#hindustani classical

[dankalbumart]

Wonderwall Music by George Harrison Apple 1968 Experimental / Raga Rock / Film Score / Psychedelic Rock / Avantgarde / Indian Classical / World Music / Soundtrack / Hindustani Classical

[beyourselfchulanmaria]

5-6世纪·阿富汗 佛首

Title: Head of Buddha

Date: 5th–6th century

Culture: Afghanistan (probably Hadda)

Medium: Stucco with traces of paint

Dimensions: H. 7 1/2 in. (19.1 cm); W. 4 3/4 in. (12.1 cm); D. 4 1/2 in. (11.4 cm)

Classification: Sculpture

Credit Line: Rogers Fund, 1930

Accession Number: 30.32.5

The well-preserved surface and traces of paint provide an idea of what this head looked like when it was being used in worship. The abstracted treatment of the eyes and the intersecting plains defining forehead, eyebrows, and nose are stylistic features shared with imagery produced in north India during the Gupta period. The fact that this north Indian way of presenting the Buddha had penetrated into Afghanistan suggests a shared Buddhist tradition.

Photos via friend 陳浩

小紅書: 11600879720

🎧 🫶 Enjoy Music by Prem Joshua - Sky Kisses Earth Full Album 1999/德國音樂家Prem Joshua (b. 1958 German)，自 1969 年以來一直活躍在音樂界。 他五歲開始學習長笛，12 歲時在當地多個樂隊演奏長笛和薩克斯風。 18 歲他前往印度，沿途研究各個國家的土著民間音樂。

Tracklist

Sky Kisses Earth 0:00

Remember This! 13:29 (altered audio from original)

Dakini 19:03

Night Rain 32:02

The Seventh Eclipse 39:27

Earth Kisses Sky 46:56

[thatstolenpayal]

I have never shared how i sound singing hindustani classical ever. I had a huge gap of around 3 years due to academics, and now that i’m back at it..

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saavan ghan garaje, is a bandish from raag miya malhar, a wonderful creation of Miya Tansen ji, one of the nine gems in the court of Akbar. He is believed to have been able to bring rains by singing this raag. This raag is associated with rain, and its rejuvenating effects, and is one of my favourites.

I dont sound good due to the severe lack of practice, but I am trying to get back at where I was 3 years ago.

[arachneofthoughts]

The song Virah always gets me. There is something so brilliant about that song. It does not go into exalted detailed description of how virah feels. In 8 lines it gives such a simple yet hard-hitting description of it.

It is not an extravagant poetic depiction....It almost feels like a factual description of virah. Raw and painful. A virah which has freshly struck and hasn't got the time, yet, to deck itself up in the fineries of poetry. It is still a fierce pain that rips the soul apart...Not the lingering pain which can weave poetry.

Ae ri sakhi mein ang ang aaj rang daar du

Apne jee se prem rang kaise mein utaar du

Once you colour yourself with the colours of true love, it seems almost impossible to be able to remove those colours. They cling on to every part of your soul and body as the remnants of that lost love.

Tere bina kahi bhi na vyaakul man laage

Virhan sur taal saaj aaj tere aage

The intense longing of the heart never ceases. All the places ring with memories. Life loses it's rhythm, it's beauty and surrenders to the virah left behind by the person.

Nainan ko chain nahi rain rain jaage

Ik pal mein toot jaye saans ke ye dhaage

Incessant tears push sleep away from the eyes. The sleepless nights prolong the wretched pain. That one moment where everything shattered chokes you with agony.

Tu jo muh phere sakhi, deh pran tyage

Pal bhar tu dekh mujhe, zindagi guzaar du

As the love of your life turns away from you, it feels as though someone has yanked your heart, your very existence out of your body. You lose yourself to the pain. Then your mad heart beseechingly asks them for one last moment. Just a little more time....Before virah becomes your companion for the rest of your life.

[rockandrollhistory105]

Lecture 10: MONTEREY POP HIGHLIGHTS: Virtuoso sitarist Ravi Shankar (1920-2012) left a memorable impression at Monterey Pop in June 1967. His traditional Indian sitar (a.k.a., Hindustani Classical) music found a massive audience in America, and his albums sold briskly after Monterey Pop to record buyers hungry for a different yet vibrant musical experience. At age 47, Shankar – beloved in India – was the oldest musician to perform at Monterey Pop, a rock festival dominated by relative newcomers. Around this time, his music was also having an enormous influence on his longtime friend, George Harrison. This footage spotlights his entire performance at Monterey Pop, which was one of the highlights of the festival.

[rocknroll105]

Lecture 10: MONTEREY POP HIGHLIGHTS: Virtuoso sitarist Ravi Shankar (1920-2012) left a memorable impression at Monterey Pop. His traditional Indian sitar (a.k.a., Hindustani Classical) music found a massive audience in America, and his albums sold briskly after Monterey Pop to record buyers hungry for a different yet vibrant musical experience. At age 47, Shankar -- beloved in India -- was the oldest musician to perform at Monterey Pop, a rock festival dominated by relative newcomers. Around this time, his music was also having an enormous influence on his longtime friend, George Harrison.

[dustedmagazine]

Ustad Zia Mohiuddin Dagar – Ragas Abhogi & Vardhani/ Raga Yaman (Ideologic Organ)

Nineteen: the staggering number of genealogic iterations separating Ustad Zia Mohiuddin Dagar from his ancestors who founded the familial artistic tradition known as Dagar gharana, a variant of the Hindustani classical idiom of dhrupad. There really isn’t a correlate in Western music with a commensurate degree of uninterrupted musical history. Dagar’s stature and impact wasn’t simply based on antiquity and extent of lineage. The first in his family to adopt the rudra veena as a principal means of expression, he made alterations and advancements to both instrument and technique, to better adapt it to the music’s vocal aspirations and underpinnings. Dagar embraced a parallel career as educator not just in his native country, but also abroad starting in 1968 with a teaching post at Wesleyan University. Tenure at the University of Washington beginning in 1974 led to a number of public and private performances, which now form the bulwark of his available stateside discography. Ragas Abhogi & Vardhani and Raga Yaman source from concert tapes created a week apart in March of 1986.

Dhrupad was originally a devotional style of vocal music designed to accompany religious activities in Hindi temples. Later changes beginning in the 16th century adapted its forms to the secular settings and preferences of the royal courts, although by the 19th century the style largely fell out of favor in terms of wealthy patronage. The Dagar family persisted through these changes, cementing its prominence as purveyors and preservationists of the art. The veena was a secondary, although largely private, means of expression for various members dating back to Dagar’s grandfather. His choice to bring the instrument out of the shadows led to a renaissance and he was also the first to introduce it to Western audiences in person through both performance and instruction. Dagar’s veena was made of teak rather than traditional bamboo. Enlarged tubing and increased string gauging coupled with an added wooded spine and sliding frets created a deeper, more resonant timbre. Dagar also altered his playing posture from the traditional diagonal shoulder-to-hip positioning to a horizontal one, much like that for lap steel.

Despite his uncontested eminence, Dagar’s commercially available discography remains bafflingly scant. A two-disc set on the Nimbus label, a single-disc of a recital with brother Zia Fariduddin from 1968, and a handful of others from his stateside years on the specialist Raga imprint are all that are in circulation outside of India. That paucity makes these documents all the more valuable. Each presents Dagar in different context that brings out distinct aspects of his playing. The first, recorded with a pair of microphones in the living room of husband and wife patrons, Shantha and Niranjan Benegal, is the more informal and intimate of the two. Dagar focuses the majority of temporal space on the alap sections of the titular ragas, introducing the melodic contours of each peace in gradual and deliberate fashion. Dagar’s only accompaniment, other than the occasional audience noise, is pupil Annie Penta whose tanpura supplies a steady, sympathetic drone. The carefully constructed meends, or gliding string bends, Dagar develops during these sections are often mesmerizing in their microtonal congruity and euphoniousness.

Recorded six days later at a formal concert co-sponsored by the UW Ethnomusicology department and a collegiate Indian group the rendition of Raga Yaman. Yaman was purportedly one of Dagar’s most favored vehicles and a fundamental component of his teaching curriculum. Penta is back and joined by Gaythatri Rajapur on second tanpura. The performance also incorporates a gat section for Manik Munde on barrel-shaped pakhawaj, a cousin of the more familiar to Western ears tabla and preferred percussive accompaniment for larger stringed instruments like the veena. Centering on a single raga allows Dagar even more latitude with his intricate alap improvisations, which spool and ripple across a thirty-four minute expanse. The subsequent compositional jod section is also extended and rife with warmly resonating and intersecting drones. A digitally-transferred recording means heightened aural clarity and even the sporadic interjections of a coughing audience member can’t compromise the enveloping meditative cast of the unfolding odyssey.

Derek Taylor

[nallamadras]

A boy who ran away from home

A boy who ran away from home

The family sat down for lunch. All were being served. An eleven-year-old boy wanted ghee (clarified butter), but was refused. He created a scene and walked out of the house.Everyone thought he would return once the hunger pangs started gnawing at his innards.The boy had other ideas. He headed to the nearest railway station and boarded a train to Gwalior with not a penny in his pocket. When the…

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