lalitha Muthuswamy. Personal interview. London, February 6, 1990.
Hemalatha, R. Interview by Lalitha Muthuswamy. Telephone interview. Chennai, December 18, 2012.
M’Kachiche, Kheir Eddine. Interview by Lalitha Muthuswamy. Personal interview. Mumbai, January 9, 2011.
Maurseth, Benedicte. Interview by Lalitha Muthuswamy. Personal interview. Mumbai, January 9, 2011.
Menuhin, Yehudi. Interview by Lalitha Muthuswamy. Personal interview. New Delhi, January 26, 1997.
Muthuswamy, Nandini. Interview by Lalitha Muthuswamy. Personal interview. Chennai, December 18, 2012.
O’Connor, Mark. Interview by Lalitha Muthuswamy. Personal interview. Mumbai, January 9, 2011.
Ponty, Jean Luc. Interview by Lalitha Muthuswamy. Personal interview. Chennai, January 10, 2008.
Ramadas, Pakala. Interview by Lalitha Muthuswamy. Telephone interview. Chennai, December 15, 2012.
Tellefson, Arve. Interview by Lalitha Muthuswamy. Personal interview. Chennai, January 6, 1997.

INTERNET RESOURSES

Bala Girish, Semmangudi Srinivasa Iyer-Birana brova-Kalyani Raga-Part I.Nov 13, 2010.http://www.youtube.com/watch?v=nPQbSuDk25k
bhuvanambika, Untitled1_0001.avi. Dr. M. Lalitha and M. Nandini – Trans Global Fusion Apr 17, 2011http://www.youtube.com/watch?v=c0ghXCKmwoQ
desimantri, Bharatanatyam Arangetram – Angela Abraham & Azhelia Pradhan.Sep 4, 2011.http://www.youtube.com/watch?v=TfP88FD2zPY
isaignanidasan, En Bommukkutty Ammavukku – Classic 6-minute BGM with Varying Moods.Jun 11, 2010.http://www.youtube.com/watch?v=7jwXO_3inyw
kamakotisankara, M S Subbulakshmi jagadodharana kapi.Mar 4, 2009.http://www.youtube.com/watch?v=nac8u8i4w8c
mccbala. swaram & thani – dakshiNAmUrtE – Semmangudi Srinivasa Iyer.Sep 28, 2011. http://www.youtube.com/watch?v=nIlgviqkpRk
paramparaa1916, M.S.Subbulakshmi Kharaharapriya Neraval clip – Trivandrum, 1988.Mar 19, 2009.http://www.youtube.com/watch?v=LtbnqfzgXyY
RaajaGeetham, Raja Paarvai Movie BGM – The Violin Concert – Ilaiyaraja. Jun 27, 2010 http://www.youtube.com/watch?v=5nz0YthJQHA
raindropletz, Edho Edho Ondru – Enakku 20 Unakku 18.Jan 27, 2010 http://www.youtube.com/watch?v=d9o2LoCvsz8
SouthAsianArtsUK. Raga Hamsadhwani, Raga Valaji – Violin Sisters.Aug 7, 2009.http://www.youtube.com/watch?v=6GRZFuxiL_s
srinu panthangi, Hari katha.Mar 22, 2011, http://www.youtube.com/watch?v=7R1lHYxObRg
vichella, Sri T.R. Mahalingam Concert Pt. 1.May 5, 2008.http://www.youtube.com/watch?v=ajr07JUa79I

Published in Atodya – Journal of the Department of Instrumental Music, Rabindra Bharati University

http://www.atodya.com/violin-global-styles/

‘Africa Meets Asia’ — International Conference

Indiranagar Sangeetha Sabha:
‘Africa Meets Asia’ — International Conference

Report on Conference
By Dr. Rajiv Trivedi

Educational institutions throughout India were placidly overseeing a fresh batch of bright-eyed youth disover the world when a number of scholars from across the world made a bee line for Banglaore where a grand event awaited them. A week long International Music Conference in association with the Centre for Intercultural Musicology located in Churchill College, Cambridge, UK and headed by Dr Akin Euba of USA was organized by an institution of Bangalore. The twenty three year old institution was celebrating its annual music festival from July 11th to 16th. To coincide with it, the organization had planned a massive convocation of musicians, musicologists, teachers, scholars and enthusiasts in seventeen sessions apart from the inaugural and concluding sessions.

The history of Indiranagar Sangeetha Sabha is an encouraging one. In the land where such stalwarts as Pandit Bhatkhande and Pt. Paluskar faced failure one after another in making music institutions run, the Sabha after being registered as a Trust in 1986, has been engaged in propagation of performing arts by organizing regular monthly programmes and special programmes of music and dance, alongwith running a school, which imparts structured instruction in music – vocal and instrumental – both in the Carnatic and Hindustani styles and in Bharatanatyam dance form. There are over 400 students learning in the School and more want to join. Managed by a group of dedicated trustee members, the Sabha could construct its own premises in Indiranagar, Bangalore in 2004 with an auditorium having excellent acoustics for performances. There are spacious classrooms to run the School with performing artists as teachers.

The Sabha organized a Symposium in 2006 on Science and Music which was well attended by Scholars and Musicologists from all over India. The Proceedings containing the Papers for the Symposium were printed and circulated to participants before the meet and have earned scholarly appreciation. The success of the event infused the members to organize a still larger event. Its invitation was accepted by Centre for Intercultural Musicology whose objectives include the study and promotion of cross-cultural activity in music, including composition, performance and scholarly work. The last International Music Conference promoted by this Centre was in China. It was truly a privilege for the Indiranagar Sangeetha Sabha to have been selected by the Centre to host this Conference – one which was held for the first time in India.

The aim of this particular Conference was to promote an exchange of views among Musicologists, Musicians and Composers from the Asian and African Diaspora on their music treasures. Among others, it aimed to encompass compositions, traditions, music concepts and rapid changes witnessed in the last five decades. Such an exchange would naturally promote further relations between Africa and the rest of the world in the field of Music, hence there wre three thematic focus — African Music Traditions, Asian Music Traditions, and Interaction between Africa and Asia.

INTERNATIONAL ADVISORY COMMITTEE
Mr. S.N.S.Murthy, India – Chairman

Dr. Krishna Bisht, India
Dr. Akin Euba, USA – Chairman

H.H. Marthanda Varma, India
Dr. Cynthia Tse Kimberlin, USA

Prof. R.C.Mehta, India
Prof. Li Xin, China

Prof. P.K.Dixit, India
Dr. Paschal YaoYounge, Ghana

Dr. Dipali Nag, India
Dr. Kimasi Browne, USA

Dr. P.K. Bagilthaya, India
Ms. Laura Falzon Baldacchino, Malta

Dr. Ananda Shankar Jayanth, India
Dr. Kim Heesun, Korea

Dr. S.A.K. Durga, India
Dr. John Robinson, USA

Dr. R.Balasubramaniam, India – Convenor
Dr. Smita Srinivas, USA

Dr. Razak Abdul Aziz, Malaysia
Dr. Fermi Adedeji, Nigeria

Dr. Mathoor Krishnamurti, India
Ms. Olusola Oyeleya, Nigeria/UK

The several sessions were enriched by presence of such exalted speakers as:
Prof. R. Satyanarayana, India

Dr. Yomi Daramolo
Dr. Morakeng Kenneth Lebaka, S. Africa

Dr. Vidyadhar Vyas, India
Dr. Cynthia Tse Kimberlin, USA

Dr. Mathoor Krishnamurti, India
Prof. R.C. Mehta, India

Prof. Li Xin, China
Prof.Chen Zi Ming, China

Prof. S.R. Janaki Raman, India
Dr.Y. Saradhambal, India

Dr. Tin Hoffman, Japan
T. M. Hoffman

Hans Utter, USA

The Lecture Demonstrations will be presented by Prof. Krishna Bisht, Prof. Ritwik Sanyal, Dr. Paschal Yao Younge, Prof. Neena Grover, Dr. Zelma CM. Badu Younge, Dr. Lipica Das Gupta and Dr. Anasuya Kulkarni, among others.

Evening concerts were planned to feature Smt. M.S. Sheela, Sri T.M.Krishna, Smt Jayanthi Kumaresh, Sri Gaurav Majumdar, Dr. Vidyadhar Vyas, Dr. Lorna C. Young Wright and others. A Thematic presentation: “Flame in the Forest” (in English) by Smt. Gowri Ramnarayan, an Instrument Ensemble by the Faculty of the-School of the Sabha, Dances of India, African Drums and a “Ghata Tarang” by Smt Sukanya Ramagopal too were highlighted.

Dr. S.A. K. Durga’s key note address (Confluence of Melody and Rhythm in the music of Africa and Asia) set the mood for conference. Globally renowned for her work on voice culture Dr. Durga presented the development of music as Harmony and Melody both employing rhythm as a prop. She traced the commonality between muscial scales in East Asian, South East Asian, South Asian, West Asian, East African, West African and South African countries. Prof. Li Xin traced the creativity in Akin Euba’s African Pianism; while initially he experimented with atonal technology to mix with African rhythm patterns, now he ‘strove to depict mainly melodies of African nature’. A counterfoil to his paper was Neera Grover’s examination of Bandish in Khayal singing. Dr. Alamelu Ramakrishna, Smt. GBV Anuradha, Dr. K. Saraswati Vidyarthi as well as Dr. Premeela Gurumurthy spoke on various aspects of Sri Thayagaraja’s compositions.Dr. Achuth Shankar Nair read his paper on Swathi Thirunal Rama Varma whose Navratnamalik was discussed in detail by Smt. Prema Rangarajan. Tracing the various threads, Dr. R. Sathyanarayan wisely concluded, “source of all music is heart of man which sings out in a, language transcending words for the harmony amongst nations and symphony of all human endeavours towards peace and fraternity”.

Wider in its concern was Dr. Cynthia Tse Kimberlin’s paper tracling linkages between indian-Ethiopean-Eritrean Arts. The linkages have existed from 15th century Ethiopean dynasty in Bengal to support provided by India to Ethioea’s first independent producer Amha Eshete to create his own record labels. More fundamental was another intersting paper by Prof. Li Xin about Indian music on the Silk Road of China. He referred to Japanese scholar Shigeo Kishibe’s disovery that modes of Qiu-zi music had clearly evolved from pronunciaion in Sanscrit.

The doyen of contemporary Indian scholarship, Prof. R.C. Mehta mesmerized the audience by his lucid history of Indian music schools, speaking knowledgably of over 150 musicians of different streams and their relatiionship by birth, school and style. He covered all Gharana-s starting from Tansen and Dagar to Darbhanga, Betai, Tilwandi, Mathura, Gwalior, Agra, Kirana, Rampur-Sahaswan and right up to the highest evolved Khayal singing of Jaipur Atrauli or Alladiya school. He narrates how a Delhi vocalist, Tanras Khan, who fled to Patiala in turbulent times of unrest during 1857 trained Alia and Fattu in Madhya laya Khayal with very fast Taans in turn taught two brothers Ali Bux and Kale Khan, who in turn trained Bade Ghulam Ali Khan thereby creating a stalwart of Thumri.

Several papers comparing styles, composers, performers and even schools were presented. Relationship between poetry and singing was examined. Brig. Srinivasan Naambirajan laid a new hypthesis for understanding the 22 Sruti-s of Indian music. Dr. Margaret Bastin presented an anthropoligical background to the Indian instrument Yazh which resembles Harp. The history was well traced, however the possibility of Yazh evolving from Vipanchi Veena was not examined. The two schools that are foil to each other, Hindustani and Carnatic were compared in different light by Dr. Usha Singh, Smt. B. Priyadarshini, Dr. K Shashikumar, Dr. M. Lalitha, Smt. Ganga Ramchandran besides others who referred to similarities and speciality in passing.

While Prof. Ritwik Sanyal and Dr. Vidyadhar Vyas along with Lipika Dasgupta, Dr. Sudha Sahgal and Dr. lawanya Kirti Singh chose a particular vocal form of North India like Dhrupad, Rabindra Sangeet, Hori-geet or Thumri, scholars like Dr. A. Anuradha, Smt. Sumathi Krishnan, Dr. Radha Bhaskar, Smt. K. Gayatri, Smt. Gayathri Vankataraghavan and Dr. T.S. Sathyavati focused on featurs and forms of Carnatic music like Kriti, Raga Alapana, Swara Kalpana, Tana and Pallavi etc.

Instruments were not neglected as apart from Yazh, the hypnotic drums of East India, specially the Khol of Bengal was discussed by Dr. Krishna Bisht; musical instruments of the world were discussed by Dr. Anasuya Kulkarni; Dr. M. Lalitha examined the Violin techniques whereas Dr. Dipanwita Tripathi elaborated variety of Sitar forms and Baaj. To her credit, Dr. Tripathi was hesitent in (mis)attributing invention of Sitar to Amir Khusro but failed to mention its evolution from Tritantri Veena which later was called Jantra. R. Shankar Rajan traced the genre of orchestration in South Indian Carnatic music while Prof. T. Unnikrishnan of Khairagarh university enumerated the voice modulation techniques for Vocalists. An examination of innovative elaboration was made by Uday Karan K T.

Scholars also had in their purview the fundamentals of music. Dr. Anay Milind Thatte examined the principles on which new Raga-s are created while Shankarabharanam’s scale (Bilawal as practiced in North) was studied by Smt. B. Priyadarshini and Smt. Smitha Patvardhan vis-a-vis western diatonic scale. Smt. Mala Mohan established inter-relations between poetry, melody and rhythm which give rise to embellished compositions of the musical Trintiy — Thyagaraja, Muthuswamy Dikshitar and Shyama Shastri.

Myth and ritual in oral narratives were examined by Dr. Morakeng Kenneth Lebaka with special reference to Pedi circumcision ritual. Almost at a diametric oppsite Riccardo Nova came up with such visula/mathematical concepts as verticality, horizontality and perpendicularity in music. When he says, “theory of Tala is perhaps the most complex topic in South Indian music”, he unintentionally emphasizes the limited exposure given to Indian music. In truth it is the vastness of ICM that it requires years of patient unravelling to begin to understand the origin and culmination of myriad threads that weave the elegant elusive, ephemeral yet eternal designs.

The hallmark of Indiranagar Sangeetha Sabha is publication of a valuable volume of its proceedings. All praise must go to editors S.A.K. Durga, R. Balasubramaniam, S.N.S. Murthy and H.S. Sudhindra for making possible such an interesting and insightful collection.http://omenad.net/page.php?goPage=%2Farticles%2FAfricaAsia.html

National Seminar on Changing Instrument Styles, Kolkata

Presented a paper for Dept of Instrumental Music, Rabindra Bharati University, Kolkata, a Virtual Presentation, Q & A thro Online / telephone.

Seminar on Changing Instrument Styles

http://sitardivin.globat.com/DoIM/2013/03/abstracts-seminar-changing-instrument-styles/

http://sitardivin.globat.com/DoIM/2013/03/seminar-participants-status/

Seminar on the ‘Changes in Indian Instrumental Music Playing Styles’

Seminar on the ‘Changes in Indian Instrumental Music Playing Styles’ – dept of instrumental music, rabindra bharati university, kolkatta

The department is going for a seminar titled ‘Changes in Indian Instrumental Music Playing Styles [yantra bAdan SailIr  bibartaner dhArAr ruprekhA  paryaloconA]‘  on the 25 March 2013 from 11 a.m. at Uday Shankar Hall, Sangeet Bhavan at Emerald Bower Campus. The seminar is sponsored by the University Grants Commission, New Delhi.

Abstracts [Seminar on Changing Instrument Styles]

http://sitardivin.globat.com/DoIM/2013/03/abstracts-seminar-changing-instrument-styles/

Some Thoughts on the Transit of Violin from European Music to Hindusthani

Ranjan Ghosh

During British rule in India the country witnessed a number of European musical instruments entering the land and getting played in different occasions in different places from the church rooms to playing grounds.  During early 18th century Balaswami Dikshit and Matthuswami Dikshit of South India used violin in their compositions. In the late 18th century violin was introduced in West Bengal through ‘Aakhrai Gaan’ (Song). During early 19th century, Master Lobo of Eden Gardens formed a ‘Band’. Ustad Alauddin Khan became his student and played a very important role in bringing in violin, that is essentially an European musical instrument, in Hindusthani music. Violin gradually became popular and went through some changes to match the musical requirements here. Hidusthani musicians introduced a number of playing techniques that was never played earlier. They changed the holding posture, tuning and added strings.

Key words: British rule, violin, tuning, posture, strings, Hindusthani

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Sitar Baaj: The Changing Phenomenon

Samidha Vedabala

From its inception sitar has gone through the process of evolution and has introduced lots of changes in its physical structures, features and the playing style (baaj). Focus of my paper is the chronological changes in sitar techniques from beginning emphasizing the time frame of 20^th century which holds identified characteristics in Sitar musical history. My effort is to discuss the changes in the technicalities like gats, right hand left hand, inclination towards gayaki etc along ith its cause and effect and the present trends of sitar playing.

Key words: sitar, baaj, structure, gats,

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Violin in Global Styles with Special Focus on its Usage in South Indian Classical Music

M. Lalitha

Violin is known as the King of Instruments and is used in many world music traditions. In South Indian Classical Music traditions, the Violin is an accompaniment to Vocal and to instruments like flute, mandolin. Violin is also a primary Solo instrument and in dance it occupies the role of an accompanist. Carnatic Music is written for singing and the instrument is required to produce the music as it is sung. With regard to the Posture of holding the violin the sitting posture is adopted or designed so to have a secured feeling especially while playing the gamaka-s or the ornaments which is the pivotal aspect of Carnatic Music.

Keywords – Violin, World Music, South Indian Classical Music, Carnatic, gamakas.

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Adaptation of Rhythmic Expressions of Human from Other Manifestations

Debasish Mandal

Nature is the primary source of music. Rhythmic sounds are getting continuously generated all around the globe. It has different methods and many forms. Some nonliving elements are generating sounds like the water droplets, and living elements make sound by striking, bowing and blowing. Every species have their own styles.  Some make sounds by clapping or hitting or striking on the cover of the vacant hollow portion of their bodies. Some uses foreign bodies like; wooden body.  If we consider the insects we can observe that  some insects generate  rhythmic sound  by striking their own body-drums . Some generate sound by bowing its legs on its chest. We can witness similarities of techniques of generating musical sound by insects and other animals.

My argument is all these helped the human to develop their instrumental music expressions.

Key words: rhythmic sounds, insects, striking, bowing, blowing, body-drum

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Development of Dotara Playing in Cooch Bihar District of West Bengal

Sangeeta Ray

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Transitions from Kothiwal Gharana to Lucknow Gharana of Tabla Playing

 Biswajit Bhattacharjee

Lucknow Gharānā, also known as “Purab Gharâna”, uses eight fingers in tabla playing. It is characterized with the presence of highly resonant sounds, and the use of ring and  little  fingers on the dayan. The gharana was branched out of the Delhi Gharānā when Salari, Mammu, Modu and Bakshu Khan moved to Lucknow. The Nawabs of Lucknow  provided good support to the musicians and this patronization  helped  the musicians to develop  a new style of Tabla playing collaborating with the available Kathak dancers of Lucknow. This tabla playing style became widely popular and got known as Kathaki Baaz. These musicians composed many new compositions  that  gave birth to  new ideas and expressions; and became known as  ‘Kothiwal Gharana’.

I would like to argue that this Kothiwal Gharana played a very important role in establishing the Tabla Baaz of Lucknow Gharana.

Key words: gharana, lucknow, kothiwal, kathak, baaz

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Process of Changes in Music

Goutam Nag

Different performing styles of musical instruments have occupied a distinct and unique position in India over the period of  few centuries. Different creative processes  make different styles and unfold the performers’  imagination. Musicians  try to discover new ways  of presentations. They create new phrasings to reveal the beauties in music through coordination of tones, organization of sounds,  rhythmic application and other aspects of musical structure.  How the musical imaginations get portrayed  and get reflected in the musicians’ performances is an interesting inquiry.

Key words: musical instruments, creative process, tones. rhythm, imagination, beauty

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Development of Tabla Playing Styles

Krishnendu Dutta

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Nāgasvaram – the Multifaceted Instrument

Nandini Muthuswamy

Music and musical instruments form an integral part of the lives of the people of South Asia. It is seen that several musical instruments have been used for different purposes or contexts, thereby enriching the culture and lifestyle of the people. Instruments have been used in various spheres such as religion, entertainment, rituals, ceremonies etc. It is also interesting to note that some instruments have been used in diverse contexts.

The Nāgasvaram, which is regarded as the oboe of South India, is one such instrument. This wind instrument is indispensable in the cultural and social contexts of South India. It is variedly used as a solo and accompanying instrument in several contexts such as classical music, folk music, auspicious ceremonies and religious purposes. The Nāgasvaram can be regarded as the South Indian parallel of the North Indian Shehnāi. The Nāgasvaram, also known as Nādasvaram or Nāyanam , has been accorded the special status of a MAÑGALA VĀDYAM or auspicious instrument. It is also widely regarded as a RĀJA VĀDYAM – King of instruments.

Key words – Nāgasvaram, Music instrument, Mañgala Vādyam, Rāja Vādyam.

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Thematic Applications of Music in Bengali Films Between 1930 and 1990; and its Changing Styles

Goutam Ghosh

A music genre indicates a  class of music belonging to some specific mutual tradition and set of conventions. Music is interchangeable. This is changing with time and getting sub-divided into different genres and styles. A specific theme can receive different musical expressions and can use music from different genres. This can be music from a particular genre or a mix of different genre.

I shall take examples of some instrumental music pieces and orchestral music those were  used in Bengali films during 1930~90 to explain these phenomena. I would also like to discuss the openness, accessibility and familiarity  of popular music; and the changes in their rhythmic and tonal character with the passing of time.

Key words: genre, style, Bengali films, rhythm, tone, instrumental music, orchestration

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Effect of the Changes in Shape and Design of Tabla on the Playing Techniques and Compositions

Mukund Bhale

Any changes in shape and design in a musical instruments directly reflect on the playing of the instrument. The effect of this can be prominently witnessed on the playable compositions.  We can visualize tabla in the Urdhvak – Alingyak of Bharata’s time. During 17th and 18th centuries there had been considerable experimentation on this instrument.

The up-faced paired-instrument Tabla went through considerable changes. There are plenty of supporting evidences those tell us  the Dayan used to be larger than the Bayan as opposed to what we see today. The playing posture, playing techniques and composition styles were different. The change of Tabla to the current shape and design has changed the playing posture, and showed strong impacts on performance techniques and composition styles.

Key words: Tabla, Urdhvak-Alingyak, Bharata, composition, shape, design, technique

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Music is a Living Art and Changes are the Proof

LIpika Dasgupta

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A discussion on the Principles of Evolution of Instrumental Music

Bidyut Kanti Chaudhury

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An Analysis of the Development of Pakhawaj Playing Style in the Bhattacharya Family of Kolkata

Partha Pratim Chaudhury

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The Nal-Tarang and its Playing Style

Dimple Sharma

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Indianizing  of the Violin

Prakash Mahadik

Although there are differences in opinions on the origin of violins but the names those come before us are all from the west. Interestingly, we can find some sculptural depictions in the Agastheesewarar Temple at T. Narasingpur in Karnataka that closely resembles violin.

It is widely accepted that Vidyan Baluswami Dikshitar [1786-1858] popularized violin in the south.  In Hindusthani style it came in two ways. One through Vidyan P.A. Sundaram Ayyar who came to Gandharva Mahavidyalaya around 1911-12 and taught there on the invitation of Pt. Vishnu Digambar Paluskar. The second line is of Mater Lobo of Eden Gardens who taught Ustd. Allauddin Khan in 1911. Later to make the violin more compatible to Indian Music there were modifications and adaptations.

About the the seminar participants those submitted their paper abstracts and follow-up processing successfully completed. [in alphabetical order]

Dr. Bidyut Kanti Chaudhury will speak on

A discussion on the Principles of Evolution of Instrumental Music

Dr. Chaudhury did his Ph.D. on ‘Influence of Music in  Humanistic Education’. He is a theoretician, a singer and an author. He is currently an Assistant Professor at the Department of Instrumental Music, Rabindra Bharati University. For more information please visit http://sitardivin.globat.com/DoIM/2011/04/dr-bidyut-kanti-chaudhury/

Dr. Chaudhury did his Ph.D. on ‘Influence of Music in  Humanistic Education’. He is a theoretician, a singer and an author. He is currently an Assistant Professor at the Department of Instrumental Music, Rabindra Bharati University. For more information please visit http://sitardivin.globat.com/DoIM/2011/04/dr-bidyut-kanti-chaudhury/

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Biswajit Bhattacharjee will talk on

Transitions from Kothiwal Gharana to Lucknow Gharana of Tabla Playing

A torch bearer of Lucknow School of Tabla playing Biswajit Bhattacharjee chose to sincerely understand the academics with similar yearning matching his natural creative urge through traditional tabla playing. He visited different universities for lectures and workshops. During first week of  August 2011 he was at the Paro College of Education, Bhutan.

Currently he is serving as an Assistant Professor in Tabla at the Department of Instrumental Music, Rabindra Bharati University.

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Dr. Debasish Mandal will talk on

Adaptation of Rhythmic Expressions of Human from Other Manifestations 

Dr. Debasish Mandal is a renowned educator and scholar. The areas of his research interest are Folk and Tribal Music of Bengal, Labour Music, Music of the Insects and theorizing of the musical practices of India from historical and current perspectives. Dr. Mandal had his Ph.D. from the Rabindra Bharati University. He participated in a number of national seminars. He organized several national seminars and one international seminar. Dr. Mandal has several national level publications to his credit and widely taken part in academic seminars.

Currently he is serving as an Associate Professor in Tabla at the Department of Instrumental Music, Rabindra Bharati University.

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Dimple Sharma will talk on

The Nal-Tarang and its Playing Style

Dimple Sharma is topped in her M.A. examinations from the Dayalbagh Educational Institution [Deemed University] in 2010. In the same year she also got qualified in the NET. Dimple is now pursuing her researches under Ph.D. program in the same institute.

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Goutam Ghosh will talk on

Thematic Applications of Music in Bengali Films Between 1930 to 1990; and its Changing Styles

A versatile creative personality Goutam Ghosh is a sarod player, a composer, a conductor, an arranger, an educator, a writer, a music critic.  He has composed music for around 300 dramas in Bengali and Hindi. He also composed music for cinema, short films, tele-films, operas,  large ensemble orchestra, and large choir.He has several music albums to his credit. He has been felicitated for his work in the country and foreign countries.

Mr. Ghosh was associated to the Satyajit Ray Film and Television Institute [SRFTI], Bengal Music College and West Bengal State University as Visiting Faculty. Mr. Ghosh visited Canada United States and China and did workshops on Indian Music. He is also the Director of J.N. Tagore Centre of Research at the Rabindra Bharati University.

Currently he is serving as an Associate Professor at the Department of Instrumental Music, Rabindra Bharati University.

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Professor Goutam Nag will talk on

Process of Changes in Music

Dr. Goutam Nag, a profound scholar and vocalist, is a Professor at the Department of Instrumental Music, Rabindra Bharati University. Professor Nag  authored many books and his writings regularly get featured in different journals. He gives regular vocal performance in and around Kolkata. Click to know more.

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Dr. Krishnendu Dutta will speak on

Development of Tabla Playing Styles

Dr. Krishnendu Dutta had his Ph.D. in Instrumental Music from the Rabindra Bharati University. He was awarded Junior Fellowship by the Ministry of Culture, Government of India. He served S.M. Tagore Centre of Research as a Project Associate for two years from November, 2009. Earlier he worked in a project for Leipzig University, Germany. He is a disciple of the legendary tabla player Pandit Shyamal Bose.

Dr. Dutta is currently serving the Sikkim University as an Assistant Professor in Music.

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Professor [Dr.] Lipika Dasgupta will speak on

Music is a Living Art and Changes are the Proof

Professor Lipika Dasgupta has specialization in Hindusthani Music and Rabindrasangeet. She has obtained MA degrees in History & Archeology and Musicology and later did M.Phil in Musicology at the Banaras Hindu University. She did her Ph.D. in Musicology from the same university. Seven students received Ph.D. degree and seventeen received M.Phil. under her supervision. She authored three books and wrote twenty five articles for different journals and gave about fifty five lectures . She is attached to many high-powered committees of many universities. She participated in forty eight national and international seminars.

Currently she is serving the Banaras Hindu University as the Professor & Head of the Department of Musicology.

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Dr. M. Lalitha will talk on

Violin in global styles with special focus on its usage in South Indian Classical Music 

Dr. M. Lalitha is a internationally reputed violinist along with her sister Nandini Muthuswamy. Dr M Lalitha holds a Phd in Indian Music from the University of Madras and is the proud recipient of the prestigious Fulbright Fellowship, USA.  She has performed all over the globe and presented papers / articles in esteemed National/ international conferences. She has received several awards including the exalted State government of award of KALAIMAMANI, from Tamil nadu and became the FIRST INDIAN MUSICIAN to perform / interviewed for BBC World routes, UK. Currently she is the Director the MS Academy of Global Music.

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Professor Mukund Bhale will speak on

Effect of the Changes in Shape and Design of Tabla on the Playing Techniques and Compositions

Gwalior born Pandit Mukund Bhale had his training in Tabla under the guidance of Pt. Yasvant Rao Shirgaonkar and Pt. Gajanan Tadey. Mukundji performed very extensively in prestigious music festivals all over India and abroad. He provided tabla support to a long list of reverend musicians. Pandit Bhale  successfully produced some exceptional students those have proved their talents in the Indian music fraternity. His articles regularly get published in different journals in the country.

Currently he is a Professor & Dean at the Faculty of Performing Arts, Indira Kala Sangit Vishwavidyalaya, Khairagarh.

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Nandini Muthuswamy will talk on

Nāgasvaram – the multifaceted instrument

Nandini Muthuswamy is an internationally reputed violinist along with her sister Dr. M. Lalitha she forms a part of the much acclaimed Duo – The Violin Sisters. Nandini is a brilliant academician and holds triple Master’s Degrees in Indian Music, Ethnomusicology and Information Science. She was awarded the prestigious CWIT Award for Performing Arts, UK. Besides performances, she has also presented Lectures and workshops in several prestigious universities and organisations. She is also a Music Educator and has conducted an Indian Music Program at the Summer School of SOAS, University of London.  She has also served as an adjudicator and examiner for Music Festivals and examinations.

She has received several awards including the exalted State government award of KALAIMAMANI, from Tamil Nadu and became the FIRST INDIAN MUSICIAN to perform / interviewed for BBC World routes, UK.

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Dr. Partha Pratim Chaudhury will speak on

An Analysis of the Development of Pakhawaj Playing Style in the Bhattacharya Family of Kolkata

Partha Pratim Chaudhury received his doctoral degree from the Rabindra Bharati University, Kolkata. He had the opportunity to learn Pakhawaj under the guidance of Pt. Chanchal Bhattacharya the famous Pakhawaj player of Bengal. He is involved in a number of cultural activities.

Currently he is a Guest Faculty at the Department of Instrumental Music of Rabindra Bharati University.

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Professor [Dr.] Prakash Mahadik will talk on

Indianizing  of the Violin

Dr. Prakash Mahadik is a Professor & the Head of the Department of Instrumental Music at the I.K.S. University, Khairagarh. He is a musicologist who has several books and paper publications to his credit. He is an excellent violin pedagogue and taught many students. Earlier this year he was felicitated with the prestigious ‘Kaka Hathrasi Award’ for his exemplary contributions in the field of music academics in India.

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Ranjan Ghosh will talk on

Some Thoughts on the Transit of Violin from European Music to Hindusthani  Music’ by Ranjan Ghosh

Ranjan Ghosh, son and disciple of Violin Maestro Rabin Ghosh, has done Master Degree in Indian Classical Music, on violin from Rabindra Bharati University, India.

Ranjan is an ‘Associate Violin’ from Trinity College of Music, UK and received training on ‘Teacher Training Programme’ from Wuerzburg University of Music, Germany.

Presently, Ranjan Ghosh is associated as ‘Teacher of Violin’ of Instrumental Music Department, Rabindra Bharati University and Calcutta School of Music, Kolkata, India. Detailed information at  www.ranjanghosh.info

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Samidha Vedabala will talk on

Sitar Baaj: The Changing Phenomenon

Samidha Vedabala, currently an Assistant Professor at the Department of Music (School of indigenous and folk studies) at the Sikkim Central University is pursuing as a Ph.D. scholar under the Department of Instrumental Music, Rabindra Bharati University.

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Sangeeta Ray will talk on

Development of Dotara Playing in Cooch Bihar District of West Bengal

Sangeeta Ray is a remarkable vocalist and an ardent researcher. She is pursuing her research on the musical instruments and music of North Bengal under the Ph.D. program of the Department of Instrumental Music, Rabindra Bharati University. She received Rajiv Gandhi National Fellowship from the University Grants Commission and also awarded the Junior Fellowship from the Ministry of Culture, Government of India. She has been awarded A-grade from the All India Radio.