“Remove the barriers imposed by the music”: A tribute to a vital artistic tradition by T.M. Krishna

A Southern music: The Karnatik story By T.M. Krishna, HarperCollins, Rs 699 If a successful and busy Karnatic singer takes time off in order to write reflections on South Indian or “Karnatic” music, the book release function is bound to be met with considerable interest. […] He pays tribute to the tambura (the tanpura) as “the life-giver, the soul …

Vidya Shankar – “If you have doubts, ask Vidya!”

Vainika, vocalist, musicologist annd teacher Vidya Shankar (1919-2010) was taught by Sabhesa Iyer, Sabhapathi Iyer, Syama Sastry (descendant of the composer), and T.L. Venkatarama Iyer. Vidya Shankar founded Parampara (Association for the Preservation of Classical Carnatic Music) and authored many articles and several books: Syama Sastry’s Compositions with text, translation, svara and gamaka notation1 Saint Tyagaraja’s …

Ramachandra Shastry

H. Ramachandra Shastry (1906-1992), a disciple of Palladam Sanjeeva Rao1. From 1977 to 1992 he taught several flute students at Kalakshetra including the present author. OF BAMBOO AND MAGIC – A FLAUTIST AT EIGHTY* by Ludwig Pesch Sri H. Ramachandra Shastry, seniormost Carnatic musician and teacher at the international centre of arts, Kalakshetra, at Madras, completes …

What’s the difference between Hindustani and Carnatic music?

At first, this question seems easy to answer: just watch performers from either strand of Indian music and you’ll know Which is Which, merely going by the instruments in use, or how they dress and watching the body language involved: harmonium or sarangi vs. violin for melodic accompaniment for most vocal recitals, and tabla drums …

A brief introduction to Carnatic music

Whatever one’s personal background and aspirations may be, Carnatic music remains a quest for undiluted aesthetic experience (rasa). 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 …

Melakarta raga application

12 positions are available in the South Indian 72 mela systemto learn more, read the following explanations Source © Ludwig Pesch under theCreative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported License A scale – mēla in Carnatic or thāt in Hindustani music – isn’t a raga yet: it is no more than an imaginary arrangement of notes for the …

aiume – Adapting Indian Universals in Music Education

We design activities that enrich the lives of children, young people and adults: Melodious music and captivating rhythms in which to immerse ourselves joyfully and spontaneously; with self-confidence yet always together. Indian music fosters intercultural collaboration. Each facet lends itself to being adapted so as to reach out even to those for whom making music had so far seemed a distant dream. We …

Pia Srinivasan – Veröffentlichungen

Initiatorin von Sangitam ist Pia Srinivasan (Neapel/Reinbek). Sie hat viele Jahre bei Rajeswari Padmanabhan in Madras Vina (Laute) gelernt, sowie Gesang und Geige bei bekannten Musikern. Für die Archive des Ethnologischen Museums in Berlin hat sie zahlreiche live Konzerte und Musikunterricht in Madras zu Forschungszwecken aufgenommen und dokumentiert. Veröffentlichungen Kommentar zum Doppelalbum Musik für Vina, …

Sangitam Institut für südindische klassische Musik

Kursangebote und Workshops für Laien, Musiker und Pädagogen von Dr. Pia Srinivasan Grundkurs (Hörverständnis) Gesang Tambura (Bordun-Laute) Raga – Theorie Aufbaukurse Vina (Laute) Pullankulal (Bambus-Querflöte) Perkussion: Tala, Konakkol (rhythmische Solmisation sowie verschiedene Perkussionsinstrumente) Intensiv-Workshops Informationen auf Englisch >> Wenn Sie Freude daran haben, eine besondere Art des kreativen Musizierens zu erlernen; wenn Sie neugierig sind, die …