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IMC - India meets Classic presents... Raga CDs of the Months (12/10...
by Lothar J.R. Maier (promotion initiative IMC - India meets Classic)
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Raga CDs des Monats (12/10): Das Studium der indisch
klassischen Musik (Teil 1.3)
Die Foerderinitiative IMC- India meets Classic wird mit
der letzten Sendung in 2010 und dem Thema "Das Studium
der indisch-klassischen Musik, Teil 1? (und Folgende)
wesentliche Fragen beantworten koennen, worauf bei der
Wahl eines Lehrers, eines Guru-s zu achten ist, dabei die
Vor- und Nachteile unterschiedlicher Unterrichtsmethoden
beleuchtet und dafuer Besonderheiten im Instrumentalspiel
oder indischen Gesang beruecksichtigt werden.
Spaetestens seit den musikalische Entdeckungsreisen von
Menuhin und Coltrane wuchs im Westen das breitere
Interesse fuer ein Studium der indisch-klassischen Musik.
Es ist bis heute ungebrochen.
Der Geigenvirtuose Sir Yehudi Menuhin besuchte 1952
erstmals Indien. Spaeter nahm Yehudi Menuhin Unterricht
bei dem legendaeren Sitarspieler Ravi Shankar. Das modale
Konzept der indischen Ragas spiegelt sich auch in der
Musik des Jazz-Saxophonisten John Coltrane wieder.
Coltrane's Komposition "India" (aus dem Jazzalbum "Live
at the Village Vanguard") stammt aus dem Jahre 1961, in
dem er Ravi Shankar traf. Coltrane studierte neben der
indischen Klassik auch die indische Religion und
Philosophie.
Sendetermin
21. Dezember 2010 - 21:00 p.m. (CET)
broadcasting plan | streaming (Internet Radio & Mobile
Radio) | podCast
Orientieren wir uns mit zwei westlichen Begriffen fuer
die Annaeherung an die musikalische Ausbildung. Als da
waeren: Musikschulen und die Musikwissenschaft.
Dazu begegnet uns in dem mehr als 2000 Jahre alten System
der indisch-klassischen Musik Nord- und Suedindiens
analog der Begriff Gharana. Die Gharana-s sind eine Art
Musikschulen, weniger im westlichen Sinne. Gharana ist
eine Bezeichnung fuer eine ueber viele Generationen
weitervererbte, musikalische Tradition.
Gharana leitet sich aus dem Hinduwort "Ghar" ab, das
heisst Familie oder Haus. Es gibt Gharana-s fuer den
Gesang, das Instrumentalspiel, fuer das indische
Perkussionsinstrument Tabla, fuer den indischen Tanz und
einige Blas- u. Saiteninstrumente. Angesichts der mehr
als 30 existierenden Gharanas beschraenken wir uns in
Teil 1 unseres Themas "Das Studium der indisch-
klassischen Musik" auf die aelteste Gesangsform der
nordindischen Klassik, den Dhrupad.
Die aelteste Musikschule des Dhrupad ist die Dagar-
Gharana. Ihr Namensgeber, die Dagar-Familie (s.u.)
bestimmt bis heute, ungebrochen seit mehr als 20
Generationen die Entwicklung des Dhrupads.
Der Begriff Gharana ist selbst gar nicht so alt wie die
Familientraditionen. Ihre gesellschaftliche Bedeutung
wurde fuer die stilistische Zuordnung eines Kuenstlers im
Instrumentalspiel oder Gesang erst Mitte des 19.
Jahrhunderts ausgepraegt. Die Gharanas des Dhrupadgesangs
haben eine Vorgeschichte. Alle Gharanas gehen auf nur
vier (4) Abstimmungslinien zurueck, die sogenannen Bani-s
(oder Vani-s). Bani bedeutet "Wort", es leitet sich aus
dem Sanskritstamm "Vani" ab, d.h. "Stimme". Die Banis
sind Stilkonzepte. Die vier Banis werden auf vier
herausragende Musiker am Hofe des Moghulherrschers Akbars
(1542-1605) zurueckgefuehrt. Es sind: Gaudhari Vani, auch
Gohar oder Gauri Vani genannt, sie steht in der Tradition
des beruehmten Hofmusikers Tansen, dann Khandari Vani von
Samokhana Simbha (Naubad Khan), Nauhari Vani in der
Tradition von Shrichanda und Dangari oder Dagar Vani von
Vrija Chanda.
Blickt man in der Musikgeschichte Indiens weiter zurueck,
entdeckt man zu den Banis eine Verbindung aus dem 7.
Jahrhundert. Die vier Banis des Dhrupads haben sich aus
sieben bzw. im Kern fuenf (5) Gesangsstilen entwickelt,
den Geetis. Die Geetis sind: Suddha, Bhinna, Gauri,
Vegswara und Sadharani. Gaudi Geeti ist nicht weiter mehr
im Gebrauch.
------------------
Raga CDs of the Months (12/10): Studies in Indian
Classical Music (series: part 1.3).
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.
date of broadcasting
21st December 2010 - 09:00 p.m. (CET)
broadcasting plan | streaming (Internet Radio & Mobile
Radio) | podCast
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.
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). 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)
+++
Date Published: 2010-12-26 15:00:10
Identifier: IMC_presents_Studies_in_Indian_Classics_part1_3_21122010
Item Size: 38582665
Media Type: audio
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