for students and lovers of Carnatic music
Carnatic music, the art music of South India, is locally known as karnātaka sangītam. According to V. Sriram, an authority on the recent history of this music, a popular interpretation of karnataka sangitam is derived from the Tamil words karna (“ear”) and ata (a word used to express surprise): “that which haunts the ear.” Carnatic … Read more
This course covers all the important facets of Carnatic music, the classical music of South India: its traditions as well as its present role in the fields of music and education all over the world. “Very often I think and feel that I am like a flute – the flute that cannot talk but when … Read more
The flute has played a key role in India’s artistic life since antiquity. This is evident from writings on dance-drama, mythology, sculptures and paintings. Its playing technique must have been highly developed for a very long time. Different names are used for it, for instance kuzhal (pronounced like “kulal” or “kural”) in Tamil speaking regions; and bansuri in northern India. In poetry, song … Read more
Ludwig Pesch (1955) is a German-born musicologist, educator and musician. Interested in “other” ways of teaching and sharing music, he completed his Diploma Course in Carnatic Music (First Class) at Kalakshetra after serving as church organist and studying music and musicology in Freiburg (Germany). He specialized in playing the bamboo flute under the guidance of Ramachandra Shastry (1906-92) – musical heir to … Read more
Whatever one’s personal background and aspirations may be, Carnatic music remains a quest for undiluted aesthetic experience (rasa).1 Three basic concepts are essential for daily practice as well as proper appreciation: rāga (tuneful rendition with minute intervals and rich in embellishments), tāla (rhythmic order marked by mathematical precision), and bhāva (expression of thoughts and emotions). To … Read more
by Ludwig Pesch Carnatic music – the classical music of South India – unites people from a variety of social backgrounds. Over two hundred fifty million people now inhabit a region that comprises five modern states (Andhra Pradesh, Karnataka, Kerala, Tamil Nadu, and Telangana) drawn up on the basis of their respective linguistic majorities. They take pride … Read more
Mit Hilfe praktischer Übungen können sich auch musikalische Laien in die facettenreiche Musikwelt Südindien vertiefen. Die Kurssprache ist Englisch (bei Bedarf auch Deutsch). Im Mittelpunkt steht die klassische Musik Südindiens, ihre Traditionen sowie ihre Rolle in der heutigen “Weltmusik-Landschaft”. So wendet sich der Kurs gleichermaßen an Musiker, Studenten wie Lehrer und alle, die sich einmal aktiv mit der indischen Musik … Read more
raagam: vasantA 17 sUryakAntam janyaAa: S M1 G3 M1 D2 N3 S | Av: S N3 D2 M1 G3 R1 S Having but 6 notes (instead of 7), this type of raga pattern is traditionally classified as being “derived” (janya) from a melakarta raga. Text books refer to any raga limited to 6 notes as … Read more
Ludwig Pesch ist in einer musikalischen Umgebung aufgewachsen. Während seiner Schulzeit wurde er Organist seiner Kirchengemeinde. Gleichzeitig gründete er Improvisationsensembles, um gemeinsam zu experimentieren und aufzutreten. Als Musikstudent gab er privaten Musikunterricht. Internationale Stipendien und ausgedehnte Reisen halfen ihm, “andere” Arten des Musizierens und Unterrichtens zu ergründen. Seitdem arbeitet er als Musiker, Musikforscher, Dozent, Projektinitiator, … Read more
To read the full article by the internationally acclaimed author of India After Gandhi, click here >> After Partition, Bade Ghulam chose to move to Pakistan, but, finding the audience for classical music limited (in all senses of the word), wished to return to the Indian side of the border. In the 1950s, it was … Read more