I am working on a new composition for a singer, to be premiered in the States which is based on the Indian Konnakol (rhythms). I am also working on arrangements as well as original compositions for chinese orchestra (with Jeremy Monteiro) and bands. […] Growing up in Singapore meant that influences from different cultures were inevitable. Embracing different musical languages became a natural progression of my creativity. […] I am completely immersed in a “musical life”. I have recently gotten married and so family time is important, but out of the classroom and beyond Jazz, I am also caught spending time with little side projects and musical hobbies (if you consider playing an instrument for 10 years a “hobby”) such as practicing and performing on Indian instruments such as the Mridangam.
*Solfège sol-fa, solfa, solfeo, among many names, is a music education method used to teach aural skills, pitch and sight-reading of Western music. Solfège is a form of solmization, though the two terms are sometimes used interchangeably.
M.S. Subbulakshmi Born 16 September 1916. Died 11 December 2004
Madurai Shanmukhavadivu Subbulakshmi (Tamil: மதுரை சண்முகவடிவு சுப்புலட்சுமி, Madurai Shanmukhavadivu Subbulakshmi ? 16 September 1916 – 11 December 2004), also known as M.S., was a Carnatic vocalist. She was the first musician ever to be awarded the Bharat Ratna, India’s highest civilian honour. She is the first Indian musician to receive the Ramon Magsaysay award, often considered Asia’s Nobel Prize, in 1974 with the citation reading “Exacting purists acknowledge Srimati M. S. Subbulakshmi as the leading exponent of classical and semi-classical songs in the carnatic tradition of South India.”
Source: M.S. Subbulakshmi – New Songs, Playlists, Videos & Tours – BBC Music Address: http://www.bbc.co.uk/music/artists/613361fb-24bd-4bc9-ad63-85ac5bc79156 Date Visited: Mon Apr 11 2016 14:17:14 GMT+0200 (CEST)
Sunil Khilnani explores the life of south Indian singer MS Subbulakshmi
Subbulakshmi’s singing voice, striking from the start, would ultimately range three octaves. A perfectionist, she had the capacity to range across genres but narrowed over the years to what another connoisseur of her music has called a ‘provokingly small’ repertoire. In time, the ambitions of those who loved and profited from her combined with her gift to take her from the concert stage to film to the All-India Radio to near-official status as an icon of independent India.
But, as Professor Khilnani says, “what was required of Subbulakshmi, in moving from South Indian musical celebrity to national cultural symbol, is deeply uncomfortable when considered through the prism of contemporary feminism.”
Source: BBC Radio 4 – Incarnations: India in 50 Lives, Subbulakshmi: Opening Rosebuds Address: http://www.bbc.co.uk/programmes/b073b5cb Date Visited: Mon Apr 11 2016 14:12:31 GMT+0200 (CEST)
Information about the persons and subjects (e.g. music items)
The tambura or tanpura is a plucked drone instrument used to accompany instrumental or vocal performances. The four strings are played open rather than being depressed to alter the note. This example is considerably smaller than the typical tambura. A very small version is sometimes known as a tamburi.
This example is so profusely decorated it may have been made for display or for use at court. The front of the sound chamber features images of the Hindu deities Ganesha, Rama, Sita, Hanuman and Lakshmana, along with peacocks and cows. The neck is decorated with figures of a male musician playing a pipe or horn, a female musician playing a drum, and acrobats, who appear to be climbing a very tall bamboo pole. One of the female acrobats has a number of matkas (earthenware pots) stacked upon her head.
On the back, Krishna appears five times dancing with the gopis (cow-girls) in a circular pattern. They are flanked by four standing figures: the gods Shiva (holding his trident) and Brahma (shown with four heads and holding the vedas or sacred texts), and two rishis or great sages. The one standing below Brahma is Narada, who holds a vina, a musical instrument which he is said to have invented. He also wrote a treatise about music and was the chief of the gandharvas or heavenly musicians.
This tambura belongs to a small and fascinating group of similar tamburas, of which there are examples in museums around the world. However, most of these lack secure attribution records and the origins of the V&A instrument are something of a puzzle. The Museum’s records from 1922, when the object was acquired, state separately that it was from Pune, Maharashtra, and, slightly later, that it was probably made in Sipri (now Shivpuri), near Gwalior, Madhya Pradesh, although these places are very distant from each other. However, the fact that the sound chamber of the instrument is made of wood [?], rather than of gourd, suggests that it was made in the south of India as do other aspects of the shape of the instrument, and it has been suggested that the painting style can be linked with Mysore in the south. […]
Decorated instruments are also found in German, Austrian and Italian collections. According to Klaus-Peter Brenner, a similar instrument in the musical instrument collection of Goettingen University may have been manufactured on behalf of Raja Sir Sourindro Mohan Tagore (1840-1914). If this is indeed the case (even if hard to ascertain), the pioneering musicologist may have gifted it to a visiting dignitary (Erzherzog Franz-Ferdinands von Österreich), as he did with numerous other instruments. This particular one is now being described as Göttinger Tagore-Tambura.
Die derzeit bekannten Parallelstücke lassen eine Provenienz entweder aus den Instrumentenschenkungen des bengalischen Musikwissenschaftlers Raja Sir Sourindro Mohan Tagore (1840-1914) an europäische Museen und Privatleute oder vom Indienaufenthalt Erzherzog Franz-Ferdinands von Österreich-Este im Jahre 1893 (briefl. Mitteilung vom 26. 9. 1986 von Dr. Alfred Janata zur Herkunft des Wiener Exemplars) vermuten, was jedoch ebenfalls auf eine Verbindung zu Tagore hindeutet, da Erzherzog Franz-Ferdinand während seiner Reise bei diesem zu Gast war (cf. HÖFER 2010: 51).
Mahakavi Bharati: The Man, His Poetry, Those Times Video lecture on the occasion of Mahakavi Subramania Bharati’s 100th death anniversary
In commemoration of the 100th death anniversary of poet C. Subramania Bharati, join us on this virtual event as we celebrate the life and works of Mahakavi Bharati. Usha Rajagopalan is a writer, translator, and lake conservationist. Geetha Srikrishnan hails from a musically inclined family, and is a Classical Carnatic Musician.
An independent writer who moves from writing for children to translating Bharati’s poetry, Usha’s interest in Bharati’s poetry “was fuelled by hearing his songs sung by all ranks of singers”.
Selected Poems of Subramania Bharati by Usha Rajagopalan
Ranging from the fiercely patriotic and the deeply romantic to the humbling intensity of devotion and the sharp criticism of self and society, this selection brings together poems that reflect the very essence of Bharati’s broad philosophy. Usha Rajagopalan’s translations echo the lyricism and transformative power that have lent Bharati’s poetry their distinctive and enduring quality. They seeks to complement what Bharati himself set out to do with the original text: to create an epic using ‘simple phrases, a simple style, easily received prosody, and the rhythms used in the language spoken by the common man.’
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 much easier to travel between these two countries than it is now. So Bade Ghulam made a trip to Mumbai, where someone brought his predicament to the attention of Morarji Desai, then the chief minister of the undivided Bombay State. Morarji bhai arranged for a government house for the maestro, while the Central government, headed at the time by Jawaharlal Nehru, smoothed the way for this Muslim from Pakistan to become a citizen of India.
Hamsadhvani is a lovely, melodious, raga in the Carnatic tradition, said to have been originally composed by Ramaswamy Dikshitar in the 18th century. There are many songs set in this raga, such as “Vatapi Ganapathim”, a hugely popular item in the repertoire of (among others) M.S. Subbulakshmi and M.L. Vasanthakumari. At some stage the raga was also adapted by Hindustani musicians for their own use. […]
The celebrated Kannada writer, Kota Shivarama Karanth, once remarked that it was impossible to “to talk of ‘Indian culture’ as if it is a monolithic object”. In Karanth’s opinion, “Indian culture today is so varied as to be called ‘cultures’. The roots of this culture go back to ancient times: and it has developed through contact with many races and peoples. Hence, among its many ingredients, it is impossible to say surely what is native and what is alien, what is borrowed out of love and what has been imposed by force. If we view Indian culture thus, we realise that there is no place for chauvinism.”
To this quote from Karanth let me append one by Rabindranath Tagore. Speaking of our inherited and shared diversity, Tagore once remarked: “No one knows at whose call so many streams of men flowed in restless tides from places unknown and were lost in one sea: here Aryan and non-Aryan, Dravidian, Chinese, the bands of Saka and the Hunas and Pathan and Mogul, have become combined in one body.”
The pluralism and cultural heterogeneity that Karanth and Tagore highlighted mark most spheres of Indian life. And perhaps (as they knew so well themselves) our classical music above all. Whether it be instrument or raga or genre or performer, we cannot say what is Hindu and what is Muslim, which part is native and which alien. […]
For the act of Bade Ghulam Ali Khan singing Hamsadhvani at a Rama Navami concert in Bangalore’s Fort High School in 1956 brings and blends together many languages, religions, regions, political regimes, musical traditions, and architectural styles. It is a glorious tribute to the cultural diversity of our country and our civilization.
Vidwan TS Sankaran was Flute Mali’s favorite and most trusted disciple. Apart from imbibing many of his guru’s techniques, he has created several of his own. His music also sometimes reflects his passion for the other great genius piper of the 20th century, TN Rajaratnam Pillai, who hails from the same village as Shri Sankaran. His legacy, and that of his guru Mali, is fortunately being continued through his grandson, Flute Jayanth.
Live recording made on 31 December 1988 – shared by Ludwig Pesch under Creative Commons