Loading ...
Sorry, an error occurred while loading the content.

WRECK: Surveiled India [playlist]

Expand Messages
  • ninplant@xs4all.nl
    wReck thiS meSS ~ Radio Patapoe 97.2 ~ Amsterdam Ethno-Illogical Psycho-Radiographies: no. 215: India Twists Maandag, 14 April 2003 (17.00 to 19.00)
    Message 1 of 1 , May 13, 2003
    • 0 Attachment
      wReck thiS meSS ~ Radio Patapoe 97.2 ~ Amsterdam

      Ethno-Illogical Psycho-Radiographies: no. 215: India Twists

      Maandag, 14 April 2003 (17.00 to 19.00)

      SIMUL-streaming <http://freeteam.nl/patapoe/>

      Gently Penetrating > Hildegard Westerkamp [1]
      Raga: Shiv Ranjani > Chaurasia / Gosher / Ghate / Chatterjee [2]
      Tripping India > If, Bwana [3]
      Dadra: Rangi Saari Gulabi Chunariya > Shobha Gurtu [2]
      Gently Penetrating > Hildegard Westerkamp [1]
      An Introduction to Inian Music > Ravi Shankar [4]
      Cyberabad > Asian Dub Foundation [5]
      Raga Jaijaivanti [exc] > Asad Ali Khan [6]
      Into the Labyrinth > Hildegard Westerkamp [1]
      Train to Bombay > The Orient Express [7]
      Tripping India > If, Bwana [3]
      Hot Dance Medley on Famous Indian Hits > Charanjit [8]
      Annadrone > Black Star Liner [9]
      Into the Labyrinth > Hildegard Westerkamp [1]
      Tabla Solo: Teentaal > Ustad Alla Rakha & Ustad Zakir Hussain [10]
      Into the Labyrinth > Hildegard Westerkamp [1]
      Sadra: Bhairav - Jhaptaal "Bhavani Dayani" > Parween Sultana [10]
      Into the Labyrinth > Hildegard Westerkamp [1]
      Tripping India > If, Bwana [3]
      Journey to Satchinanada > Alice Coltrane [11]
      Attending to Sacred Matters > Hildegard Westerkamp [1]
      Hard Work > Mogolar [7]
      Attending to Sacred Matters > Hildegard Westerkamp [1]
      Nama Sudha > Prince Rama Varma [12]
      Mind Waves > The Nirvana Sitar & String Group [7]
      Swami > The Disciples [13]
      Attending to Sacred Matters > Hildegard Westerkamp [1]
      Typewriter Tip Tip > Uncredited [14]
      Mother India > Fun-Da-Men-Tal [13]
      Attending to Sacred Matters > Hildegard Westerkamp [1]
      Sarany > Jolly Mukherjee vs State of Bengal [15]
      Thumri: Chain Kahan se Paoon > Lakshmi Shankar & Nirmala Devi etc. [10]
      1956 > Lata & Manna Day & Chorus [14]
      Piya Tu Ab To > Asha Bhosle [14]

      "Man's greatest actions are performed in minor struggles. Life, misfortune,
      isolation, abandonment and poverty are battlefields which have their
      heroes - obscure heroes who are at times greater than illustrious heroes.
      - Victor Hugo [via pawel]

      [1] "Into India: A Composer's Journey" on Earsay <earsay.com>. This
      Canadian composer <www.sfu.ca/~westerka> has travelled extensively in
      India. She is one of the more interesting composer-documenters of
      sonic landscapes. The compositions deal with her acculturation into
      strangeness. From her extensive and fascinating liner notes
      [soundscapes are necessarily sycophantically tied to critical text]:
      " Despite fearful incidents during my travels, repeated obstacles and
      difficulties, countless hassles and frustrations-desipte all that, a
      strong glow, a renewed and different love of life, remains for me the
      gift I received from my travels in India."

      "Gently" is recorded in New Delhi markets, in Janakpuri and Tilak
      Nagar in a marketŠ "In a city like New Delhi, and other places in
      India, one experiences shimmering beauty and grungy dirt and
      pollution side by side all the timeŠ"

      "'IntoŠ' is a sonic journey into aspects of India's culture. It
      occurs on the edge between dream and reality, in the same way in
      which visitorsŠ experience the country." Recorded sounds in Old
      Delhi, Pushkar, Jodhpur, Rajasthan, GoaŠ

      "AttendingŠ": "What do we consider to be sacredŠ? This question, my
      travels in India and my long-standing environmental concerns formed
      the impetus for this composition and are somehow brought together

      [2] "50 Glorious Classical Years vol. 5" on Saregama <www.saregama.com>

      [3] "Tripping India" on Pogus <www.pogus.com>. An eccentric "trippy"
      "audio travelogue, with manipulated percussionists".

      [4] "The Genius of Ravi Shankar" on Columbia vinyl. From his liner
      notes: "Ragas are precise melody forms. A raga is not mere scale- nor
      is it a mode. Each raga has its own ascending and descending
      movement, and those subtle touches and uses of microtones and
      stresses on particular notes. With the tamboura, the drone instrument
      in the background, the soloist does a free improvisation (alap),
      after which he starts the tune based on a rhythmic framework (tala)Š"

      [5] "Chainstore Massacre" on On-U <onusound.co.uk>. great compilation
      includes this active band that mixes bhangra, dub and trip hop in a
      manner that seldom sounds contrived or trend-mongering. From their
      forthcoming "Enemy of the Enemy" CD.

      [6] "Raga Jaijaivanti" on Nimbus.

      [7] "Sitaaarski!: Music where East Beats West: Ethnomusicology vol
      One" Hystereo. Insanely derivative and improvisational Indian takes
      on western pop insanity.

      [8] "Hot Dance Medley on Famous Indian Hits" on Rainbow vinyl.
      Insanity with no self-consciousness or pretention. Pure weirdiosity.

      [9] "Twelve Inch Confrontation Mix" on Echo Beach <www.echobeach.de>.
      Fascinating blend of Indian melodies and roots mixed with dub and
      drum & bass and then remixed by guest producers.

      [10] "50 Glorious Classical Years vol. 4" on Saregama <www.saregama.com>

      [11] "Red Hot on Impulse" on Impulse/GRP. Great compilation. AC on
      harp and piano with Pharoah Sanders and others. Electric freeform
      eclcetic and meditative. Beautiful work from this under-regarded
      woman composer and musician. A spiritual journey in a state "of mind
      meaning knowledge, existence, and bliss, and an individual, Swami
      Sathidananda who Coltrane described as expressing "an impersonal

      [12] "Vocal Concert" on Shankara Asian Arts. Descends from a renowned
      composer from the golden era of Indian composition [1750-1850] He
      wrote poetry, many many music compositions, was a philosopher,
      linguist and patron of the arts. His great great great grandson [I
      guess] carries on the tradition with inspiration from westerners like
      Brel & Callas and also a love for Bollywood pop star Kishore Kumar [a
      yodeler!] he manages to produce classical traditional South Indian

      [13] "Select Cuts From Nation" on Select Cuts <www.selectcuts.de> is
      an interesting post-hippie trance, trip hop and dub collection of
      historical works from the late 90s by interesting multi-culti
      dubsters like Transglobal Underground, Fundamental, and Asian dub
      Foundation and more. Where tradition meets hip, where convention
      meets iconoclasm, where urban stress meets the need to chill [with a
      mantra or a mixed drink].

      [14] "Bollywood Swinging" compiled by Rob Weisberg. Includes insanely
      beautiful film pop. Indians have a great ability to absorb, adapt and
      morph western music genres.

      [15] "Fusebox" on Palm Pictures <www.palmpictures.com>. This one was
      given to me by the Dubmission crew. It is really uneven material. The
      project is of course theoretically more interesting: take the film
      music of Jolly Mukherjee with the Madras Cinematic Orchestra and let
      that schlocky exotic excess be remixed by dancefloor producers like
      State of Bengal, Underwolves, The Madras Magician and get not
      streamlined terse beats but sappy almost new agey sentimental strings
      with some perfunctory beats. 1/3 interesting.

      o Indian music expert Jane Harvey lent me some discs from her vast
      collection of Indian music. I asked some questions [here in

      WTM: Where do you come from and how did it end up in Indian music?

      JH: Born 1949 in Surbiton, Surrey, England, went to school in
      Chessington and Wimbledon, then Sussex University - first heard
      Indian music concerts at the Queen Elizabeth Hall in London,
      sitarists Nikhil Banerjee and Imrat Khan, around 1971.

      WTM: What piqued your interest as far as Indian music?

      JH: Took piano lessons from ages 5-12, 15-18. At 15 also taught
      myself guitar. Wanted to find another form of music to express myself
      through improvisation. Had no interest in travelling to India as
      such! Was travelling overland to Australia, or so I thought, in 1974
      but after reaching India wasn't interested in going any further
      because India was so fascinating! The real interest in studying
      Indian music came after being introduced to sitarist Manilal Nag in
      Calcutta in the winter of 1975-6 and going to concerts of Manilal,
      Bhimsen Joshi and Ali Akbar Khan there. A friend studying Indian
      music there, Ira Landgarten, taught me how to count the rhythmic
      cycles. I then found it easier to follow the melody. Decided to
      definitely study Indian music as soon as I was settled living in one
      place again. That was London, 1976-8, but I couldn't find a teacher
      there. Finally in Amsterdam in 1979 I came across an Indian music
      school, Tritantri, and started taking regular vocal lessons in North
      Indian classical music. After a couple of years I got quite serious
      and spent every morning studying music at the school.

      WTM: how did it develop to the point where you are writing about it
      and teaching it? what are you teaching?

      In 1982 a fellow-student, Huib Schippers, wanted to start a
      newsletter on Indian music, in English, so with his knowledge and
      contacts and my experience in editing and publishing we managed to
      start the Indian Music Newsletter, which ran from 1982-5, subsidised
      by Tritantri foundation. We used to interview scholars of Indian
      musicology on different music topics and write the articles
      ourselves. Afterwards I worked with these scholars to help edit their
      own writings, and sometimes wrote further articles and CD notes
      myself. I'm still working with them: Joep Bor (who wrote a great book
      on the sarangi, which he plays) and Wim van der Meer (khayal and
      dhrupad vocalist and teacher), and learning vocal music from Wim now.

      I'm teaching Raga Analysis at the Rotterdam Conservatory; it's a
      course designed and developed by Wim, and unique of its kind I think.
      We also worked with Joep (the editor) and others in a team to produce
      The Raga Guide, a 200-page book explaining the raga system with
      colour plates of ragamala paintings and 4 CDs of 74 ragas recorded by
      4 artists, Hariprasad Chaurasia (bansuri), Buddhadev DasGupta
      (sarod), Shruti Sadolikar Katkar and Vudyadhar Vyas (both vocalists).
      It's available by mail order from sales@....

      upcoming events in NL?

      Upcoming concerts: Prince Rama Varma sings Carnatic music on 30 May
      and plays the vina on 1 June at the Zeeheldentheater in den Haag;
      both 20.30 hours, details and address on the website
      www.dutchskydancer.nl Other events will be listed there as well. I'm
      working with Rama Varma to introduce the teaching of South Indian
      (Carnatic) music into the Netherlands, as North Indian music teaching
      is more established now. But I might start teaching North Indian
      vocal myself, soon, as well.

      o For Indian Cultural events in NL/Belgium: <www.dutchskydancer.nl>

      o Some INDIAN MUSIC basics: <http://www.chandrakantha.com> David
      Courtney, Ph.D. [Elementary North Indian Vocal, with Chandrakantha
      and Fundamentals of Tabla]

      "The music of India is one of the oldest unbroken musical traditions
      in the world. It is said that the origins of this system go back to
      the Vedas (ancient scripts of the Hindus)Š Indian music has developed
      within a very complex interaction between different peoples of
      different races and culturesŠ The basis for Indian music is
      "sangeet"Š a combination of three artforms: vocal music, instrumental
      music and danceŠ

      The "celestial art of sangeet to mankind," was introduced by the gods
      to distract man from his "uncivilised ways, ruled by lust and greedŠ"
      "It fell upon the great sage Narada to be the first mortal recipient
      of this divine art. Through Narada, we are indebted for the presence
      of classical music.

      "the divine qualities inherent in the artform imply certain
      prerequisites; key among them are guru, vinaya and sadhana (Shankar
      1968). This translates to teacher, humility, and discipline. The
      guru, or teacher is the most important prerequisite in traditional
      musical pedagogy. Music is said to be a guru mukha-vidhya (i.e.,
      knowledge which must come from a teacher). This is considered the
      highest form of knowledge. Traditional pedagogy is based upon the
      transfer of knowledge from the teacher (guru) to the disciple
      (shishya in an unbroken tradition (parampara) (Courtney 1980)Š
      Classical music is said to be a worship that involves both the
      listener and the artist alikeŠ The ancient scriptures describe nine
      fundamental emotions from which all complex emotions may be produced.
      Just as all hues may be produced by mixing the three primary colours,
      so too, all emotions are said to be derived from these principal
      emotions (Shankar 1968). They are called navaras and are shown in the
      table below. These emotions form the aesthetic foundation for
      sangeetŠ. an acoustic vehicle to convey these emotions. The Nine
      Moods (Nava Rasa): Shringar - Love, Hasya - Comic, Karuna - Sadness,
      Raudra - Furious, Veera - Heroic, Bhayanak - Terrible, Vibhats -
      Disgusting, Adbhuta - Wonderment, Shanta - Peace.

      This acoustic vehicle is known as rag. Rag may be thought of as the
      melodic foundation upon which classical Indian music is based.
      During the last few centuries it was customary to anthropomorphize
      the rag in the form of gandharvas (demigods) and apsaras (celestial

      The divine quality of music is perhaps best illustrated in nad
      siddha. This is the ability to perform miracles by singing or
      playing certain rags. The most famous miracle-working musician was
      Tansen (Garg 1984). It is often said that he was able to create fire
      by singing rag Dipak, or create rain by singing rag Megh MalharŠ."

      The present system of Indian music is based upon two important
      pillars: rag and tal. Rag is the melodic form while tal is the

      Rag may be roughly equated with the Western term mode or scale.
      There is a system of seven notes which are arranged in a means not
      unlike Western scales. However when we look closely we see that it is
      quite different what we are familiar with. The tal (rhythmic forms)
      are also very complex. Many common rhythmic patterns exist. They
      revolve around repeating patterns of beats.

      The interpretation of the rag and the tal is not the same all over
      India. Today there are two major traditions of classical music.
      There is the north Indian and the south Indian tradition. The North
      Indian tradition is known as Hindustani sangeet and the south Indian
      is called Carnatic sangeet. Both systems are fundamentally similar
      but differ in nomenclature and performance practice.

      Many musical instruments are peculiar to India. The most famous are
      the sitar and tabla. However there are many more that the average
      person may not be familiar with.

      The sitar developed during the collapse of the Moghul empire (circa
      1700). It reflected the culture of the times in that it showed both
      Indian and Persian characteristics. (go to "Origin of the Sitar" for
      a better description.)

      Sitar is perhaps the most well known of the Indian instruments.
      Artists such as Ravi Shankar have popularized this instrument around
      the world. Sitar is a long necked instrument with an interesting
      construction. It has a varying number of strings but 17 is usual.
      It has three to four playing strings and three to four drone strings.
      These strings are plucked with a wire finger plectrum called mizrab.
      There are also a series of sympathetic strings lying under the frets.
      These strings are almost never played but they vibrate whenever the
      corresponding note is sounded. The frets are metal rods which have
      been bent into crescents. The main resonator is usually made of a
      gourd and there is sometimes an additional resonator attached to the

      Sitar is used in a variety of genre. It is played in north Indian
      classical music (Hindustani Sangeet), film music, and western fusion
      music. It is not commonly found in south Indian classical
      performances or folk music.

      Tabla is a pair of drums consisting of of a small right hand drum
      called dayan and a larger metal one called bayanŠ The dayan (right
      hand drum) is almost always made of wood. The diameter at the
      membrane may run from just under five inches to over six inches. The
      bayan (left hand drum) may be made of iron, aluminium, copper, steel,
      or clay; yet brass with a nickel or chrome plate is the most common
      material. Undoubtedly the most striking characteristic of the tabla
      is the large black spot on each of the playing surfaces. These black
      spots are a mixture of gum, soot, and iron filings. Their function
      is to create the bell-like timbre that is characteristic of the
      instrument. Although the origin of tabla is somewhat obscure, it is
      generally belived that it evolved from the barrel shaped drum called
      pakhawajŠ about two hundred years ago.

      o Thanx to Rob Weisberg, Frits Hystereo, and Jane Harvey, Pogus.


      Send all sound material for airplay and review to:
      Wreck This MeSS
      Radio 100 / Radio Patapoe
      bart plantenga
      Zeilstraat 23 / II
      1075 SB Amsterdam
      the Netherlands


      o "plus another few hundred when it hits the BSI list!" Ezra
      o Old playlists archived at <http://www.wfmu.org/~bart/>
      o Recent selected Playlists [early stages] at
      o Special playlists can be found at 3am Magazine
      <http://www.3ammagazine.com> under the title "Radiophotogram: Visual
      Radio". Also posted is a depth-of-focus interview with Judy Nylon. To
      appear soon: excerpts from my scandal-delicious paris novel, PARIS
      SEX TETE, a review of the spoken word works of Roberto Valenza...


      CONTACT ninplant@... FOR REMOVAL

      [Non-text portions of this message have been removed]
    Your message has been successfully submitted and would be delivered to recipients shortly.