Posts Tagged ‘UNESCO Convention 2003’

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.

Categorization of Music Practices

04.10.13

Rajiv Trivedi

VibCov2As we celebrate the tenth anniversary of UNESCO Convention 2003, the idea of conservation and continuance of traditional practices through according them greater visibility has become a familiar concept. It may yet take time to percolate to every working adult, but community leaders have begun to realize its importance and are coming up with plans. It was reported in media that people of Varanasi are busy in making inventory of activities both ancient and current, so the ancient most city (Kashi) may be included in UNESCO’s representative list. Kashi has been seat of all Indian learning not only for creation but also for evaluation and incorporation. Music finds mention in Veda-s and has been an intellectual discipline ever since.

Broadly, practice of Indian classical music is in area of singing and instrument playing. Both these areas involve the form, content and governing rules. The techniques are quite different; yet, still, they are in the same domain of intangible.

Instruments involve the solid and the physical as well.

So, for the heritage worker, the various fields for consideration become distinct.

1. Body of Music.

2. Practice & Technique in distinct areas of Vocal and Instrumental.

3. Actual form of instruments. Tangible and Intangible Aspects.

4.  Intangible aspect of instrument making.

In a way, this implies that field of instruments is more demanding as it involves two extra aspects (No. 3 & 4) than vocal music.

Further divisions might be made on Stream – North Indian/ Hindustani and Karnatic – region, period, style and school. So to work for continuance of practices in the field of Indian Classical Music is a massive one. Existing body of documentation itself requires inventorying. If we leave the last century out of consideration when audio-recording techniques were evolving, music has been an absolute oral practice. Among all arts, it alone takes a form of absolute intangible.

It shall serve the cause if interest of academia may be harnessed for examining their content through the point-of-view of safeguarding ICH. Young researchers should be encouraged to take up studies that aim  either directly at preservation and safeguarding, or employ this as one of the factors for evaluation of current practices. Government and other organizations should come up with schemes to encourage publication of treatises under the head of “Safeguarding ICH”

Wiki for ICH NGOs

11.26.11

Forum of NGO and CBO in their meet at Bali agreed to stay in closer collaboration through a wiki.

Prof. Egil Bakka created this wiki for NGOs accredited as adviser to UNESCO Convention 2003. The wiki is adding members while getting several good suggestions.

The forum had already started publishing an e-newsletter. With cloud-based space for discussions, sensitive issues will find better resolution.

Thanks to Eivind Falk, Wim an Zanten, Amareswar Galla, Carmen Padilla and others for their contributions to this initiative.

Culture: Contradictions and paradoxes

06.29.10

We are truly social creatures now. Man’s dependence on others has reached exponential levels; also his connectedness. The time between one man’s thought and another’s benefit is drastically reduced. Also, time is no longer an absorbent or  muffler that might diminish or soften harsh ideas or actions. This “real-time” action disables the possibility of  meaningful action on individual level, drastically minimizing his area of influence. While it turns life into a queue or a traffic lane with little leeway for self-directed  action (theirs not to question why, theirs but to do and die), greatest sufferers are those who dwell in the realm of creativity, imagination and ideas.

For full article, visit Omenad.