Ravi Shankar (músico) - Wikipedia

Ravi Shankar (bengalí: রবি শংকর )^? (Benarés, Raj Británico, 7 de abril de 1920 - San Diego, Estados Unidos, 12 de diciembre de 2012) fue un músico indio conocido mundialmente por ser un virtuoso del sitar. Se le conoce con el título honorífico de Pandit Ravi Shankar.
Discípulo de Allauddin Khan (fundador del Maihar gharana de música hindú clásica), Pandit Ravi Shankar es posiblemente el instrumentista hindú más reconocido, es conocido por ser pionero en la traída del poder de la tradición de música hindú clásica, así como por músico hindú y sus ejecutantes en general. Esto fue hecho por su asociación con The Beatles así como por su carisma personal. Su carrera musical atraviesa más de seis décadas y Shankar actualmente sostiene el Récord Guinness por la carrera internacional más larga.
Ravi Shankar era el padre de la cantante estadounidense Norah Jones y la sitarista Anoushka Shankar.

Ravi Shankar

Datos generales
Nacimiento	7 de abril de 1920 (92 años) Benarés, Raj Británico
Muerte	12 de diciembre de 2012 (92 años) San Diego (California), Estados Unidos
Ocupación	Compositor, Sitar
Información artística
Género(s)	Música clásica de la India
Instrumento(s)	Sitar
Período de actividad	1939 – 2012
Discográfica(s)	HMV, Private Music
Artistas relacionados	Ustad Alla Rakha Yehudi Menuhin
Web
Sitio web	RaviShankar.org

Primeros años

Su casa ancestral es hoy en día Kalia Upozila en el Distrito Narail, Jessore, Bangladesh. El nombre de su madre era Hemanginee, y su hermano mayor Uday Shankar era un bailarín famoso hindú clásico. De adolescente Ravi tocó el sitar con la compañía de baile de Uday Shankar, más notablemente con Anna Pávlova en la Unión Soviética.

Carrera musical

Ravi Shankar dejó una posible carrera de baile y comenzando en 1938 pasó largos años de estudio bajo su gurú Khan Allaudin. Su primera presentación en público en la India fue en 1939. El entrenamiento formal acabó en 1944 y trabajó en las afueras de Bombay. Comenzó a escribir canciones para películas y ballet clásico y comenzó una carrera de grabación con el afiliado indio HMV. Se hizo director de música de All India Radio en los años 1950.
Shankar entonces se hizo conocido fuera de la India, primero presentándose en la Unión Soviética en 1954 y luego en el Oeste en 1956. Se presentó en acontecimientos principales como en Edinburgo Festival así como lugares principales como el Royal Festival Hal
George Harrison, miembro de The Beatles, comenzó a experimentar con el sitar en 1965. Los dos se encontraron eventualmente debido a este interés común y se hicieron amigos cercanos, ampliando la fama de Shankar como una estrella pop y como el mentor de Harrison. Esto desarrolló enormemente su carrera. Le invitaron a tocar en lugares que eran insólitos para un músico clásico, como el Monterey Pop Festival, 1967 en Monterey, California. Él era también uno de los artistas que tocaron en el Festival de Woodstock (1969) y el Concierto para Bangladesh en 1971. Ravi Shankar y Amigos eran también el acto de apertura para la gira de Harrison de los Estados Unidos en 1974.
Shankar ha escrito dos conciertos para sitar y orquesta, composiciones de sitar-violín para Yehudi Menuhin y él, la música para el virtuoso de flauta Jean Pierre Rampal, y la música para Hozan Yamamoto, maestro del shakuhachi (la flauta japonesa), y el virtuoso del koto Musumi Miyashita. Ha compuesto extensivamente para películas y ballets clásicos en India, Canadá, Europa y los Estados Unidos, incluyendo Chappaqua, Charly, Gandhi, y Apu Tryology. Su grabación Tana Mana, lanzado por el sello Private Music en 1987, penetró el género New Age con su combinación única de instrumentos tradicionales con la electrónica. El compositor clásico Philip Glass reconoce a Shankar como una influencia principal y los dos colaboraron para producir Passages, una grabación de composiciones en las cuales cada uno adapta temas compuestos por el otro. Shankar también compuso la parte de sitar en la composición de Glass de 2004, Orión.
En 1998 recibió el Polar Music Prize, un premio concedido por la Real Academia de Suecia de Música.

Otros

Ravi Shankar tuvo dos hijas: la cantante Norah Jones (que Ravi Shankar tuvo con la productora de conciertos Sue Jones) y Anoushka Shankar, una de las más destacadas mujeres de la India tocando el sitar, reconocida con numerosas distinciones a lo largo de su carrera.

Muerte

Debido a problemas respiratorios, Shankar fue admitido en el Scripps Memorial Hospital, en La Jolla, San Diego. Falleció el 11 de Diciembre de 2012, por complicaciones respiratorias.

Discografía

Three Ragas (1956)
Improvisations (1962)
India's Most Distinguished Musician (1962)
India's Master Musician (1963)
In London (1964)
Ragas & Talas (1964)
Portrait of Genius (1964)
Sound of the Sitar (1965)
Live at Monterey (1967)
In San Francisco (1967)
West Meets East (1967)
At the Monterey Pop Festival (1967)
The Exotic Sitar and Sarod (1967)
A Morning Raga / An Evening Raga (1968)
The Sounds of India (1968)
In New York (1968)
At the Woodstock Festival (1969)
The Concert for Bangladesh (1971)
Raga (1972)
In Concert 1972 (1973)
Transmigration Macabre (1973)
Shankar Family & Friends (1974)
Music Festival From India (1976)
Homage to Mahatma Gandhi (1981)
Räga-Mälä (Sitar Concerto No. 2) (1982)
Pandit Ravi Shankar (1986)
Tana Mana (1987)
Inside The Kremlin (1988)
Passages con Philip Glass (1990)
Concert for Peace: Royal Albert Hall (1995)
Chants of India (1997)
Concerto for Sitar & Orchestra con André Previn (1999)
Full Circle: Carnegie Hall 2000 (2001)
Between Two Worlds (Documental dirigido por [Mark Kidel]) (2001)
Flowers of India (2007)

Enlaces externos

Wikimedia Commons alberga contenido multimedia sobre Ravi Shankar (músico).
Página oficial de Ravi Shankar (en inglés)

Foro de Sitar y amantes de la cultura india en español

Reproducir todo Top Tracks for Ravi Shankar
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Reproducir todo Top Tracks for Ravi Shankar
94 vídeos
http://www.youtube.com/watch?v=ugIbmTKrcHc&playnext=1&list=AL94UKMTqg-9CPjKgW3JloeIgXbY3Uiy0E
▶Ravi Shankar & Philip Glass - Ragas In Minor Sc... de tiad

2RAVI SHANKAR & GEORGE HARRISON. PRABHUJEE de actonstation

Subido el 05/05/2009 Written by Ravi Shankar.

3Ravi Shankar - Gat Kirwani de adityaworld
4Ravi Shankar - Asato Maa de MoragTong
5Ravi Shankar - Improvisation on the Theme of "R... de tiad
6Ravi Shankar - West Eats Meat! de tiad
The Track is taken from Ravi Shankar's Album "Tana Mana" (resp. "Bridges - the best of Ravi Shankar" (2001)). Ravi Shankar, THE greatest Indian musician of the 20th century, has produced a lot of stunning masterpieces with genius. This is only one example of these.
7Channels and Winds - Ravi Shankar & Philip Glass de cydoniawishdies
8Ravi Shankar - Tarana! de tiad
9INDIA-Shanti Mantra/ Ravi shankar de nanaisgrin
10Yehudi Menuhin & Ravi Shankar: Tenderness de alejita1679
11Ravi Shankar & Yehudi Menuhin- Twilight Mood de 13thAnima
12Ravi Shankar - Tana Mana! de tiad
13Ravi Shankar & Yehudi Menuhin-Prabhati de 13thAnima
14Ravi Shankar - Mangalam de MoragTong
15Ravi Shankar - Raga Ahir Bhairav de learrus
16Ravi Shankar - Discovery Of India de BeritYentlSchumann
17Ravi Shankar - Offering de TheDearBronze
18Ravi Shankar - Vedic Chanting de PstKojeck
19Friar Park by Ravi Shankar de skwaller
20Ravi Shankar - Raga Bhimpalasi (Live at Monterey) de gyaaaaaaaaaaaaaa
21Ravi Shankar - Saanjh Kalyaan de wollfire6
22Ravi Shankar- Vandanaa Trayee de CompleatBeatles
23Ravi Shankar & Ali Akbar Khan - Raag Palasi Kafi de raintheory3390
24Sarve shaam - Ravi Shankar - music4peace de music4peaceatworld
25Ravi Shankar- Swara-Kakali de CompleatBeatles
26Hari Om ravi shankar de 666sixpounder666
27Ravi Shankar - Sadhanipa de TheDearBronze
28Raga Jog [HD] - Ravi Shankar de Balraj009
29Ravi Shankar - Geetaa de Eprocadation
30Ravi Shankar - Dhun Man Pasand de ProjectFortification
31Ravi Shankar - An Introduction To Indian Music ... de funkyatalltimes
32Ravi Shankar - Veenaa Murali de jondavidgriffin
33Ravi Shankar - "Raga puriya-Dhanashri gat in sa... de DoTempoDosSonhos
34Ravi Shankar- Village Dance de CompleatBeatles
35Spring Dance - Ravi Shankar de mansoorn
36Raga Malkauns (Alap and Jor) - Ravi Shankar de Balraj009
37Ravi Shankar - Rag Puriya Kalyan de ProjectFortification
38Ravi Shankar- Raga Miniature de CompleatBeatles
39Omkaaraaya namaha - Ravi Shankar - music4peace de music4peaceatworld
40Anxiety - Ravi Shankar - Transmigration Macabre... de InfiniteMystery3
41Ravi Shankar & Friends - Kaharwa de greenowl2
42Ravi Shankar - Return from the Fair de greenowl2
43Ravi Shankar - Tala Farodast de unkkkle
44Pandit Ravi Shankar- Raga Asa Bhairav (আশা ভৈরব... de ridrahman
45Reflection - Ravi Shankar - Transmigration Maca... de InfiniteMystery3
46Pandit Ravi Shankar- Raga Rasia (রবি শংকর- রাগঃ... de ridrahman
47Death - Ravi Shankar - Transmigration Macabre (... de InfiniteMystery3
48Pahari Dhun [HD] - Ravi Shankar de Balraj009
49Raga Simhendra Madhyamam [HD] - Ravi Shankar de Balraj009
50Transmigration - Ravi Shankar - Transmigration ... de InfiniteMystery3
51Raga Ramkali [HD] - Ravi Shankar de Balraj009
52Ravi Shankar, Mian Ki Malhar, Raga-Mala, Sitar ... de mangott
53Pandit Ravi Shankar- Bahu-Rang (রবি শংকর- বহু-রং) de ridrahman
54Pandit Ravi Shankar: Tarana de JADENEindia
55Ravi Shankar, Yaman Kalyan, Raga-Mala, Sitar Co... de mangott
56Raga Madhu Kauns [HD] - Ravi Shankar de Balraj009
57Raga Puriya Dhanasri [HD] - Ravi Shankar de Balraj009
58Ravi Shankar & Chatur Lal kafi-holi de BoratBrother
59Raga Patdeep - Ravi Shankar de Balraj009
60Pandit Ravi Shankar: Prarambh de JADENEindia
61Raga Jogiya [HD] - Ravi Shankar de Balraj009
62Pandit Ravi Shankar: Three Ragas In "D" Minor de JADENEindia
63Ravi Shankar - Raga: Jhinjhoti de aboaronair
64Ravi Shankar - Genesis - Genesis Theme de KL0098
65Woman Reminiscing - Ravi Shankar de betokafra
66Ravi Shankar - Svara Mantra.wmv de MRZKARDOS
67Ravi Shankar - Reunion de Jiraiyeah
68Ravi Shankar -Raga Kaushi Kanhara Gat In Dhamar de MRZKARDOS
69Ravi Shankar -Raga Kaushi Kanhara_Alap Jor Jhal... de MRZKARDOS
70Torment - Ravi Shankar - Transmigration Macabre... de InfiniteMystery3
71Fantasy - Ravi Shankar - Transmigration Macabre... de InfiniteMystery3
72Ravi Shankar - Rag Purvi Kalyan de ProjectFortification
73Ravi Shankar - Raga Patdeep-Gat Sitarkhani Taal de DennisTschirner
74Retribution - Ravi Shankar - Transmigration Mac... de InfiniteMystery3
75Ravi Shankar - Kathakali Katthak de johnypants
76Ravi Shankar - Dhun In Devgiri Bilawal de DennisTschirner
77Madness - Ravi Shankar - Transmigration Macabre... de InfiniteMystery3
78Ravi Shankar and Yehudi Menuhin-West Meets East... de MRZKARDOS
79Raag Nand (On Sitar) -by Pandit Ravi Shankar de swajidz21
80Ravi Shankar, Alla Rakha Tabla Solo in Jhaptal2 de doctormonem
81Raga Charukeshi [HD] - Ravi Shankar de Balraj009
82Ravi Shankar - Bangla Dhun Vinyl Cut de codelyokog123
83Ravi Shankar - Mishra Piloo de DennisTschirner
84Ravi Shankar in-studio performance de angryprotein
85Ravi Shankar - Raga Smant Sarang de DennisTschirner
86Raga Marwa [HD] - Ravi Shankar de Balraj009
87Submission - Ravi Shankar - Transmigration Maca... de InfiniteMystery3
88Charukeshi Instant Fantasy (Alap sample) - Ravi... de faqirsilki
89Maha Mrityunjaya Mantra - Chants of India de sainath459
90Hai re woh din kyun na aaye de riddler100
91Gayatri Mantra - Chants of India de sainath459
91Gayatri Mantra - Chants of India de sainath459
92Ravi Shankar Four Ragas (1) de 24Sanje1
93Ravi Shankar & Friends - Nama Shivaya! de tiad
94Meeting Along The Edge - Pt Ravishankar & Phili... de indium2
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Ravi Shankar, le "parrain des musiques du monde", est mort

Le Monde.fr avec AFP et Reuters | 12.12.2012

George Harrison et Ravi Shankar, à Los Angeles, en 1967.

Le musicien et compositeur indien Ravi Shankar, qui a influencé de nombreux artistes étrangers, des Beatles au violoniste classique Yehudi Menuhin, est mort à l'âge de 92 ans dans un hôpital de San Diego, a annoncé sa famille dans un communiqué, mardi. Connu internationalement depuis les années 1960 lorsqu'il influença de nombreux musiciens de rock en quête de nouvelles sonorités, le sitariste était le père de la chanteuse Norah Jones et de la compositrice Anoushka Shankar.
Le premier ministre indien, Manmohan Singh, a fait part de sa tristesse et évoqué la perte d'"un trésor national et d'un ambassadeur mondial de l'héritage culturel de l'Inde". "Une ère s'achève. La nation se joint à moi pour rendre hommage à son génie insurpassable, à son art et à son humilité", a ajouté le chef du gouvernement.
À MONTEREY EN 1967 ET WOODSTOCK EN 1969
Ravi Shankar, qui vivait en Californie, où il avait créé une école de musique, était né dans la ville sacrée de Bénarès, sur les bords du Gange, le 7 avril 1920. Il venait d'une famille de brahmanes, la plus haute caste dans la complexe société traditionnelle hindoue. En 1930, sa famille s'installe à Paris et il découvre la musique classique. Dès la fin des années 1950, il influence un jazzman comme John Coltrane, à qui il donne des leçons de musique. En hommage, le saxophoniste américain prénomme son fils Ravi Coltrane.
Le guitariste des Beatles George Harrison devint son élève dans les années 1960 et joua du sitar sur Norwegian Wood (1965), bientôt suivi par Brian Jones des Rolling Stones sur Paint It Black (1966). Son influence se fait aussi sentir chez Robbie Krieger, le guitariste des Doors, sur les premières mesures du morceau fleuve The End. La collaboration avec George Harrison se poursuivit et tous deux travaillèrent ensuite à plusieurs projets, notamment lors d'un concert de bienfaisance pour le Bangladesh en 1971. Harrison avait surnommé Ravi Shankar "le parrain de la world music". En plein mouvement hippie, il s'était produit dans plusieurs festivals, Monterey en 1967 et surtout Woodstock en 1969 aux côtés de Janis Joplin et Jimi Hendrix, devant près de 500 000 spectateurs.

D'une santé fragile depuis plusieurs années et souffrant de problèmes pulmonaires et cardiaques, Shankar avait subi une intervention chirurgicale pour remplacer une valve cardiaque jeudi, a précisé sa famille. L'opération avait été un succès mais le musicien n'a pas supporté le choc de l'opération.
"Malheureusement et malgré les efforts des chirurgiens et des médecins qui ont pris soin de lui, son corps n'a pas supporté le choc de l'opération. Nous étions à ses côtés quand il est mort, ont précisé dans un communiqué sa femme, Sukanya, et sa fille Anoushka. Bien que l'heure soit au chagrin et à la tristesse, c'est également l'occasion pour nous tous de le remercier et d'être reconnaissants d'avoir fait partie de nos vies."

Le musicien s'était produit pour la dernière fois en concert le 4 novembre à Long Beach, en Californie, avec sa fille Anoushka.

Shankar avait donné son dernier concert en compagnie de sa fille Anoushka le 4 novembre à Long Beach. La veille de son opération, son dernier album, The Living Room Session, Part 1, avait été nommé pour un Grammy.

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On Appreciation of Indian Classical Music
by Ravi Shankar
Indian classical music is principally based on melody and rhythm, not on harmony, counterpoint, chords, modulation and the other basics of Western classical music.

The system of Indian music known as Raga Sangeet can be traced back nearly two thousand years to its origin in the Vedic hymns of the Hindu temples, the fundamental source of all Indian music. Thus, as in Western music, the roots of Indian classical music are religious. To us, music can be a spiritual discipline on the path to self-realisation, for we follow the traditional teaching that sound is God - Nada Brahma: By this process individual consciousness can be elevated to a realm of awareness where the revelation of the true meaning of the universe - its eternal and unchanging essence - can be joyfully experienced. Our ragas are the vehicles by which this essence can be perceived.

The ancient Vedic scriptures teach that there are two types of sound. One is a vibration of ether, the upper or purer air near the celestral realm. This sound is called Anahata Nad or unstruck sound. Sought after by great enlightened yogis, it can only be heard by them. The sound of the universe is the vibration thought by some to be like the music of the spheres that the Greek Pythagoras described in the 6th century B.C. The other sound Ahata Nad or struck sound, is the vibration of air in the lower atmosphere closer to the earth. It is any sound that we hear in nature or man-made sounds, musical and non-musical.

The tradition of Indian classical music is an oral one. It is taught directly by the guru to the disciple, rather than by the notation method used in the West. The very heart of Indian music is the raga: the melodic form upon which the musician improvises. This framework is established by tradition and inspired by the creative spirits of master musicians.

Ragas are extremely difficult to explain in a few words. Though Indian music is modal in character, ragas should not be mistaken as modes that one hears in the music of the Middle and Far Eastern countries, nor be understood to be a scale, melody per se, a composition, or a key. A raga is a scientific, precise, subtle and aesthetic melodic form with its own peculiar ascending and descending movement consisting of either a full seven note octave, or a series of six or five notes (or a combination of any of these) in a rising or falling structure called the Arohana and       Avarohana. It is the subtle difference in the order of notes, an omission of a dissonant note, an emphasis on a particular note, the slide from one note to another, and the use of microtones together with other subtleties, that demarcate one raga from the other.

There is a saying in Sanskrit - "Ranjayathi iti Ragah" - which means, "that which colours the mind is a raga." For a       raga to truly colour the mind of the listener, its effect must be created not only through the notes and the embellishments, but also by the presentation of the specific emotion or mood characteristic of each raga. Thus through rich melodies in our music, every human emotion, every subtle feeling in man and nature can be musically expressed and experienced.

The performing arts in India - music, dance,drama, and poetry - are based on the concept of Nava Rasa , or the "nine sentiments." Literally, rasa means "juice" or "extract" but here in this context, we take it to mean "emotion" or "sentiment." The acknowledged order of these sentiments is as follows: Shringara (romantic and erotic): Hasya (humorous): Karuna (pathetic): Raudra (anger): Veera (heroic): Bhayanaka (fearful): Vibhatsa (disgustful): Adbhuta (amazement): Shanta (peaceful).

Each raga is principally dominated by one of these nine rasas, although the performer can also bring out other emotions in a less prominent way. The more closely the notes of a raga conform to the expression of one single idea or emotion, the more overwhelming the effect of the raga.

In addition to being associated with a particular mood, each raga is also closely connected to a particular time of day or a season of the year. The cycle of day and night, as well as the cycle of the seasons, is analogous to the cycle of life itself. Each part of the day - such as the time before dawn, noon, late afternoon, early evening, late night - is associated with a definite sentiment. The explanation of the time associated with each raga may be found in the nature of the notes that comprise it, or in historical anecdotes concerning the raga.

Although there are 72 "melas" or parent scales upon which ragas are based, Indian music scholars have estimated that, with all their permutations and combinations, there exist over 6,000 ragas ! But a raga is not merely a matter of the ascending - descending structure. It must have its "chalan "- or certain note patterns characteristic of the raga; its principle important note (vadi); the second important note (samavadi); and its main feature known as "jan" (life) or "mukhda" (face), the cluster of a few notes by which a raga is immediately recognised.

In terms of aesthetics, a raga is the projection of the artist's inner spirit, a manifestation of his most profound sentiments and sensibilities brought forth through tones and melodies. The musician must breath life into each raga as he unfolds and expands it. As much as 90 percent of Indian music may be improvised and because so very much depends on understanding the spirit and nuances of the art, the relationship between the artist and his guru is the keystone of this ancient tradition. From the beginning, the aspiring musician requires special and individual attention to bring him to the moment of artistic mastery. The unique aura of a raga (one might say its "soul") is its spiritual quality and manner of expression, and this cannot be learned from any book.

It is only after many long and extensive years of "sadhana" (dedicated practice and discipline) under the guidance of one's guru and his blessings, that the artist is empowered to put "prana" (the breath of life) into a raga. This is       accomplished by employing the secrets imparted by one's teacher such as the use of "shrutis" (microtones other than the 12 semitones in an octave, Indian music using smaller intervals than Western music: 22 within an octave): "gamakas" (special varieties of glissando which connect one note to the other), and "andolan" (a sway - but not a vibrato). The result is that each note pulsates with life and the raga becomes vibrant and incandescent.

Next to be considered are the "talas" or "rhythmic cycles" of a raga. There is unique intricacy and rhythmic sophistication in Indian music. There are talas ranging from a 3 beat cycle to 108 beats within a cycle! The most popular talas are those which have 5,6,7,8,10,12,14, and 16 beats to a cycle. There are also other cycles such as 9,11,13,15,17, and 19 beats, etc., which are only played by outstanding musicians on rare occasions.
The division in a tala, and the stress on the first beat (called sum), are the most important rhythmic factors. While there are talas having the same number of beats,they differ because the division and accents are not the same. For example, there is a tala known as "Dhamar" which has 14 beats in the cycle divided 5+5+4: another tala, "Ada Chautal" has the same number of beats, but is divided 2+4+4+4: still another tala, "Chanchar: is divided 3+4+3+4.

In vocal music, a drummer will accompany a singer either in slow, medium, or fast tempo at the start of a song in       whatever tala the singer chooses. He will do the same when he accompanies an instrumentalist in the gat section of a composition. Like ragas, talas also have their own characteristics. Some of the older traditional talas , such as "Chautal" (12 beats) and "Dhamar" (14 beats) are played on a two-faced drum known as pakhawaj. This accompaniment is used in the old traditional "Dhrupad-Dhamar" form of singing and in instrumental performances on the veena, rabab, surbahar, etc. Today, most vocal and instrumental music is based on the contemporary form called"khyal" and is accompanied by the tabla, a two-piece drum.

The improvisatory nature of Indian classical music requires the artist to take into consideration the setting, time allowed for his recital, his mood and the feeling he discerns in the audience before playing. Since Indian music is religious in origin, one finds the spiritual quality in most of the musician's performances.

The traditional recital begins with the alap section - the stately and serene exploration of the chosen raga. After       this slow, introspective, heartfelt, sometimes sad beginning, the musician moves on to the jor. In this part, rhythm enters and is developed. Innumerable variations on the raga's basic theme are elaborated. There is no drum accompaniment in either the alap or the jor.

The alap and the jor evolve into the gat, the fixed composition of the raga. Here the drums enter with the wonderful rhythmic structure of the gat and its time cycle, the tala. This section in based on the "Khyal: form. From this moment on, the gat (which can be anything between 4 and 16 bars of fixed composition) becomes the vehicle for the musician to return to after his improvisation. While the artist has complete freedom to improvise, he may do so only as long as he does not leave the format of the raga and tala. This freedom within the bounds of artistic discipline comes only after many years of training and sadhana. This is why one cannot rightfully compare the improvisation in Indian music with the improvisation of jazz.

The step-by-step acceleration of the rhythm in the gat finally culminates in the jhala portion as it becomes more       and more playful and exciting.Sawal jabab ,the dazzling and rapid dialogue between sitar and tabla, has the power to enthrall even the most uninitiated listener with its thrilling interplay.

Often at the conclusion of a recital, the musician may choose to play a "thumri' or "dhun." This semi-classical style is much freer and completely romantic, sensual and erotic.

Indian music is much more appreciated and respected today in the west. Many composers and musicians have been influenced by our music. The openness, willingness to learn, and sincere enthusiasm of western audiences are a continuing source of inspiration and delight.

Ragas Created by Ravi Shankar (from the book Raga Mala)
Nat Bhairav, Ahir Lalit, Rasiya, Yaman Manjh, Gunji Kanhara, Janasanmodini, Tilak Shyam, Bairagi, Mohan Kauns, Manamanjari, Mishra Gara, Pancham Se Gara, Purvi Kalyan, Kameshwari, Gangeshwari, Rangeshwari, Parameshwari, Palas Kafi, Jogeshwari, Charu Kauns, Kaushik Todi, Bairagi Todi, Bhawani Bhairav, Sanjh Kalyan. Shailangi, Suranjani, Rajya Kalyan. Banjara. Piloo Banjara, Suvarna

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ENCUENTROS UNIVERSITARIOS 3 CANTOS

martes, 11 de diciembre de 2012

Ravi Shankar