Archive for the ‘Announcements’ Category

In Quest of Conservation

11.15.13

To view details of participants & proceedings visit page Seminar Raga Conservation

Since its inception, Madhukali orchestrated its activities, based on music practice, teaching and principles of Dr. Lalmani Misra. RagSem1In the past decade it has been more concerned with community of musicians and educationists, instead of individual performers. The reason for this shift was due to (initially subconscious) response to change brought in attitude towards and treatment of Indian Classical Music. As the market forces tried to bring it into main-stream, individual musicians were turned overnight into stars and brand-ambassadors. The strategy did not succeed in increasing revenue to any worthwhile level but it did bring in a change in attitude of general public and of the musician – be it a learner, teacher or performer.

Since 2007, Madhukali with support of Omenad, has been working to raise awareness of artistes, teachers and aesthetes about the necessity of safeguarding the knowledge of music that for millenniums has been transmitted orally (but also bolstered with text, even though there are periods of gap). Artistes, composers, craftsmen, scholars, aesthetes and enthusiasts have been approached and informed about the necessity of their active support towards safe-guarding of Indian musical heritage.

It is a matter of understandable pride and joy that community has begun to exhibit response to Madhukali’s exhortation. Music department of a Government College at Indore is the first such institution to examine the idea of conservation as applied to Indian Music.  The institution proposes to organize a national seminar, sponsored by Uniersity Grants Commission on January 31st and 1st February 2014. The area to be discussed is, “Raga – Conserving  Musical Heritage of India”.

The science or discipline of artistic musical expression is embodied in Raga-s. Raga-s, in turn depend on certain self-evident principles, such as Shadja-Pancham Bhav (Perfect interval ~ Pythagorean cycle of the Fifth) and consonance of ninth-thirteenth Shruti. As after stabilization of Shadja, Jaati-Gan turned to Prabandh, the principle of Raga consolidated into Ten Lakshana-s.

Technology allows multiplicity at all levels. As number of listeners and the variety of music they could now access increased, the area for innovation and experimentation available to composers and  artistes too increased several folds. These modern changes began to impact traditional practice of classical music.

RagSem2The element of “intangible” finds its best expression in music. Most invisible, music is the fundamental art-form that manifests the conscious mind. Safe-guarding, conservation and preservation are all abstract ideas expressed through concrete line of action. Once we understand how to safe-guard the element of intangibility in music, we might have a lead on how to safe-guard its expression in other practices.

The essence of intangibility rests on the attitude or mind-set. While obedience was an intrinsic given, it was the time spent by Guru with Shishya that transferred this from elder’s mind to younger without any loss. It is the intangibility involved in  this passage of right attitude, that music exhibits its primacy as vehicle of the intangible. Not only the content, but the form needs equal attention for the art to survive.

It is for its determination to examine the various facets which have contributed to formation, carriage and preservation of Raga that this particular conclave of scholars is worth watching. Madhukali hopes that even as this first show of concern by the Classical Music community is an important step – if only for raising visibility – forward, the discussions too would contribute to better understanding of the act of safe-guarding.

Interested scholars may send their queries and submit their abstracts & papers at raga@madhukali.org  For submission of fee and registration etc. contact suvarna_wad@rediffmail.com

Download Brochure 
The deadlines are:

Submission of Abstract (only soft-copies accepted):     28th December 2013

Submission of Paper (pdf & doc using UTF fonts only):  15th January 2014

Registration (along with applicable fee) on or before:    28th December 2013

Abstracts submitted & approved within time-frame would be included in pre-Seminar publication.

Veena Heritage Alive

08.12.13

llm_ca_bw1

Music has been as much a discipline for study as it has been an art-form. Natural ease with musical expression had prompted Dr. Lalmani Misra to try out various instruments. It was both, the extra-ordinary quality of the instrument and the diminishing number of its practitioners, that he decided to take up Vichitra Veena.  By the daytime he played and taught various instruments to students, at night, he played Vichitra Veena working out ways to exploit the range of this grand incarnation of Ektantri Veena.

Invited to initiate study of Indian classical music, when he reached America, willing students enrolled to learn melody-based structured system. By now, the continent was familiar with sound of Sitar and Sarod. The deep tonal sound of Vichitra Veena accorded a new experience. He was invited to play at one venue after other and soon invites from other cities started floating in. Dr. Misra was a teacher first and so had to defer several of them.

Back to his duties as Dean, Faculty of Performing Arts and Fine Arts, at B.H.U. he had still less time to give public recitals. He could find time only for the Akashvani recordings at due intervals and for occasional  recitals at Malviya Bhawan in B.H.U.,  and in the city. So, it was in America that he could play Vichitra Veena in public at least once a week. A prodigy, he had started out being an artiste  at an early age and having experienced this life to full, accepted the role of an academic in his thirties.  Never had he stopped playing; but, little benefit would reach public, as his academic responsibilities kept him from public performances.   Almost two decades later, he could perform with some regularity.

4PAN1TIf all his recordings are preserved, Akashvani would have over fifty Raga-s he played on Vichitra Veena. If all these recordings find the light of day the quality of appreciation of Indian music is sure to improve. For the time being, it is his live recordings in America that are surer to reach the listeners. These recordings were preserved with care first  by son Gopal Shankar Misra and after his death on August 13, 1999, by daughter-in-law Padmaja Misra. On this occasion, Dr. Padmaja Misra said, “If Akashvani publishes even a few of  their (Dr. Lalmani Misra and Dr. Gopal Shankar Misra) recordings, it shall greatly benefit as example and encouragement to Veena players.” It would indeed make it easier to understand and practice the Misrabani style, if both father and son’s recordings were made available. Some of these recordings may have been collected on cassettes after broadcast, but Akashvani alone has the original tapes. Till then, it is only recitals recorded in America that might reach the audience. The music world shall be deeply indebted to his American disciples, especially Nancy Nalbandian, for recording Dr. Misra’s Vichitra Veena performances.

In the first volume of Misrabani Vichitra Veena heritage aLive, RagaMalgunji and Raga Bhupali have been presented. The technique of Misrabani makes both presentations unique. Pt. Ishwarlal Mishra accompanied on Tabla. The CD is contained in a digi-pack and album cover displays a close up of Veena being played from one of the photographs taken during recital.  The music is available from several online music stores both for download and as compact disc.

MisraBani TantriCharya–Varanasi

04.26.13

Dr Lalmani Misra 

The first MisraBani TantriCharya is proposed to be organized at Varanasi in October 2013 with collaboration of  cultural organization(s) at local/ national level. Benares Hindu University has kindly offered its facilities for organizing Tantricharya. The event shall be held at Academic Staff College from 12 to 18 and at Faculty of Music and Performing Arts no 19th and 20th October 2013.

 

Dr. Lalmani Misra

Dr. Lalmani Misra, well known as a Vichitra Veena player, had an extraordinary ability for creating music. Spontaneity and perfection defined his music. The following remarkable quotes by prominent artists and members of the musico-academic community would give a brief notion of Dr. Misra’s exemplary creative strength before we proceed to analyze his genius:

"Prof. Misra was the Music Director of Udaya Shankar’s troupe and job amply speaks of his eminence as musician. He contributed some of lively tunes and melodious notes to music performances given in foreign countries which kept the audience spell bound. He gave his performance in almost 150 big towns of America and Europe and was hailed by one and all as a talented artist of the age. Prof. Misra can play on eight instruments with a master’s hand." [News Paper item (Telegraph May 6, 1952) excerpt]

Dr. Misra’s contribution to the music world is that he has written hundreds of compositions for sitar in more than 150 common and uncommon Ragas. Moved by a desire to perfect a system in instrumental music that would be as complete as the vocal tradition, he created a new Gat style, which gradually has come to be known as ‘Misrabani’. It was also referred to as ‘Koot Ki Gat’ owing to the complexity of the Gat. They were so labeled, recalling instances of using such complex rhythmic patterns by earlier musicians in flourishes hailed by the aficionados as Koot ki Taan.

 

MisraBani

DawnVeenThe Misrabani compositions he created are serious compositions in stylistic sense. They clarify that selection of Raga-s influences the minds of musicians.

Under this style he created a new Gatkari in Vilambit Jhoomara Tal, Vilambit Jhap Tal and Madhya-laya Ada Char Tal. In this new style Dr. Misra introduced Mizrab Bol DA RDA -R DA. Especially, in vilambit pace Da Rda -R Da shows a very different dimension of manifestation.

The oblique movement and complexity of a Raga is considered one of the main reasons for its unpopularity. There are many Raga-s that are extremely melodious and fulfill all the desired norms of Indian classical music (proper consonances with lower and upper tetra-chords) but owing to their complex nature they are rarely played by the instrumentalists. Most of such demanding Raga-s like Basant Bahar, Gandhari, Malhua Kedar, Anand Bhairav, Multani, Kaushik Kanhada, Malgunji, Bageshri Kanhada, Sindoora, Neelambari etc. were played by Dr. Misra.

Workshops have been engaged by Dr. Ragini Trivedi around the country to train Sitarists in this advanced and cerebral style of playing. One may view few excerpts on Youtube channel of Omenadnet.

 

Programme

MisraBani TantriCharya is aimed at young instrumentalists who have received professional training for 5 years or more.

Learners in the group (10 to 15) would be trained by two Misrabani Sitarists under supervision of Dr. Ragini Trivedi, daughter of Sangeetendu Pt. Lalmani Misra, creator of Misrabani string style. Senior-most disciple of Dr. Misra, Dr. Pushpa Basu would give expert guidance.

MisraBani TantriCharya would be hands-on intensive workshop of two four- hour sessions each day for 7 days.

  • Learners would be provided detailed syllabus with Mizrab Bol-s, Alankar-s and Compositions in play-as-you-read digital notation system, Ome Swarlipi.
  • Learners would make their own arrangements for lodging & boarding.
  • Learners would bring their own instruments: Sitar/ Sarod/ Veena/ Santoor.

 

Registration

Interested learner may send in their application forms through email and hard copy.

Email should be sent to ich@madhukali.org with subject; MisraBani TantriCharya attaching filled in application form by 15th August 2013 and scanned image of Demand Draft. The hard copy should be sent to Astha, B-31, Aakriti Garden, Nehru Nagar, Bhopal – 462003 (M.P.) India so as to reach before 31st August 2013.

Registration Fee:

Till 30th June 2013 Rs. 3,000.

Till 31st July 2013 Rs. 4,000.

Till 31st August 2013 Rs. 5,000.

Till 30th September 2013 Rs. 9,000 provided seats are available.

Discount for Students* Rs. 1,000.

 

Sponsorships

A limited number of Sponsorships by disciples of Sangeetendu Pt. Lalmani Misra have been reserved for exceptional learners between 21 to 28 years pursuing regular course in music in college/ UTD, subject to their selection by Madhukali.

Those desirous of Sponsorship should submit a detailed note of recommendation from a teacher of repute. The note should detail particulars of Raga, Tal the candidate can perform flawlessly. Application form & detailed note with Demand Draft of Rupees 1000 only payable to Madhukali at Bhopal should reach Astha, B-31, Aakriti Garden, Nehru Nagar, Bhopal – 462003 (M.P.) India before 15th June 2013. Scanned image of Demand Draft and duly signed note of recommendation, along with application in pdf (Portable Document Format), should be emailed to ich@madhukali.org before 10th June 2013.

*Students of UGC recognized College and University Teaching Departments would have to present current Scholar Identity Card along with recommendation of Head of Department.

Application

Click here to download form.

Resources

Articles on Omenad
Video on Omenadnet
Tweets #Tantricharya    Follow  @madhukali and @omenadnet

Discography

Misrabani Vichitra Veena: heritage aLive Vol. 1 {Published}

Format:  Sound Recording
Year: 2013
Publisher: Misrabani, Philadelphia, 2013
Description 1 audio disc (52 min.) : digital ; 4 3/4 in.

lalmanimisra-884501956475 

Tracklist

Raga Malgunji                             38:50
            Alap, Jod
             Vilambit Jhumra Tal (slow 14 beats)
              Drut Ada CharTal (fast 14 beats)
Raga Bhupali                                  12:50
              Alap
               Kaharwa Tal (8 beats)

A Dawn of Veena: Bairagi  on Vichitra Veena by Dr. Lalmani Misra {more}

Format:  Sound Recording
Year: 2013
Publisher: Madhukali, Bhopal, 2013
Description 1 audio disc (51 min.) : digital ; 4 3/4 in.

Tracklist

Raga Bairagi 
                Alap:  19:33
                   Jod:  10:24
                    Gat:   11:20
Raga Bhairavi
                  Dhun:  05:22 

Celestial Music of Pandit Lalmani Misra: Vichitra Vina  {more at omenad}

Format:  Video
Year: 2006
Publisher: Rohnert Park, CA: Music Dept., Sonoma State University, 2006
Description: 1 video disc (45 min.) : sd., col. ; 4 3/4 in.

Tracklist

Raga Sindura 
           Alap, Vilambit & Drut teental:  31:28
Raga Tilang                                                   10:23
Raga Bhupali                                                 15:31

India: Vicitra Vina : The Music of Pandit Lalmani Misra = Inde : Vicitra Vina : La Musique De Pandit Lalmani Misra    {buy at amazon?}

Format: Sound Recording
Year: 1996
Publisher: France: Auvidis Unesco, 1996
Description: 1 sound disc (62 min.) : digital ; 4 3/4 in.
Tracklist

Raga Kausi Kanhada (Malkauns style)
                                                   Alap
                                                    Jod
                                                    Jhala
                                                    Gat in slow tintal
                                                     Gat in fast tintal

Nectar of the Moon: Vichitra Vina Music of Northern India  {buy at amazon?}

Format: Sound Recording
Year: 1981
Publisher: Los Angeles: Nonesuch, 1981
Description: 1 sound disc : 33 1/3 rpm, stereo. ; 12 in.

Tracklist

A Raga Ananda Bhairava                20:04
B1 Raga Multani                                   12:16
B2 Dhun In Raga Ananda Bhairavi  7:54

Material in possession of Libraries (Worldcat)

Publisher: Los Angeles, Ca. : Ravi Shankar Music Circle, ©1979

Document Type: Sound Recording

All Authors / Contributors: Lalmani Mishra; Chotey Lal

OCLC Number: 11153496

Performer(s): Lal Mani Mishra, vichitra veena ; Chotey Lal, tabla.

Production notes:
"Recorded in concert, Herrick Chapel, Occidental College–3/18/78"– Container.

Description: 1 sound cassette (60:00) : stereo.

Contents:

Basant bahar in Ektal, 12 beats and Teental, 16 beats —
Bhairavi  in Dadra, 6 beats —
Tabla solo Delhi style in Teental, 16 beats.

Music Learning in Digital Age

04.22.13

Urgency for conservation and continuation of heritage practices is unquestionably enhanced now, in comparison to even a mere century back. The awareness, better still, concern has always been there.  If all past knowledge is preserved in condensed, usable form, the given discipline is assured of health and growth. When the essence gets buried under innovation, the discipline itself is lost.

1It does not suffice to trace the origin of Indian Veena-s or of Harappan civilization; it is also necessary to examine how the idea and facts  of yore are still relevant. Often, individuals as well as institutions make the mistake of equating the form of practice as its essence. They err to consider completion of act in mere repetition of  tangible patterns.

Of all others, music is intangible most art form. Its teaching and training requires development of strong understanding between teacher and the taught. Indian musicians in past tended to disregard any other form of learning, which fell short of absolute one-to-one teaching. Thankfully, there always have been some unconventional musicians who kept the stream of scholarship vibrant, constantly  documenting, analyzing and directing the  practice of music.

It is scholar-musicians of this timbre who dare to defy the physical contact and move into realm of distance education. It involves intangibility at an extra level – that of not being physically present. Strangely, technology sometimes overpowers existing intangibility in hitherto unimagined ways. Like, providing tactile feedback to fingers of student

From formulating requisites  for teaching of Indian Music in the distance mode to actual innovation and practices, scholars from around the world contribute their ideas and experiences in this groundbreaking compilation –   Distance Education in Music. Edited by founder director of Madhukali, Pt. Omprakash Chouraisya, the volume carries the research paper in original language and its translation in Hindi or English. Published by Kanishka Publishers, Dariyaganj, Delhi this book shall prove useful to planners, educationists, musicians and interested learners. There are a few innovations like Digital Veena and Ome Swarlipi that do not find mention here, but ample information by stalwarts of music that shines benign on pathway to learning of music on one’s own.

Self-learning has always existed, even though it was not encouraged at elementary level. In words of Misrabani exponent Dr. Ragini Trivedi, “I call the instrument my father and after him, my brother used to play, Divya Veena. It is Divya (divine) because it teaches me how to play it.”

Madhukali Releases rare recordings

03.26.13

Madhukali had initiated a project  two years ago for conversion of  music, available on analog magnetic tapes and audio cassettes to digital format. Since then, encouraging communication has been received in this regard. People have sent in queries about the process for getting audio and video content on analog systems; some have informed how they could achieve it through use of appliances available at home. Several queries fizzled into silence after initial interest. Still, there is  some positive result to report.

Dr. Lalmani Misra first organized Dhrupad Mela at Varanasi in 1975 and in next few years worked for its continuation. In the little time available (he died in July 1979), he could turn it into a tradition. The almost invisible practices of Dhruva-pad singing and Pakhawaj-playing,  gained national and international lime-light within a decade and today exist as mainstream practices of classical music. Dr. Misra organized the event in collaboration with Sangeet Natak Akademi, Maharaja of Banaras and Mahant ji of Sankatmochan. He chose Dr. Rajeshwar Acharya and Pt. Omprakash Chourasiya (both were young music students at BHU in 1975) to assist with the project. Prominent citizens and musicians were contacted to maximize participation of Dhrupad singers and Pakhawaj players. During the three day conference ending on Shivratri, discussion were held during day sessions and recitals were given from evening to morning. Pandit Ravishankar and Ustad Zia Fariduddin Dagar were present as chief guests in the inaugural function.

For the final session on the last day, Dr. Misra was invited to give recital on Vichitra Veena. Pt. Amarnath Mishra, Mahant of Sankatmochan accompanied him on Pakhawaj. Misrabani technique enhances the range of string instruments to present complex compositions. It was a perfect finale to gathering of Dhrupad musicians. He played Bairagi, bringing in dawn and consummated the festival with Bharavi.

To commemorate tenth anniversary of UNESCO Convention 2003, Madhukali planned release of this precious recording and some others in March 2013. “A Dawn of Veena” represents the endeavour to preserve and promote traditional practices –  both,  the original effort of organization and present attempt at digital preservation.

DawnVeen

In a function dedicated to Dr. Lalmani Misra, organized by Madhukali, his son late Dr. Gopal Shankar Misra and disciple Pt. Omprakash Chourasiya presented a duet on Sitar and Santoor. The 1992 recording made on magnetic cassette tapes has been successfully converted to digital format. “Wings on Strings” sports the spontaneous Upaj work m hallmark of Indian Classical Music, in Raga Kirwani.

WonStr

Madhukali choir, since its very inception has been accomplishing a rare task: combining best poetry with classical music. It has released several titles of such compositions. In “Geet, Ghazal: Abhinav Pahal” poetry of Pt. Krishna Kishor Dwivedi, Shivmangal Singh Suman and several others like Amir Khusro, Ghalib, Meer and Bahadur Shah Zafar.

Pehal

Interested persons may write to omsantoor@gmail.com for placing orders.

Chandrakant Sitar endeavor

02.17.13

Continuity of cultural practices often requires aid and support of sympathetic outsiders; yet, it is only in action that it retains longevity. Madhukali has organized concerts, workshops and seminars. Young and mature artistes have been encouraged with award and felicitation. Appreciation modules in various fields – art, music, theatre – introduce the young to aesthetics and creative thought. Dr. Misra proclaimed that existence of an artiste is justified by his art. The only competition he may be allowed is with himself. Yet, as an educator devoted to standardizing of music-teaching, he was tolerant to the idea of healthy competition – the sort that would  encourage a person towards a particular art-form. He  considered it the responsibility of educators involved that while it serves to provide a platform, the competition should not generate materialistic traits and negative emotions of jealousy and rivalry.

During most of his adult age, the boy-wizard of Sitar constantly tried to reach the young talent. Chandrakant’s desire was to identify and encourage musical talent. He would travel to regular schools, institutions for differently-abled and even resorts for senior, so that music played first-hand could relax, heal and inspire the listeners. In memory of his father and Guru, Sardeshmukh Maharaj, he constituted an award for talent-of-the-year. After Chandrakant left for his heavenly abode, his wife Dr. Pooja Sardeshmukh, in consultation with friends, academics and musicians decided to follow a transparent, time-bound system to encourage young musicians taking up Sitar.  The foundation has approached reputed Guru-s, teachers and institutions to motivate their students for Annual Chandrakant Sitar Award. From this year – 23rd February 2013 – a concert Nava Swar too has been planned to provide a platform to talent identified through the award process.

Darshanam, Japan

First Dr. Chandrakant Sardeshmukh Sitar Competition 2013

The First Dr. Chandrakant Sardeshmukh Sitar competition will be held by Darshanam, Japan in Pune in 2013. Details are as below.

l – CONDITIONS

1. The Competition is open to all artists performing on traditional Indian Sitar.
2. And to those who belong to any state of India, with age limits 15-28 as of January 1st 2013.
3. The winner of the past edition is not allowed to compete again. (Not applicable for 2013)
4. Application materials must be received no later than March 15th 2013, and must be sent to: Darshanam c/o Dr. Pooja Sardeshmukh, 203 Amruta Apartments, Ashok Path, Off Law College Road, Erandavane, Pune 411004, email pooja.chandrakant@gmail.com
5. The Competition organization in cooperation with other entities will offer the possibility to organize some concerts for the winner of the Competition.
6. The jury is not obliged to award all the prizes. Their decision is final.
7. All grants and prizes shall be subject to taxes at the statutory rate.
8. The awarded artists must personally collect their prize in the award ceremony separately held, and will play during the Winners Concert without receiving a remuneration. A refusal entails cancellation of the award.
9. For 2013 Competition, there is no entry fee.

ll – APPLICATIONS

1. The following documents must be sent well before March 15th, 2013
a) Photocopy of legal document regarding age and nationality.
b) One passport size photograph, in a digital format, if possible, sent by e-mail.
c) Brief Curriculum Vitae in English.
d) Application form
e) A 20 minute Audio CD recording.
f) Performance also uploaded to You Tube and (not public but selective) URL link sent to Darshanam
g) One passport size photograph of performance mood with instrument.

lll – COMPETITION STAGES -Calendar for 2013

1. The Competition consists of an Eliminatory Round and Final.
a. ELIMINATORY ROUND: Based on the Audio CD recordings, up to 8 finalists will be selected
b. FINAL: A self chosen program lasting no longer than 40 minutes, consisting of pieces of different styles. To be performed in person, in Amruta Apartments, Ashok Path, Off Law College Road, Erandavane, Pune (Residence of Dr. Chandrakant Sardeshmukh)
c. The Final round will be open to public. Capacity of Amruta Apartment is about 30 persons.
d. Felicitation of awardees will take place in Annual Darshanam Awards event in December
2. No work may be repeated.
3. All the works must be performed by heart.
4. CD recordings will be received from the contestants by Darshanam and will not be returned.
5. Preliminary screening of CDs will be conducted by Darshanam Team members.
6. Final round judges will be selected by Darshanam Team members

lV – CALENDAR 2013

1. Jan 01- Mar 15- Receive applications
2. Mar 15-May 30 – Eliminatory round
3. May 30 –June 10 – Final round candidates will be informed by email
4. August 17- 18 Final round will be conducted
5. August 17 Session #1 -Morning session – 10 AM to 12 PM – 4 artists will perform.
6. August 17 Session #2 -Afternoon session from 3 PM to 7 PM, next 4 artists will perform.
7. August 18 – Awards will be declared
8. August 18- finalists workshop will be conducted in Amruta
9. December 28/29 Annual Darshanam Awards event in Pune

V – PRIZES

1. Only one prize will be given as cash award of Rs. 20,000.
2. All finalists will be given certificates by Darshanam

VI – LOCATION

1. Pune City, Maharashtra.

VII – ACCOMMODATION & TRAVEL

1. For artists when they perform in event planned by Darshanam, basic accommodation will be taken care of.
2. Artists will have to bear their own To and Fro travel costs.

Sitar in willing hand: 3rd Workshop in Pune

02.13.13

Stalwarts in music were prone to make a trite remark to a novitiate eager to impress – “Prove through performance not by idle talk”. IMG_4566Often did pupils of Dr. Lalmani Misra hear this remark and were motivated to devote themselves to their art. As Dean, Music & Performing Arts and Fine Arts, he introduced a weekly concert where a teacher and a student were selected to present recital each Thursday. He insisted on breaking the monotony of self-same Riyaz through such innovative practices. Madhukali, in keeping with thought and practices of its mentor, has sought ways and means to energize practice and appreciation of music. To mark the tenth anniversary of UNESCO Convention for Safeguarding of Intangible Cultural Heritage, Madhukali planned this year’s activities to start with teaching of music.  Click here to view a clip of   Workshop in progress

Read the rest of this entry »

Darshanam Sitar Workshop

04.01.12

Dedicated to legendary Sitar Wizard, Dr. Chandrakant Sardeshmukh, Darshanam has announced extension of Dr. Chandrakant Sardeshmukh Music Academy to benefit pupils desirous of learning Sitar from experts in India.

The first workshop being held at Pune offers intense courses to basic and advanced learners. The four-day Basic workshop beginning 1st April 2012 shall be conducted by Misrabani practitioner Dr. Santosh Pathak. For Advanced workshop on 6th, 7th and 8th April, Dr. Ragini Trivedi has been invited. She is known for expertise in performance, preservation, critique as well as her innovations in Indian Classical Music.

Registrations from eager students from Japan, U.K. and India have been received for these courses. The workshop shall be conducted using Ome Swarlipi – the symbol-based, digital notation system created by Dr. Ragini Trivedi. Exponent of Misrabani, a style created to enhance range of string instrument by father Dr. Lalmani Misra, she has been hailed both as teacher and performer of Jal Tarang, Sitar and Vichitra Veena. Working for Safeguarding of ICH practices in the area of ICM, she is nonpareil when it comes to knowledge of form and content. She plays rare Raga-s on a rare instrument, Vichitra Veena.

Dr. Chandrakant Sardeshmukh had studied Sama Veda and other Vedic literature apart from Ayurveda and directed his knowledge in innovating ways to use music for providing succor to patients suffering from life-style diseases. A number of students who studied with him in Japan & Australia have contributed to popularity of Sitar in their countries. Dr. Pooja Sardeshmukh invited experts in Misrabani tradition to conduct workshop, as child-prodigy and sole student of both Vidushi Annapurna Devi and Pandit Ravishankar ji, Dr. Chandrakant was inspired by Dr. Lalmani Misra’s work on Vedic music and elucidation of Bharat Chatuh Sarana.

Conserving Complex Content

01.06.12

clip_image002

MADHUKALI – ICH INITIATIVE

DURLABH RAGA PRASANG: BELAVALI

Culmination of 3 Day Symposium Workshop with

Morning Raga-s

clip_image004

Mainly presented by

PANDIT RAJSHEKHAR MANSUR

Jaipur-Atrauli Doyen

January 15th 2012 9:00 am

Preetamlal Dua Auditorium, Indore

View clip of Durlabh Raga Prasang Symposium – Workshop

Concerts for Conservation

12.23.11

Performances by various artistes during Omenad Conference on 31st December, 1st January and 2nd January 2011 left a lasting impression on aficionados of Bhopal. Music lovers, scholars and enthusiasts travelled from across country to attend conference and concerts during three-day event organized by Madhukali in collaboration with Indira Gandhi Rashtriya Manav Sangrahalaya. Several well-wishers and music-lovers had expressed for another such event and at cities other than Bhopal.

In keeping with its philosophy to collaborate with like-minded bodies, Madhukali consented to cooperate with an upcoming cultural institution from Indore, Swar-Setu to present rare performances once again in both, Bhopal and Indore. Ethnomusicologist from Sonoma State University, Professor Laxmi Ganesh Tewari shall travel to India to perform in both cities. Madhukali, in all previous Omenad Annual Conferences had emphasized on the urgent need of safeguarding medieval and ancient Veena-s that over the past few decades have fast fallen into near obsolescence. The two forms of Veena that reached 20th century –  Rudra Veena and Vichitra Veena – have almost disappeared in 21st. Generational scions alone may find motivation to master these challenging ancient instruments.

Vichitra Veena was almost in oblivion when Dr. Lalmani Misra took it up and crafted a complete style for string instruments — Misrabani. Misrabani grants the instrument a unique identity. The string is freed from following human voiceand brings out unique elements beyond vocal cords. After his death in 1979, son Gopal Shankar taught himself and perfected the art of Vichitra Veena. Ragini Trivedi moved by the silenced Veena after sad demise of brother Gopal in 1999, vowed to regain its voice and trained herself to play Vichitra Veena in Misrabani style. Baha’ud’din Mohiuddin Dagar  son of famous musician Zia Mohiuddin Dagar was ingrained by his father to play Rudra Veena in dagarbani style. He represents the  Dagar lineage. First generations musicians have always enriched musical traditions; the art gains stability with generational artistes. Today, when globalization is changing dreams, mores and opportunities, such artistes are needed to keep their artistic traditions vibrant and current. Dr. Laxmi Ganesh Tewari too was trained by Dr. Lalmani Misra and was first to record vocal rendering of Sameshwari – a Raga consecrated by Dr. Misra to keep the knowledge of Samic notes alive.

 

Bhopal

Bharat Bhawan

7th January 2012

6:30 pm

Vichitra Veena          –         Dr. Ragini Trivedi (Daughter of Pt. Lalmani Misra) View Clip

Vocal Recital            –          Dr. Laxmi Ganesh Tewari  (Santa Rosa, California)

Indore

Preetamlal Dua Sabhagrih

8th January 2012

6:30 pm

RudraVeena                           –                           Bahauddin Dagar                                     

Vocal Recital                          –                           Dr. Laxmi Ganesh Tewari                    

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