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The internet as a resource for musical ideas - by Hassan Azad
This article is addressed principally to the advanced student of sitar in the West. The East, especially Japan and China, have produced world-class musicians who play western music and have contributed to all aspects of this music. Yet, despite the interest in the music of the Subcontinent since the early sixties and the immense popularity this music enjoys amongst professional western musicians, there seem to be no performers of note – at least to my knowledge- which the West has produced in this genre. What could be the reason? Is it that the West has perfected a method of education which has allowed this music to take root in the East? Is it the numerous studies which have been composed by outstanding composers which has facilitated its transmission?
Read the whole article in pdf format :
The internet as a resource for musical ideas |
J'avais réalisé ce petit film pour Laurent Cerveau, il y a déjà bien longtemps. A l'époque, il était à Cupertino, dans les Saints des Saints d'Apple, en train de nous concocter iCal et iSync. Souvenirs, souvenirs.
Ayant remis la main dessus (sur le film, pas sur Laurent), j'espère que cela pourra se révéler utile pour ceux qui s'énervent et seraient presque prêts à fracasser le sitar après moult essais infructueux. Le secret d'un parda bien ligaturé est de tendre la cordelette (en soie ou synthétique) à tout rompre à chaque tour. Pour se faire, on peut entourer la cordelette autour de sa main. Sur certains sitars, il se peut que la fente dans laquelle on passe le fil, soit coupante, avec des angles trop aigus. Il faut bien sûr alors, poncer et limer le laiton pour en adoucir les angles. Placé correctement sur le manche, il ne doit absoluement pas bouger. Un parda bien monté restera en place très longtemps, même en cas de pratique intensive.
Khamaj, drut gat, teental (खमाज, द्रुत गत तीन्ताल) (Dr. K. C. Gangrade) |
Nicolas Delaigue is a gifted french sitar player. He has been my student for a number of years. You may have watched, on my old site, a small video excerpt in which he was playing a Bhairavi alap.
Here are two tracks of his first CD recording which you may get from him. He develops alap, jod and jhala in rag Ahir Bhairav.
Download | Name | Play | Size | Length |
Ahir Bhairav, alap (Nicolas DELAIGUE) | 12 MB | 10:27 min | ||
Ahir Bhairav, jod jhala (Nicolas DELAIGUE) | 18.9 MB | 16:32 min |
Bhupali, Drut teental (भूपालि द्रूत तीन्ताल), Dr. K.C. Gangrade (from Pandit Telang) & Drut teeental, Dr. K.C. Gangrade (Gwalior) |
Sindhura Vilambit Teental (सिंन्धुरा विलम्बित तीन्ताल), Dr. K.C. Gangrade & Drut Teental, Pandit Lal Mani Misra |
Nat Bhairav, Drut Gat, Teental (नट भैरव, द्रुत गत, तीन्ताल), Pandit Lal Mani Misra |
Kafi, Vilambit Gat, Teental (कफि, विलम्बित गत, तीन्ताल) (Pandit Telang) & Madhya Laya Teental Gat |
An unfortunately too short video excerpt of Lacchu Maharaji. What a Bhav !
Sitara Devi was the elder sister of Anaklanda Devi, from Banaras. I had met Anaklandaji a number of times in my Kashi days. She used to come to my place for speaking about all and everything. A very lovely person. Although around 70 years old at that time, and despite a breast cancer, she had such a tremendous energy that I vividly recall how she could shake the whole Durga Mandir with her feet while dancing, every sptember, during the Mandir's Festival.